Now what?

For some, the next logical step is graduate school. For others, it’s time to start your teaching career. The great thing about getting a teaching position is that, from now on, you can expect and demand to be paid for your services as a music teacher. But, the real challenge is getting hired.

As a professional music educator for the past 12 years, I have changed teaching positions four times. I was in my first job for six years, then have jumped jobs quite a bit the past six for a variety of reasons. This process of applying and interviewing multiple times has given me a pretty good handle on what it takes to get hired in American public school systems.

Go For The Dream Job, But Have Realistic Expectations

Every music major has an area of emphasis. Take the time to visualize or even write down your ideal dream job. You need to know what that dream job looks like so you’ll recognize it when it comes. The fact is, many other music teachers, both recent graduates and teachers with years of experience, are probably looking for the same job you are. You main objective upon graduating and starting your career should be simple: land a job you can live with.

This certainly doesn’t mean you should “settle,” but you are not going to appear attractive to someone with your dream job if you yourself believe that dream job is beyond your skills as a new teacher. Your first job does not have to be the place where you spend a 30 year career. However, don’t consider accepting a job offer in a school that you can’t see yourself spending at least three years in. In most states, K-12 tenure is attained after year three, and achieving tenure in a state is a big feather in your cap for future employers. You really won’t see the effect that your teaching has on a music program until you’ve worked through at least one graduating class. For example, if you teach middle school band, grades 5 through 8, you will need to see those 5th graders through to 8th grade graduation before you can really call that program “your own.”

If you really want to search for the dream job right out of the gate, you have to be willing to relocate. The desirable music teaching jobs, particularly secondary performing ensemble jobs, will always have a high number of applicants no matter where you are in the country.You will have to carefully weigh the pros and cons of leaving comfortable locations, friends, and family behind to pursue a desirable job. You can always make new social connections in a new place, and with online social networking, it’s easier than ever to stay connected to people you care about.

Applying for Jobs – Leave No Stone Unturned

Consider the following suggestions for finding jobs to apply to:

1. Most states, some regional areas, some counties, and even some school districts have their own online job search portals. Be sure to check out USreap.net to see if your state has a REAP employment website.
2. For states with county-wide school districts, most county districts or I.S.D.’s have their own employment portal for every school in the county.
3. Both Craigslist and Monster.com have regional classified ads for education.
4. Many state board of education associations have regular job postings. For example, here are the listings for the Pennsylvania School Boards Association website.
5. Many state music educators associations have their own job boards, and certainly check the MENC jobs postings. By the way, if you have a music ed degree and you’re not an MENC member, what are you waiting for?
6. Check out online forums for organizations affiliated with your primary teaching area. I actually found my third teaching job by posting “I’m looking for a job” in the forums at Youth Education in the Arts.
7. School districts are required by law, at least in my state, to make a public announcement every time they have an opening, even if the position is filled internally. Many school districts will give as little warning about openings in public advertising as possible if they already have a good applicant pool. Many districts do not advertise job openings at all except for the “employment” page on their district website. If you have a specific school district you are gunning for, be sure you check out their website and talk to people who are on the inside. The first place to find out about openings from a specific school district is the rumor mill.
8. Many retail music stores have a list of local openings. Typically, they have a traveling sales representative who visits all of the schools in a geographic area. Those road reps are great sources for all kinds of insider information on the districts they serve.

Credentials, Credentials, Credentials

Here are some suggestions for sprucing up your application package:

1. Some districts prefer to get your entire application electronically. The previously mentioned USreap.net system delivers your entire application to any school district in the system. Others will give you a specific email address to send items to. Still others want it mailed to them in paper. As the old song goes, “Find out what they like, and how they like it, and give it to them just that way.”
2. Be sure that you have current copies of any clearances in your possession – child abuse clearance, criminal record check, FBI clearance, etc. Make copies of the originals and include them with your initial application. This shows that you are organized.
3. Make sure that your references and reference letters are people who really know you personally and can go to bat for you. The more recent their contact with you, or the longer-term their work has been with you, the better they are as a reference. The more references you can provide that directly interacted with you in a music teaching (or any teaching capacity) the better.
4. Make sure that your resume is clean, easy to read, and is full of action words. If you have not done a lot of teaching outside of your bachelor’s program, incorporate any employment you have had that demonstrates your professionalism. Be sure to include awards you have won and student leadership positions you have held in ensembles.
5. Your cover letter is one of the most important parts of your packet. This is where you need to customize the message for each school you submit to – do NOT write one cover letter and then send copies of the same letter to all of the employers. Your cover letter needs to address the specific position that is open in the school district and how you are uniquely qualified to fill that position. This is your chance to tell the employers something about yourself that is not apparent in your resume, as well as express your individual personality and philosophy with respect to the opening they have. I do not recommend that you use your cover letter to “tell them what you think they want to hear,” but certainly use it to highlight abilities you have that match the job opening.

The Interview

When you do finally get an interview, be thankful for the opportunity – it means that the district is considering you as a possible match for their needs. Keep in mind that districts are looking to add a full-time employee, complete with a significant salary and benefits – it is a big investment on their part. They are also adding someone to their extended work family. No matter what kind of “inside track” you may have with this district (you’ve subbed there, you know the principal, etc.), you really have no idea of what qualities the interviewing panel is looking for, so don’t try to “tell them what you think they want to hear.” It is much better for all parties involved if you are straightforward and honest with them about who you are, what you value, and what you want out of this relationship. You are interviewing them as much as they are interviewing you. If you get mixed signals from them or have any kind of intuitive “red flags” like a knot in the pit of your stomach when they mention something, consider finding a different district to work for. Yes, you need a job, but again if you can’t picture spending at least three years of your life working with these people, you will be much happier somewhere else.

