Becoming A Different Kind of Ensemble Director

Teaching instrumental music with CMP techniques seems like a really good way to help students realize what they are supposed to be learning in an instrumental music classroom. After all, keeping learning goals a secret doesn't help students attain them. Providing explicit knowledge in a variety of ways will help students gather and use information for their own benefit and transfer into other areas. If the teacher knows as much as possible about the pieces he or she is teaching, it will enhance student learning. The teacher owes it to his or her students to do score analysis and perspective study to enhance the music education experience. Music is an active entryway into a variety of historical time periods and cultures. I think that studying and experiencing music can shed light on a variety of traits, from feelings to values, that all humans share, regardless of time, ethnicity, or location.

Making these connections through logical and sequenced activities over time will help students retain old ideas and learn new ones. Giving students opportunities to share ideas and knowledge will help them make the most personally meaningful connections, which will lead to transfer to the bigger understandings and ideas of history, culture, and the arts. One way to help students make these connections would be to have students create journals as they learn and play a specific piece of music. Doing this might help students ponder questions which will lead to active and meaningful discussion in class. These kinds of meaningful discussions will lead to active synthesis and evaluation.

Teaching Improvisation

I feel that it is important to integrate improvisation into instrumental methods classes. I feel that improvisation is often neglected in these classes. In my own experience as a middle and high scholer, the only time I had ever experienced musical improvisation was in a practice room, on my own, where nobody could possibly hear or see me. The first time I ever improvised in a group was as a junior in college, and it was not as part of an instrumental ensemble at all. It was a part of a music history class on the performance practices of the Baroque era. Part of this class focused on improvisation as a dynamic skill, and included an opportunity to improvise as part of an active learning experience. The experience of improvising in the moment with a group of people, especially as a part of a music history class, was a challenge. It was also a joy, and I was surprised to be exhilarated as a result of the active process of improvisation. This class put the Baroque period of music in a fresh, new light for me, and opened my ears and eyes to new ways of experiencing music.

Now, I really appreciate and enjoy Baroque music in a way that I never anticipated. I think that this is the result of the combination of excellent teaching and my willingness to open myself to new experiences. One of the things that made this teacher stand out to me was the fact that he allowed failure in the context of a musical performance experience. As a music performance major, this was a daunting, but revolutionary idea. I believe that the music learning process was partially exposed to me as a result of this music history class. This, in some way, has contributed to my desire to become an excellent music teacher.

I want to give these experiences to my students as a part of an instrumental music class in a K-12 setting. In order to make the experience fun and meaningful, it will be important to give the students certain parameters, especially at first, so they begin to feel comfortable with the process. Beginning with a pentatonic scale, they can improvise on any note and never sound "wrong." Teaching about good musical questions and answers is also be a way for me to integrate improvisation into my instrumental classroom at a slightly higher level. If the students know that a good answer to a musical question has some elements of the question in it (rhythm, pitches, etc.), they will have an idea where they can start improvising, leading to greater enjoyment and appreciation of music as an art form. I think that, above all, students will intuitively know what they like and what they don't if they are given an opportunity to just "do" improvisation. Giving a group of students an assignment to just jam together in a practice room and then perform for the class when they refine what they want to do would be a good way to integrate improvisation in an instrumental ensemble.

Assessment in Music Education

It is very important to accurately assess student's musical growth in music performance based classes. All too often, music educators of ensembles think that if students attend and participate in music ensembles, they will be able to simply "get by," learning necessary skills along the way as they spend more and more time in rehearsal. This is true to some extent, but without accurately measuring individual performances and knowledge learned in class, grades become a reward for good behavior in class instead of a tool for meaningful feedback.

Another danger in this approach to grading is that some students will end up with an inaccurate picture of what their skills actually are. This might lead to a student considering themselves ready to pursue a career in music performance when, in the larger world of music performance, they are inadequately prepared compared to their peers. This could have devastating effects for the students and families of students who are college-bound. While festival assessments provide a measure of reality for some students, some students whose districts do not attend festivals, the band or orchestra teacher's grade may be the only indicator.

