By Barbra Weidlein

The impact of Covid-19 on teaching music continues to shed light on critical skills college music education majors need for their future careers. Many schools of music are reimagining their curricula to prepare students for a different teaching environment than the one that existed before the pandemic hit.

While this continues to be an ever-changing landscape, we asked a number of college-level music education professors and other music educators to offer insights on what prospective and current music education majors might expect.

New skills in the curriculum

Technology was already a key component of college music education programs prior to schools being shuttered by Covid-19. As the pandemic continues to challenge the educational process, music ed majors will need to continue to acquire additional tools being created for online teaching.Ěý

Music ed majors not previously familiar with online digital audio workstations (DAWS) such as Soundtrap and Bandlab have been introduced to them as valuable tools for teaching K-12 students, says Bryan Powell, assistant professor of Music Technology/Education at Montclair State University and strategist of Higher Education Initiatives at Little Kids Rock.Ěý

“By integrating pedagogical frameworks such as Technological Pedagogical and Content Knowledge (TPACK),” offers former high school band director and bassist Steve Holley, “all music educators – preservice and inservice – can better understandĚýhow to blend their deep knowledgeĚýof content and pedagogy with how to deliver this through the appropriate technological route.” Holley, now a PhD student in Music Learning and Teaching at Arizona State University, adds, “This is not tech for tech’s sake. It’s using 21st century tools to teach 21st century students.”

“Many programs incorporate technology, online resources, sound production elements and the use of advancing technologies,” says Darrin Thornton, Music Education professor and Interim Associate Dean for Academic Affairs and Outreach at Penn State School of Music. “I anticipate an added focus on the social context in which music is made in our culture and beyond our culture. This will add agency to music educators to address, through music, the social concerns of their current time and the role music has played in expressing concerns of past times.”

Music educator, author and consultant Lori Schwartz Reichl urges music education majors to be sure to become well versed in using learning management systems (LMS) for a multitude of purposes including viewing and sharing content, tracking student work, planning, and implementing and assessing specific learning processes. She specifically points to Canvas, Moodle, and Schoology as useful LMS. “Music education majors should be able to maneuver through these systems and feel comfortable using them to manage and organize online educational materials in addition to being confident conducting online courses with them,” she says.

In addition to technology, Reichl urges education majors “ to take an introduction to administration course. The ability to comprehend the numerous responsibilities and best practices a school-based administrator, such as a principal, must complete on a daily basis is crucial for effective communication and collaboration.”

Social and emotional challenges

The pandemic’s effect on schools and so many other aspects of daily life has magnified things that work and don’t work, reflects Jenny Neff, former department chair of Music Education at University of the Arts. Social and emotional challenges have hit students really hard. Teachers have already been experiencing the impact on their students. They have already needed new skills for dealing with these challenges in remote and hybrid teaching – and certainly in anticipation of students returning fully to in-person learning.Ěý

CASEL, the Collaborative for Academic, Social and Emotional Learning, defines Social Emotional Learning or SEL as “the process through which all young people and adults acquire and apply the knowledge, skills, and attitudes to develop healthy identities, manage emotions and achieve personal and collective goals, feel and show empathy for others, establish and maintain supportive relationships, and make responsible and caring decisions.”

According to Scott Edgar, chair of the Department of Music at Lake Forest College who has made SEL a major focus in his teaching and writing, SEL skills are geared toward providing students with the tools needed for confronting challenges. Self-awareness, social-awareness, and responsible decision-making are key elements. Music teachers can integrate SEL into the curriculum – “MSEL” – to create a more powerful learning experience for students.

Changes in the job market and hiring practices

No one can accurately predict the impact of the pandemic on the future of music education jobs. For the past several years, many schools of music education touted their 100% employment rates for new graduates. How this will change is anyone’s guess. And it will vary school district by school district. Ěý

“Some will actually need more teachers to support smaller groupings and/or online parallel offerings, and will likely replace any vacancies. But for most I think hiring may freeze as they repurpose music positions for other teaching professionals that are needed to deliver multiple modes of instruction,” says Penn State’s Darrin Thornton.