Some tips for the interview:

1. Be on time, dress to kill. Plan travel time with at least a 30 minute cushion for unexpected delays.
2. Make sure you have a contact number in case you get lost.
3. Shake hands, make eye contact as much as possible. Sit with good posture, but not too rigidly.
4. Be prepared to answer questions on your teaching style, how you handle classroom discipline, what kind of music you program, how you accommodate special learners, etc.
5. If you don’t have an immediate answer to a question they ask, relax, take a deep breath, and if nothing comes, say so.
6. Be prepared for an interview panel containing anywhere between 2 and 10 people. Some districts will have the parent booster group president sit in on interviews.
7. Come prepared with at least one question to ask the panel, as they usually give you an opportunity to do so at the end. If something comes up for you as a “red flag” in what they say during the interview, dump your prepared question and ask about that.
8. Confident but not cocky is a good approach.
9. Most districts are looking for tech-savvy people. If you use technology, be sure to bring it up if possible.
10. Afterwards, send an email thanking them for the opportunity and looking forward to speaking with them again.

And here’s a great power tip: If you don’t get hired after giving an interview, call them back and ask who was hired and which school district they are coming from. Not all schools will give out that information, but if they do, you have another school to apply to. Chances are that the district the other person is leaving hasn’t posted their opening yet.

Above all, getting hired by a district has more to do with your own preparation and attitude than anything else. If you go in with a “please hire me, I’m desperate” attitude, this will come across in your presentation. If you consider yourself to be a valuable addition to a teaching faculty and expect to be hired by a deserving district, you will find yourself in a teaching position. Above all, DON’T GIVE UP! I got one of my teaching jobs in the third week of August and had two weeks to put a marching band show on the field! Best of luck to you on your job search, and be sure to join us as a professional in the Music Educators Professional Learning Network.

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Organization

1. iHomework ($0.99)-This course-management app allows you to easily manage all your assignments and grades. It allows you to categorize assignments by class and category, as well as record grades you receive on those assignments. Some more in-depth features include the ability to use weighted grades by category, list your instructors and their contact information (for easy access to e-mail the instructor), and set schedules for your courses. If you’re looking for a free homework/grade management app, consider MyHomework).
2. Calendar (Native, Free)-The native Calendar app on the iPhone will help you keep track of your day-to-day schedule. You can use the app to synchronize your calendar to a Microsoft Exchange server or to Google Calendar. If you take your device with you everywhere you go, you can put your appointments in your calendar as soon as you make them, and you’ll never miss an appointment again.
3. Simplenote (Free, $8.99 upgrade)-While the iPhone has a native “Notes” app, I have found myself wanting more out of a note-taking app. Simplenote fills this void by allowing the user to synchronize their notes with their computer (and even to a widget on Mac OS X machines). The font is also easier to read than the handwriting-font of the native app, and there are a few additional options that the native app does not have. Upgrading your subscription for $8.99 (through the Simplenote website) gives you access to automatic backup of your notes, in case you delete something inadvertently.
4. Dropbox (Free)-This file-storage solution has been an incredible help to me as a college student. Dropbox allows you to store digital copies of all your files (up to 2GB initially) on their server, for access on any computer, and their app allows you to view any of these files no matter where you are on your iPhone. Additional features include the ability to quickly share a link to the file, or attach it to an email. This is a fantastic service for a college student on-the-go, and makes quickly downloading and printing files in the library a breeze.

Communication

1. Mail (Native, Free)-The native E-Mail app is the easiest and fastest way to communicate with classmates and professors on the go. The app gives you the ability to add POP3 and IMAP accounts, as well as one Microsoft Exchange account (with the release of iPhone OS 4.0 this summer, the app will support multiple Exchange accounts). The interface is easy to use, and it’s extremely easy to see when you have an unread message, as the number of unread emails is displayed on top of the app icon.
2. Facebook (Free)-While Facebook is a great time-waster, it is also an incredible communication tool for you to get in touch with your classmates (or even your professors). Use the app to trade private messages with your classmate about what’s on tomorrow’s exam, or create a group to serve as the hub of communication for that big group project you were just assigned. Just be careful you don’t get stuck reading status updates for an hour!
3. Twitter (Free)-Twitter is a fantastic means of communication, networking, and professional development. If you don’t already have the Twitter app for your iPhone, you’re missing out on a lot of opportunities for this development. There are literally hundreds of twitter apps available, but “Twitter” is the official app. Other apps include TweetDeck (Free, iPad Supported), Twittelator (Free, iPad Supported), and Twitterrific (Free, iPad Supported).
4. LinkedIn (Free)-LinkedIn is a professional networking website that allows you to connect with current, former, and potential coworker, employers, and employees. The app also allows you to connect with a new acquaintance on LinkedIn by touching your Bluetooth-enabled iPhones together. Great for use at conferenes!

Information

1. Safari (Native,Free)-The native web browser on the iPhone is a great way to gather information about whatever you need. If you know the URL you’re looking for, you can quickly enter it in the address bar, and you’re off! If you’re not sure what you’re looking for, a Google search is only a tap away. You can also bookmark your favorite websites on your home screen for quick and easy access to them.
2. Wikipedia (Free)-Wikipedia has a great web interface for iPhones, but if you prefer a larger feature-set, the Wikipedia app may be for you. Wikipedia, the world’s largest collaborative encyclopedia, has a wealth of information on almost every topic you could imagine! While this information isn’t what your professors would call “scholarly,”
3. Google/Bing (Free)-It’s going to be the search question to end all search questions in the 21st century… Google or Bing? Whichever you choose, they both have fantastic iPhone apps to help you take advantage of the best features of each engine. Also, both apps include voice-activated searching for devices with microphones (iPhone, iPad, iPod Touch with microphone add-in)
4. Wolfram Alpha ($1.99)-Wolfram Alpha is another search engine with an extremely intelligent input area, allowing you to get specific answers to very specific questions with little to no work. Want to compare the unemployment rates of New York City and chicago? Just search for “unemployment rate NYC, Chicago” and you’ll get a chart and a graph. Want to know when the tide will be high in Honolulu? Search “tides Honolulu, Hawaii” and you’ll get your answer. For $1.99, this app is a steal!
5. BlackboardLearn/mTouch (Free, $2.99)-Nowadays, most schools use some type of course management system. Blackboard and Moodle are probably the most frequently used, and each system has a corresponding app to allow you to access your content on the go. If your professors use these services often, and you want access to this content quickly, these apps are for you.

