Copyright Infringement Lesson Reflection

This afternoon I presented my new (and hopefully improved) lesson regarding copyright. In general, there were many things that I felt were much better here than in my trial run back in April. In today's lesson, I hit four national standards (singing, reading, listening, evaluating), but more importantly I adapted the lesson so it was more active. While the trial lesson was mostly lecture, today's implemented collaborative work, individual work, listening and performing. I feel really good that I was able to do all of this in a lesson regarding copyright. It also helped to consider the many facets of what music copyright is - I honed in on infringement and derivative work as these topics are more approachable and engaging than legal definitions.

The one major self-criticism I have is that I spoke too much and still tried to fit in too much material. At the beginning of the lesson I told a story that I think helped to engage the students. Had this been a group of middle schoolers and not grad students, I'm sure I would have juiced up the drama and really put on a show. In this portion, I felt OK about blabbing - I was storytelling. After this intro, I could have backed off on the number of words I used. I would guess that I said more than a thousand (in ten minutes).

I feel somewhat confident that the students understood that their goal was to use musical elements to determine whether or not the musical example can be considered a derivative work. Within that objective is a secondary goal, that the students would understand basic definitions of copyright infringement and derivative work. I had the definition of copyright infringement on their worksheet and used repetition of "derivative work." Still, I have no good reason for not writing that objective on the board or on the handout.

Another improvement from the trial run was that I chose a newer piece of music for my example - something that young students would know and have an easier time relating to (Domino by Jessie J vs Bright Red Chords by Loomis and the Lust). The solfège syllable assignment and listening activity served as analysis, though in a real middle school classroom, we would have spent more time on these activities. 

I concluded with a worksheet that gave students the opportunity to rate the similarities of the two pieces and come up with a verdict about the copyright infringement case. This verdict and the last question on my worksheet (what musical element(s) helped in making your decision) served as the final assessment of my objective. I could have also added a place for the students to define derivative work using their own words. 

I am sorely disappointed that I forgot to mention my homework assignment! It was simple, but valuable. Had I remembered to assign it, the students would have gone home and found an example of music copyright infringement to share in the next class. With this assignment, I'm sure a few of the students would have dug deeper into this interesting topic and potentially made more of a personal connection to it. 

All in all, I think the lesson went well. It is not yet perfect, but with some tweaking and adaptation, it will be an interesting lesson on a topic that can seem boring when poorly presented. If nothing else, this assignment has peaked my personal interest in the topic of music and copyright. 
 

Funding in a modern BOJC program

Let's face it, our programs can be pricier than a majority of other academic courses. We need to supply instruments, chairs, stands, technology, concert and marching uniforms and published music to benefit our students. In a perfect world, our programs would be well-funded so we could easily purchase all of this and more. Of course we would also have an additional fund for clinicians and trips. Although this would be nice, it may not be realistic.

Aside from whatever funding is provided through the district, there are a few things that I feel are very important to keep a modern BOJC program financially sound. First and foremost is parent involvement. Parents on our side can help with many tasks like fundraising, advocating for the program, and promotion.

Second, we must consider our resources when raising money for our programs. As directors, we should be seeking out opportunities that can help us raise money and awareness for our programs. This shouldn't be a car wash or back sale. The answer is built right into our curriculum - performance! Not only can certain concert events provide a financial cushion for the program, they can help raise an awareness for our programs. I find that performing outside of the school campus is very beneficial. This way, we can gain support from the greater community - the members of the town who otherwise wouldn't have a personal connection to our program. In addition to the usual concerts, the music groups should have a role in on-campus events like graduation, award ceremonies, assemblies, and so on.

Lastly, I think that when considering funding and growth of a program we need to create traditions, while at the same time providing new, exciting opportunities for our students. In the classroom we think about how to engage our students. In the case of funding, we need to engage not only our students, but administration, parents, and the greater community.

Building an audience in school music programs

I recently found myself at a fantastic percussion ensemble concert at WCSU. The group featured about 20 percussionist and two guest artists - Legendary vibist Dave Samuels, and Grammy-Winning drummer Joe McCarthy. As an alumnus of this ensemble, I gladly attended. In total, it seemed that there were about 60 people in attendance - mostly family, faculty, and friends of the musicians performing. It's a shame though, that there aren't just a few more people from around that campus who check out those events. Especially considering the level of talent represented on stage.