All of the music educators and professors interviewed for this article agree that there are some key things music education majors can do to improve their chances for landing a job.

• Become as versatile as possible – The more skills you have, and the more flexible you are especially about the location of where you may teach, the greater your chances of finding a job. There may be more demands of music teachers along with more responsibilities to take on, so be sure to find out how you’ll need to prepare before it’s time to start applying.

• Go beyond what’s expected – “The student who does more than the minimum is going to be better prepared and therefore more competitive in any job marketplace, no matter what that marketplace ends up looking like,” says David Rickels, chair of Music Education at University of Colorado Boulder College of Music. “Look for the extra opportunities to gain experience, whether through volunteering in a school or program, signing up for a leadership role in student groups, or even just asking questions and being an active participant in classes instead of passively waiting for information to come to you.”

• Deepen your knowledge and understanding of diversity, equity and inclusion in music education – In response to the protests that have taken place since the pandemic hit, “Applicants will likely need to express their stance, views, or philosophies on diversity, equity, inclusion and access much like the teaching philosophy question currently functions in common interview protocols,” says Thornton. “At the very least, applicants should consider the ways standard practices inhibit access and how they might mitigate those obstacles from within their own sphere of influence.”

• Stay current – on new technology, blended learning, trends around safe rehearsing, antiracist education. As a student of music education and as a future music educator, you can’t wait for information to come to you – you must actively seek it.

• Join professional music education organizations – Consider joining student chapters of NAfME (National Association for Music Education), ACDA (American Choral Directors Association), ASTA (American String Teachers Association), and NATS (National Association of Teachers of Singing). Tucker Biddlecombe, Director of Choral Studies and Program Director for Music Teacher Education at Vanderbilt University’s Blair School of Music, adds to the list ChorAmor, a new organization which he says “has been instrumental in preparing teachers for this new virtual environment. Being a part of their relevant professional organization – and taking a student-driven leadership role if possible – will be paramount to prepare for the post-COVID job market.”

Music advocacy

Advocacy is more critical than ever in the world of music education. It will be vital even after Covid-19 is contained. Music education majors must learn to be active players in their profession, because their voices will be instrumental in keeping music alive in the schools. “As music educators, advocacy is used to demonstrate the importance of music education in every child’s life and specifically in its inclusion in each student’s academic schedule,” says Lori Schwartz Reichl. “Advocacy begins with how music educators perceive their craft and communicate its significance to all stakeholders.”

National organizations like NAfME offer training in advocacy skills for music education majors. NAfME’s work in securing increased federal funding and support for education in the U.S. provides a template for future music educators who will be facing tighter budgets and greater needs. Learning to interact and communicate with elected officials and governing bodies will serve college music majors throughout their careers.

“We have to educate students studying music in not just the musical and pedagogical skills they need,” says Rickels, “but in how to think deeply about what music means and why music needs to be in the schools…so that the learning continues to enable people to have the tools of expression that are sorely needed in these times.”

Silver linings

We asked those interviewed for this article whether there are any silver linings to the massive disruption in education and training as a result of the pandemic, particularly for anyone considering a music ed major. While we know answers to this question will continue to unfold, we found some of the responses particularly insightful.

Steve Holley: Music education has been undergoing a paradigm shift for quite some time, and the pandemic quite literally forced us to reevaluate everything we do! Right now, we’re trying to figure out how to fit our square peg idea of music education into the round hole of online learning, and it’s just not working out well for some folks. We can’t alter physics to remove internet latency, we can’t wish away an infectious pandemic to get back to our ‘normal’ rehearsal regimen, and we can’t modify the round hole we’ve been given if it’s detrimental to the safety of our students – and us! We have transform our square peg and reimagine what music education couldĚýlook like.

Darrin Thornton: I see feedback, connection, and access as silver linings to remote teaching.ĚýComing out of this time, I believe people will realize just how connected we are to one another…Music is well positioned to do this work of connectivity.Ěý This has always been true but now the need for connections is muchĚýmore pronounced. This provides a fantastic opportunity for music educators to build that into their purpose (if it’s not already there).ĚýĚý

Bryan Powell: One thing remote teaching has reinforced is the importance of engaging students in music creation through music technology…There has been an increased focus on using music technology to create music and a lot of that music has taken the form of popular music through beat-making, cover song projects, and original songwriting.

