This weeks blog comes a bit late because the music education department went on a trip to the 2011 OMEA conference in Cincinnati. However, I will discuss some of the clinics I attended as well as class discussion. I'll start in chronological order with last Monday's class.
Once again we discussed recruitment for band programs. Again, I have not seen or heard anything that has really surprised me about having to recruit students to participate in band. While my questions from last week about money and budget was not discussed in this class, I am still hopeful that they will be in the future. I still see it as an essential subject to cover.
However, I was very interested about one particular topic that we discussed;personal contact. I would really like to become a high school band director, and I think it would be necessary to be involved in some way in the lives of the students at the other schools.
As a high school director I would like to see the students entering my program to be very musical by the time they get to high school. In order to see that my future students are doing well, I believe that I would need them to know what is expected of them by the time they reach high school. a very important way to do this would be through physical contact.
By being involved in the lives of the students, current as well as past and present, it shows that an educator really cares for every student and that they are important to the band program. Young kids could be able to see what it is like to be a band student in the future, current students learn that you care for them outside of the classroom, and former students realize that you were sincere and that you still care how they get along in their life, musically or not. No matter what, I see it imperative to have physical contact in some way with all of the students that you may come in contact with.
As for OMEA, I was a bit disappointed. I was expecting to find many clinics and events that I would want to attend. Unfortunately I did not find many that I wanted to attend, or concerts that I wanted to hear. Maybe I am jaded to the thought of OMEA, the glitz and glam being gone after three years; but I refuse to accept this. Instead I believe that this OMEA was not a 'high profile' as the former that I have attended.
However, I did find three clinics that I felt would really help me further in my career. The one that I would like to share was not an instrumental session; but it dealt with a facet of all music performance areas that is super important, programming music. The session was very informative and had a lot of important information. I liked the medium in which the material was presented and the speaker himself.
The session was presented by Dr. Joe Miller from Westminster Choir College. His focus was on proper programming, in other words, how to pick the music that will fully benefit your program. He included six different topics which one could consider when picking music. They include; personal inspiration, the needs of students, the community, musical balance, marketing, and assessing your outcomes.
Dr. Miller was very helpful and inspiring. I was very weary of the fact that I was out of my element when I first heard it was a choir event. However, it was truly inspirational and a great enjoyment. We ended the session by singing a newer piece called "Newlyweds" by Nathan Jones. It was so simple and gratifying that I wished I could end all of my sessions by performing a truly beautiful piece like this one.
I will be writing about my other clinics later on this week, by Friday, once I have had time to discuss them in class. But I am very excited to explain and detail what I saw at OMEA.
Sunday, January 30, 2011
Friday, January 21, 2011
MUED 352: Week 2
Due to the shortened week, we were only allowed one class to discuss the intricacies and importance of recruitment. I felt kind of 'shafted' by this topic, only because I have had many experiences with all the effort it takes to recruit. Recruitment is not so different for an instrumental ensemble than it is for a youth group or bowling league. I have also attended a good number of clinics on recruitment and support. So I felt that I wanted to see a bit more from this topic.
It is for this reason that I felt inclined to ask about budget and money. I understand that a lot of work goes into recruitment, and it is an ongoing process, but I do not fully understand the fiscal side of recruitment. In order to visit new students or travel to schools, bring in help, or hold an event; I think it is safe to assume that some sort of money must be exchanged.
Now, I was heavily involved in many of my high school band's activities, and I noticed that there was two funds that could be used; school funding and band funding. The most basic question that I have is, when do you use school funding versus band funding? Most of my other questions can stem from this question; as can another question can be brought forth, is music a curricular subject.
Again, Being heavily involved in my high school, I was a part of many extracurricular clubs. For these clubs, we had to fund our own money and only the most distinguished and special events could even be considered in asking for school money. Since this is the case, then the band, as a curricular activity, would use only school funds. I have not witnessed an science or math department funding their own money. So why must band?
While this is a bit off topic, I find it truly interesting. However, I think I should bring my rant back around to recruitment. While I was not formerly recruited into any instrumental program, I managed to participate in many forms of recruitment in my high school years.
