Welcome to the April NewsLink!

Dear Collegiate Members,

This month's feature article shares ways to use your voice less in the music classroom. You'll also read about the top ten things future orchestra directors should know and news about Collegiate members.
 

Your Teaching Voice in the Classroom: Take It Easy!

Keith Koster is Director of Music Education Studies at Christopher Newport University where he teaches undergraduate and graduate courses in music education, instrumental and general music pedagogy, and aural skills, as well as applied double reeds. He has presented sessions dealing with many aspects of teacher preparation, woodwind pedagogy, Orff-Schulwerk and Kodály methods at state, regional, and national conferences throughout the United States.

© 2008

The voice is one of our most important classroom tools. Whether demonstrating how a melodic or rhythmic passage should be performed, completing the day-to-day classroom business procedures, getting the students' attention, or announcing reminders about an upcoming festival, is it possible to maximize our teaching effectiveness by using our voices less?

Take Care of Your Voice

On average, women and men speak some 16,000 words daily. We could assume that teachers talk 25% to 50% more than the average person, so that would put us somewhere between 20,000 and 24,000 words per day -- close to six million words per year. New teachers often lose their voices by the end of the first week of school. It's important to keep the vocal cords moist by drinking plenty of fluids throughout the day. Water still works best. Also, use the breathing strategies associated with singing or playing a wind instrument, such as seeking a relaxed deep inhalation and exhalation. The hoarseness usually subsides once the beginning-of-the-school-year jitters start to ease, so tension may have a great deal to do with how we use our voices in the classroom.

Silence Is Essential

We may know teachers who seem fearful of silence, especially in their own classrooms. Outside of class, their voices can be heard as they make their way into the building from the parking lot, main office, teacher's lounge, on their way out to the parking lot after school, and then at that weekly rehearsal later in the evening.

Perhaps these folks represent the Heldentenors or Wagnerian Sopranos of music educators. However, when we follow these teachers into their classrooms, more talking than learning may be taking place. Some say that those who talk incessantly do so as a way to maintain a sense of control or to ease tension or fear. Besides, the thought of prolonged silence in an ensemble classroom could mean that we're not getting anything accomplished -- therefore, we panic. Some teachers may avoid talking less in their classrooms because behavioral problems increase.

Silence is an essential part of music making. We should foster more of it in our classrooms. Increase the use of silence by incorporating music into a performance that depends on it. In ensembles, choose a few selections that are slow in tempo, and take extra time between phrases, releases, breath marks, and lifts to capture a moment of silence. There is no starker contrast than the contrast between sound and silence.

At the elementary level, a simple yet expressive reading of Eric Carle's The Very Quiet Cricket can be a great place to start. Silence is an essential element of this wonderful story. Reading to children will allow them to experience the value of silence as you quietly turn each page. What children experience from the telling of this story can easily transfer to learning about how silence functions in music. Move to a few pieces that incorporate the use of silence by starting with Haydn's Surprise Symphony or endings of any of Beethoven's overtures and symphonies. Silence is an integral part of the drama in most any opera aria.

Silence will be difficult to arrange in a classroom that is in disarray, especially when there are low behavioral expectations. We, as teachers, should never have to raise our voices above the sounds of inattentive students. Therefore, students must be taught how to behave and participate in our classrooms. It's never too late for our music students to learn what we expect of them both academically and behaviorally.

Some strategies for getting behavioral expectations in order can be found in the following texts:

• Building Classroom Discipline by C.M. Charles
• Classroom Instruction that Works by R. Marzano, D. Pickering, and J. Pollack

Before attempting to use your voice less in the classroom, make sure to revisit and reteach behavioral expectations as needed. Arlisa Powell, a master teacher and general music specialist at Nelson Elementary School in Newport News, Virginia, regularly reminds her students that "music begins in silence and ends in silence." Prior to performing a piece of music, students in her classroom are conditioned to begin in silence. After the music has been performed, there is silence. An extension of Arlisa's approach might be "music class begins in silence and ends in silence."

Use the Orff-Schulwerk, Kodály, and Dalcroze Approaches

Consider the following ideas for incorporating nonverbal experiences in the classroom.