In the instrumental music classroom, students should be assessed on the skills and knowledge to which instructional time has been devoted. If students are learning a new rhythm in a piece, grades on a cognitive assessment can provide teachers with an opportunity to gauge understanding and adjust strategies to make sure that all students understand the concept. This exercise would address the larger National Standard No. 5 (reading and notating music)and scores on the test would give individual students meaningful feedback. A good way for band and orchestra directors to provide lots of meaningful feedback and address National Standards 2 and 4 would be to have individual students leave the room, one at a time, and videorecord a prepared portion of a solo. The teacher could then review each videotape and provide meaningful feedback to each student. Keeping these videorecordings on file, in both the student and teacher portfolio, would provide an authentic record of growth for each student.

Competition: Is Music Education the Loser?

The music profession and competition go hand-in-hand. In the professional music world, high stake auditions are the primary way that music directors decide to hire musicians for their orchestras or bands. Similarly, professional ensembles have many opportunities to perform on local, state, national, and international levels for prizes and accolades. The idea of competition in instrumental ensembles in schools is a logical progression to prepare young musicians for the competitive professional music field. While the super-competitive approach to music in schools may be of particular benefit to the minority of students who seriously consider pursuing professional music careers, most students will not pursue music as an avocation. As such, music educators must make good decisions regarding competition that positively affect as many students as possible.

One thing that a music educator must consider is the constituency of the student population. What do the students need? Will bringing a competitive band or orchestra program into the school be a benefit and a boon to the community, or will it leave potential students behind? Will having a non-competitive "ya'll all come" type of ensemble (marching band, for example) affect more student involvement in music? Will parents and students respond to concert and contest competitions in a constructive way, or will concert and contest competitions deter students from participation in music ensembles? Obviously, the issues around music and competition stir up many questions, but the most important question for me to answer is, "what will be best for my students?" Being flexible about ensemble policies regarding competition with the needs of my students in mind will help me construct a program that will involve as many music students in as meaningful a way as possible.

If the students and parents in my school are receptive to competitive music making, I see it as my job to prepare my students in music classes for these competitions with constructive criticism. Constructive criticism can come in the form of assessment from me, from the students themselves, and from their peers. Creating a checklist style assessment that measures students in specific skill across a period of weeks with suggestions for improvement can help students realize that a solo and ensemble or marching band competition rating is only one more way to help students' grow and progress. If the students see a competition in this way, they will maintain a sense of worth even if they "lose" or "fail" in a competition.

If educators view competitive events as long-term goals that present opportunities for student growth, these events can be beneficial for the many students in his or her care. Giving specific feedback and suggestions for further growth after the competitive event can help engender the sense that nothing is acquired in life without hard work and motivation. These ideas will help every student grow in a meaningful way.

Score study

Score study is one of the most important preparatory exercises that instrumental ensemble teachers can (and should) engage in prior to teaching a particular piece. The systematic study of the score using the Macro-Micro-Macro technique, as suggested Feldman and Contzius, will make the piece meaningful for both teacher and student. This systematic score study will help students make relevant connections that go beyond the band or orchestra room.

In the first "Macro" phase, the primary goal is to understand the major melodic, harmonic, textural, and formal components of any given piece. If a teacher takes the time to do this and exposes the students to the knowledge he or she has acquired (in the form of a handout, for example), students will be more prepared to recognize the "bigger picture" of the composer's intent. The students will be able to look beyond their individual notes and rhythms (in isolation) to realize the cohesive aspects that shape a musical work. Giving a historical perspective by using sites like Hyper History can also help shape a student musician's initial idea of the piece. A story or short historical biography, in the form of optional reading, for example, might also be helpful at this stage.

In the "Micro" phase, the piece is analyzed on every level. Chordal analysis is important, as it will illuminate the composer's intent, even if the exercise seems pedantic and time-consuming, given the many responsibilities that a music teacher will undertakes. Knowing the harmonic score in this way will help the teacher express the essential aspects of tension and release that are inherent in almost all musical works. If the teacher knows which instruments have the important notes, he or she will be able to help the students hear the tension and resolution of important chords. Knowing the underlying harmonic structure of a work will also help the teacher address intonation problems.