One of the best ideas that my teacher had was to set up an 'instrument petting zoo" at one of the local elementary schools during their school showcase. At this "zoo" students were able to pick an instrument that they wanted to try and the band students would help them by having them play their first notes.
I think that the most special part of the petting zoo was not the instruments, but the what the students did in our free time. Instead of getting food, we decided that we would play our solos from our recent auditions for the spectators. I think that many of the people that we intrigued came because of our performances.
One topic that scares me about recruitment is that it must be on the mind of the band director at all times. This concept was also very shocking to me when it was related to teaching; in the sense that you must always be looking for that teachable moment. However, since the moment I heard this fact I have found that I have had many more experiences in which I am teaching someone. I can only hope that this goes the same for recruitment. I hope that it becomes as second nature as my will to help educate others.
Also, I like to close my blogs with a video that combines a second love of mine, dance. This week I was moved by a video of some children krumping. Enjoy!
It is for this reason that I felt inclined to ask about budget and money. I understand that a lot of work goes into recruitment, and it is an ongoing process, but I do not fully understand the fiscal side of recruitment. In order to visit new students or travel to schools, bring in help, or hold an event; I think it is safe to assume that some sort of money must be exchanged.
Now, I was heavily involved in many of my high school band's activities, and I noticed that there was two funds that could be used; school funding and band funding. The most basic question that I have is, when do you use school funding versus band funding? Most of my other questions can stem from this question; as can another question can be brought forth, is music a curricular subject.
Again, Being heavily involved in my high school, I was a part of many extracurricular clubs. For these clubs, we had to fund our own money and only the most distinguished and special events could even be considered in asking for school money. Since this is the case, then the band, as a curricular activity, would use only school funds. I have not witnessed an science or math department funding their own money. So why must band?
While this is a bit off topic, I find it truly interesting. However, I think I should bring my rant back around to recruitment. While I was not formerly recruited into any instrumental program, I managed to participate in many forms of recruitment in my high school years.
One of the best ideas that my teacher had was to set up an 'instrument petting zoo" at one of the local elementary schools during their school showcase. At this "zoo" students were able to pick an instrument that they wanted to try and the band students would help them by having them play their first notes.
I think that the most special part of the petting zoo was not the instruments, but the what the students did in our free time. Instead of getting food, we decided that we would play our solos from our recent auditions for the spectators. I think that many of the people that we intrigued came because of our performances.
One topic that scares me about recruitment is that it must be on the mind of the band director at all times. This concept was also very shocking to me when it was related to teaching; in the sense that you must always be looking for that teachable moment. However, since the moment I heard this fact I have found that I have had many more experiences in which I am teaching someone. I can only hope that this goes the same for recruitment. I hope that it becomes as second nature as my will to help educate others.
Also, I like to close my blogs with a video that combines a second love of mine, dance. This week I was moved by a video of some children krumping. Enjoy!
Friday, January 14, 2011
MUED 352: Week 1
1.) Qualities of a good music educator.
The first quality that I myself admire in a music educator is that they believe that all of their students can learn and appreciate music. Without this quality I feel that a music educator can not be anywhere close to effective in a classroom. If I detail every aspect of what I believe a music educator should possess, I would be writing for quite sometime. Instead, I have tried to create categories of the most important qualities I think music educators should have. A music educator should be accepting. There are many ways that a music educator has to be accepting. They must respect different forms of music, different techniques used, and different cultures represented. They must respect the different likes and dislikes of their students. And as I stated before a music educator must accept all those who wish to participate in their program, offering them the same opportunity to learn music as everyone else. An educator must be tenacious. Again there are several ways in which a music educator needs to be tenacious. They need to push their students to their musical limits, find and explore new pieces of music, and above all strive for musical excellence. A music educator must also be passionate in all regards of the art form. They must be an inspiration for their students to learn music, a leader for those in the community, and an asset to the school that they are a part of. The next quality a music educator may want to have is to be presentable. Although many people find this quality very strange, I find it to be very necessary. Being well put together shows others that you are passionate about your job. You are aware of the magnitude of your position and you are able to put forth the effort for your students to look your best. The last, and most obvious, quality that I think is essential for all music educator is to be musical. This quality almost seems redundant, but it is very important. To be musical means being able to share the gift of music with others. Through your musicality you will show others how to be musical. You can show them how to create and how to explore; how to express themselves and how to learn a skill that they may use for the rest of their lives. Being musical means having the knowledge to use different pedagogy, how to respond to different musical issues, and how to express yourself through the art form and not through words or actions.
