Marshall Music Company Dropout Survey Factors influencing beginning students decisions to discontinue band or orchestra by: William W.

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1 Marshall Music Company Dropout Survey Factors influencing beginning students decisions to discontinue band or orchestra by: William W. Gourley In a survey of music educators by School Band and Orchestra Magazine in April, 2003, 57 percent of directors said retaining students in their programs was a greater challenge than recruiting them and five percent felt it was equally difficult to keep students in band or orchestra as it was to recruit them. If we do the math, 62 percent of the music educators felt keeping young musicians in the chairs is more difficult or equal to getting students in the chairs in the first place. Through the years there have been many studies to determine the causes of student dropouts from music programs. A 1994 study by J. David Boyle, Nicholas J. DeCarbo and Douglas M. Jordan of the School of Music at the University of Miami Coral Gables, Florida asked fifty middle school and junior high school band directors in three counties their views regarding the reasons for student dropouts. The results echoed previous research cited by the educators, loss of interest, scheduling conflicts, lack of parental support and competing interests in sports were among the highest rated reasons for student dropout from instrumental music study. However, student lack of commitment to work was the most highly rated reason for student dropout. The 1985 Gemeinhardt Report 2, compiled by J. D. Brown, had similar conclusions with the University of Miami study. In a report to the Music Educators National Conference in 1972, G. L. Duerksen quoted one study reporting, That 34 percent of the students surveyed indicated that they dropped out of the instrumental program because their instrument was too difficult. Fiftyfive percent of those reported loss of interest as the primary reason for students dropping out of their programs. Marshall Music Company has just concluded a statewide telephone survey of 776 parents of students who had returned rental instruments within the first year. The survey found that 29% of those who returned instruments were still in band or orchestra and were either playing a school owned instrument, using a relative s or friend s or found an instrument at a cheaper price in the classifieds. The overwhelming majority, 71% of those surveyed, had dropped out of the music program. The other surveys dealt with dropouts in the middle school years or overall dropouts from beginners through graduation, Marshall Music focused on just first year dropouts. To get a comprehensive perspective of the reasons for first year dropouts, parents were asked to select one or two reasons for their child s decision to quit the program. (This is why the percentage totals equal 122%). As the results show, there are some commonalities in all surveys. The universal challenges of conflicts with scheduling (8%) and extra-curricular programs (6%), as well as time commitment (6%) were cited but not the major reasons for dropping out. Reasons for dropping out receiving less than 4% included; music classes outside of the normal school day (2%), class moving too slowly (1%), wanted to play a different instrument (3%), failure to improve (4%), just trying it for a year (4%) and, surprisingly, friends quitting (4%).

2 Marshall Music Company First Year Dropout Survey Scheduling conflicts with other classes 8% Too time consuming 6% Music conflicts with extra-curricular programs 6% Music classes scheduled before/after school 2% Lost interest 38% Class progressing too slowly 1% Friends quit the program 4% Wanted to play another instrument 3% Did not practice 16% Did not like the teacher 10% Was not improving 4% We thought we would try it for a year 4% Did not like band/orchestra 20% Some parents cited more than one reason causing the total of the percentages to equal 122%. The reasons most cited by parents for students dropping out of band or orchestra in the first year were; lost interest (38%), did not like band/orchestra (20%), did not practice (16%) and did not like the teacher (10%). How can music educators use the results of this survey to assist in their efforts to keep students involved in their ensembles? When we look at the various reasons parents cited for their children quitting we notice there are areas we cannot control. Scheduling conflicts with classes and outside school activities are inevitable. Time commitment issues are somewhat under our control but practicing is an inescapable part of the child s musical development. There are a few areas over which we can exercise control. Overwhelmingly, the two factors cited most by dropouts are a loss of interest and the child did not like the class. I would suggest that these concerns are related and generally the same reason. If you find something interesting, it is unlikely you would not enjoy the activity. To expand on this, if the student finds the class interesting and enjoys the experience he/she is probably (not in all circumstances) more likely to practice. What I am suggesting is if we can find a way to address the child s loss of interest as sited by 38% of the parents, we in fact eliminate the students who quit because they did not like the class (20%) and to some degree encourage the 16% who quit because they did not practice, to practice and stay in the program. Seventy-four percent of the participants cited one of these reasons for dropping out. Just by focusing on maintaining student interest, music educators can greatly impact the dropout phenomenon. It should be noted that some parents may have given two reasons for their child s decision to quit the music program. It is likely that some cited both, lost interest and, did not like the class options or any combination of others thereby slightly inflating the percentages. That does not change the fact that student interest and enjoyment of the class are cited by far as the reasons students quit. We need to ask ourselves what causes an eleven or twelve year old to lose interest in a music class or to not like playing an instrument? It can be difficult for music educators to comprehend such an attitude. We need to realize the world of a twelve year old today has similarities to the days we were twelve but has many differences as well. The typical fifth and sixth grade student has always been eager to explore new things, get involved, get their hands dirty and possessed a relatively short attention span. In

