EXETER TOWNSHIP SCHOOL DISTRICT’s Post

Excited to spotlight Soundtrap and Little Kids Rock (now MusicWill) in this article. Their contributions have been invaluable, helping me revamp my curriculum, recruit new students, and foster a vibrant music culture at my schools. Some article highlights: Legal Recognition of Music Education: "The importance of music education was legally enshrined in the 2015 Every Student Succeeds Act, which included music instruction in the definition of a 'well-rounded education.'” Broadening Student Reach: "The modern band course isn’t taking students away from more conventional music classes. Instead, it draws in 'a different clientele.'" Diversity in Music Genres: "Any genre of music can be studied and pursued with rigor and integrity." Changing Demographics in Education: "The demographics of the students we serve are changing; the interests of students we serve are changing, and yet the teaching workforce isn’t necessarily changing as fast as the student population.” Evolution in Student Preferences: “We have a lot more visual artists... Students prefer to draw and not have to communicate with people.” The Impact of Music Teachers: "They [Russell’s teachers] ‘saw something in me that I did not see in myself’ at the time... 'I am living proof of the transformative power of music education.'" Great contributions from Berklee College of Music, Rebecca Beyer, Patrick Pate, Rhoda Bernard, Cecil ADDERLEY, John Kendall, Markeise R. Russell, Katelyn Downey, Jason Patera, Sonjah Hawkins, Soundtrap, Dave Wish, Keith Hejna, Music Will.

We’re Teaching Music to Kids All Wrong By Sammy Miller I have never met an adult who is expressly thankful to have quit music as a child, but I’ve met many who have regrets. So why haven’t we, as parents and educators, been better able to encourage our own kids to continue? According to a study conducted over seven years in Texas, beginning in 2013, public school students in grades six to 12 had a band attrition rate of 80 percent, with the greatest declines happening between the first and second year of instruction. In a separate prepandemic study, California public schools saw a 50 percent decrease in student enrollment in music classes over five years. Research shows that students in low-income and ethnically diverse school districts are more likely to lack access to music education. It’s often been repeated that “music is a language,” yet we’re reluctant to teach it that way. When we learn a language, we don’t simply memorize phrases or spend all day reading — we practice the language together, sharing, speaking, stumbling but ultimately finding ways to connect. This should happen in music class, too. Music should be a common pursuit: Ask any dad rock weekend band or church ensemble how it experiences music, and the performers are likely to tell you it’s not a chore but a way of building community. Most important, we need to let kids be terrible. In fact, we should encourage it. They’ll be plenty terrible on their own — at first. But too often kids associate music in school with a difficult undertaking they can’t hope to master, which leads them to give up. Music does not have to be, and in fact, shouldn’t be, about the pursuit of perfection. And the great musicians have plenty of lessons to teach students about the usefulness of failure. Miles Davis couldn’t hit the high notes his hero Dizzy Gillespie did, so what did he do? He found a new mellow, cool way to speak the language of jazz. Billie Holiday’s range was just over one octave — very limited for a professional singer — but that didn’t stop her from creating the definitive versions of so many American classics. Tell students these stories and watch them get excited to fail. We should let them do that, over and over again. That’s the only way they’ll learn what sounds awful but also what goes well together, what they like and what kind of music they want to make. We also teach language through immersion, so let’s focus on creating an immersive experience in the language of music. Kids learn best when they’re part of communities filled with people of all skill levels for them to play along with, listen to music with, mess up with and just be silly with. Parents, this means you. Don’t let instrument instruction simply be something you nag your kids to endure. Music was never meant to be a lonely vigil. Play together. Make noise together. Find joy together. Take out an instrument and learn a song that you and your child both love.