2.) What music students should learn from instrumental music.
This topic is very hard for me to answer. I feel as though I may have trouble answering because of my own personal experiences. What I learned in band is not the way that many other students learned in their programs. I feel that I made the most of my experiences and had the time of my life. However, I must admit that I think a lot of what I learned about music I did by myself, and did not occur in instrumental music in the classroom. At the moment, I think that instrumental music should teach students how to explore music and find the necessary ways for them to flourish in the art form. While I understand that a band should teach students how to play in an ensemble, how to improve on their instrument, theory, history, and a whole bunch of other skills; I do not think that it is rational that a single band class should be responsible for all of these things. Again, I do think that a band teacher should be able to teach some form, and theory, it should not be their main focus. However, I think that if the teacher is able to give the students the necessary resources to learn theory, or history that they do so. My own personal experiences has made me very biased towards this issue. Did I learn music history from my band, no, I conducted my own research. Did I learn theory from band, no, I practiced and took a theory course. Did I learn how to play the saxophone from band, yes! But not as well as I could have with out private lessons. Does this mean that I had a poor music education in instrumental music? No, it does not. Why? Because my teacher gave me the appropriate opportunities to find my own musical path. I would be dumb to call my music teacher from high school poor. As a graduate of CWRU, I know that she is well equipped to teach many things, and I respect her very much for all of the opportunities that she opened up for me. So, overall, what do I think students should learn from instrumental instruction? They should learn how to be a music student. They should learn how to be in their ensemble. They should learn how to play their instrument. They should learn how to read and understand their music. However, I find that it is not the instrumental teacher's job to do this. Instead it is their job to run the band. It is their job to see to it that all the students receive the necessary opportunities to become a good instrumental student.
3.) Music as part of the "curriculum".
I think the perfect answer to the question "Why should music be curricular?" is with the other, although annoying, question "Why not?" Though I am heavily biased, I see no reason that music be left out of any curriculum. There is one solid reason that I have that music is a curricular subject; music is a part of being human. We live with natural rhythms and frequencies built within our very selves. We have basic needs that need to be met that are music related. Music is a medium through which everyone on the planet is connected. It is foolish to write off a subject that connect the entire population of Earth. The musical benefits of teaching music are pretty much self explanatory. When you are taught music, you learn how to play music. Beyond that, you learn how to enjoy music, how to build motor skills, how to identify cultures, how to make money, and how to perform. But the benefits outside of music are very much so applicable to real life. Music teaches us how to interact with other humans, how to work as a team, and how to work until a final goal is reached. Music also opens the doors to the sciences (physics of waves, amplitude, and sound waves), mathematics (intensity, fractions, counting), history and literature (music can be found throughout every culture, and is referenced in most novels), and even in health (staying in shape, proper breathing, posture, and not smoking). The fact is that music is not considered curricular by many is truly absurd. Instead of proving that music is curricular, we need to show the world what happens when their is no music, although as John Cage has shown us, that too is music.