In the third and final phase, the "Macro-Redux" phase, the piece is interpreted based on the first two phases of score study. In this phase, the teacher makes interpretive decisions that are relayed by the teacher's body in the physical act of conducting. In my limited experience, using visual reminders, such as highlighted passages and short written words, help me put together information for the performers. I think that if students have an accurate idea of the composer's intent, they can help the conductor make interpretive decisions. This gives students a stake in what they are doing with music, and can help make higher level connections across many areas.

Teaching strategies

It is essential for teachers of all disciplines to have a clear understanding of how to write outcomes and implement strategies in the classroom to reach all learners. I am a kinesthetic and a visual learner, so I have a tendency to base my learning activities around kinesthetic and visual experiences. In recent teaching experiences, I have found myself overly reliant on things like written lesson plans. I am sure that this reliance will go away over time as I get more comfortable in the classroom, but, for now, at least I know my bias. As a student, I respond to kinesthetic experiences, so I have my private students "do" and "feel" things with their bodies. I know that I am not an auditory learner, so, as a teacher, I need to remember to include auditory strategies in my student-centered approaches.

In a student centered approach, students come first. Being student centered means responding to the needs of the students, even in front of the music itself. I really like this idea, as it puts students in charge of their own education. If the students feel that they have a part of the creative process of music making, music becomes less of a chore and more of an art. As a conservatory student, I often felt like I was a "tool" to be used for the execution of technique. When directors told me what to do, my own creativity was stifled, especially in an ensemble setting. If everyone feels like they have a stake in an ensemble, it will provide even more opportunities for social, academic, and personal growth.

Involving students in a meaningful way inside rehearsals may help students develop transfer abilities into other areas. With teacher guidance, students will discover the many ways that music is a part of other areas of culture, science, and math. Teachers can inspire students to explore other areas by providing context for the students in the form of handouts which describe cultural perspectives on the piece, composer, and era.

Writing effective teaching strategies can help make learning meaningful for the students. Implementing the strategies can be gratifying for the teacher, and students will pick up on the excitement that this process generates. I think that teachers owe it to their students to implement creative teaching strategies that are based in meaningful learning outcomes. Helping students learn in this way will contribute to true understanding, which will lead to transfer into both music and other skill areas.

Writing outcomes

Some of the first places to start when writing an outcome (outcome="the student will be able to...") are in the music department curriculum, the state curriculum, and the National Standards for Music Education. In my extremely limited experience in writing lesson plan outcomes at this stage in my career, I have found that looking at the state's curriculum has been extremely helpful. One of the reasons for this is that the benchmarks are very clearly aligned with the expected skill levels of the students I will teach. I cannot expect, for example, typically developing fifth graders to realize that a piece is in a mixed tonality. This is probably a college-level skill. The state outcomes help me realize what is appropriate for many of the students I will encounter in my career.

In an instrumental music classroom, appropriate, skill matched pieces should be chosen. Using the pieces as a starting point, I can write outcomes based on Bloom's Taxonomy to help ensure that units will be designed to help students operate on a variety of levels, from knowledge (level one) to evaluation (level six). Using the verbs associated with the level of complexity of knowledge, I can write these outcomes in my lesson plans within a unit. One example that would address several levels of cognition on the same idea in an instrumental music class (over a unit, for example):
1. Students will define ABA form (knowledge)
2. Students will give an example of a piece of music that uses ABA form (comprehension)
3. Students will discover what the form of a given piece of music (application)
4. Students will analyze a piece of music in ABA form (Analysis)
5. Students will compose a piece of music in ABA form (Synthesis)
6. Students will compare two pieces of music in ABA form (Evaluation)

One of the biggest challenges that teachers face in the arts classes is writing outcomes that apply to emotional growth as a result of exposure and interaction with the art. In music classes, it is important for teachers to realize that students will have meaningful experiences with the music because music is at once a technical, social, spiritual, and emotional experience. If a music teacher is so involved in the technical aspects of playing a musical instrument well (a critical observation of myself as a horn teacher), the teacher may not be well prepared to address the affective outcomes of music making and performing. As an advocate of my art form, it is important for me to prepare outcomes that address the affective outcomes of music. Using words in my outcomes that may not be easy to evaluate (appreciate, value, express) will help me help my students realize the emotional and spiritual growth that is theirs to own and experience as a result of music making in an ensemble.

