Seasoned choral musicians know that professional change

Transcription

1 B Y J U D Y B O W E R S Seasoned choral musicians know that professional change is inevitable and have likely realized that leaders within the profession can either shape the change or adapt to the change they simply allow to occur. Since there is an element of choice embedded in almost any evolutionary process, it may be valuable for each of us to reflect on the present and isolate important choices that lie ahead, perhaps considering issues from two perspectives: the big picture (a look across the entire profession, i.e., the greater good) and the little picture (personal choices based on individual needs or preferences). I would further suggest that an over-arching principle should guide professional choices: do no harm. In other words, be sure choices made for the little picture don t create unintended consequences that undermine the big picture, and vice versa. Societal Evolutions We Cannot Ignore Among the many educational issues affecting choral music programs and teachers, four related issues will be addressed here: technology and students, a need for relevant pedagogy, public/political support of the profession, and the cost of allowing music teachers and programs to fail. Though individually worthy of study, these topics become even more important when viewed in relationship to each other. Much like falling dominoes, when one is moved, it affects the others evolving choral students may require changing pedagogy, the perception of which could affect the level of support by public/political leaders who could also choose to limit support for failing music programs. These issues do stand alone, but they are also interrelated. Southwestern Musician January

2 Choral teachers must decide which parts of the choral culture, both academic and social, need to evolve along with the students. Choral music leaders in every state maintain sharp focus on issues facing music programs generally, and choral programs in particular. While these leaders do speak for the membership, a case can be made that all choral professionals should gather information and think critically about what action is needed and for what purpose. To that end, each of the following sections will conclude with a leadership agenda. on Students in Music Classes Technological advances affect how we all live our lives to some degree and do absolutely affect students who walk into choral rehearsals. One example is a paradigm shift in the decision-making process. For some, making a decision now involves social media. Today s student might strongly consider the immediate feedback that 50 of their social network friends offer. This is surely a change from simple peer pressure and certainly diverges from a sequenced decision-making model taught by guidance counselors. Another example might be the evolution of personal organization and long-term planning. More than a few students live in the moment and simply text or call to make arrangements spontaneously rather than leaving home in the morning with a well-planned day ahead. Choral teachers must decide which parts of the choral culture, both academic and social, need to evolve along with the students. Continuing to teach students as we always have ignores the fact that many students are no longer who they always were. For professional leaders, understanding student changes and differences and creating an environment in which students can thrive, or at least survive, is essential. In order to accomplish this, leaders must strive to be informed and remain current. Changing Pedagogical Approaches for Evolving Students With societal and school cultures constantly evolving, how teachers provide instruction needs to be considered. National reform movements have broadened support for music programs based on the rationale that life is richer and better when the arts educate human emotions and create opportunity for aesthetic experiences. From this positive step came the reality that, if this rationale is true, all should have arts access. Another outcome of validating the arts has been that, along with teaching highly motivated and talented students, choral conductors also face students who choose to join a choir but may lack training, talent, or both. Therefore, in some choirs, current practice leads to excellent learning and performance, but with less able students, current practice may lead to frustration and less acceptable performances, reflecting student lack of training or ability and perhaps reflecting the teacher s struggle with nontraditional singers. Thus, these developing musicians need developmental choirs. Developmental teaching recently has been addressed in multiple 52 Southwestern Musician January 2013

3 Clark W Fobes Clarinet and Saxophone mouthpieces Responsive, Reed friendly, Reasonably priced! TMEA educators go to my website for a FREE Debut MOUTHPIECE Visit booth 1608 at TMEA and pick up a FREE Debut clarinet or sax mouthpiece. I will also have my full line of mouthpieces and custom clarinet barrels for trial and sale. We will also have our new PILGERSTORFER clarinet reeds for sale at a 10% discount! publications (Babb, 2012; Bowers, 2008, 2011), and information relating to such topics as adapting literature, developing appropriate vocal technique, selecting high-quality teaching materials, and teaching for transfer through use of rules for expressive singing can easily be accessed by choral teachers/conductors. The leadership implication for music pedagogy is that singers in developmental choirs need teachers who provide systematic instruction, sequenced to help them reach a level of independence that fosters a lifetime of independent music making. Examining Public/Political Support Levels Thorough analysis of public and political support for arts programs is well beyond the scope of this discussion, but there is an issue that choral musicians should contemplate: connections between arts participation and academic success. We are well past the rather simplistic music makes you smarter conversations, but other possible links between music and academic success have been discovered and reported. The Florida Department of Education provided data for arts 2013 Texas Summer Flute Symposium Sunday, June 9th Friday, June 14th SUMMER MUSIC Leadership, Drum Major & Colorguard Camp Sunday, June 16th Thursday, June 20th CAMP SERIES All State Choir Camp Sunday, June 23rd Wednesday, June 26th Blast of Brass Sunday, July 7th Saturday, July 13th A Member of The Texas A&M University System Log on to for more information 54 Southwestern Musician January 2013