3 band or orchestra the excitement of making music and holding onto a brand new instrument with the expectation of playing Beethoven, Sousa or Star Wars is overwhelming. Unfortunately, realization of those expectations can be years beyond the patience to get there. Competing for that energy and the student s lust for immediate gratification today are web design classes, hockey, equestrian teams, soccer, academic games and Play Station 2. They Come To Play What do you think is more exciting, showing your students what a whole note and whole rest are or playing Hot Cross Buns after the first lesson? This is not to suggest it isn t important to know note names and values. What I suggest is getting them to rote play Hot Cross Buns first. Then, teach half, whole and quarter notes, note names and values while relating it to the song. I taught the first three or four pages of the method book by rote then the students just attached the symbols to the sounds. It is much the same way reading is taught in kindergarten and first grade. The teachers use familiar words and attach the letters to them. A by-product of this method is it forces the young musician to focus on the aural aspect of music. One of the main problems of music performance is amateur musicians focus too much on reading notes at the expense of listening to themselves and the ensemble. Rote teaching or hand-to-ear creates an environment where the students are playing most of the class period rather than listening to an instructor verbalize everything. If the student can play the concept, whether it is a new note or rhythm, the instructor just has to say, You know that first note we give two beats? Well, we call that a half note and it looks like this. Let s play Hot Cross Buns again and you tell me how many half notes we play. Or, You know that first half note in Hot Cross Buns? Cornets and clarinets that is an E, flutes, trombones, baritones, tuba and bells, that s a D. Saxes it s a, B and French horns it s an A. Saying this while you point to it on the board or overhead incorporates visual and aural learning while having the benefit of attaching a known skill (playing a note) to an unknown concept (the note name, value or symbol). In the beginning stages it is imperative we get the students playing and not overwhelm them with theory. After all, don t you remember your music theory classes in college? Didn t you prefer playing in the ensemble to struggling through twelve tone rows? Repetition Can Be Fun Repetition is an integral aspect of music making. Playing scales, finger patterns, rhythms, bowing, articulation studies and tone development are our ever present companions as musicians. How can you keep a student from losing interest and still play the same exercise over and over? Inexpensive portable keyboards are invaluable in keeping the class new and innovative. Playing the same exercise to different accompaniments from a march to hip hop disguises repetition. You can ask groups of students to play to an accompaniment first followed by the class. Have the class say note names and finger the passage or clap rhythms over the keyboard accompaniment. And, it is fun. Including learned material (songs, technical and rhythm studies) from four, eight, even twenty weeks earlier in the year allows students who are having problems with the current material to enjoy some success each day on previously learned material, even if it is Hot Cross Buns from page 8. It also encourages review of acquired skills and keeps the student playing.