This weekend, April 25-27th, WCSU will host a Jazz Festival featuring John Scofield and Wallace Roney. The concerts will be well attended, but I would imagine there will be single digit representation of student body outside of the music/arts department. As an alumnus of the jazz department, I can recall the things that helped make this festival a huge success and consider how that might apply to my own concerts and festivals in the future. 

First, the Jazz students are heavily involved in the planning and promotion. In 2004 we drove around to assigned streets with flyers and tacks. I'm sure that still goes on, but I guarantee a great deal of promotion happens through social media as well. All of the university student jazz groups perform, and high schools and middle schools from all over CT participate in the festival. Naturally, this builds the audience and creates a connection with the University. I am bringing my group this year (our 3rd year going) and I plan on doing so for as long as I am teaching. It's a fantastic tradition, which brings me to some other thoughts on building an audience for my own program.

Luckily, I joined programs that already had established concerts and events with a great built in audience. The chair of the fine arts program has worked hard to keep these events a tradition. The Winter and Spring Jazz Band concerts happen at the same time every year - Fat Tuesday, and the second Friday in May. This consistency is important not only for reducing potential scheduling conflicts, but so people know about these events well in advance. The May Jazz concert features a selection of hors d'oeuvres presented by the school's culinary program. That collaboration immediately builds the audience. Not only do we have families of Jazz Band students, but parents and friends who want to sample the food made by the young chefs. 

I am now working on creating a new tradition for this same program - participation in a Jazz Festival, which I had the pleasure of co-creating along with the folks at Infinity Hall. Last year's festival was on May 19th and featured 2 bands. This year, we have 6 bands performing on June 2nd. I'm hoping for a great turnout - Perhaps you can join Northwestern Regional 7 at the 4:00 PM Set! I have considered some things that I think will contribute to the success of this event and this tradition... First, the date needs to be consistent - So it does not conflict with the busy school calendar, and can gain a following. Also, since the main promotion is by our students, it is vitally important that they get excited and see the benefit of this festival. So far it has been the amazing opportunity to play in that beautiful room, but hopefully in the future it will include more collaboration with other schools, guest artist performances, and clinics. Ultimately, if I can't get the students as excited as I am - we'll have an issue filling the room. 

The first thing I do is buy 4 tickets for the event. Not only does it support the group, but it puts my money where my mouth is. I tell the students, I just bought four tickets - my family will be there. Will yours!? In addition, I send email blasts and drown the Facebook feed in direct links to ticketing. I am happy to do this, as the students benefit more from my leading by example. I'm not going to do well getting them to promote and sell tickets if I can't even do it on my own. 

I hope to continue to have great luck with attendance at the regularly-scheduled concerts while creating new traditions. Ultimately, I need to make sure we continue to have an audience for our events so the students can feel like all of their hard work and efforts really paid off. They deserve the opportunity to play for a receptive audience and I'll continue to do my best to see that happen. 

For those of you reading - What kinds of traditions do you have at your schools? What are your most well-attended concerts and from whom do you see the most support? Do your administrators and colleagues attend? Your feedback is appreciated! 

Building the Program

I recently watched the documentary Chops about a killer high school Jazz Band that participates in the Essentially Ellington competition at Lincoln Center. While the majority of the footage  takes place in the months leading up to the competition and the competition itself, the first 20 minutes or so have footage from a few years before, following one student as he prepares for the high school ensemble. To me, this was the most valuable and eye-opening in regard to creating a killer music program.

At the opening of the film, a young saxophone student is given a great opportunity to play with a group of students who were older than him. The teacher made an exception to let him in the ensemble, because of how serious he was with music. That teacher took a risk and provided an amazing opportunity to that young student. That single decision was probably the biggest confidence boost and motivator for that musician's early career. Unfortunately, I have heard of many situations where the opposite happens, and one decision can ruin a young musician's desire to perform. Ultimately, in our efforts to build our programs and promote excellence, we as educators need to take risks and provide positive experiences for our students early on.