• Without talking to students, consider beginning class with soft clapping of an important rhythm that will be sung later in the lesson.
• Use the Curwen hand signs to silently introduce a melody that will be sung during a warm-up.
• Have students conduct a four-beat pattern as they enter your classroom by simply showing students a flashcard with the number "4" as they walk through the door.
• Assess which students are rhythmically compliant as they walk silently into your classroom conducting a beat pattern with each step that they take.
• Before beginning to sing or perform a piece of music, why not have students quietly sing it with their air only by inhaling and exhaling the way the music sounds? Students can conduct or quietly pat the tempo of the piece as well.
• To make sure that students have grasped the concept of phrasing, draw a horizontal arc with open hands extended outward. Begin the phrase with your left hand on top of your open right hand. Next, draw the arc in the air with your left hand. Have students show you the phrases as they sing.

Because our schools are filled with an overabundance of sounds, most of which aren't given much attention by students, it can be difficult for music teachers to ensure that students

1. pay attention to specific sounds during class, and
2. are willing to respond to what they hear when prompted to do so.

Beginning class with an aural or visual signal may be a great way to get students to focus their listening and visual skills. Typical in the Dalcroze classroom is the prompting of a musical signal for the students to find their places either in a circle, on the risers, or at their seats. Rather than using our voices to remind students that class has begun, simply condition students that since this is music class, you will be expected to use your hearing and seeing skills in order to get started. "When you hear this sound, class begins and you must be ___________."

Resist the Urge to Sing Along

When students are singing or playing instruments in an ensemble, we must avoid singing along with them. This can be a tough habit to break because it's not easy to turn off our voices and just listen.

Singing along with our ensembles impairs the quality of instruction needed to identify problems, much less solve them. How can we compliment students when they perform a passage superbly when we can't hear them over our own singing? Who knows how often a passage has been performed well but was ignored because the teacher didn't hear it over his or her own voice?

Use Conducting Gestures

Since conducting is essentially a series of nonverbal expressions, we can learn a lot from good conductors. Rather than leave the all-city children's choir rehearsal to hang out with colleagues, spend some time observing the guest conductor. How does that person get the ensemble quiet? Ask what nonverbal skills you can incorporate into your own classroom.

To get students to listen, gently grab one of your ears with thumb and forefinger, gently moving the earlobe back and forth while making sure that you can see the eyes of all students. We expect the eyes of all of our ensemble members on us before we begin a performance. In the classroom, students need to know when to stop an activity and focus their attention on the teacher, so it's important to develop and teach students how this will be accomplished. Whether it be both hands raised, just one, or silently tapping the top of your head, make sure that students know when to stop what they are doing and give their attention to you.

Getting students to think can simply involve pointing to your forehead with an index finger. When it's important to see all of the eyes of students, use the index and middle finger as if making a "peace" sign and point them to your students and then to your own eyes. This is a great signal for getting students to look. Incorporate the use of brightly displayed behavioral signs such as Silence, Discuss, Think, Reflect, Prepare, and Read. Many of these activities can be adapted to the music classroom: Sing silently, Sing quietly, Ready position, Rest position, Stand, or With bow.

Speak with Care

What about all of the "ums," "uhs," "you guys," and "listen to me" phrases that we often say each day? When speaking these words, we need to realize that they could have an impact on how well our students pay attention or comprehend what we say to them. One solution might be to have someone observe your teaching and tally how often you speak these words during the lesson.

Another solution might be to videotape our own teaching and keep track ourselves. In addition to keeping track, we can observe firsthand how students respond to what we say.

I have music education majors transcribe their videotaped teaching episodes. Usually one videotaped transcription sends the message because my students quickly realize how much of what they said in class had nothing to do with what they intended to teach. Besides, it can take a considerable amount of time to write down all that was said in a 30-minute teaching episode. Especially, as mentioned before, we typically speak some 16,000 words each day.

More Ways to Use Your Voice Less

The following nonverbal strategies encourage student participation and nonverbal communication.

1. Rather than have students shout out the answer, insist that they make eye contact with you if they know the right answer. Or, have students make eye contact with you if they are having difficulty with an assignment.
2. During a presentation, create ways to check if students understand by simply showing your thumbs up with a "do you understand?" facial expression. Children can simply show a thumbs-up if they get it, thumbs-down if they don't, or thumbs-sideways if they are unsure.
3. Make sure that important classroom information appears on the chalkboard, marker board, bulletin board, handouts, etc. Get the students' attention, and then point to the information and follow up with a thumbs up, etc.