Constructivism and Discovery Learning--models of instructional design

Discovery learning is an active inquiry-based method. This is opposed to direct instruction and lecturing, where the learner is passively engaged in the material. In the instrumental music classroom, it makes intuitive sense that direct instruction and lecturing would be the preferred modes of communication. I think that it takes a creative and dedicated teacher to think of ways in which learners can interact with the information to get away from the "teacher-based" modes of communication and into the "student based" modes.

A creative instrumental classroom teacher can help students become their own teachers by giving them basic information through direct instruction. Once students know enough basic technique, a teacher can encourage active discovery. One way that teachers can do this is to have a time where students experiment with alternate fingerings to discover a variety of ways to finger a note. This will help students begin to actively think about their role in the music-making process, not just as "button-pushers"--giving students a role in this way will help them feel that they are actively contributing to their experience, not merely "passing through" their experience in an instrumental music class.

Giving students a structure to practice improvising is another way to encourage divergent thinking and discovery learning. If basic chordal sequences are written down for musicians and they have a time where they can actively experiment with the notes around the chordal structures, they will discover, on their own, what sounds "right" and what doesn't. If the teacher actively encourages "wrong" notes, students will learn, on their own, what notes will "fit" and what notes will not. This can be a powerful learning tool in an instrumental classroom that might otherwise be powered by passive, teacher-based learning.

Teaching effective practice techniques

I think that teaching effective techniques for practicing is an important part of ensuring the overall success, enjoyment, and lifelong love of music for all students. Practicing is a skill, not just something that can "just happen" without both teacher guidance and parent involvement, especially in the beginning years of playing an instrument. I think that providing a structure and framework for practicing is a very important part of establishing good practice habits. These habits will help ensure successful participation in ensembles, will teach discipline, and will provide a sense of accomplishment that may lead to increased self-esteem. Good practice habits will also help a student understand that hard work (instead of luck) is an underlying component of being successful at anything in life.

In my horn lessons, eighty percent of our time is spent "practicing practicing." The other twenty percent of the time is spent playing through pieces, etudes, scales, and talking about fundamental techniques (breathing, buzzing, long tones, warm-ups). In the lessons, I diagnose problem spots with the students. When we diagnose the problem, we then break down the difficult technical skills into their constituent components. I always ask my students to give me an air-to-body ratio for the passage being studied (with the understanding that the ratio of air will always be at least 60 percent of the equation). Sometimes, the students will write in ratios of air to body in the music to help them remember how much they need to rely on their air. If they are having trouble with articulation, I have them practice air stream patterns with the tongue interrupting the air stream without the mouthpiece or the horn. If they are having trouble with fingerings, or the cooperation between the fingers and the air, I have them mentally rehearse the fingerings, slowly, with no mouthpiece or horn involvement. I have my students "play" with me (air stream pattern or fingerings) to help with audiation. Using a metronome, I have students bring air patterns, and fingerings up to tempo, gradually add the elements together, then put the horn into the equation. I find that, for the most part, this general process helps my students a great deal. I always emphasize the isolation of variables in the process of problem diagnosis. "Being a good scientist" (hypothesizing, isolating variables to fix problems) has proven to help my students remember what to do to effectively fix problems in their own practice sessions.

I think that one way I can help my students further is to involve them in goal-based practice charts. This way, students can have a visual way to track practice goals, especially if the student has a performance goal outside of practicing for enjoyment (auditions, solo and ensemble, etc.). Additionally, having a goal, in my opinion, is a powerful intrinsic motivator. Emphasizing quality practice time over quantity of practice may also help students feel positive about their practice time, may enhance their attitude about music involvement, and may lead to a greater sense that hard work has a direct relationship to success.