Another big motivator, and something that can help build a program is successful upper-level groups. This could be the top ensemble at the high school. In my case, the motivator was being able to be a selected percussionist to perform with all of the district bands at our annual big band bash. This is something I knew about in 4th grade and worked toward achieving as an upper-classroom a young lifetime later! The young saxophone student at the beginning of Chops knew what his high school jazz band was about, and he was working toward it years in advance! It's important to recognize that great high school ensembles really don't start in high school.

Most importantly, we need to provide exciting opportunities for our students. They don't have to be super expensive, or life-changing - but they definitely effect our students deeply. In Chops, the opportunity is the Essentially Ellington Competition. The students work as a team and motivate each other to be the best. The senior drummer Jamison Ross played a major role in motivating and inspiring the group. The teacher can't do this alone, and upperclassman are often a big help. This student wasn't your average high school musician - in 2012 he was named winner of the prestigious Thelonious Monk Competition.

We can't all have award-winning groups who take home trophies from national competitions, but that doesn't mean that we can't build our programs to inspire the love of musical performance and a fine appreciation of the art form. In my small program, I hope to build on traditions and cater to both the absolute beginner and experienced performer.

Music Copyright Lesson

Last week I presented a lesson on music copyright to my classmates at UB. I also gave myself the opportunity to teach this lesson to my Jazz Band students at school the same day. I think overall, they both went about the same way. There were some good moments and outcomes but it was basically uninteresting and definitely not my best work.

My first thought when I was assigned the topic was, "are you kidding? I don't even know anything about copyright... And, how am I going to make that a hands-on, engaging learning experience?" First of all, I knew more than enough about copyright to teach a basic lesson, and I don't think I stretched enough creatively to make the lesson engaging.

For the future, I don't think my objective(s) would change (students have an understanding of what copyright is, and how it protects artists), but the approach would definitely. I spoke way too much... I had some visuals and hands-on items for the students to see copyright logos, I played a fun example of Vanilla Ice back to back with Queen/Bowie's "Under Pressure" using Who Sampled and had the students become a jury to decide whether or not Vanilla was guilty... Need I say, it was a unanimous vote.

In my Jazz Band classroom, the best outcome was that the students were getting excited about recent lawsuits, and asking questions to the class while googling for results (Is it OK to use someone's name in a song title? What if you didn't realize that you stole a song?) - I was happy with this, but I'm not certain that the students know any more than they did prior.

In revising this lesson, I want to get students creating. Perhaps I can have them write a short musical composition and "steal" a student's work, write it on the board and say how proud I am to have written it. I hope that kid would call me out - no kid wants to be copied from! Maybe that would catch their attention... Maybe this lesson wouldn't necessarily deal with a hands-on musical approach, but something with copying in general. I think getting the kids fired up about it could be risky, but powerful and engaging.

Technology and Music Education

Let's face it, technology is a huge part of our world. Things that were put on the screen by sci-fi writers are actually becoming a reality! Remember how crazy it was watching Star Trek and seeing someone on a video screen having a live conversation? That's everyday business in 2013, now we don't think twice, and the younger generations never will!  

The way I see it, there are three ways educators view technology. Some try to ignore it and go about the same techniques they always have, some implement it and keep up with it at a reasonable pace, and others try to change their teaching routines as fast as the technology grows. Personally, I agree with the middle ground - staying informed and up-to-date without ignoring these helpful technologies altogether or watering down a curriculum by changing every day. Balancing the use of technology is important in keeping teachers and students "modernized"without being overwhelmed.

First, although it's not new technology, let's examine how email and simple web creation has changed education. Though email is not the most personalized or effective type of communication, it is fast and easy! As a teacher in a boarding school, I will occasionally send a quick update about recent achievements. "Johnny was great in Jazz Band today! He learned his part before class and was able to help the younger students where they were having trouble." Something like that would take me 60-90 seconds to write and send, but the effect on the parent would last days, weeks, a lifetime! Every parent wants to hear about successes of their child, big or small. Without email, I and many other teachers would be much less likely to communicate those details to parents. Phone calls often require appropriate timing and schedule matching, parent teacher meetings are limited, and a letter may be too formal for this kind of update. Of course, those types of communication are also important and should always have a place in education. 