How do teachers and music professionals experience different types of power, and are there situations which might have been handled differently? What is the impact of understanding and reflecting on types of power and power relations? Last week, I facilitated a wide-ranging and fascinating 3-hour session for 20 European higher music education teachers engaged on “The Artist as Teacher” one-year certificate course through the EU-funded ARTEMIS project. We explored Robert Chambers’ definitions of  types of power: power over, power to, power with, power within, power to empower. One participant remembered hearing shouting and crying in the classroom next to hers at her music school as a child (power over); another cited a successful 40-day student strike in support of maintaining free tuition for higher education in Croatia (power with); still another cited a well-known musician advising a young professional preparing for a major audition to “just be yourself” (power to empower).  Imagining different potential outcomes to difficult experiences, participants cited examples of shaming, criticism or false information given indirectly (often bypassing the person concerned), and advocated for better communication, greater transparency, empathy, and understanding.  What did the conversation change for those participating? One admitted resistance to the topic, and yet recognized his own blind spots and the need for self-reflection; another advocated for more honesty as a teacher, being able to admit what one does not know; yet another insisted on the importance of continuing to engage in such conversations, and in the importance of “networks of care.” Networks of care constitute one of the recommendations of the recently completed EU-funded PRIhME Project (Power Relations in Higher Music Education), recommendations adopted by the AEC’s General Assembly last November : https://lnkd.in/ebUrTGRZ In our second session, we will explore the notion of social safety: when do we (as artists, teachers, students) feel safe or unsafe? What do we need to feel safe? What policies exist within our institutions? And finally, what might be our teaching and learning utopia in this regard – and how might we help bring this into being?

David Taylor: Saying that “investing in music education will save classical music and boost audiences” is a convenient lie we tell ourselves, to absolve us of the blame and responsibility for the drop in audiences and prevent us from the difficult task of reflecting on what we have to do better. Yes, we are seeing cuts in funding to music education, but classical music education continues to be invested in significantly higher than other music genres. And EDM, Dubstep, Grime, and Hip-Hop have all thrived over the years despite there being no formalized music education. [As for the idea] that you need to be educated in an art form to enjoy an art form: Most people have no education about the world of cinema, and yet millions enjoy films. Art galleries are full of people with no training or knowledge. Even in sports, you don’t need to know the rules, let alone the complex strategies, to enjoy a game. Over the last 5 years, there has been study after study about how classical music is increasing in popularity with young people. We are in an incredibly lucky situation where we have a new customer base emerging and growing completely independently. The problem with our declining audiences isn’t due to a lack of music education, it’s due to our refusal to adapt our product and how we market to connect to a new and growing audience. READ MORE: https://lnkd.in/eEmDarUm #SweibelArts #ClassicalMusic #AudienceDevelopment

No Instruments? No Program? No Problem. This is how I built a thriving music program from scratch and how it profoundly shaped school culture and atmoshpere. I joined the Los Angeles Unified School District in 2016 expecting to teach across five elementary schools. Just four days in, everything shifted. An opportunity at Walnut Park Middle School emerged. A new school. An empty band room, except for a closet full of music stands, and a supportive and dedicated principal. It was a bumpy start but we explored as much music learning as possible sans instruments,  while I beat the bushes to find opportunities and funds to get instruments. A few key players came to my resque. I must articulate how powerful a skilled and supportive administrator can be, and Aida Coronado is truly among the best! Also, Steven McCarthy and Christopher Rodriguez with the Arts Education Brand connected me with Music Will (formerly Little Kids Rock) and Jaclyn Rudderow the VH1 Save The Music foundation. The result? 🎺A concert band 🎸Guitar ensembles 🎤A modern rock band In less than a year, we didn't just initiate a music program; we ignited a musical and cultural change at our school. An integral part of the school culture, resonating throughout the community. The day VH1 Save the Music Foundation awarded us such a substantial grant was transformative. It was more than just funding; it was a chance to see Noah Cyrus in OUR school performing on OUR stage! This was an affirmation of our vision, creating ripples of inspiration and pride that continued to resonate in our halls and throughout the community long after the event. Save the Music's masterstroke was arranging not just for Noah Cyrus but also the Presidio Brass Quintet. Connecting our students with professionals who exemplify their passion in real life is invaluable. This connection with real-world artists is vital. Connecting our young musicians to active professionals who are 'walking the talk' is critical. I'm excited to see organizations like School Gig and Jammcard (founded by Elmo Lovano) opening up doors and creating opportunities for artists to perform at our schools. Reflecting back, this journey transcended teaching music. It was about creating something extraordinary from mere potential, nurturing a spirit of community, and experiencing music's transformative power. This story isn’t unique. With a growing network of support from organizations like The Mr. Holland's Opus Foundation, the NAMM Foundation, Save the Music, and Music Will, I urge educators to explore similar grants and opportunities. As you can see in the video, the day VH1 Save the Music Foundation visited us was more than memorable; it was a milestone in my career. It symbolized everything we had achieved and everything yet to come. 📣 To fellow educators: Articulate your vision, advocate for your students and community, and seek those who can help bring your vision to fruition.

