The Evolution of a Profession

Tonight’s edition of #musedchat had me in the mood for reflection. I graduated from high school in 2004. I finished my bachelor’s degree in 2009, and I’ve been teaching full-time for nearly two years. In that time, the field of music education has been rapidly evolving. We are capable of doing things now that were unthinkable when I decided to enter the field of music education.

This evolution was possible thanks to advances in music technology, as well as several very creative individuals constantly pushing themselves to find new uses for that technology. Music technology is serving to revitalize our profession and keep it relevant in the modern world.

Think back to just five years ago. There was no GarageBand, no iOS. Audacity was still in its infancy. We could record our students, but not with the ease of GarageBand, Audacity, or the multitude of multitrack recorder iOS apps. Once the recording was done, we couldn’t upload it to Soundcloud or a similar service.

There were a few pieces of music notation software available, but I don’t recall them being as refined as they are today. I used Finale and Noteworthy composer a little bit at the end of my high school career, but most of my composing was done with pencil and paper. Today, I can fire up my interactive whiteboard and have my students collaborate on a composition with MuseScore or Noteflight. That was our favorite project last year, and I plan on repeating it.

The key thing that music technology has done though, is make existing activities easier. With a few clicks, I can connect to another teacher or a clinician via Skype. I can post an audio recording of my groups online for them to check out and evaluate. I can put a group project on our IWB which the students can see grow and evolve. This ease of use is key as we look to draw more adapters to the available technology, and we look to evolve what we currently have.

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Three Days of MMC in the Form of a Tweet

The past few days were spent in Grand Rapids attending the 2012 Michigan Music Conference. It’s always a great way to learn something new, recharge my batteries, and make new connections. What follows are some of the highlights from three days worth of sessions, summarized as tweets (140 characters or less, or your money back.) Bonus points if you caught the Erik Satie reference.

  • Escravos de Jo
  • Engage somebody rather that lecture at them.
  • Encourage play. It’s how kids naturally learn.
  • Using technology you can accelerate artistry and advance music making.
  • The joy of learning overrides all fear. Be child-like.
  • Wouldn’t it be cool if every kid didn’t have “general music”, but just “music”?
  • Feel free to say what you want, but feel free to deal with the consequences as well.
  • Take great care to stay professional on public social media. Know your district policies!
  • Facebookforeducators.org – Educator’s learning guide for do’s and don’t’s on facebook.
  • (Electronic ensembles) offer chance to create your own tradition/standards/literature. Lots of freedom.
  • Musicality is controlled by the musician, not the instrument.
  • Give students a goal and tell them how to get there, don’t just mindlessly dictate.
  • Know your teaching philosophy. It will guide everything you do.
  • Delegate, communicate, network, plan, retain, go the extra mile, stay healthy (7 steps to success)
  • We MUST open the doors for students, people, others. NOT close them. (via @nicholas_hardy)
  • We need to find music that connects to the real musical world.
  • Getting your students to compose/arrange gets them making independent musical decisions.
  • Is it a tool for teaching and learning? If yes, you need it. If not, you don’t.
  • Mozart used all the latest technology to create his music. Are you teaching the next Mozart? Do you provide the tools? (via @johnchurchville)
  • The best musicians need to be teaching the youngest students. (@johnchurchville)
  • You’re either part of the steamroller or you’re part of the road.
  • Electronic ensembles/tech classes are a great way to involve the ‘other 80 percent’.
  • An electronic ensemble can foster student creativity like no other.
  • The Pangea Choir Project
  • Use social media in your classroom because that’s what the kids are doing. Engage them directly.
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YouTube Roundup—January 4th

Bobby McFerrin demonstrates the power of the pentatonic scale.

From TEDxSydney, Richard Gill on the value of music education.

JJ Johnson performs Blue Bossa. Love that bass groove.