Most school classes have websites - Many post assignments, resources, and some programs even allow parents and students to log in to track their progress and see cumulative grades. This technology is extremely helpful in keeping parents involved and making sure the teacher, student, and parent are on the same page. My school uses a web-based technology called Whipple Hill. Though it may sound like an ice cream company, it is simply a great resource for education. 

Of course, with these technologies comes a downside - Many teachers (though I have yet to experience this personally) may feel overwhelmed with those parents who constantly seek updates via email or students who rely exclusively on your website updates for remembering assignments and so on. 

As a music teacher, I enjoy implementing iPad and other technology into my teaching. I am constantly learning about new resources, though I make sure not to worry about using every new tool I read about. Rather than writing about them, I made a screen cast (an amazing and ridiculously user-friendly technology you should all consider implementing) that walks you through some web-based technologies I use on a daily basis. Please view it and share your comments -  Web-Based Music Tech Resources

I feel strongly that technology will continue to play an important role in music education, and musicianship in general. Finding music, practicing, composing, and recording have never been easier. In fact, I just listened to Dave Grohl's Keynote Speech from SXSW where he speaks about his efforts multi-tracking in his bedroom in the 1970's and how practicing, recording, composing, starting a record label, and self-producing is now easier than ever. 

In addition to helping our young music students create and explore, I believe that the implementation of music technology will increase the overall number of students who participate in music (particularly in secondary schools). Although I don't feel accomplished enough to teach a strictly "music-technology" course, I hope to get there and I am excited to see what effect that will have on the number of students participating in classroom music. 

Links and shout-outs:

I consider myself lucky to work with an amazing librarian and technology specialist K-M Librarian who keeps the faculty and students informed about new resources via her libguides site. 

Technology in Music Education - Great Blog from Dr. Christopher Russell. Helped me to discover a new music writing app and loads of choral warm-ups (all in about 4 minutes)

Sites I cover in my Screenr Screen Cast:

MusicTheory

Grooveshark

Learnjazzstandards

Allmusic

Essential Traits of a Music Educator

While I strongly believe that there are a large number of characteristics a music educator should embody, I have tried my best to narrow them down to three key traits. It is important to understand that each trait is complex and overlaps with many important characteristics of teaching, musicianship, and leadership. After considering inspirational readings by Peter Boonshaft and Frank Battisti, my experience teaching, and most importantly my experience as a lifelong student, I have created this list.

I often recall my favorite teachers – those who I consider the best - and consider exactly what they did to provide such amazing inspiration. It was never the material they were presenting, but how they presented it that stuck with me. In fact, two of these inspirational educators taught American History – a subject that I never found as exciting as math or music. What made these teachers so inspirational is the first trait I consider absolutely essential for any music educator – passion and excitement for the subject.

This first trait may seem very straightforward. Many of us choose a career in music because it is what we are most passionate about. However, the best music educators are not disgruntled performers with a fallback plan, or those looking for steady pay and benefits. The best music educators are equally passionate about music and the education thereof. The passionate music educator is a motivator, is inspirational, considers individuals and should always be the most optimistic person in the room. In Peter Boonshaft’s Teaching Music With Purpose “he writes of the seemingly endless list of duties of the music educator, from lesson planning to hall duty, instrument repairs and fundraising. With such a workload, he writes that it is easy to get stressed and burnt-out and to appear that way. He concludes, “… Sometimes we just can’t muster the energy to show our enthusiasm. But we must. At any cost, it must shine through to all.”  I found this statement profound. Ultimately, we cannot expect our students to be inspired by any information if we do not present it with passion and excitement!

The second trait that music educators should possess is an understanding that teaching is learning. Music educators should be proficient on their focus instrument, and should have an ability to accompany, conduct, arrange, and sing. For many, these skills will be very developed upon completion of a college degree. However, for all, there is no end to our development of musicianship and skill sets as educators. Frank Battisti contributes a list of ideas for professional development and personal growth in On Being A Conductor. Performing and attending concerts top his list, and I couldn’t agree more that these activities will keep music educators fresh and inspired. Both he and Boonshaft speak in depth about reflection and self-observation, and how beneficial they can be in our teaching endeavors. Simply put, the minute we stop learning is the minute we stop teaching.

