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Research Questions

Posted June 29, 2009
A few months ago, one of my readers emailed the following questions for research purposes.  I thought they would make for good discussion here:
1.  Which of these topics is the most difficult for you to teach elementary age music students?

Introducing Instruments ______

Music Theory ______  If so, please choose specifically:  Chords ____ Scales ____ Musical Form ____ Intervals ____ Rhythms ____ Notation ____

Composers lives and works ______

Music Appreciation ______

Songs ______

Ensembles (including quartets, barbershop quartets, the orchestra, choirs) ______

2.  What if there was a teaching curriculum that covered off on a wide range of basic music theory to more obtuse composers all delivered on DVD.  How interested would you be in using that type of resources?
Unlikely ______
Likely ______
Somewhat Likely ______
Very Likely ______
Have you attended MENC's national conference? if so, is it mostly performance based?  or resource heavy?

Expectations

Posted January 30, 2009

The following post was originally written for and posted at http://hamiltonhaltonormtaeducationblog.blogspot.com/, a new blog for parents and students of teachers in the Hamilton-Halton region of the Ontario Registered Music Teachers' Association.

With every new year comes a set of expectations and hope for what we can accomplish in the future.  As a student, or the parent of a student, you too have expectations for the new year.  Expectations motivate us.  They drive us and cause us to invest time and money into the dream of being able to perform at a high level.  This is a good thing.  As music teachers, we’re thankful for expectations.  They keep us in business.

The expectations are not fruitless.  Many of our students excel and go on to become professional musicians, church musicians, teachers and choristers.  Many more maintain their skills throughout life and play “for their own amazement.”  However, there are a few who fall off the wagon prematurely and fail to achieve the expectations they once had.  While there may be a variety of reasons for these students wandering away, more often than not, it is a failure to understand or meet the expectations of their teacher.  Below is a partial list of expectations that professional music teachers have of their students and/or parents.

Practice

There was a time when this was a given.  Music lessons meant practicing.  But with so many different activities eating up our lives (soccer, swimming, dance, drama, etc.), music lessons are sometimes lumped together with the other weekly activities as if they are just another time slot in the calendar.  Soccer practice is a time for practising soccer skills.  Swimmers improve their stroke and endurance during swimming lessons.  Students of dance progress during their dance class.  Musical progress, however, cannot take place exclusively during a 30 or 45-minute lesson.  Music lessons are a time for evaluation, correction, instruction, and planning.  The majority of the learning takes place in regular practice sessions at home.  When a student comes to the lesson ready and eager to display to the teacher what they have accomplished, the lesson is exceedingly valuable.  The teacher can help the student take the next step in perfecting their performance, or push on to new repertoire.  Lessons are not intended to be practice sessions.  If they are, progress occurs at a snail’s pace and lesson fees are often wasted.

Perform

Music is a performing art.  As teachers, we expect our students to perform.  Some teachers have studio recitals, master classes, and group lessons.  ORMTA sponsors many recitals and competitions throughout the year.  The Burlington Rotary Music Festival is held each November, providing an opportunity to showcase the efforts of students.  Though some students will experience some initial nervousness about performing, this can be overcome or controlled over time.  Don’t hide your accomplishments.  We want to hear you perform!

Follow policy

As professionals, we each have a set of guidelines that enables us to operate an efficient and fair studio.  In order to maintain an effective relationship between teacher, student and/or parents, we expect you to pay for lessons and classes on time, according to the terms of our policies.  We expect you to be familiar with and abide by our policy for missed lessons.  Please contact your teacher if you do not have a copy of their policies.  Remember that communication prevents many misunderstandings.

 Individual teachers may have other specific expectations for students.  While we will likely not discuss our differences in a public forum such as this, I have tried to represent (unofficially) what we as professional music teachers think is essential to a student’s success.  All the best as you strive to achieve your expectations in 2009!

Show me the data!

Posted November 12, 2008

Sorry for my long absence.  I've been working hard at getting my online theory classes started.  I'll write a post on that in the future.

This is actually a follow-up to my post on "Proving Music Works."  I ran across an article in the Canberra Times regarding the role of music education in the curriculum.  It's the age-old story of music teachers fighting for their place in the world.  In the article, the following statement appears,

"Studies have shown music education has many benefits, including increased cognitive ability and teamwork skills."

And then they move on.  What studies?  I'm not doubting, nor am I surprised.  I'm just looking for a link or a document.  Are all of these studies shelved in libraries or the Journal of Research in Music Education?

My thesis: The data supporting music education ought to be more public.  Vague statements about studies done somewhere aren't cutting it.

Am I right?

Private Home Studio Ideas

Posted October 9, 2008

Music Teacher's Helper posts some practical ideas for the private music teacher in the following categories.