4 enrollment and academic and social success. Examination of the school year (Kelly, 2009) indicated that all Florida secondary students experienced a positive relationship between academic achievement and arts enrollment. No statistical analysis was performed that might suggest one caused the other, but, simply stated, students taking arts classes scored higher grades, higher SAT scores, and had lower dropout rates than those students not taking arts classes. This was true for students taking only a single class for one semester, though gains were greater when students studied across four years. A second analysis was recently completed using Florida data, and findings were similar, despite more students enrolled in the arts. Because all student records were examined, the resulting academic/arts connections occur across all student populations, including at-risk, poor, minority, second-language, privileged, high-achieving, and talented. West Virginia completed a similar analysis using state data from and found that students taking arts courses outperformed non-arts students on almost every indictor (Whisman, Hixson, 2012), even when data were disaggregated for disability and poverty. West Virginia students were 1.6 times more likely (students with disabilities were twice as likely) to reach proficiency in reading/language arts if they took two or more arts credits, as opposed to the required single credit. The findings in Florida and West Virginia are not provided to suggest that these connections should justify providing fine arts programs. Music philosophers have long made the case that the arts are a vital part of education because they are a vital part of life. However, when decision makers face difficult choices about funding the arts, and particularly if they do not share a value system that includes the arts as a critical educational component, then providing additional findings regarding academic benefits seems an attractive option. For professional leaders, the question should be, What will be the result if a time comes when test data are not related to arts enrollment? Is there danger in courting public support through non-musical channels? Is it worth the risk? Evaluating the Costs of Letting Music Programs Fail Along with failing music programs due Texas Fine Arts Enrollment and Academic Ratings Similar to the results provided in this article from Florida and West Virginia, analysis of Texas enrollment and academic rating data shows a correlation between involvement in the arts and higher academic success. From the Advocacy section of the TMEA website, you can download a PowerPoint presentation that includes arts education, including state-level enrollment data showing how cam- to systemic failure or ill-prepared teachers, there exists the potential for increased failing music programs resulting from the possible intersection of the three issues already discussed: changing students, unchanging pedagogy, and diminished public support for funding arts programs. As change occurs, each choral music teacher must determine what is needed for sustaining their music program. This past summer I worked with Minnesota church and school musicians for a week, and I began by asking them to accept three goals that must be honored to sustain their programs through change: the choir must still be good, singers should experience a sense of pride in their work, and an aesthetic experience frequently must be possible. These three simple guidelines can filter any decision for change, and can safely shape choices such as literature selection, teaching style, rehearsal pacing, concert demands, time commitment, and more. It is possible to remain true to these guidelines and still have a very successful, evolving choir. So, why is this important? Because well-trained teachers are necessary for this to happen, and currently there are struggling teachers and programs in every state. While competition and high performance standards are worthy goals I personally value, it seems incomprehensible that we allow high achieving teachers with high achieving school programs to function in some degree of isolation from those less successful. Clearly, helping others is have higher academic ratings and graduation rates. This presentation is designed to be customized to include In addition to this PowerPoint, the Advocacy section includes several articles highlighting research results cognition as well as the important role opment of students ready for participation in the 21st-century workforce. a professional value, because district and state mentoring programs have been evident throughout every part of school culture for more than two decades. However, the top-down approach created with good intention has been less than successful in many settings. I would suggest that every teacher look around the district even sprawling urban districts and find a teacher or school that needs help. The retention rate for young teachers is already abysmal, so even a failed attempt on your part should not be feared. I have spent more than 20 years creating partnerships, and I strongly recommend considering this approach. Something as simple as an Adopt-a-Choir program can be helpful (a short-term connection between two choirs that allows weaker groups to join stronger groups). Just a small effort could make the difference in a teacher not quitting or students CHOIR ROBES EXPERT TAILORING $ & UP Finest fabrics including permanent press and wash & wear. Superior quality. Free color catalog and fabric swatches on request. GUARANTEED SATISFACTION Call Toll Free: P.O. Box 8988-SWM Jacksonville, FL Southwestern Musician January