Finally, music educators should have a desire for excellence and a fine appreciation for progress. “Good Enough” is a term that should not exist in a music educator’s vocabulary. Demanding excellence from our students is the best way to show them respect. By doing so, we are displaying our belief in their abilities. What may frustrate or tire a student now, is what will keep us fondly in their memory as they journey through life. No adult will ever look back and thank a teacher who didn’t challenge them - ever! 

An appreciation for progress is what keeps music educators inspired. There are hardly any 5^th graders that will exhibit excellent intonation and tone production. That does not mean that they are not achieving excellence. Music educators must appreciate the progress as much as the accolades.

I am fascinated by music and education. I am inspired, but understand that I will have horrible days teaching – many of them! I hope to consider what I have learned on my journey and promise to maintain passion, strive for excellence, and continue learning - always. 

Choir Lesson

Last week I had the opportunity to teach a 5-minute choir warmup in my grad class at UB. Unlike the prior week, when I taught a beginning clarinet lesson, I actually have experience in this field. In fact, I think that experience actually worked against me in this mock lesson! I know a number of standard vocal warm-ups that I can comfortably accompany on piano, and demonstrate clearly. I chose a basic melodic exercise that focuses on 5 syllables (ee, eh, ah, oh, oo) and it went well, as I expected. The students met my objectives by 1. being able to memorize the exercise and 2. sing from one starting pitch (without exact melodic accompaniment).

After participating in lessons from the others in class, I realized that there are many more things I could be doing in my warm-up routine at school. Some of these were physical exercises, melodic exercises that were new to me, and harmonic exercises. I realized that I've been in a comfortable routine of warming-up my small choir at school with mostly the same exercises. Although those usual warm-ups are valuable, it's important that I explore more options that will help my students grow and prepare in rehearsal.

I am currently enjoying a long spring break from teaching, but look forward to getting back to my vocal ensemble with a number of fresh ideas. It should be interesting to see how this will effect their level of focus during rehearsal - I'm thinking it will benefit them greatly. I am inspired by the short lessons from my classmates and will do my best to pass that inspiration along to my students!

Beginning Band Lesson

Last Monday I had the opportunity to teach a mock beginning band lesson for clarinet. When I started planning, my first concern was, what do I know well enough about the clarinet to be able to teach? The answer was nothing, so the first challenge was finding the instrument and figuring out some basics. I got my hands on a clarinet, learned how to put the mouthpiece and rest of the horn together. Having a basic understanding of how the instrument functions, I was able to make a squawky sound and play a few notes quickly. I knew, however, that I would not have time to put together the horn and play a melody in the first short lesson so I needed to decide what would be covered.

Initially, I intended on showing the student how to put together the entire instrument without playing at all. After thinking about it, I realized that if I were that student, I would want to make sound in that first lesson. I then changed my lesson's direction to setting up a mouthpiece and making a sound. I had an objective to "assemble the mouthpiece... once assembled, make a basic sound." Which, really was two objectives. I made a supplemental worksheet about mouthpiece assembly that the student could use at home to practice.

I ran through the lesson and felt good about it. I thought putting the mouthpiece together was a good first goal, and something that any student of the clarinet would need to learn how to do. Unfortunately, I left my clarinet on the desk at school so I was unable to model for the student. I felt that I did a decent job talking them through the setup, but ultimately I was at a loss not having the instrument with me to demonstrate. Also, although my objective was to assemble the mouthpiece, I think the student would have thought it was 1. Assembly 2. Memorizing part names (reed, ligature, mouthpiece) 3. Make a basic sound. Maybe even 4. Understand what embouchure is.

If I were to do this again, I would provide the objective that the student should know how to put the mouthpiece together. They would complete this, and given the time available I would casually begin to make sounds with them, mostly so they can get a little closer to the fun part of this music-making process. At the end of the lesson, I would request simply that they come in for the next lesson being able to put the mouthpiece together. Over time, I would expect them to have the different parts memorized and be able to describe proper embouchure, but probably not after one lesson.