Here are some closing thoughts to consider:

• Students often reach our level of expectation of them regardless of how high or low our expectations are.
• Students often model the volume level that is spoken by the teacher.
• Never raise your voice over the sounds of students. Speaking softly can actually improve classroom management skills because students will need to hear what is being said. In addition, students may begin to speak softer in your classroom.
• When using any multimedia in class, keep the volume a level lower so that students will need to be quiet to participate. Model the lower volume using a quieter voice or nonverbal cues.
• Remember, whenever we expect students to listen attentively to a recording, they will model our level of interest or disinterest. Be an active and interested listener, and students will generally model what they see.
• Make it a habit to just say what needs to be said and no more. Avoid all other words that can get in the way of teaching and learning.

References

Anderson, W. M. & Lawrence, J. E. (2004). Integrating music into the elementary classroom. Belmont, CA: Wadsworth Group/Thomson Learning.

Carle, E. (1990). The very quiet cricket. New York: Philomel Books.

Charles, C. M. (2008). Building classroom discipline. Boston: Pearson Education, Inc.

Marzano, R. J., Pickering, D. J., & Pollock, J. E. (2001). Classroom instruction that works, research based strategies for increasing student achievement. Alexandria, VA: Association for Curriculum and Development.

Moore, K. D. (2005). Effective instructional strategies from theory to practice. Thousand Oaks, CA: Sage Publications.

The Top 10 Things Every First-Year Orchestra Director Needs to Know

by Joyce Prichard, Director of Music and Fine Arts Chair
Villa Maria Academy High School, Malvern, PA

1. Know instrument repair basics, and be proficient enough to change a string or set a bridge quickly. Have chalk and wax handy for troublesome pegs and making fine tuners work better.
2. Be able to tune instruments quickly. Nothing will eat up your rehearsal time faster than slow instrument tuning!
3. Insist that instruments are quiet while you're tuning or rehearsing.
4. Anticipate problems in the music for a more efficient rehearsal. Extract difficult rhythms and create an exercise away from the music before trying it within the parts.
5. Set attainable goals for each rehearsal. The students will feel a sense of accomplishment, and you'll be less stressed.
6. Teach your students how to practice. Just saying "go home and practice this" will not give you the results you want. Give them techniques and suggestions for creative and time-saving practice routines.
7. Know the scores! If your eyes are on the score constantly and not on your students, you're simply not prepared. Students know this in an instant. If you're not prepared, not only will the music suffer, but you'll lose the respect of your students.
8. Strive for excellence, and don't settle for less. Students will meet your expectations if they know that you're passionate about what you do, so keep them high.
9. Establish an identity for the orchestra. Little things make a difference! For example, if you share a room with the band, be sure to call the room the instrumental music room, not the band room. Have an orchestra bulletin board.
10. Get to know and be on good terms with the maintenance staff. Orchestras require a lot of equipment and often the use of many areas of the school. You'll find that the maintenance staff will assist you at critical times if you've established a good working relationship.

Coming next month: The Top Ten Things Every First-Year General Music Teacher Needs to Know

Chapter Corner

Indiana State Hosts Performing Arts Showcase

In February, Indiana State University held its first Performing Arts Showcase. Students from the theater, music, and dance departments all contributed to this event. Collegiate members Samantha Writtenhouse and Jodi Lemmon participated, performing a scene from Mozart's The Magic Flute.

"I always love performing for an audience, and was honored to be chosen to sing on the concert," said Writtenhouse, a sophomore. Lemmon added, "It was a really big honor and a lot of fun. I enjoyed learning this song from The Magic Flute."

Westminster Develops Student-Run A Capella Group

Westminster Choir College's a capella group The Deaftones is making a mark on campus. The group, started in 2005 by graduate student Patrick Dillon, is completely run and managed by students. Members of the group hold auditions, develop choreography, and arrange their own music, which includes songs from popular artists like Kelly Clarkson and Maroon Five.

According to The Deaftones musician and Collegiate member Erina Pearlstein, the group is working on garnering respect and support from the Westminster campus and beyond. They recently competed in the International Championship of Collegiate A Cappella.

The Deaftones come together across classes and majors to bring the joy of a capella music to others. "The most important thing about The Deaftones is that it facilitates an environment of support and friendship," says Pearlstein. She also believes that her involvement in this group will help her later as a music teacher. "This is just another genre of music that we can use to reach out to our students. This is something modern and exciting, and can involve many students in many ways," she said.