Music-Related Apps

1. Tempo2 ($1.99)-This is the best metronome I have found on the iTunes app store. Tempo2 allows the user to choose absolutely any time signature and metronome marking they want, as well as add accents, change sounds, change tempos in the middle (great for working on an accelerando!), and much more. The app is $1.99, and a great deal at that price. If you’re looking for a free metronome app, try Metronome.
2. iStrobosoft ($9.99)-This is the most expensive app on this list, but also well worth it. iStrobosoft is a strobe tuner, letting you view not only the frequency of your pitch but how centered your tone is as you play, just like a real strobe tuner. You have the options of editing
3. Shazam (Free)-Have you ever heard a song or piece of music on the radio and wonder what it’s called? Now, you can use the microphone on your iPhone to listen to a sample of the song, and Shazam will tell you it’s name! Shazam also has a premium app with additional features for $4.99. NOTE: Requires microphone, so iPod touch users will need an external mic.
4. NML (Free, Subscription Required)-If you haven’t heard of the Naxos Music Library, it’s time to check it out! A subscription to the NML gets you access to high-quality audio streams of music from the orchestral, wind band, solo, and jazz repertoires. The NML app lets you stream this music directly to your iPhone from your subscription. Check with your school’s library-they may already have an account!

This, of course, is not an exhaustive list of apps that will benefit Music Ed Majors or Music Educators. Do you have a favorite app that was left off this list? Let us know in the comments!

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1. Open web browser
2. Open Google
3. Search “free printable staff paper”
4. Click first link
5. Find out that the paper the site offers doesn’t have enough staves per page
6. Go back to Google
7. Click second link
8. Find out that the paper the site offers doesn’t allow you to change how much space is in between the lines of the staff
9. Go back to Google

… you get the idea. Well fear not, fellow musician and staff-paper searcher, these days are over! I am extremely excited to share with you StaffNotes, a website that allows you to embed free, printable staff paper on your website, with tons of customizable options, so you can create a resource that fits your exact needs. StaffNotes is by Dan Comerchero (@staffnotes on Twitter), a drummer/producer/designer, and a great colleague in the field of Music Technology. I have embedded an example of the StaffNotes paper below, but I definitely recommend you check out the StaffNotes website to see all the options available. Also be sure to check out the embeddable FretNotes portion of Dan’s site.

Do you like the StaffNotes paper? If so, be sure to give me or Dan a shout-out over Twitter (once again, he’s @staffnotes and I’m @Zweibz7), or visit the StaffNotes website.

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This session, entitled Band Instrument Repairs You Can Do, was given by band director, Robert Woodbridge. His goal for this session was to show educators, especially band directors, how to do simple repairs on an instrument, as well as recommended a few things to watch out for to prevent the need for small repairs.

General Repairs

Mr. Woodbridge began the session by stating that knowing how to do these basic repairs will not only save your department money, but will also prevent taking the instrument out of the student’s hands for an extended period of time.  He started by giving a couple of pointers to consider in general when dealing with simple instrument repairs. The first was to always work over a towel, because it will catch small parts that might be lost otherwise. He stated that in order to shine brass, you can apply Windex and wipe it off (like washing a window). This tends to make the brass really shiny. He also suggested to never do repairs in front of students. If the students see their teacher repairing their instrument, they may try it  and cause serious damage. Mr. Woodbridge then approached the simple repairs one family at a time, starting with brass.

Brass Repairs

Trombones

The main problem with brass instruments is dirt that builds up on them. One of the dirtiest of the brass instruments is trombones. Dirt often builds up in the slide and causes slow response. To avoid this, Mr. Woodbridge suggested to clean the slide regularly. To clean the inside of the slide, he recommended to get cheesecloth and wrap it around a rod. Then work the rod into the slide of the trombone to collect dirt that is built up in it. Then to clean the outside of the slide, he suggested using a small amount of Brasso, and then wiping it off. He also said that some professionals suggest using a bit of pledge on the slide to make it move easily.

Stuck Slides

Another common problem on brass instruments is a stuck tuning slide. I think most of us have experienced using a school-issued instrument where the slide hasn’t been moved for 20 years. Mr. Woodbridge stated that the method that works most of the time for these slides is penetrating oil. Just apply penetrating oil to the place where the slide should be moving and wait. He was also sure to state that penetrating oil takes a while (we’re talking multiple hours.) On larger slides, if the penetrating oil doesn’t work, Mr. Woodbridge suggested using a roll of electrical tape and a hammer. Simply place the roll of electrical tape in the curve of the slide, and tap the roll of electrical tape until the slide begins to move. Once again, the biggest culprit of stuck slides is dirt on the slides. The easiest (and safest) way to remove dirt from the slides is to use some dish soap and a washcloth. If some corrosion is still left, a Scotch Brite 3M pad works well. It is important to remember that this has the potential to damage the slide and should be used gently. NEVER USE A SCOTCH PAD ON VALVES OR ON A TROMBONE SLIDE! This could cause scratches  and damage the overall sound of the instrument.

Stuck Valves

Stuck valves are also a large problem. If it is just the valve cap, then penetrating oil and a rubber gripper (like the kinds found in grocery stores used to open jar lids) usually do the trick. If the valve itself is stuck in the valve casing, it is a bit more complicated. The example that Mr. Woodbridge showed was a trumpet. He suggested to remove the bottom valve cap of the stuck valve. After you do this, take one of the other valves and push it into the casing of the stuck valve. Gently push until the other valve comes out.

Rotary Valves

Horn rotors are a completely different story as they involve strings. As any horn player knows, these strings become untied (usually right before a concert.) Mr. Woodbridge suggested having a needle threader and 50 lb fishing line in your repair kit. If a string happens to come loose he recommended just using the other valves as a guide to restring. If you are in an emergency and have no string, you can use 50 lb fishing line as a temporary fix.

Mouthpieces and Water Keys

Stuck mouthpieces also prove to be a problem. Mr. Woodbridge’s advice on this matter was simple; invest in the Bobcat Mouthpiece Puller. This device will attach to any size mouthpiece and gently pull it out without damage to the instrument. If the cork in a water key happens to fall out, air will leak out of the valve and it will be harder for the student to get a good sound out of the instrument. Replacing one of these is fairly simple. Just clean the residue out of the cork holder, apply some Elmer’s Glue, and press the cork back in. Mr. Woodbridge also said to be sure that you adjust the cork and water key so that no air leaks out when it is closed.