Assessment

... I wonder how many potential readers have turned away just by seeing that title.... I think many of my students get a bad taste in their mouth when they hear that word, and wonder why I don't "just say quiz, or test!" I just finished reading an article by author/lecturer Alfie Kohn on the topic, and agree with much of what he says concerning standardization and "rubricization".

One of Mr. Kohn's statements that I can appreciate reads, "Consistent and uniform standards are admirable, and maybe even workable, when we’re talking about, say, the manufacture of DVD players.  The process of trying to gauge children’s understanding of ideas is a very different matter, however." Part of the purpose of this article expresses his feelings that rubrics and very specific assessment criteria are not just a means for students to understand the expectations and how they will be graded (which of course, is important) but that those tactics can lead to standardization in how we assess our students, and also limit students who would have otherwise exceeded expectations. When I think about my students, 95% of them would be happy to meet given requirements if they are certain they will get an A... But, if I were to provide less specific criteria (i.e. meet A, B, and C) I would have a number of students exceeding the requirements (I save the A+ is for the students with A,B,C and perhaps D, and E). Part of me wants to discuss grade inflation, and my feeling that a student could meet a set of requirements and earn a B (and should be very happy with that grade) but let's save that for a rainy day. 

In the BOCJ setting, I often utilize SmartMusic as an assessment tool. If you're not familiar with it, definitely check it out. Essentially, students submit a recording of themselves playing along to a recorded track while seeing their part on the computer screen. The computer follows along and marks missed/incorrect notes and rhythms. In some ways, this is really concrete, however it is not fool-proof - the computer is not a music professional, and occasionally mishears the student. Also, at least from my experience with using smartmusic for Jazz Band, there is no great smartmusic adaptation for drum set or rhythm section players, and the repertoire is somewhat limited. In general though, the concept is fantastic and it is a very helpful assessment tool. 

Other than smartmusic, I often assess students on essential skills (like memorization of scales, for example). I do not hand students a rubric, though I may use one as a guide - but I give concrete details (Play 1 octave Bb Major scale from memory). I do not tell the students a tempo necessarily, and I do not necessarily ask each student for the same exact performance. My students are at very different levels even in the same small classroom. Since it is a small class, I can really get to know their strengths and weaknesses and cater the assessment to the benefit of each student making progress. I often take notes where necessary on each student's performance and consider these for grading. It is more time-consuming to individualize these assessments, but I feel it's what I need to do especially when my students are coming from a wide range of musical backgrounds, and each deserve to progress individually. 

American Classical Music

As a musician whose beginnings were in Rock music and whose formal education is in Jazz... Let me restate that... As a musician whose background is in American Classical Music, I find it troubling how we balance the repertoire and music styles we offer in most of our school music programs. From my experience, it seems that almost every high school with a decent sized music program has a choir, wind ensemble of sorts, and maybe an orchestra at the core of the program. When I say core, I mean these are the classes that meet most often, probably on a daily basis or at least every other day. In addition, there is probably a Jazz Big Band (We're getting there... that music is only 80 years old...) that meets only once a week. Rock and Blues music are no where in site... If we're lucky maybe there is a class that teaches Modern Jazz (Practically new music, at only 70 years old! Wow!) In a large program, I would like to think that these courses do exist, as well as music technology courses, but they probably meet for a marking period, or semester at best.

The Orchestra, Wind Ensemble, and Choir groups most often put together concerts that feature 1 to 2 pieces in the classical music tradition, and maybe one contemporary piece (that the students will probably enjoy the most of all, and maybe even learn the most from and go away inspired). Yes, I am making generalizations about these programs, but I have seen what I'm describing in many schools in my area.

I think it is important for music programs to offer more courses in American Classical music. Or, perhaps these styles should be implemented into the already existing ensembles in our schools. With that said, I think it is important for music educators to be aware of the significance of Jazz and Blues and have a reasonable amount of training in the history and authentic performance of those musics. However, I don't think all music educators should necessarily be "experts" in Jazz... First of all, that would make people like me less valuable! And also, it'd probably lead to overall mediocrity for those educators who'd be better off focusing 85-90% of their efforts on their speciality.