The first quality that I myself admire in a music educator is that they believe that all of their students can learn and appreciate music. Without this quality I feel that a music educator can not be anywhere close to effective in a classroom. If I detail every aspect of what I believe a music educator should possess, I would be writing for quite sometime. Instead, I have tried to create categories of the most important qualities I think music educators should have. A music educator should be accepting. There are many ways that a music educator has to be accepting. They must respect different forms of music, different techniques used, and different cultures represented. They must respect the different likes and dislikes of their students. And as I stated before a music educator must accept all those who wish to participate in their program, offering them the same opportunity to learn music as everyone else. An educator must be tenacious. Again there are several ways in which a music educator needs to be tenacious. They need to push their students to their musical limits, find and explore new pieces of music, and above all strive for musical excellence. A music educator must also be passionate in all regards of the art form. They must be an inspiration for their students to learn music, a leader for those in the community, and an asset to the school that they are a part of. The next quality a music educator may want to have is to be presentable. Although many people find this quality very strange, I find it to be very necessary. Being well put together shows others that you are passionate about your job. You are aware of the magnitude of your position and you are able to put forth the effort for your students to look your best. The last, and most obvious, quality that I think is essential for all music educator is to be musical. This quality almost seems redundant, but it is very important. To be musical means being able to share the gift of music with others. Through your musicality you will show others how to be musical. You can show them how to create and how to explore; how to express themselves and how to learn a skill that they may use for the rest of their lives. Being musical means having the knowledge to use different pedagogy, how to respond to different musical issues, and how to express yourself through the art form and not through words or actions.
2.) What music students should learn from instrumental music.
This topic is very hard for me to answer. I feel as though I may have trouble answering because of my own personal experiences. What I learned in band is not the way that many other students learned in their programs. I feel that I made the most of my experiences and had the time of my life. However, I must admit that I think a lot of what I learned about music I did by myself, and did not occur in instrumental music in the classroom. At the moment, I think that instrumental music should teach students how to explore music and find the necessary ways for them to flourish in the art form. While I understand that a band should teach students how to play in an ensemble, how to improve on their instrument, theory, history, and a whole bunch of other skills; I do not think that it is rational that a single band class should be responsible for all of these things. Again, I do think that a band teacher should be able to teach some form, and theory, it should not be their main focus. However, I think that if the teacher is able to give the students the necessary resources to learn theory, or history that they do so. My own personal experiences has made me very biased towards this issue. Did I learn music history from my band, no, I conducted my own research. Did I learn theory from band, no, I practiced and took a theory course. Did I learn how to play the saxophone from band, yes! But not as well as I could have with out private lessons. Does this mean that I had a poor music education in instrumental music? No, it does not. Why? Because my teacher gave me the appropriate opportunities to find my own musical path. I would be dumb to call my music teacher from high school poor. As a graduate of CWRU, I know that she is well equipped to teach many things, and I respect her very much for all of the opportunities that she opened up for me. So, overall, what do I think students should learn from instrumental instruction? They should learn how to be a music student. They should learn how to be in their ensemble. They should learn how to play their instrument. They should learn how to read and understand their music. However, I find that it is not the instrumental teacher's job to do this. Instead it is their job to run the band. It is their job to see to it that all the students receive the necessary opportunities to become a good instrumental student.
3.) Music as part of the "curriculum".
I think the perfect answer to the question "Why should music be curricular?" is with the other, although annoying, question "Why not?" Though I am heavily biased, I see no reason that music be left out of any curriculum. There is one solid reason that I have that music is a curricular subject; music is a part of being human. We live with natural rhythms and frequencies built within our very selves. We have basic needs that need to be met that are music related. Music is a medium through which everyone on the planet is connected. It is foolish to write off a subject that connect the entire population of Earth. The musical benefits of teaching music are pretty much self explanatory. When you are taught music, you learn how to play music. Beyond that, you learn how to enjoy music, how to build motor skills, how to identify cultures, how to make money, and how to perform. But the benefits outside of music are very much so applicable to real life. Music teaches us how to interact with other humans, how to work as a team, and how to work until a final goal is reached. Music also opens the doors to the sciences (physics of waves, amplitude, and sound waves), mathematics (intensity, fractions, counting), history and literature (music can be found throughout every culture, and is referenced in most novels), and even in health (staying in shape, proper breathing, posture, and not smoking). The fact is that music is not considered curricular by many is truly absurd. Instead of proving that music is curricular, we need to show the world what happens when their is no music, although as John Cage has shown us, that too is music.
Subscribe to:
Comments (Atom)