General music techniques in the instrumental classroom

There are a wide variety of techniques in the general music classroom to help students interact with music. In general, a music teacher will emphasize a certain pedagogy (Music Learning Theory, for instance). I think that emphasizing one pedagogy over another is an unnecessary limitation. Effective general music teachers will use every available resource to help their students learn the material. I have observed several very effective teachers in action who combine multiple elements of many pedagogies. The benefits of exposure to various pedagogical methods will help students as they progress musically, especially as they enter a band or orchestra setting.

Breaking a piece of music down into its constituent parts is a central part of any good approach to music learning. This is as true in an instrumental setting as well as a general music setting. In an instrumental setting, however, there are many more elements that need breaking down. A good instrumental music teacher can break these elements down using a variety of approaches that can be found in the general music pedagogies of Orff, Kodaly, Dalcroze, and Music Learning Theory. In reading the article entitled "Bringing General Music Techniques to the Instrumental Class," I found myself realizing that I already teach my horn students using elements taken from many general music pedagogies. I also learned about some new approaches that I can take to continue to help my private horn students progress, and to integrate into my future career as a music educator in the public schools.

A lot of my teaching is based on careful listening and imitation. I have students listen to an aural example of how something should be played (either I play it or we listen to a recording), then we break the skills down into many parts. Typically, the first element I approach is aural awareness. Is the student not "hearing" (audiating)? On the horn, where "having a good ear" is critical, this is an important first step. Once a student is audiating a passage correctly, a student can move on to the physical elements of instrumental technique. To help the student feel the movement of the tongue and lips as air flows by them, I have them do a "wind pattern" with the tongue, lips, and air (imitation--Kodaly and Orff). I play the passage while the student concentrates on just the tongue, lips, and air. This emphasizes both audiation and the connection between mind and body. After I have the student do the wind pattern, I have them do the wind pattern with fingerings, again, while they audiate by listening. Often, after the student has done all three things, in sequence, they will be able to put the elements together onto the horn. Using these active and engaging techniques goes a long way in helping a student "hear" and play the instrument.

All of these techniques, and many more, can be adapted to various aspects of playing any band or orchestra instrument. As an instrumental music educator, being aware of what the students already know (what pedagogy did their General Music teacher use?) will help me adapt instruction to help make learning meaningful for as many students as possible.

Sound-to-Symbol: The connection between language and music

Music is an enjoyable part of being a human being. Even if it is "auditory cheesecake", as Steven Pinker suggests, there are many undeniable benefits of music listening and participation. These benefits may start as early as conception. In utero, the fetus responds to music. The heart rate goes up and down according to the tempo of a piece of music, and there is evidence that babies can recognize the pieces they heard while in utero. Babies respond to the specific piece of music heard in utero by turning the head more often than chance can account for. I say all of this because I think that musicality, like language acquisition, is influenced by the child's environment. Exposure to lots of music at a young age can help a child develop his or her musicality. Musicality may occur naturally, but musical literacy, like language literacy, is not an innate skill.

In order to develop the skills necessary for music literacy, young children must be exposed to the elements of music, including rhythm and melody. These skills can be developed through the established practices of Music Learning Theory, Kodaly, and Suzuki. These approaches introduce musical elements aurally, then follow with the sign or symbol the elements represent. This is a process that makes sense to me. It is very similar to breaking down a word which has meaning (musically: a rhythm, for instance) into its constituent elements to decode and discover the sounds that the letters make (the musical equivalent to discovering how a rhythm is notated). This is a meaningful way of going about both language and musical acquisition.

I think that there are a few problems with how most method books teach musical literacy. If there is no context to the sound outside of the written notation, notes and rhythms may become meaningless symbols on a page. When this happens outside of the context of what is happening outside of the band or orchestra room, written musical notation runs a high risk of becoming too abstract for a student to grasp. The student becomes preoccupied with symbols and "nuts and bolts" elements of instrument playing and forgets about or doesn't realize larger musical goals. The musical goals in a complex piece of music are so outside of the zone of proximal development that students may give up and quit playing an instrument without help outside of school.