Regarding repertoire, which is a big can of worms, I don't even want to try to start naming specific pieces that students should be learning. However, no student should graduate from a high school music program without having played something by Duke Ellington, George Gershwin, Cole Porter, Charlie Parker, Herbie Hancock, etc. (I will lose sleep over all the people I am leaving out of this very short list). But in addition to having played that music, the students should have some basic understanding of the significance of those artists, as well as artists like Muddy Waters, Chuck Berry, Fats Domino, and The Beatles. If we taught with these ideas in mind, we'd be producing music students who have an understanding of the impact of music on politics, civil rights, and our culture for example. It sounds like these students would therefore be more well-rounded, culturally-aware individuals... And isn't that the point?

Musicianship

I have spent many afternoons reflecting on my classroom teaching and considering how the day's activities give students not only immediate knowledge that applies to that lesson, but knowledge that they can apply to a lifetime of musicianship. Are the students learning concepts or parts? Although learning a new piece of music can challenge students and provide inspiration, there are more significant goals to reach than impressing friends and family at the spring concert. 

For me, becoming a good musician involves a number of key concepts:

Having Big Ears 

Musicians, regardless of the style of music they desire to pursue should be able to learn and play music by ear at some basic level. This doesn't mean being able to transcribe bebop solos sitting on a park bench, sit in with a new group for a whole set of music you've never heard, and so on. However, musicians should be able to transcribe simple, diatonic melodies and chord progressions with ease, almost on-the-spot. And, with some effort, be able to tackle those bebop solos and challenging harmonic progressions.

Music Literacy

Musicians should be able to read music! If for no other purpose than to present opportunities. What musician could ever sub on a theater gig without some reading chops? Also, my main argument for skeptics of reading is that music literacy shortens the timeframe for learning new music. Strong readers who sight read can learn hours of music virtually on the spot! How cool is that?! It's also worth mentioning the amount of music on paper that is so easy to obtain. What musician can afford not to read?

Technique

Good musicians have the appropriate technique and knowledge of their instruments to be able to act on the extent of their musical creativity. If a musical idea can be thought but not executed, there is a need to improve technique. It's also worth mentioning that great musicians use their technique for the benefit of the music, not for being technical.

History and Style

This is one area where the demands of a musician have changed from 150 years ago, and will continue to change in the future depending on the seriousness of the musician. Good musicians can perform and have a basic historical understanding of various musical styles, or genres. 

Listening/Reaction/Interaction

As someone who plays primarily Jazz, Rock, and Contemporary music, I find that this is uber important. Good musicians know how to make music with other good musicians! They know what adjustments to make and how to listen, accompany, follow and lead when in playing in a group. 

Theory and Composition

Good musicians should have a basic understand of music theory. Musicians should have a basic understanding of melody, harmony, and form. Understanding the theory is important, though applying it is much deeper. With that said, musicians should be able to apply theory to their performances and compositions. 

 

I just finished reading  Brandt Schneider's February 2012 article Creating Musicial Flexibility Though the Ensemble and found it extremely inspiring and refreshing. The article discusses his ensemble curriculum over the course that does not rely strictly on repertoire and music literacy. Instead, the students were practicing concepts that will help their overall musicianship - learning various styles, transposition, applying solfege, composing, and ear training. 

Although this entire article provided great inspiration, one line in particular struck me - "Finding ways to move them beyond a mere “button pushing” experience and towards a broader conception of “musician” proved to be my biggest challenge". It is unfortunate that so many school groups spend the majority of time in class preparing literature and learning parts. In many ways, that band experience becomes a muscle memory experience. The students may learn their parts and play them well, but do they know why that 16th note diatonic run is important, or why they must play the three repeated notes on their Tenor 2 part? Usually, the answer is no. Students do not understand the bigger picture of how their part fits in the composition, or how their part relates to other members in the ensemble. They often do not understand the structure of the music they perform, and that is a problem. 

Brandt offers a step-by-step list of recommendations on how to get away from this "button pushing" kind of music learning experience. His concept of learning simple melodies in all 12 keys and various styles is knowledge that his students can apply to every musical experience they will have in a lifetime! The solfege analysis and ability to play all four parts of "Watchet Auf" fosters a much deeper sense of musical understanding. 