Woodwind Repairs

Mr. Woodbridge then went on to explain some simple repairs that can be made on woodwind instruments. He began with a warning: Never attempt repairs on piccolos or bassoons. He stated that Bassoons are just too complicated and piccolos have too many tiny parts that are easily lost. Some general problems to check for on woodwinds were then covered. The first was to check all of the screws. They should be tight, but not too tight.

Flute

Mr. Woodbridge covered some key things to look for on the flute. He first stated to make sure that springs are in place or sticking out and adjust them accordingly. Bent keys are also a problem. If a key is bent so that it is causing a problem, it is soft enough to be gently bent back into place. Mr. Woodbridge then warned that the head cork (the closed end of the flute) should never come out or be adjusted. Adjusting this can completely throw the flute out of tune.

Clarinet

He then went on to explain quick fixes for clarinets. Pads can cause a major problem with clarinets. To test to see if one of the pads are leaking, Mr. Woodbridge suggested plugging one end of the body shut while blowing in the other. If you hear air escaping, there is a leak in one of the keys. After identifying which key it is, you can do a quick fix by wrapping a small piece of paper around the cork to make the seal more snug.

Saxophones

Mr. Woodbridge briefly touched upon a key problem with saxophones. He stated that the octave key is often the problem here. If the student cannot play in the lower register, then you can gently adjust the octave key with your thumbs until it is in the correct position.

Robert Woodbridge’s pointers and suggestions are quite valuable. Having the ability to make minor repairs on instruments has the potential to save your department a significant amount of money, and keeps an instrument in the student’s hands, instead sending it out to get repaired. It is important to remember though that if something is wrong with the instrument and it isn’t a simple fix, it would be wise to send it out to someone who knows instrument repair.

You can see the complete list of notes on this session (and many others) on the PMEA 2010 Cover it Live feed hosted on Thomas J. West’s website.

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General Tips

The chat started out with some great tips. @girlfromPBO stated that she uses a three-strike policy, while others suggested to keep free time at the beginning of the period to a minimum. It was also suggested that teachers not only establish their rules, but post them so that they are always visible to the students. In addition to this, teachers also must establish consequences along with the rules in an effort to deter bad behavior. The suggestion was also made by @ssagaro< to write the class plan for the period on the board, which allows students to stay on track.  Another participant stated that if the teacher keeps a clean and organized room, classroom management will be easier. One tip was tweeted all throughout the chat, stressed the need for a routine in the classroom. Many teachers stated that if a routine is in place and the students know about it, classroom management will be exponentially easier.

Rehearsing and Conducting

The chat then briefly moved to rehearsing and conducting ensembles. Multiple participants encouraged others to try to keep spoken words to 5-10 between stopping the ensemble and starting again. Other participants emphasized that conducting is a form of communication, therefore clarity is essential. In addition, facial expressions help to relay what the conductor is attempting to communicate. Some classroom management tips were also discussed that were specific to the rehearsal setting. @digimusresearch suggested, “Use handsigns for bathroom and water requests in elementary setting. This saves interruptions & time, since I can see and nod yes or no.”

General Music

The conversation then shifted to classroom management strategies in a general music setting. Multiple participants stressed the importance of active learning. As stated by @thomasjwest,” Gen. Music needs to be about DOING! Get the technical stuff started, but then start applying it ASAP.” Other teachers suggested that learning the names of students is a very important first step to classroom management. In addition to this, other teachers suggested knowing the students in general, including being interested in their activities outside of class. Multiple teachers  suggested that if you can get kids to make music that sounds good, they will be interested. Teachers also discussed great tips to think about for ending the class. Most of them stated that the end of the class needs to be a time of reflection, and also a preview of what will happen in the next class.

Discipline

Chat participants then covered the topic of discipline. One important tip was given by @musicedconsult , “By the way–it’s OK to call Mom or Dad to tell them that you need their help–especially if there’s a very disruptive student.” @chrisritter added  that teachers need to call home whenever a student does something right. Multiple participants suggested that disciplining students needs to be done in a way in which they are still learning. @musicedconsult then stated, “Disclipline is what we do–Music, Theatre, Visual Arts, Dance. Management is also what we do but let’s not confuse the two.”

The #MusEdChat then closed out with more tips and tricks for classroom management. @shawdave shared a great starting point for class rules. He said, “Class rules someone posted on a blog : Take care of (1) yourself, (2) each other, (3) this place. I like these.”  It was also stated that teachers themselves need to maintain their focus throughout the lesson. If they do, their students have a better chance at being able to do this. Many teachers emphasized the need to maintain a positive atmosphere in the classroom, even when disciplining. Near the end of the chat, @digimusresearch tweeted something that is essential for all of us to remember: “They may not remember what you said, but theyll remember how you made them feel.”

Image Courtesy of : http://www.wordle.net. Click to enlarge.

In order to see all of the tips and tricks that were discussed for classroom management, be sure to refer to the chat transcript!

Tweet With Us!

As always, anybody is more than welcome to join in the #MusEdChat!These take place on Twitter on Monday nights at 8:00 pm EST. Find out how to participate, and join in the discussion! The more people who participate, the more we all learn!

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This is a re-post of an article I wrote on my personal website a while ago. In light of some recent discussions I’ve had, I felt it had merit here. Stay tuned for a few other posts from the andyzweibel.com archives in the coming weeks!

I just recently was talking to a close friend, who is a graduate student in the Frost School of Music at UM, pursuing a DMA in Instrumental Conducting. She is also a graduate assistant with the marching band, and a TA for the Frost Symphonic Winds and Wind Ensemble. As a future band director, she recently went to the College Band Directors National Association (CBDNA) convention in Austin, Texas. She came back with a new found inspiration, and attributed it to the experiences she had at CBDNA, which made me think abut my experiences after returning from conferences. I’ve realized that what my friend is experiencing is similar to what we all tend to experience after an event such as CBDNA-something I have come to call “the conference effect.”