Lady Gaga Fugue

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The Trombonist's Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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Musical Resolutions for 2012

Last year, my roommate made the insane admirable pledge to not drink for all of 2011. This is a guy who I’ve shared many a beer with, over birthdays and Michigan State games. Somebody who was always up for a casual Friday night game of “Let’s pick up a couple of fancy-sounding brews and clink glasses.”

He stuck to his resolution for 365 days of torture and temptation. It’s something that I admire, because it would have been very easy for him to plop down on the couch after a long day at work and cave in for 15 minutes of sweet, hoppy refreshment. He kept his resolve for an entire year, and is a better person for it. While I won’t be replicating his resolution exactly, I would like to draw upon that dedication in the coming year.

  • Love the sinner, hate the sin. I teach middle schoolers. Middle schoolers can often…do things that you and I would not consider smart. I was speaking with my assistant principal during my first month on the job last year, and he casually mentioned having to suspend a couple of kids for peeing on each other in the bathroom. Yeah. In the coming year, I’d like to show more patience toward my students, even when their decisions don’t make a ton of sense.
  • Get back to school. This is my third year out of college already. I haven’t exactly been eager to start shoveling money into another college, but it’s high time to start putting some serious thought toward a Master’s program. The VanderCook MECA program looks like a promising way to ease back into the student role after a few years. Plus I could lazily bum around during the week, between sessions. That’s definitely attractive.
  • Play more trombone. In college, I was a passable-to-decent trombonist. I was never going to be at the top of the studio, but I could tell the difference between alto and tenor clef, and play in tune about 60 percent of the time. I don’t have the time to dedicate four hours a day to practicing, but I’d at least like to get back some of my past trombonability.
  • Play more…everything else. When I pick up a clarinet, babies cry. Benny Goodman rolls over in his grave. If there’s a French horn in my hand, even the profoundly tone deaf are diving for cover. It’s time to work on my secondary instrument “abilities”.
  • Incorporate something new. I’m still a quite green teacher, lots to learn. Every time I go to a conference, I come back energized and excited to work some of the new concepts into my teaching. In the fall, I attended a jazz workshop and learned a great deal about listening activities. My jazz band has been keeping listening journals (and enjoying it!) ever since. The Michigan Music Conference is just around the corner, and I’m excited to bring some new knowledge back to my classroom.

What are your plans for 2012?

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The Trombonist's Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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The Best Tweets of 2011

I’m constantly impressed by the folks I follow on Twitter. It’s a wide variety of people, from college music students to web developers. Following such a great variety of people has meant that I’ve been able to discover boatloads of new resources. The “favorite tweet” feature has been getting a hefty workout this year. Here’s a list of some of my favorites from 2011.

That’s only a very small sampling of the learning experiences provided by my PLN over the past 12 months. I look forward to adding to this substantial list of resources over the next 12 months.

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Same old Christmas music…not exactly

This Christmas season, take the time to learn a few new pieces of Christmas music. To get you started, here are a few of my favorites.

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Remembering Fred Fennell

His Honor, ed. Frederick Fennell

Seven years ago this week, the music world lost an absolute giant. According to his colleagues and admirers, Frederick Fennell was “arguably the most famous band conductor since John Philip Sousa.”

It’s safe to say that without Fennell’s work at Eastman, many of us would not have the jobs that we do today. Fennell was instrumental (HA!) in developing the modern wind ensemble. His passion not only helped create an entirely new type of ensemble, it helped develop a repertoire of music for the ensemble from master composers as well. Any teacher, student or enthusiast of wind ensemble music today owes Fennell a debt of gratitude.

I was fortunate enough to have my own experience with Fennell just weeks before he passed. When I was a freshman at Michigan State, I had the pleasure of playing under Fennell’s baton. I don’t remember many specifics about the rehearsal other than it was an 8AM rehearsal on a Friday morning, and everybody was really excited to be there, which was odd. Most of us even showed up a half-hour early, such was our excitement to be conducted by a legend.

I don’t remember what we played, other than it was a Fennell march. But the thing that sticks out in my mind is that in a room full of career musicians, none of us could even hope to approach the enthusiasm and passion of Mr. Fennell. This 90-year old brought as much energy to the rehearsal as the 20-year old musicians that he was teaching. It was a moment that showed how music can truly be a lifelong experience.