**The Importance of Maintaining Instrumental Skills for Music Teachers: Becoming True Role Models for Students** In the world of music education, teachers play a pivotal role in shaping the musical journeys of their students. They act as mentors, guides, and sources of inspiration, instilling a passion for music that can last a lifetime. To effectively fulfill this role, it is essential for music teachers to maintain their instrumental skills continually. Only then can they earn the respect of their students, perform with them, and provide authentic musical guidance. **Earning Respect and Trust:** Maintaining proficiency in their instruments allows music teachers to lead by example. Students look up to their teachers and naturally expect them to be accomplished musicians. When teachers demonstrate their mastery, it fosters a sense of respect and trust in the classroom. Students are more inclined to take their instruction seriously and work diligently to reach their musical goals. **Collaborating with Students:** Performing with students is a unique experience that cultivates a strong bond between teacher and student. By showcasing their own instrumental skills, music teachers become active participants in the musical journey of their students. This collaboration fosters a sense of camaraderie and mutual appreciation for music, inspiring students to strive for excellence and embrace the joy of making music together. **Schools Recognizing the Importance:** Schools must recognize the significance of personal instrumental practice for music teachers. It should be acknowledged as an integral part of their professional development. Timetabling regular practice sessions or offering designated time for instrumental growth during school hours can facilitate this process. By investing in the teachers' instrumental and creative development, schools nurture a culture of continuous learning and a commitment to musical excellence. **Priority on Instrumental and Creative Development:** Professional Development (PD) opportunities for music teachers should prioritize instrumental and creative development rather than solely focusing on pedagogical content. While pedagogy is crucial, nurturing teachers' artistic abilities allows them to imbue their instruction with authentic musicality and emotional depth. This creates a more profound impact on their students' musical experiences and growth. **A Shift in Mindset:** To truly prioritize instrumental and creative development for music teachers, there needs to be a shift in the mindset of schools and educational institutions. Viewing music teachers as artists first and educators second enriches the learning environment and elevates the musical standards in the classroom. In conclusion, maintaining instrumental skills is not only essential for music teachers to be true role models for their students but also for fostering respect, collaboration, and an unwavering passion for music.

Music education also attracts just 1% of the overall credit point value, and only one in five students observe a music class before having to give one themselves. This lack of depth adversely influences perceptions, with 71% of respondents saying their students don’t expect to teach music in the classroom despite curriculum requirements. Read the full article here: https://loom.ly/5524eTs