On the most basic level, “the conference effect” is the sense of inspiration and excitement for the profession that many people (in this case music educators) tend to feel after spending a day/weekend/week immersing themselves in what they love at a conference. I know the feeling myself, and I know that many of the music educators reading this know it as well. When you return from a conference, you feel revitalized-almost like a new person, and ready to take on whatever challenges may approach you. In my case as a student, conferences are the times when I find myself wishing I could actually be out in the field, teaching, right away. However you react specifically, this heightened level of inspiration motivates us all to be our best in the days and weeks following the conference.

It is important, though, to keep in mind the effect that timing has on this inspiration. I have only ever been to three different music education conferences: the Midwest clinic in Chicago in mid-December, the FMEA conference in Tampa in early-January, and MENC’s Music Education Week in June. Midwest, while extremely enjoyable, comes just at the end of the semester and the beginning of the holidays, so when the conference is over, I tend to find myself extremely inspired, but with nothing to do but twiddle my thumbs for the rest of December. Music Ed Week, while also enjoyable, runs into the same problem, as it takes place during the summer holiday. FMEA, on the other hand, occurs just before the spring semester begins, and I find myself beginning each spring semester with a renewed excitement for what I am doing, in part because of the lasting effects of this inspiration I get from the conference. This has been even more obvious the past two Januaries, when I had the opportunity to spend the week in between FMEA and the beginning of classes working with a high school band in LaBelle, FL at a school where a close friend (and recent UM alum) teaches. By the time the conference was over and my week of working in a real-life situation was through, I was prepared to do whatever it took to get myself teaching right away.

I’m sure any person who has been to a conference in their field has had experiences like mine, where they have felt a renewed excitement for their profession in the days and weeks following the conference. In fact, I would go so far as to say that it’s likely that we are more productive in this period than we are in any other, as a result of this excitement. So the real question is-how do we artificially create this “conference effect,” and the productivity that comes with it, when there is not a conference to inspire us? If we can somehow trigger this motivation without actually going to a conference, we can increase the caliber of the work we do throughout the entire year, instead of just for a few select weeks after conferences.

Let’s examine what types of activities take place at these conferences. For music education, specifically, we can narrow it into three main activities: learning, networking, and concert-going. Generally, any music education conference will include each of these three aspects. Attendees go to sessions where they learn about a specific subject, they speak to other professionals in their field and network with them, and they attend concerts put on by performing ensembles over the course of the conference.

So, how can we recreate each of these in our daily lives to artificially create the “concert effect”?

1. Learning-Now that the Internet has improved the way we share information, there have been tons of blogs set up in which educators share their thoughts and ideas on the field. By subscribing to these blogs and reading the new entries, we can stay informed and continue to learn even when we’re not at a conference. For a great place to start looking for music education blogs to subscribe to, check out the 100 ME Bloggers, organized by Dr. Joseph Pisano.
2. Networking-Networking can be difficult when you’re the only music teacher in your school, but the advent of Web 2.0 technologies and Social Networking tools have changed that. Dr. Pisano has a great list of music educators to follow on Twitter, and if you’re interested in more discussion, consider participating in our weekly #MusEdChat on Monday nights!
3. Attending Concerts-There’s really not a great techie-answer to this one, but my only suggestion is: go see concerts! Whether it’s a school band in your area, the local community band, or the symphony orchestra in your closest city, continue to expose yourself to music performances, and listen to them critically!

Hopefully these tips will help everyone be able to re-create “the conference effect” in their every day lives. Do you have an experience with this effect? Do you have a great story from a conference you’ve been to? Thoughts on my ideas? Leave a comment!

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Before you start wondering how I came to that outlandish comment, allow me to explain. If you’re like me and haven’t been to the circus since you were 5, hopefully the picture above should refresh your memory and give you a better idea of what I’m referring to: JUGGLERS! Jugglers are responsible for keeping multiple objects airborne, while at the same time reacting to the object currently closest to crashing to the earth so they can adjust, catch the object, and throw it back into the air. This isn’t so different from what most music education majors experience on a daily basis.

But I Don’t Want to Work at a Circus!

Not to worry! Your future as a music educator is safe. Let’s look at the act of juggling in terms of studying music at the collegiate level:

Jugglers: are responsible for many objects
Music Ed Majors: have many academic and extracurricular obligations
Jugglers: throw these objects in the air each night
Music Ed Majors: throw all their obligations onto their ‘plate’ at the beginning of each semester
Jugglers: react to the object closest to falling, adapt, and throw it back into the air so they can catch the next object
Music Ed Majors: figure out what their most pressing obligation is at a given time, take care of it, and move it aside so they can deal with something else

As you can see, music ed majors really do have a lot in common with jugglers! However, jugglers at circuses are very relaxed about the way they go about their job. Do you think you would be as calm the first time you tried juggling? Not likely. These jugglers are so relaxed because they are extremely prepared and organized in the way they go about their task. Let’s look at some ways we can keep ourselves relaxed as we juggle our different responsibilities as music education students:

Calendar

Your calendar is one of the resources you will use the most over the course of your time in college, and over your life in general. The first step, of course, to having an organized calendar is to keep a calendar! So many students still “wing it” with their schedule, and undoubtedly find themselves missing deadlines and forgetting appointments. Once you have your calendar set up, here are a few tips for keeping it organized:

1. Put EVERYTHING in it! Do you have routine times during the day where you practice? Study? Put them in your calendar! These times are imperative to your success, and you are much more likely to adhere to them if they’re set in stone in your calendar
2. Categorize – However you do it, separate and categorize your responsibilities. Some electronic calendars allow you to color-code each event, while others use separate color-coded calendars overlayed on each other. If you use a pen/paper planner, using colored highlighters or pens is helpful. Regardless, categorizing helps you see what basic activities (class, field experience/teaching, meetings, rehearsals) you’ll be taking part in at a glance.
3. Plan in Advance – Before the semester begins, put your classes into your calendar for the entire semester. As soon as you find out you have a commitment somewhere, write it down. This way, if you’re approached about an event far in the future (a gig or a trip, for example), you know right away if you’re available.

For more tips on keeping organized and productive using a calendar, check out “Part 2-Keep a Calendar“ from my 3-part seres on productivity (also see Part 1-Set Goals and Part 3-Stay Focused).