Just a month or so after his visit, Fennell passed away. Even in his very last moments, he remained a passionate musician, saying, “I cannot die without a drummer…I hear him. I’m O.K. now.”

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In the Bleak Midwinter

In the Bleak Midwinter – BYU Singers

We’ve now officially entered my least favorite time of year — the absolutely wonderful few months where I leave for school before the sun rises, and leave for home after the sun has gone down. I find myself feeling drained of energy fairly frequently, and my motivation also tends to take a bit of a hit. I yearn for the long, warm days of late spring that are oh so many weeks away.

My students are feeling the drag as well. They come to class every morning bleary-eyed and cold; they want what we all do, just another 15 minutes under their warm covers each morning. But there is a job that must be done, and we must find the motivation to do our very best work on the dark, snowy mornings of winter.

By the way, those top two paragraphs don’t apply to folks who live in Southern California. If that’s you, feel free to ignore them.

Winter can be a great time for us educators to learn something new. Opportunities for professional development are bountiful, if you know where to look. Great professional conferences like the Midwest Clinic or the Michigan Music Conference are right around the corner. These conferences tend to hit right when our batteries are most in need of a recharge—what better way to provide it than several days of talks and performances from inspirational teachers and musicians?

I’ve also found myself spending a great deal of time on the Soundtree Institute this winter. When we were enjoying daylight until nearly 10PM this summer, my evenings were spent on a bicycle or at a ballgame. The cold, rainy Michigan fall and winter has made enjoying some quality webinars at home with some hot cocoa a very attractive prospect.

Many colleges are performing some excellent end-of-semester concerts this time of year. Just this past Tuesday, the Michigan State University Wind Symphony gave the wind version world premiere of a John Corigliano work, Tournaments Overture. The concert band performed some Ives (Variations on America) and Persichetti (Symphony No. 6) Winter concerts are a great venue for discovering new music, or reconnecting with some old favorites.

Although winter can be a generally unpleasant time of year, it’s important that we take advantage of opportunities to improve our teaching and recharge our batteries.

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Pedal Point Duets-Lesson Plan

The idea for this lesson plan came from Dr. Scott Watson’s book, Using Technology to Unlock Musical Creativity. The book is filled with excellent lesson plan ideas and other information that can help inspire you to better integrate technology into your music classroom.

While reading Dr. Watson’s book, one particular project grabbed my attention, the pedal point duet. This seemed like an excellent project for a couple of reasons: It’s simple and accesible enough for even young musicians, and it offers a great intro to composition in advance of the large group composition project undertaken by my jazz band every year.

To intro the project, I recorded a couple of examples with GarageBand and played them for the class. I demonstrated how the ‘pedal’ tone could change rhythm but not pitch, and how a simple melody could be an excellent compliment to the pedal. We then went over some basic parameters for the project, and I set the jazz band to work.

For this project to be a success, the teacher must be constantly working with the students, offering feedback, criticism and coaching. The students might also need some assistance with notating some of their rhythms, as well as some gentle reminders of the composition parameters. For a more detailed lesson plan, I urge you to check out Dr. Watson’s book.

Pedal Point Duet

Pedal point is a technique that has its roots in medieval organ music. Despite its age, composers still use it today because it yields a great sound. Pedal point involves a sustained tone (the ‘pedal’) in one instrument while the other musician performs a melody. You will use these techniques in writing your own duet, to be performed and recorded.

Procedures

  1. Your target length for this duet is 16 measures. The pedal note MUST be the first note of the B-flat blues scale; the melody MUST begin AND end on the first note of the B-flat blues scale. Your pedal can be either a low note or a high note.
  2. You should only write music that you can perform yourselves.
  3. Using clapping, improvise a short rhythmic pattern. Share this rhythm with Mr. Guarr.
  4. The rhythm you composed in step 3 will become your pedal. Mr. Guarr can help you notate the rhythm if you need.
  5. Each partner will be responsible for writing 8 measures of melody and 8 measures of pedal. The pedal can change rhythm but not pitch.