Email BOEelected@stamfordct.gov / SPSSuper@stamfordct.gov Music education has had a huge impact on my life, and it started pretty much in Stamford Public Schools. I would not have been on this life course without it, specifically Westhill HS Instrumental Music Dept. I feel very strongly about this, and even more so because my husband is now positively impacting hundreds of lives through his music and band classes... Dear Members of the Stamford Public Schools Board of Education, I am writing to you today with a heartfelt appeal regarding the funding for elementary school music programs in our district. As a concerned community member, advocate for comprehensive education, and most importantly former SPS music student elementary through high school and wife of an SPS music educator, I urge you to carefully consider the implications of any potential cuts to these invaluable programs. Elementary school music education plays a pivotal role in the holistic development of our children. It fosters creativity, enhances cognitive skills, promotes teamwork, and instills a lifelong appreciation for the arts. Moreover, research consistently demonstrates that students engaged in music education perform better academically and exhibit improved social-emotional well-being. By providing access to music education at the elementary level, we are laying down the foundation for future success and well-rounded individuals. These programs not only enrich students' lives but also contribute to the cultural vibrancy of our community. I understand the challenges the Board of Education faces in allocating resources, especially in the current economic climate. However, I urge you to explore alternative solutions and prioritize the preservation of elementary school music programs. Cutting funding in this area would not only deprive our children of valuable learning opportunities but also diminish the overall quality of education in our district. Furthermore, I encourage the Board to consider the long-term consequences of such cuts. Investing in music education now will pay dividends in the form of empowered students who are equipped with essential skills for success in the future. As stewards of our education system, I implore you to prioritize the well-being and academic enrichment of our students by maintaining adequate funding for elementary school music programs. Your decision will have a lasting impact on the lives of countless children and the vitality of our community. Thank you for your attention to this critical matter. I trust that you will make the right choice for the benefit of our students and our community as a whole. Sincerely, Emilia Goldstein Westover Elementary School class of '99, clarinet Cloonan Middle School class of '02, clarinet Westhill High School class of '06, marching band (colorguard), concert band (clarinet), jazz band (piano) Stamford High School Colorguard Instructor, Fall 2010 Member of the Penn State Blue Band from 2006-2010

Music Educators! DirectorLetters.com - Your Key to Effortless Communication for Music Educators! Calling all music educators! Are you ready to elevate your communication game while reclaiming precious time for what you love most – teaching music? Look no further than DirectorLetters.com, your ultimate solution for effortless and effective communication. Say goodbye to endless hours spent crafting emails, letters, and announcements from scratch. With over 600 meticulously curated templates at your fingertips, DirectorLetters.com empowers you to communicate with clarity, professionalism, and ease. Whether you need to notify parents about upcoming performances, send reminders about rehearsal schedules, or share exciting news with your music department, we've got you covered. Best of all, DirectorLetters.com is completely free of charge, thanks to the generous support of ScholarshipAuditions.com. That's right – access to this invaluable resource won't cost you a penny. It's our way of giving back to the dedicated music educators who inspire and uplift students every day. So why wait? Join the countless educators who have already revolutionized their communication strategies with www.DirectorLetters.com. Sign up today and experience the convenience and efficiency of our extensive template library. Let's harmonize your communication efforts and make every interaction with students, parents, and colleagues a symphony of success.

Are you a musician who would like to start teaching or start your own music school? Are you a music teacher who would like to enhance & streamline delivery of tuition to their current students? DSE Music Tuition has released their teaching resource & renowned curriculum of detailed, multi-media lesson plans. This is being used by not only musicians and music schools to build or enhance their business, but also primary teachers and home schooling families. These individual lesson plans lay out each lesson in perfect detail and structure explaining exactly what to teach, how to teach it, what to say & what to play. Literally open the lesson plan your student is up to and start teaching! After years of refining, we are super excited to finally launch this teaching resource, which will allow musicians to start their own businesses as teachers, music teachers to improve or enhance their teaching & schools to offer consistency across all their teachers/ lessons. Paying an annual subscription you will receive access to a full year or 4 term curriculum presented as 40 highly detailed lesson plans in either guitar, piano or drums (more instruments will be added). These lesson plans start with Lesson 1, Level 1 which is the very first lesson for an absolute beginner and move cohesively through each 'term' or level taking the student on to more complex pieces of music and theory in a carefully paced and structured progression, with an exam at the end of each level. Teachers simply need log in and select the lesson plan their student is up to that week and away you go! The lesson plans explain what to revise from last week, what to cover and learn (in detail) in this lesson and what homework or practice should be done during the week. Lesson plans are multimedia including text, pictures, audio & teaching instruction, to allow teachers to seamlessly deliver professional consistent and proven music lessons to their students. This removes the burden of creating new lesson plans, sourcing learning material and keeping track of student progress. For music schools with multiple teachers, this ensures consistency across all lessons and if students need to change teachers for any reason, everyone is on the same page, making transition between teachers seamless. Visit https://lnkd.in/gcbCETPU