5 not dropping out of music. Extended partnerships can also be created, such as the pairing between my university students and an inner-city middle school that was struggling to manage demographic change. This type of partnership is more complex, but it serves to provide outstanding field experience for university students, while also stemming the public school academic slide. High achieving students now transfer in to enjoy the benefits of working with university students. Another partnership with the Memphis City Schools has taught me that urban schools can indeed be improved, and it begins with teacher development and support. The Middle School Memphis Project retrained every middle school choral teacher as if each was an undergraduate preparing for initial certification. The partnership between the University of Memphis and the Memphis City Schools, where I served as consultant to provide choral content, has reclaimed many discouraged or ill-prepared teachers, and those who already were strong teachers are now the leaders who annually train and mentor new choral faculty, removing the need for a consultant. Professional leaders desiring public/political support of music programs benefit greatly when healthy programs exist across the entire population, as this indicates that music programs (with some degree of success) are available for all students. For professional leaders, the goal should be to encourage at least occasional collaboration and to inspire choral teachers to reach out to those who are struggling or failing. As with our choral ensembles, when every member is strong, the choir is so much better and easier to manage. As professional choral musicians in school, church, and community settings, we know the value and the power of providing a rich musical experience for those in our care. Along with the musical leadership that each conductor-teacher brings to choral rehearsals, we should not forget that our influence moves far beyond the rehearsal room walls. Simply by choosing to lead, each of us can contribute to the professional greater good. As society, schools, and students evolve, professional leaders must work to remain current, to think critically, and to solve problems. When all are contributing to professional growth and knowledge, the benefits can be great. Designated leaders do a great service when speaking for the profession, but how much better could they lead if every member chose also to contribute as a leader. So begin today. Remain current, think critically, and solve problems. Lead! References Babb, S., Bowers, J., Garrett, M., Napoles, J., Reames, R. (2012, October). On the Voice Series: Beautiful Singing with Developmental Choirs. The Choral Journal, 53 (3), Bowers, J. (2008). Building Early Choral Experiences, The Middle School Program, in Holt, M., and Jordan, J., The School Choral Program: Philosophy, Planning, Organizing, and Teaching, Chicago: GIA Publications, Inc. Bowers, J. (2011). Structuring Success in Beginning Middle School Choral Ensembles, in Teaching Music through Performance in Choir, ed. Frank Abrahams. Chicago: GIA Press. Kelly, S. N. (2009) twelfth grade cohort and fine arts enrollment comparison. Retrieved December 17, Do you have students interested in music business? Since 1990, the Texas Music Office in the Governor s Office has provided Texans of all ages with accurate, unbiased information about our state s music industry. The TMO s website, EnjoyTexasMusic.com, lists more than 18,000 Texas music business contacts, as well as many helpful teaching aids and a complete descirption of the 145 Texas colleges offering music and music business degrees. The TMO: Your resource for teaching the business behind the notes. Texas Music Office, Office of the Governor P.O. Box 13246, Austin, TX (512) music@governor.state.tx.us EnjoyTexasMusic.com 2010, from Advocacy/12GradeCohortFineArtsEnr ollmentcomparison.aspx. Whisman, S. A., Hixson, N. K. (2012). A cohort study of arts participation and academic performance. Charleston, WV: West Virginia Department of Education, Division of Curriculum and Instructional Services, Office of Research. Judy Bowers is a professor of choral music education at Florida State University College of Music and is the 2013 Vocal Division featured clinician. Southwestern Musician January