E-Mail

E-Mail is becoming an increasingly popular means of communication in the era of technology. Many people send/receive dozens ore more e-mails in a given day, and unsorted or unanswered e-mail can pile up quickly if care isn’t taken. Here are a few suggestions for ways to keep your email organized, so you never fall behind:

1. Use Folders – I cannot even count the number of people who I have seen that have over 2,000 emails in their inbox. While search features will help you locate what you’re looking for, keeping emails organized in folders by topic allows you to easily view multiple emails that are related at once. It doesn’t take much time to sort an email once you receive it-take the time and put it in a folder!
2. Keep Your Inbox Clean – Once you have folders, keep your inbox clean by using them! There are a few ways to do this. Some people (myself included) use the Inbox only as a “to-do” list. Anything still in the inbox needs to be replied to/dealt with, and then promptly sorted. Others choose to not use the inbox for anything except unread email. Once they read an email, they move it into one of three folders (Follow-Up, Archive, Hold), as described by LifeHacker. From there, they can deal with it when they have time.
3. Save Everything – Some people disagree on this point, but I have a few reasons for suggesting you save every email you send/receive. Firstly, in the technology era, many professors ask assignments to be emailed to them. If you’re like me and your computer crashes and you didn’t have a back-up, saving these emails can be a great way to recover important school work that you may want to refer to later. Also, any time you receive an email, especially one regarding a project or event, it’s good to have saved in case you need to refer back to it later for some reason. Most email providers offer enough storage space that this isn’t a problem.

Assignments

What’s the best way to deal with the large number of different assignments being thrown at you? Here are some ideas for staying organized about your school work:

1. Write it Down!! I cannot stress this enough. The mind only has the ability to store so much information, and with the number of stimuli your brain processes in a day, you simply will not remember all your assignments if they are not written down. In addition, make sure you write them down as soon as they are assigned! Waiting until later is also risky-there’s no telling what could come up “later” that would cause you to forget to write the assignment down.
2. Keep Your Planner With You – Some people put their homework assignments on their planner/calendar. Others have separate places where they store homework. However you track your school work, it needs to be with you at all times. This way, if you come up with a thought about a project, or need reference what work you have to do, you have it. I use the iHomework app on my iPod Touch to store my assignments. It also lets you track your grades on the assignments you enter.
3. Break it Down – If you’re assigned a large project, don’t just write the due date down in your planner and be done with it. That evening, take some time to separate the project into a list of tasks you need to complete, in order, to finish the project. Then, assign a due date for each task! This way, you won’t wind up looking in your planner at your week on Sunday and realizing that you have an assignment due the next day that was assigned three weeks ago. Be sure to stick to your schedule and complete each task on the due date you assigned yourself!

Feeling More Relaxed?

Hopefully these tips should let you “juggle” your responsibilities more easily, while staying more relaxed. Sometimes, though, it’s important to take a step back, and rest! One evening (or even a few hours) of rest and relaxation before getting back to work can leave you re-energized and less stressed when you return. Hey, maybe you could go see a circus!

How do you stay organized? Does one of my tips work well for you? Do you do something different? Do you secretly have the dream to be a circus performer? Whatever your thoughts are, leave them in the comments so we can continue the conversation!

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Those words, spoken to me by my applied clarinet teacher during my sophomore year as an undergraduate music ed student at Penn State, were a slap in the face – and I totally deserved them. He made this statement during one of our many sessions that semester when it was obvious to both of us that I had not made much progress on the assigned material from the week before. I didn’t respond to him then, but I’m sure it was obvious to him by my reaction that his words had stung. “I’ll show him!” I thought, and then started practicing.

Like many music majors, I sat first chair in my high school’s concert band. I attended all the honors band festivals and successfully did seating auditions. I successfully auditioned into the Penn State Marching Blue Band and the School of Music. I did it all with a minimal amount of practicing – riding primarily on my natural abilities. My music teachers never taught me how to practice effectively. Even the private teacher I had in high school, a sweet old man who was a reed doubler and a friend of my band director’s dad, didn’t teach me anything about practicing.

About a month later, after spending an hour in the practice room a couple of times a week, I played the assigned material again for the professor. He gave me a wry smile and asked, “Why did you think you didn’t have to practice?” I told him that, as a music education major, I didn’t really see a connection between being a performer on clarinet and teaching music to students on other instruments besides clarinet. He shook his head in a manner suggesting the phrase “you’ll find out.” He was right – I did.

Disproving an Old Adage

“Those who can, do. Those who can’t, teach.” The old adage is meant to demean teachers, who do not have enough skill to make a living doing what they teach to others. One of the great truths of being a teacher is that you can only teach to a student that which you yourself have directly learned, experienced, and mastered. You can’t teach a student advanced concepts in instrumental performance if you have not reached that level of performance on at least one instrument yourself. To reach that level of performance as a vocalist, consider taking singing lessons.

Once you have developed to an advanced level of proficiency on one instrument, you can apply that experience to instruction on any other instrument, making it possible for you to instruct students from a beginning to intermediate level of skill. The basic concepts of performance (tone production, tonal literacy, rhythmic literacy, technical development) are similar no matter what the instrument is. Learning the idiosyncrasies of each instrument is just a matter of time and experience once you have a firm foundation in one instrument.

Have a “Raison d’Etre” (Reason to Be) in the Practice Room

The human ego has an important job – it exists to protect the organism from harm and seek out pleasurable experiences. It tends to do its job entirely too well, which keeps us mired in patterns of behavior that prevents us from taking risks and avoiding unpleasant situations that push us outside our comfort zone. People in general are not willing to extend an effort to an end if the perceived result is not “worth it.”

For me as an undergrad, there was little motivation to practice because I could get by without it, and I didn’t understand the value of having a more advanced level of proficiency on the instrument. Once I understood the benefits of being more advanced on my instrument, I had a reason to practice. The first step as an undergrad is to find your own personal reason to invest the time and effort in practicing. It needs to be something that will motivate you when the drudgery of practicing is upon you.