University of Tennessee, Knoxville Chapter Develops Blog

The UTK Collegiate chapter is using the Web to communicate with members and share information via their snazzy blog at http://cmenc-utk.blogspot.com. From TMEA conference events to chapter meetings and socials, the UTK blog is the ideal way for members to keep up with the latest. Webmaster Katie Wagner mentioned that the blog was "the easiest and most effective tool" for chapter news.

Want to start a blog for your chapter? You can sign up for free at www.blogger.com.

IMEA Names Outstanding Collegiate Chapter and Outstanding Future Music Educators

by Penny Dimmick, IMEA Collegiate Chapter Advisor

Outstanding Collegiate Chapter Award
The Collegiate Chapter Award program in Indiana was established in 1987 and has been very successful in promoting and recognizing Collegiate MENC accomplishments within the state. Two kinds of awards are given: one for the outstanding chapter and one for outstanding future music educators.

The three criteria used in selecting the outstanding chapter are

1. the quality and extent of chapter activities
2. member enrollment and/or chapter growth
3. student member participation in chapter meetings as well as state, divisional, and national conferences

The chapter receiving the award is chosen by outside evaluators, using applications that have been prepared by the individual chapters with all identifying references removed. The only limit imposed on this award is that a chapter may not receive the award two years in a row. This year the Outstanding Collegiate Chapter was Ball State University. According to the selection committee, they were chosen "because of their broad range of chapter activity, meetings, and speakers, and especially their outreach activities and service projects."

The Outstanding Future Music Educator Award
The Outstanding Future Music Educator Award program was established in 1995 and has recognized three students annually. The criteria for selecting the Outstanding Future Music Educator are

1. participation and involvement in chapter-related activities (e.g. leadership abilities, positions held, and contributions to school's music education program and MENC Collegiate chapter)
2. participation and involvement in music education activities (e.g. field experiences, volunteer work, summer or part-time work in the schools)
3. minimum GPA (3.0 on a 4.0 scale)

This year's recipients of the Outstanding Future Music Educator awards were Catharine Ahls from Ball State University, Joanna Golando from Butler University, and Matt Rooney from Ball State University. Please join me in congratulating each of these students and the chapter at Ball State University for their outstanding work for MENC Collegiate. The future of music education in Indiana is in good hands!

Member Benefit Spotlight

Health Insurance Benefits

The MENC Health Benefits Program provides members with comprehensive health insurance at an affordable price. The program is administered by leading providers of national association benefits programs, Forrest T. Jones and Co., Inc.

Through an agreement with Forrest T. Jones & Company, Inc., MENC also offers a variety of group insurance coverages for low monthly costs and full protection. Free term life is available to new members during the first year of membership.

Other insurance plans available to all members include term life, professional liability, private practice professional liability, long-term care insurance evaluation service, disability income protection, personal auto, Headstart, accidental death and dismemberment, and Life After 50. First-year members have the option of free life insurance. For more information, call Forrest T. Jones & Co., Inc., at 800-265-9366, or visit ftj.com.

Help from MENC's Mentors

A recent post on MENC's "Ask the Mentors" forum asked how to motivate students in a small program.

Mentor Elizabeth McAnally responded, "Have you considered using student leadership? Some students have natural leadership abilities, and tapping into that resource can be a motivational tool. Student officers could be elected, or try rotating some jobs, such as maintaining music folders, leading the physical warmups and stretches, taking attendance, etc.

"Another thought might be to create some informal performance opportunities. When students have a chance to sing for classroom teachers or administrators at the end of a rehearsal, they may step up their effort, and have the chance to feel proud of themselves."

To post your own questions, visit MENC Mentors.

Conn-Selmer Institute

An event for all present and future music educators

The Conn-Selmer Institute is an annual event for music educators to explore what it means to teach music, collaborate with other educators, and have fun! Visit www.csinstitute.org to learn more.

Conn-Selmer is sold out for 2008 with 400 attendees. Look for 2009 information next fall, and sign up early!

Here's what some Collegiate students had to say about this event:

"As an undergraduate music education major I can say that CSI is a totally enriching experience. The clinicians are both nationally renowned and there to talk with you and share experiences."
- Emily Weigler, Gettysburg College

"A great experience for a great price."- Patrick Dawson, University of Illinois

"You need to go. There's no reason not to go. Anyone who's going to be a music educator has to do this."
- Meagan Gugliano, University of Iowa

MENC is proud to partner with Conn-Selmer Institute (CSI) to offer essential training for our new and incoming music teachers. CSI's unique four days of networking, training, and motivational offerings provide a one-of-a-kind experience that will help ensure a new teacher's success in music education and pave a smooth transition to a lifetime of teaching.
- John J. Mahlmann, Executive Director, MENC

Current News and Announcements

MENC's latest specials and news

April Member Special: Video Clearance

The April MENC member monthly special features the Choral Triad video series. These six videos are a must-have for teachers of choral music at all levels.

