Final Lesson Reflection

For my final lesson I decided to redo and improve on my initial lesson on national anthems from around the world.  I attempted to incorporate guitar playing and little bit of singing to make the lesson a little more musical.  While I did achieve a more musical experience, I feel like a struggled to flow from playing/singing (which was very high energy) to speaking (low energy).

I also added a KWL chart and had students write down their reaction to my video clip rather than talking in groups.  While I am happy I had the class write out a hard assessment, I feel like I lost a bit of the spontaneity I enjoyed so much in the first lesson.  Also, I do not think the video hit as hard primarily because the class had already seen the clip before and knew what was going to happen.  Also when describing the characteristics of Epic Latin Anthems, I did not allow the students to make the connection between colonization and European-sounding Latin anthems.  I felt like I lectured a little too much for my liking.

Mr. Schneider mentioned in his comments that there is one VERY IMPORTANT video clip I could have definitely shown during my lesson:

For those of you that are not familiar with this clip.  This scene is from the 1941 masterpiece Casablanca.  In the scene (which you can read more about here), the film's main character, Rick, strikes up the band for a rousing rendition of the French national anthem La Marseillaise; overpowering the Nazi Germans singing Die Wacht am Rhein,  The scene recognized as one of the most important scenes in the history of cinema and a wonderful example to remind students that they hear national anthems in cinema and television.  All students should analyze this scene in a general music or integrated arts course for its cultural and historical significance.

On the plus side, I did save a bit of time by having students write things down during the clip which kept me right on schedule amidst technical issues.  Overall I am very satisfied with my lesson and I am merely being super critical of my mistakes and flaws.  I look forward to one day teaching this lesson to my future students and continue to improve my overall flow of my lessons.

Building an Audience

As music educators, how do we build an audience for our programs?  Should we be worried about attendance at concerts?

Concert attendance is a very visible representation of how well a music program is supported by the school community as well as the local community.  In some cases, concert attendance might hold more weight than assessments.  I believe that music educators should be concerned with concert attendance.  I agree with with Dale that large programs have a big advantage over small programs as far as filling up a performance venue is concerned.  Therefore, the best way to increase attendance at our concerts is to build our enrollment over time.

Students are the best ambassadors and recruiters and I, along with my students, need to be very active recruiters in order to increase enrollment.  If I am doing my job well and I am truly awakening possibility in each one of my students, they will talk about their achievements in their music classes and ensembles on the bus, in the cafeteria, and at the dinner table.  The goal is to generate buzz and curiosity about the program and prepare concerts that live up to the hype.

School concerts should not only be culminations of what ensembles have accomplished over the span of a semester, but EVENTS the whole school community can enjoy from younger siblings to great grandparents.  Why sit in a seat for two hours listening to ensembles when you can enjoy a meal at the same time, or set up a dance floor for your jazz concert?  If your music program is very small, maybe a smaller concert space is more appropriate than a large auditorium, or have all ensembles perform on the same night to fill a larger room.

In most secondary level situations, I think music educators should actively strive to create and/or maintain some sort of tradition.  Maybe your concert is held on a particular weekend every year.  Maybe your students wear bowties or scarves in the school's colors.  Maybe your chorus performs a piece each year with orchestral accompaniment or with a rock band.  Maybe there's a pizza party or pasta dinner before the concert as a sign of camaraderie.  Creating and maintaining traditions can have a lasting impact on a school district for generations to come.

Thoughts on Fundraising

Hey guys!! It's good get back to blogging after a very productive April break.  I must say, it was really nice to hang out in UB's music department all week and pretend to be an undergrad music major again.  

On to this weeks topic, fundraising.  Specifically, should we have to rely on parents and fundraising to run a modern BOJC (band, orchestra, jazz, choral) program?  Like many of the topics I've talked about on this blog, this is the first time I'm developing a philosophy on fundraising, so here we go.

I want my students to have the best opportunity to use quality music equipment.  With today's advancements in music technology, quality music equipment has become much more affordable (I'm talking about speakers, microphones, and amplifiers, NOT tubas, violins, and cellos).  I really like to be current with the trends in music equipment and I believe that I can build a choral+general music program on a smart and friendly budget.  My school budget would be dedicated primarily to purchasing repertoire, essential music equipment, and maintaining school instruments.  I have absolutely no problem using my own equipment in my classroom if it gives my students the best opportunity to create, perform, and respond.

In my ideal music program, fundraising would be set aside for funding special events and class trips.  I have a very DIY mentality and I'm not very comfortable with asking parents to volunteer their time to work fundraisers and invest time and money into my program.  This is something I am really going to have to work on in the future.

On the flip side, Instrumental ensembles require instruments that are very expensive and I am much less of an expert in the price ranges of these instruments.  I believe that students should have their own quality instruments and parents should be very informed on their options when financing an instrument.  However, large instruments, such as double basses, bass drums, and some low brass instruments should be owned and maintained by the school.  Fundraising is very necessary to purchase and maintain such instruments for instrumental program.

To wrap up, I believe fundraising is not as necessary to maintain a modern choral or general music program, but a definite must for band, orchestra, and jazz ensembles.  I still have tons to learn about budgets and funding and I look forward to learning more about the matter from my fellow classmates and colleagues.

Movie Reflection: Chops (No Spoilers!)

The 2007 documentary Chops follows the Douglas Anderson School of the Arts' jazz combo from the first day of school to their participation in the Essentially Ellington High School Jazz Band Competition & Festival.  The prestigious competition is hosted by Jazz at Lincoln Center's artistic director Winston Marsalis.

The first thing that struck me was the level of musicianship all these young students had.  Many understand the elements of music and the elements of jazz far better than I do.  It's pretty intimidating.  The culture of music programs with traditions of competitive excellence something I'm not familiar with; yet I find it quite fascinating.  

When I see movies like Chops and TV shows such as Sing it on! and Taking the Stage (throwback!) I often think to myself, "What if I took guitar lessons at 6 years old?  What if I payed more attention to music than sports growing up?  How different would I be if I attended a performing arts school, did all state choir, and sang Division 1 a Capella?  Did I miss out?"

Sure I'd most likely be a way better musician than I am right now.  But you know what?  I'm very happy with where I am, where I'm going, and what I've accomplished on my never ending quest to master my craft as a musician and as an educator.

The students in Chops are clearly passionate about music and have a love and respect for jazz that's beyond the comprehension of most teenagers.  How can I create a culture where my students love music to the extent of these incredibly talented young musicians?  Then I'm introduced to the fabulous Wynton Marsalis:

The first thing that people want to know is that it's alright to be themselves.  If you're six years old you wanna know that.  "Hey, is it alright for me to be me?"  And jazz tells you, "Yeah man, that's the thing that IS alright."

-Wynton Marsalis

What a fantastic thought!  In that moment I instantly thought the singers in my internship's glee club. I think of how many students try to impersonate their favorite pop singers; clearly not singing as themselves.  How many of these students don't think their own voice is good enough?

I can create love for music and performing in my classroom by creating a culture where individuality is praised; where kids learn to love themselves as musicians and as people.  A culture where kids embrace the highs and lows of the journey from first rehearsal to final concert.  A journey where student's find their own voice or style though proper technique and learn to blend their unique timbre with the rest of the ensemble, creating one voice, one heartbeat.

My job is to awaken possibility in other people.  If their eyes are shining, you know you're doing it.  If  they're not shining you get to ask this question: "Who am I being that my children's eyes are not shining"

-Benjamin Zander