In light of these issues, it is important to recognize that band and orchestra directors must choose appropriate pieces that match the skill level of most of his or her students. If he or she chooses appropriate, skill matched pieces, the larger musical goals may be realized. To make a language analogy, a typically developing fifth grade student cannot be expected to understand and appreciate a Shakespearian masterpiece, much as a fifth grade student cannot be expected to play a Beethoven symphony with appreciation for its musical intricacies. The insight into what a student can and cannot do is an essential part of being an effective music teacher regardless of the grade level. Knowing when to "go back" to re-visit the essential components of musical literacy using sound to symbol strategies can help bring a student into his or her zone of proximal development in regards to musical literacy.

The "professional personality" as part of recruitment and retention

There are several factors that should be considered when a band or orchestra director decides to recruit students for an instrumental music program. One of these factors is the fact that band or orchestra is an optional activity. Unlike math, science, or English, participation in music is voluntary. As such, instrumental music directors must actively ask students to participate in ensembles. This is essential to the success or failure of an instrumental music program.

I think that, in order to positively affect program growth and retention, a teacher must adopt a proactive approach as a part of his or her "professional personality." This "professional personality" is different from what I will call a "personal personality." The "professional personality" is the person who students, colleagues, and administrators see on a daily basis, and is always focused on the growth and well-being of his or her students. To me, there is an inherent selflessness in this "professional personality." This personality must be sincerely interested in his or her students as people, but must not cross the line where students consider the teacher a friend.

To me, being sincerely interested in individuals means, among many other things, remembering student's names and important details. This is especially important in recruitment and retention. If a teacher is known to be personable and genuinely interested in the growth and well-being of an individual student, other students will want to gain the benefit of being a part of that band director's group. I think that the "professional personality" is a huge part of the recruitment and retention of any successful band or orchestra in a public school.

Unfortunately, band and orchestra organizations in public schools are not compulsory parts of a curriculum. If they were, recruitment and retention would not be a problem. Regardless, I can provide personal interaction and positive experiences to the students who are part of a voluntary band or orchestra program. Being an excellent teacher with a positive and motivating "professional personality" may help administrators support and advocate for band and orchestra programs on my behalf. Providing positive experiences in band and orchestra may also help the future administrators and leaders in the world advocate on behalf of the importance of excellent music education in public schools.

Philosophical Foundations of Instrumental Music Teaching

There are obvious connections between aesthetic education and music performance. Teachers need to know how to make these connections meaningful for their students. In performance classes, there are often many technical obstacles that students and teachers face, especially when students are learning a new instrument. The main purpose of learning these instruments is to provide students with meaningful experiences. These musical experiences may give meaning to other experiences in school and in outside life, which will enrich the lives of our students.

In my personal experience as a student, the teachers that stood out to me were the ones who made me feel as if I were transcending the specific technical skills necessary to play the horn. This experience was multifaceted, and, as in any other discipline, relied on my willingness to put in the necessary work. This work, to me, was worthwhile because of the social connectedness I felt as a result of playing in an ensemble.

As I progressed as a student, a person, and a musician, I found that there were many more meaningful connections I could make between the music ensemble experience and my personal experiences. These connections included emotional connections to my friends and colleagues in the ensemble and emotional connections to the music itself. Intellectually, I found that music study and listening were connected to other intellectual pursuits. As I learned about the stories related to some of the orchestral excerpts I was learning, (Till Eulenspeigel, for example) the music came to life for me.

The emotional, intellectual, physical, and social experiences were all affected by my teachers. When I was learning an instrument, my teacher made it fun to be in an ensemble. This was his greatest strength as an educator. As I grew as a person and a musician, I continued to have enjoyable social interactions. I began to be able to make meaningful emotional connections to the music because my teachers were able to help me make my own connections to the music. Intellectual connections were also made during this time that continue to grow as a result of good teachers.

Using my own experience as a barometer, I believe that it is possible to affect positive student experiences with music that can connect to any number of other things in life, including physical, spiritual, emotional, intellectual, and social pursuits. This is why music is an indispensable part of any complete education. Using developmentally appropriate pieces to study can make early music experiences socially enjoyable. As students grow, using more sophisticated and emotionally meaningful pieces can help students grow. One such piece for me was the Simple Gifts suite by Frank Ticheli, which I played in eighth grade band. Intellectually, providing meaningful experiences through connections to historical contexts and stories can be a meaningful way to affect many students.