Although generally I agree with Mr. Schneider's concept - a few questions come to mind. Would his students be as inspired, learning simple melodies and deep concepts (that they may not understand the value of, yet) as they would if they were learning a rousing march? Perhaps some of the students will lose interest. How would these students fair in CMEA style competitions? Would their ability to read and perform advanced literature put them behind students in the same age group? In general, it frustrates the hell out of me that we judge student ability primarily on reading in All-State and other similar competitions, but getting owned in that setting could be detrimental to a student's drive and motivation.

Overall, Creating Musicial Flexibility Though the Ensemble was inspiring and fun to read. It made me feel like their is hope for music education. I highly recommend this article and considering some of the concepts that Brandt lays out. Perhaps adding some of these concepts to our own ensemble programs would provide our students with a much more meaningful music education experience. 

Why teach?

During my first year of teaching High School Jazz Ensemble, I took my students on a field trip to check out the Berklee Jazz Festival. Although they didn’t play, we attended clinics and saw a lot of inspiring groups. One of the moments I will never forget is when Delfayo Marsalis echoed something I had been saying in my rehearsals regularly, regarding a tight setup. The students looked at me with grins that showed they finally trusted me! All it took was an outside expert to affirm my opinions. In that same regard, Peter Boonshaft’s “Teaching Music with Purpose” was inspiring as it held testament to many of my beliefs and values of the profession. It made me feel like I’m on the right track, but at the same time I have so much to learn. Perhaps when I’m old and gray, I will admit that I too, know nothing.

I cannot cite one source as to my beliefs or core values, though after reading Boonshaft’s advice to think about our great teachers and why they were so influential, I have some idea of who I am and why I do what I do. The best teachers I’ve ever had are Mr. Hennessey (HS History), Mr. Corbett (MS History), David Smith (WCSU Percussion) and Greg Crameri (MS Band). These teachers each offered something different, but most importantly they were the most caring instructors I have ever encountered. Dave Smith is close to 70 years old, and still attends nearly every convocation, recital, master class, and performance whether or not they are directly related to his field. I should also recognize my Mother, who I’ve jokingly told “probably makes about $4/hour”. These teachers care deeply about the profession, about the students, and bettering themselves always. The countless hours we devote to this craft are paid back with brief moments of gratitude and student success. The desire to be better in teaching, performing, and inspiring is my biggest strength. It is spoken of deeply in Boonshaft’s writing. In addition, he speaks of optimism and enthusiasm. I am always the most excited, colorful, and enthusiastic person in the classroom. In fact, I felt an amazing moment of success when a graduating senior told another teacher that “Mr. Cattey is always happy, he loves everything!” Wow! My initial reaction was that I really fooled him, but eventually I gave myself some credit for being the most optimistic person in the room. I truly believe that for every thousand moments of frustration in the classroom, those moments of gratitude make it all worth it.

Reading “Music with Purpose” also helped to recognize my weakness and provide some inspiration for how I can improve. I am generally indecisive, disorganized, and well… I procrastinate. Some things that stuck with me after this reading are that I can only expect as much from my students as I do from myself. If I under-prepare, and don’t put a great deal of passion into the music, well I can certainly forget about seeing great results from my students. Each day and year, I will continue to work towards teaching excellence, being better prepared, having better methods, and seeing better results from my students. I don’t ever expect to know it all, or that this profession will be easy. I accept and I’m excited that there is always more to learn.

In regard to music education, I believe much of the same as any other teacher. I think students learning how to practice is much more valuable rather than preparing concerts. Although some of the concepts within go hand in hand, I agree with Boonshaft that rehearsal is where the magic happens. I believe that students should learn music aurally and visually. A musician who cannot read is weak, just as is one who cannot listen and interact. One thing I hope to change about music education is the lack of participation from older students. Why does everyone get to experience music in first grade, but only a small percentage in high school?

In general, I feel good about teaching. I feel motivated and inspired often, and hope that feeling will never go away. I appreciate the moments of excellence, and will do my best to take the many moments of frustration with a grain of salt, and a hair of gray.