Develop an Efficient and Consistent Routine

Once you have your raison d’etre, the next step is to develop a practice routine and stick to it. Developing a successful practice routine begins with scheduling. How often will you get in the practice room? How long will you spend there when you do? A few things to keep in mind when scheduling practice time:

• Shorter sessions on a more regular basis have a stronger long-term effect than longer sessions with less frequency. Two short sessions per day tends to yield excellent results.
• Scheduled times should be as consistent as possible, as in the same time every day or every other day. Develop a routine that flows with your class schedule, meals, ensemble rehearsals, and meetings.
• Have the same regimen in every practice session. In a basic half-hour practice regimen, I recommend 10 minutes of scales/arpeggios, 15 minutes of repertoire work, and 5 minutes of sight-reading or improvising. Touching on every aspect of your performance (technique work, literature, and musicianship) will keep you improving steadily on everything.
• Cycle through different items in each phase of the practice. For example, you may cycle through major scales in sharp keys one session, flat keys the next, then save day 5 of a weekday cycle for a review of all 12. In repertoire, you will have to break down etudes and sonatas into smaller sections. It is quite easy to spend an entire practice session drilling a technical passage. Alternate between sight reading and improvisation. You don’t have to be a jazz player to improvise a melody. Just pick a scale and try creating a melodic line.
• Depending on the timing during the semester, shift the balance of your practice session to focus on repertoire as needed. When approaching concerts or juries, more time will obviously need to be spent on the material for those performances. Sacrificing time on scales or sight reading during these “crunch time” periods is acceptable.

A Few Other Suggestions

• Know when to quit. The Law of Diminishing Returns states that as fatigue and frustration increase, the amount of productive progress you will make for the effort you put in decreases. Sometimes quitting early and adding the lost time to the next session is a good move. Practicing for hours on end does little to help you improve if it is unfocused and disorganized. It also contributes to overuse injuries.
• Make staying focused and on task a part of your practice. See if you can go 10 to 15 minutes or longer of straight repetitions before taking a break. Focus is the key to success in just about any endeavor.
• Sometimes taking a five minute break yields great results when you return.
• Consider keeping a written practice journal to keep track of what you worked on and how it is progressing. You can detect trends in your routine that are effective or less than effective.
• Occasionally record a performance of an excerpt. Recordings are very unforgiving and point out the smallest of flaws. Listen to them with a grain of salt – human perception is focused, not general like the recorder, so your audience does not hear all of that, either.

Effective practicing is about being consistent and developing a routine that you will stick with. As Aristotle once said, “We are what we repeatedly do. Excellence, therefore, is not an act, but a habit.” Developing a successful practice routine can be akin to developing a healthier diet – it is a long-term change in habits. But then, what would undergraduates know about healthy eating habits? I certainly didn’t have them.

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This is a recap of a session that was presented at the Midwest Band and Orchestra Clinic in Chicago, IL on December 17, 2009. The session was live-blogged on MusicEdMajor.net, and you can view a replay of the live-blog by visiting the Midwest landing page

As music education students, we spend a large number of hours of our life practicing our instruments. However, we also recognize that this will likely not be the case for our future students, may of whom will not be planning on pursuing music as a career. This, however, does not mean that their practice habits should be ignored; these students are just as capable of performing great music as those who want to pursue music as a career. This presentation focused on strategies for increasing the productivity of student practice time.

Goal-Based Practice

One of the important principles that the presenters stressed was the need for goal-based practice. Setting goals for practice allows students to have benchmarks that are tangible and clear, which creates a significantly easier practicing environment than just sitting down with no plan. In addition, having students set goals for themselves allows them to experience self-evaluation, another extremely important skill.

What Can We Do?

As educators/directors, there are tons of ways we can help establish effective practice habits in our students. Here are just a few ways teachers can go about instilling productive practice habits in their students:

• Be clear in our instruction-84% of teachers say that they instruct their students on how to practice, but only 60% of students say they receive instruction. The point is not getting across!
• Alternate between slow and fast rehearsal tempos, rather than starting slow and gradually increasing speed. Research shows alternation in rehearsal tempo leads to a more rapid increase in performance tempo.
• Record and evaluate! This doesn’t just mean recording your rehearsals and listening to them later on your own (although this is a great strategy). Play the recordings for the students, and allow them to self-evaluate. Sometimes hearing yourself play can motivate you to fix errors that you hear.
• Use aural models where possible (singing what you want to hear, playing recordings, etc.). Research proves it is more effective. If you can, establish a “lending library” so students can check out CD’s to listen to on their own.
• Model your rehearsal around a practice session. If you find a passage that needs work, use practice strategies such as simplification, mental rehearsal, and varying tempo with the full ensemble. Be sure to point out that these techniques are just as effective in individual practice.

Two Types of Practice Strategies

The presenters highlighted the fact that there are two types of practice strategies, each vital to the success of a performer:

1. Playing Strategies-These are practice techniques that are utilized through performance. Playing strategies include simplification, mapping, and varying tempo.
2. Non-Playing Strategies-These techniques can be utilized without an instrument, and are sometimes more effective than spending time repeating the same passage over and over on the instrument. These techniques, including score study, mental practice, and using a notebook to track progress, can usually be used anywhere, and can foster greater music-making upon return to the instrument.

This session was extremely informative, and highlighted many research-based strategies for improving the productivity of student practice time. Thank you very much to Bill Bauer, Stacey Kolthammer, and Matthew Schattt from Case Western Reserve University, for sharing their thoughts on the topic!

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Photo Credits: Front Page Image – Gil Searcy, Student – Cehwiedel

Disclaimer: This post is a summarization of the thoughts/ideas presented by those leading the session. All thoughts/ideas are the intellectual property of the credited clinicians, and are in no way intended to represent original content developed by MusicEdMajor.net.

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As Music Education Majors, one way we can help prepare for the teaching world during our studies is by networking. Meeting the people who will eventually be our colleagues and administrators will help prepare us for the job search, increase our knowledge in the field, and leave us better-equipped to find the job we’re looking for. This 3-part series looks at three different ways we can use networking to our advantage.

Before diving into this very broad topic, think about these questions:

• How many hours do you spend on the computer?
• Of those hours, how many of them are on Facebook?
• When you’re on the computer, how would you rank the ways in which you use it? (think: schoolwork, talking to friends, listening to music)

The term social networking is one that tends to scare a lot of people. In reality, many of us already engage in social networking on a daily basis! We just network with our firends and family, instead of professionals in our field. Regardless of how we go about it (this post will outline just a few of your many options), any means of meeting current music educators online can be considered social networking, and will help you create relationships that will help you as you prepare for your job search.