Tips

  1. Keep it simple!
  2. Consider the relationships between rhythms in each parts. Do they make sense together? Are they easy to play together?
  3. Good writing uses repetition. Don’t be afraid to repeat a phrase! Good writing uses repetition. Don’t be afraid to repeat a phrase!
  4. Rests might help your piece “breathe” a little bit.
  5. Rhythmic call and response between pedal and melody might sound very cool.
  6. Play your piece frequently as it develops. Does it sound good? If you don’t like what you have, what can you do to change it?
  7. HAVE FUN!

 

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The Trombonist's Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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How Can We Bring Back Creativity?

A colleague of mine forwarded this article around the school district today. In it, Washington Post columnist Valerie Strauss outlines her ideas for revitalizing and revamping the entire middle school experience. She advocates for some pretty radical changes, up to and including the abolishment of the entire traditional middle school model. She actually raises some good points, but change does not have to be so radical to result in a drastic improvement to the middle school experience.

The current battle in education reform focuses a lot on testing. The anti-testing side of the debate (of which I am a proud member) will tell you that such a huge emphasis on testing kills creativity in children. Teachers are pressured by their administrators and their governments to push a rigid, test-based curriculum on their children and as a result, little room is left for creativity in the classroom.

My middle/high school experience is a rarity today. Our board and administration recognized the importance of creativity in education, and made a commitment to give those opportunities to all students. Twice a week, for 80 minutes at a time, every single student in the school had an opportunity to explore their personal interests through an “out of the box” elective.

The traditional electives of art, music and foreign language were still available during the regular school day, so students did not have to choose between one of those and another interest; the option to pursue both was there, and strongly encouraged. During this special elective hour, students could pursue things such as robotics, creative writing, astronomy, digital photography, psychology and film studies. It was an ideal environment for a student looking to explore their passions.

In addition to this twice-weekly elective experience, the school ended the year with a four-week long experience called Project Term (PT). PT was the 80 minute elective experience on steroids. In my own PT experience, I was able to travel to Europe, write satire, play Kabbadi, and perform in a play. PT didn’t interfere with the structure of the academic year at all, and still allowed students a valuable creative outlet.

Even if a school is unwilling to devote 160 minutes a week, or four weeks at the end of the year to creative endeavors, there is still room in the existing school structure for creative pursuits. In his book Drive, author Daniel Pink talks about 20% Time, a concept pioneered by Google, and used extensively by software developer Atlassian. During this 20% Time, employees are expected to work on their own projects, and not something given to them by a higher-up.

At Google, 20% Time led to the creation of Adsense, Google News, and GMail. While not everybody will be able to reproduce those spectacular results with their own 20% time, it’s clear that a chunk of time set aside for creative freedom is a worthwhile experiment.

Employees at Google and Atlassian reported that this 20% Time has led to an increase in motivation and productivity. In fact, in the research outlined in Drive, we see that creative freedom is very closely linked to motivation in today’s world.

In our schools, 20% Time could translate to a weekly or bi-weekly independent study experience, or maybe even one week per semester devoted to more creative pursuits. It’s a fairly big change, but not nearly as drastic as the “cross between summer camp and the Civilian Conservation Corps camps of the Great Depression” mentioned in Strauss’ column.

The increasing absence of creativity in our schools is having a substantial negative effect on the students we teach. To help revive the American education system, we need to make a concerted effort to allow creativity back into the classroom. Each school needs to find its own version of Project Term or 20% Time.

For further reading/viewing

Dan Pink’s TED talk

Sir Ken Robinson on Changing Education Paradigms

Oliver Sacks’ Musicophilia - How do the creative arts affect our brains?

This Is Your Brain on Music

What is 20% Time?

Sir Ken Robinson

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The Trombonist's Mouthpiece by Joe Guarr is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

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