4 Pacing, Friend or Foe Too often the pacing of the class is confused with material covered. If we look at our survey, just 1% of the parents cited, class progressing too slowly as a reason for their child quitting. In an effort to progress through the book with the page-a-week mentality we are just plowing a field a mile wide and an inch deep, there isn t a great deal of productivity. Remember they come to play. Some days we may only be able to teach two new exercises on a page. To keep the students engaged, at least two thirds of the class period should incorporate review of previous material including fun tunes in the book. New concepts need to be restricted to less than a third of the class period and as much of that time as possible has to be taught doing and not explaining. To be sure, there are exceptions to this rule but to keep the students interested and enjoying orchestra and band they need to be playing and reviewing familiar material. This will drive the plow deeper reinforcing skills and create a feeling of accomplishment in the students. If the majority of the class is spent struggling to perform music and exercises that most of the students have difficulty playing, music class is perceived as difficult and students lose interest. If most of what the students play is material they have mastered they are reminded of how far they have come from the days they struggled through an exercise three, six or eight weeks ago and gain a feeling of accomplishment. This helps maintain student interest. Mix It Up Students can learn musical concepts and stay engaged (playing) without instruments. Make up games to teach rhythms and note names. Flash cards are okay but they re used in math, reading, language and science. I played baseball or football with the class by having successive students call out note names in rhythm for a measure throughout a song. Every correct measure was considered a base runner crossing another base. Three measures without a mistake was a man on third. Two more correct measures scored the man on third and put a man on second, etc. This reinforced the lesson material but approached it in a different and fun way making it interesting. I could also direct easier passages to students having difficulty so they could beat me. This was especially effective if they could bring in the run and receive the cheers of their classmates. Be prepared, this can get noisy and too much fun, Heaven forbid. See ewsletter Archives-Educational-The Games We Play by Al Johnston To encourage practice have a Practice Card Lottery Day. You just select a student, and someone selects a day. If the student practiced on that day, no matter how little, the entire class gets a prize (maybe a small candy bar). If the student did not practice the teacher gets the prize. No matter who wins, it keeps things fun and fun is interesting. See ewsletter Archives-Here s an Idea More Performance Opportunities The real excitement of music making is the doing not the practicing. Imagine a football or basketball team that practices all season and plays just one game. Where is the reward for all the hard work? If students do not get to enjoy the rewards of a performance and parents do not get a chance to witness the collective progress of the ensemble we are missing two great motivators in keeping students in the program. These do not need to be elaborate affairs. A simple fifteen minute cookies and tea demonstration after six or eight weeks at a school open house or parent organization meeting will not only excite students and parents, it will be appreciated by administration and get the program in front of the

5 community producing support for the program and future musicians. Try to get in three or four short performances in the first year. See ewsletter Archives Educational Beginning Band and Orchestra, the roots of a successful program by William W. Gourley Give Plenty of Recognition It is hard to beat a pat on the back to create enjoyment. There are numerous ways to recognize students achievement. Bonus stars or stickers or small 3 x4 SuperStar take home certificates that recognize progress including posture, behavior, performance or improvement are daily incentives that make the class fun. A first performance certificate presented at the concert is an opportunity for everyone to have their moment in the spotlight and helps reinforce the music making experience. The Marshall Music Dropout Survey offers good and bad news regarding the struggle to keep students involved in beginning band and orchestra. The good news is: scheduling, extra-curricular activities, peer pressure, out of school classes, and time commitment were cited by 28% of the parents as reasons for quitting. Granted, this is significant but probably less of an impact than we might have thought. The bad news is 78% of the parents cited loss of interest, not liking the class or not practicing as reasons for their child dropping out. Fortunately, the areas most cited for student dropouts, interest and liking the class can be addressed by the music teacher. Implementing strategies that keep the beginning band and orchestra fast paced and exciting will enhance the beginning ensemble experience and, hopefully, decrease the dropout numbers in the first year.