What Are The Benefits of These Relationships?

There are many benefits to establishing relationships with other people (current and future professionals) in your field. Here are a few ways you can gain from having other Music Education students, as well as current teachers or administrators, as a part of your social networks:

1. Mentorship – When you begin teaching, it will be extremely helpful having experienced teachers in your network to talk to. These people can act as mentors to you, helping you through the potentially difficult situations you may encounter in your first year teaching.
2. Collaboration – As a whole, the Music Education curriculum does not vary very much from one college/university to another. All students will take certain courses, and having other Music Education majors in your social network can give you the opportunity to bounce ideas off of like-minded peers. Additionally, this can give you the opportunity to discuss certain ideas that may not have been discussed in a course at your school, but were brought up in a similar class at a school one of your peers attends.
3. Job Hunt – When it comes time to look for jobs, it will be to your benefit to have name recognition in the area you want to teach. One way to do this is to establish relationships with professionals in the field.

What Kind of Relationships?

One reason many college students shy away from the idea of social networking on a professional level is that they worry about needing to have professionally-oriented discussions all times. This is actually not the case, and in fact, developing a more informal relationship with a current teacher/administrator has the potential to be almost more of a help than a formal, exclusively professional relationship. What does this mean? Don’t feel like you have to discuss business ALL the time! There’s nothing wrong with taking some time to talk sports, fashion, or whatever else interests you both. This will help you stand out among other future teachers in some people’s eyes; it’s good for people to see that you’re human!

That being said, there are a few considerations to take place any time you are discussing with someone who has the potential to become an employer, colleague, or student in the future. Here are some things to think about to that end:

• Don’t have public pictures of yourself engaging in illegal or otherwise dangerous activities (underage drinking, drugs, excessive drinking, etc.). If you wouldn’t be comfortable with your grandmother seeing it, don’t make it public!
• Use proper grammar and punctuation. Show people that you are a mature, educated person by refraining from using common short-hand communication like “thx, lol, u.” Use proper capitalization and punctuation (think capital “I’s” and apostrophe’s in “don’t, can’t, etc.). Even if the topic of conversation is informal, showing that you’re well educated will make a good first impression.
• Be thoughtful. Show that you’re thinking about what is being said, and are taking into consideration the ideas that are being brought up to you. Nothing turns someone away more than feeling as though the person they’re talking to isn’t listening to them.

Where Do I Start?

Here’s the best part-you probably already have! Here are a few social networking services you may want to be involved in, as well as a short explanation of it’s advantages. Also included are resources for finding professionals in the field of Music Education on these networks.

1. Facebook

Believe it or not, this social network that almost everybody is on already can be beneficial for more than just connecting with friends. If you start to connect with current educators, this connection can bring even more connections! Consider becoming a fan of the Band Director Facebook Page to find discussion on issues involving instrumental music education. Also, if you haven’t already, check out the new Music Education Major Facebook Page!

2. LinkedIn

LinkedIn is a less popular (but by no means less useful) network that is more professionally oriented. It allows users to keep a record of their professional experience and connect with other users to see their ‘resumes.’ When you connect with someone, you are asked to explain how know that person (coworker, employer, employee, collaborated, etc.). You can even specify the job during which you met this person from the list of positions you told LinkedIn you have held. LinkedIn also provides the opportunity for someone you worked with to recommend you, discussing positive contributions that you brought to the project. It allows other users considering whether or not to work with you the opportunity to see how you have contributed to other projects you participated in.

LinkedIn is a great way to network on a professional level with other teachers, future teachers, and administrators. It also is extremely helpful in allowing you to keep track of your experiences and qualifications. If you, like many others, don’t update your resume often, LinkedIn is a fantastic way to keep track of what you’ve been up to, and a great point of reference once it is time to update it!

3. Twitter

Twitter is a “micro-blogging” service that allows users to post their status (in a similar way to Facebook) with updates that can’t exceed 140 characters. One of the great parts of this service is that it forces you to be concise in what you say. The other great aspect of Twitter is the fact that it can connect you to tons of people you may have never otherwise expected to meet. Twitter is extremely user-friendly, and there is almost no learning curve.

There are also tons of services that you can use to locate Music Educators on Twitter. Here are just a few:

• Twitter Lists (like Dr. J. Pisano’s)
• WeFollow
• Twellow
• Search for #musiced or “Music Education” on Twitter to see who’s talking about it

4. Blogging

People tend to have this idea that you need to be an expert on a certain topic to blog about it. I urge you to take a step back, however, and think about what the word “blog” actually means; it is just a shortened way of saying “web log.” In other words, a blog is nothing more than a public online journal. Blogs are great places for gathering information and learning from a wide variety of people in a wide variety of areas and disciplines, as well as a fantastic way to make connections to other Music Educators blogging (believe it or not, there are tons; check out J. Pisano’s 100 ME Bloggers!).

There are plenty of blogging platforms that are all extremely easy to pick up. My personal favorite is WordPress (self-hosted, free), and many others prefer Blogger. For more short-form blogs that serve as an intermediate ground between full blogs and micro-blogs like Twitter, check out Posterous and Tumblr.

What Are You Waiting For?

One of the most intimidating parts of getting into social networking is just getting started. It can be intimidating at first, joining a website/network and not having any “friends” on it yet, but hopefully the list of resources above will help you get started. My biggest piece of advice is don’t wait one more minute: get started NOW! These services are great ways to meet other music educators to have questions answered, and establish relationships that could help you down the road. There is a wealth of information and opportunities out there for the taking.

[Begin Shameless Plug]
You can definitely have at least one contact on each of these services: me! Here’s all my information for the services I’ve mentioned above:

Facebook: Andy Zweibel
LinkedIn: Andrew Zweibel
Twitter: @Zweibz7
Blogs: This one! And http://andyzweibel.com
[End Shameless Plug]

Has social networking helped you out as much as it’s helped me? Share your story in the comments, and help continue the conversation! Also, stay tuned for part 2 of this series: networking at conferences.

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Photo Credits: Front Page – 10ch via Flickr, Logos – mandymaarten via Flickr

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