  1. Be considerate of your neighbors:
  2. Be a good citizen:
  3. Honor your spouse and family:
  4. Respect your students with a functioning studio:
  5. Protect everyone from life’s uncertainties:

 

What sort of problems have you encountered with the day-to-day running of  a home music studio?

Noteflight

Posted October 8, 2008

I just caught wind of a new online music notation system called Noteflight.  I was skeptical at first.  I'm a Finale guy and have even taught online courses on Finale Notepad (the free download).  But with Finale Notepad now costing $9.95 (cheap, but not free), and many people using free software services, such as Google Docs and Zoho, I can see this online thing taking off.  It's a bit limited and I still love my full Finale version for its massive capabilities, but Noteflight will play a role, if only to kickstart a movement toward online notation systems. 

I'd encourage you to create a free account and take a look.  I'd appreciate your thoughts.

I'm an ME Blogger!

Posted October 6, 2008

I wanted to let everyone know that Music Teacher Cafe is now an official member of the 100 Music Education Bloggers organized by Dr. Pisano at MusTech.net.  There you'll find a list of many other blogs by music educators of various stripes and specialties.  I'm happy to be a part of the broader conversation.

Proving Music Works!

Posted September 24, 2008

I ran across an article the other day extolling the virtues of music education.  Of course, I had to agree.  But it got me thinking.  Are we (the music education community) susceptible to using anything and everything to defend our profession?  How do we know that the studies that we like to hold up as proof actually hold water?  I noticed that the article I previously referenced used phrases like "Studies have shown," "It has been proven," and "Scientists agree." However, there are no links pointing me to any kind of documentation.  I believe that music education is always beneficial, but I'm not sure if I'm ready to debate it in open court.  Where do we find scholarly documentation on scientific research?

You did what????

Posted September 15, 2008

wii music screenshot

"So . . . what did you do in music lesson today?"

"We played video games."

"Excuse me?"

"We played video games."

"In music lesson?"

"Yes."

"You mean, I'm paying good money to have you sit and play video games, when you could do that at home just as easily?  What kind of education is that?"

OK, so it might be a hard sell.  But those who desire to incorporate technology into music education have a lot more options these days.  Here's an interesting article on music "games" (we could call them "practical experiences," or "virtual field trips") that can certainly contribute and add depth to our general music classes.

I'm curious to know how we can incorporate these type of products into our lessons/classes and maintain credibility with the skeptics (as illustrated above).

Ear Training Ideas

Posted September 12, 2008

ear

In response to my initial plea for topic ideas, I received the following email (this is a portion):

Possibly a good thing on the menu would be Ear Training ideas for young ones, or easy tune suggestions for playing by ear (gear it to grade 2 - 5, then gr. 6-8).  I'm always looking for suggestions for those.

Also, working in exercises for ear and keyboard harmony for grades 8 - 10.  I find it tricky to find effective exercise ideas that don't take a lot of time for students studying at this level.  Repertoire and technique and sight reading are enought to manage.  I'd love suggestions!  I know there are books on the market, but I haven't found time to research all the options and I don't know what to recommend.  There's always money going out of parents' pockets, so I'm careful about what I ask them to purchase.

So I'm posting this hoping to start a discussion about the various methods and resources out there.  My favourite is the Four Star Sight Reading series (Levels 1-8).  In my opinion, they form a good sequenced approach to reading if used regularly.  (There's the rub.  Getting students to do it consistently.)  But they also include ear training exercises that are helpful and linked to their sight skills.  The Bennett and Capp series do this as well.

I also encourage students to sing the scale with solmization syllables.  Even though they prefer to name intervals on an exam, making them sing, match pitch and be able to vocally "climb around" on the scale is essential to building the inner ear.  Week 1 I'll assign them Do-Re-Mi, starting on different pitches, then add Do-Mi-Do.  Week 2, Do-Re-Mi-Fa, then Do-Re-Fa-Re-Do.  Week 3, Do-Re-Mi-Fa-Sol, then Do-Mi-Sol-Mi-Do.  And so on, until they navigate themselves through the scale no matter where we plant movable Do. 

Another good online resource is found at musictheory.net: http://www.musictheory.net/trainers/html/id90_en.html.  It's a built-in interval trainer that is adaptable to the specific requirements of particular graded exams.  Lots of other great resources here too!

I'm interested to hear from someone who has used the Perfection Ear CDs.  What are these like?  Are they helpful?  Any particular helps for keyboard harmony?

Conducting a Student Group

Posted September 11, 2008

baton

If any of my readers happen to be conducting a student ensemble for the first time this year, especially instrumental groups, you'll want to note Sandra Dackow's tips for new conductors.  As a conductor, I can vouch for each of these, although I'm probably guilty of "counting off" frequently, especially with students and amateurs.

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