This month only, MENC members can purchase each video for only $5.00, and you'll receive the accompanying workbook free! (Limit one book per member.) Buy one or buy all six, but get them now. Quantities are limited and when these are gone, you won't be able to purchase them anywhere. No additional purchase is required. This special is not available at state conference resource shops. Call 800-828-0229 or visit MENC Member Special to order.

New MENC Web Site Offers a Fresh Look and New Resources

This month, check out the new MENC Web site at www.menc.org. You'll find a fresh look and a well-organized site that's divided into several main categories to help you find exactly what you're looking for. Be sure to visit the Future Teachers area for weekly tips on teacher preparation and a forum to discuss your questions and concerns with other music education students.

Along with the new look and organization, our new site offers free lesson plans! Visit www.menc.org/mymusicclass to check out My Music Class, our online idea center and lesson plan library that's available exclusively to MENC members. You can search the library by teaching level, teaching area, and national standard.
 

New Books for Teaching Recorder, Mariachi, and Jazz

Playing the Soprano Recorder: For Church, School, Community, and the Private Studio
By Lois Veenhoven Guderian

This book provides teachers and students with a sequential approach to learning Western music notation and soprano recorder playing. Each lesson provides opportunities for students to apply the notation and concepts they learn and also to develop creative thinking skills and the tools needed for composing music in Western notation. The book features 76 pieces with optional instrument parts, piano accompaniment, and a practice/performance CD. Visit www.rowmaneducation.com to learn more and order.

Foundations of Mariachi Education: Materials, Methods, and Resources
Edited by William J. Gradante

Beginning with how to start a mariachi program, each chapter of this book addresses a specific topic in mariachi education, including choosing appropriate repertoire, preparing for performances, and teaching each mariachi instrument—including voice. Each instrument chapter includes practical advice on care of the instrument, tuning, posture, fingerings, technique, and the role of the instrument within the mariachi ensemble. With dozens of music exercises distributed throughout the chapters, this resource shows you how to build your students' technical skills using mariachi repertoire so your students truly shine onstage. Visit www.rowmaneducation.com to learn more and order.

Teaching Improv in Your Jazz Ensemble: A Complete Guide for Music Educators
By Zachary B. Poulter

This resource will guide you in designing an effective sequence for teaching improvisation and reinforcing it with correlating jazz ensemble charts. Over 180 arrangements of jazz standards are indexed to correlate with the sequence of improvisation study. Learn how to design a sequence of instruction, interpret chord symbols, rehearse improvisation in a group format, and assess jazz improvisation. Also learn about the philosophy and history of the educational jazz ensemble. To order this book, visit www.rowmaneducation.com.
 

Question of the Month: Share Your Thoughts

Each month, MENC surveys members on music education topics. This month's questions are about copyright and being an "iron chef" (i.e., being prepared for class). Visit Question of the Month to contribute.

U.S. Army All-American Marching Band

Deadline: April 15

Know any outstanding high school marching musicians? Encourage them to apply for the U.S. Army All-American Marching Band by April 15, by visiting the USAAAMB page. Selected musicians will be provided airfare, food, and accommodations to rehearse with an all-star staff and perform in San Antonio, Texas, during the NBC-televised U.S. Army All-American Bowl in January.

Study Reveals Teens’ Commitment to Music Making

The NAMM Foundation recently announced the results of a study by MENC member Patricia Shehan Campbell of the University of Washington. The study, titled “Adolescents’ Expressed Meanings of Music in and out of School,” was based on responses by 1,155 teens who submitted student essays to Teen People magazine as part of an online contest. Throughout their essays, students expressed their thoughts about learning and playing music and revealed that they value music making as a central aspect of their identities. Visit www.namm.org to read their comments.

April Mentors

Do you have music education questions? MENC’s mentors have the answers!

Each month from September to May, the “Ask the Mentors” forum features a different mentor for band, orchestra, chorus, general music, and mariachi. In addition, the general music forum features a guitar mentor. The mentors are veteran teachers who provide advice in response to your teaching questions. Visit MENC Mentors to post questions and read responses.