David Rickels: The whole experience of learning online (in synchronous and asynchronous formats) is certainly also giving music education majors the opportunity to learn new tools that they can use if and when they are called upon to teach online in the future.

Barbra Weidlein is director and co-founder of ťĆšĎapp

Top Photo: Bassist Steve Holley teaching online. Credit: Nate Holley

Second Photo: Penn State Music student music teacher Cate Stoler teaching shielded and distanced. Credit: Debbie Estright

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Resources

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– online learning platform for music educators

– library of videos of actual classroom teaching

Music Organizations to Consider Joining:

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College music education programs provide the skills you’ll need to be a music educator in a public school classroom. But to get a teaching job, there are some additional things to keep in mind.

by Amy Mertz

1. Your diploma is not the only credential you’re likely to need in order to teach.

“The degree is a major part of the process, but there are also required examinations,” says music education professor Elaine Bernstorf at Wichita State University. This typically includes a state licensing exam along with a background check.

Matthew Schillizzi, associate director of Admissions and Recruitment at Temple University Boyer College of Music and Dance echoes the same. “Graduation from Temple’s music education program and certification by the state of Pennsylvania are two separate things,” he says, “but almost all of our music education majors complete both. Our program prepares students to be highly qualified to teach music PK-12, but official documentation from the Pennsylvania Department of Education must be secured through application for certification to teach in the public schools and many private schools.”

Schools want to graduate only students who are completely ready to go out and teach. “Students from my program are eligible for licensure in the state of Illinois,” says Jacqueline Kelly-McHale, chair of Musical Studies and director of Music Education at DePaul University. “Once their program of study, state exams, student teaching and edTPA (see below) have been completed, the certification officer approves their application for licensure.”Ěý

This gives students the opportunity to complete all the necessary requirements to become full-fledged teachers while still getting support from their college or university communities.Ěý

2. You may need additional licensing to teach in another state.

If you did not attend school in the state where you’d like to teach, chances are you will need to take additional tests or even classes to work in another state.Ěý

At the very least you’ll need to apply for reciprocity — a process where one state formally accepts training and/or teaching experience from another state.Ěý

But according to the music education faculty at Temple University, “Reciprocity is not necessarily complete and automatic, so sometimes an additional exam or requirement will need to be fulfilled for a student to be eligible to teach even in states that do reciprocate. We recommend that students with an interest in teaching elsewhere review specific eligibility requirements on those other states’ Department of Education websites well in advance of applying for positions there.”

California’s credential is quite rigorous, says Ruth Brittin, chair of the Music Education Department at University of the Pacific Conservatory of Music. It is accepted in most states. But, she says, “Some states have a very competitive culture, others less so. Some may expect one to really specialize, others have many more positions for excellent musicians who can teach across grade levels or specializations. I encourage students to check with the various states’ education departments and to do a lot of internet sleuthing to get a sense of the particular state’s musical culture.”

3. You may want to consider going straight on for your master’s. Or not.

There are mixed opinions about whether to go straight from your undergraduate degree to do a master’s or if you should accumulate some experience first.Ěý

Brent Talbot, coordinator of Music Education, at the Sunderman Conservatory at Gettysburg College recommends the latter. “Entering graduate school with a few years of teaching experience provides a much richer opportunity for learning and development,” he says.Ěý

“Graduate schools focus on re-imagining, deconstructing, and co-constructing larger ideas in music education philosophy, history, sociology, curriculum design, and teaching and learning practices. Teachers in graduate programs will gain a great deal more and be better contributors when they can draw upon or problematize the real-world experiences of their own teaching.”Ěý

Since teachers with master’s degrees earn higher salaries, those with a master’s but no experience may be a more expensive risk for a school district to take. Ultimately, it may actually depend on the state in which you plan to teach.Ěý

At Syracuse University’s Setnor School of Music, music education professor Elisa Dekaney says it’s really up to students to decide when to go to graduate school. “In our state (NY) where teachers must have a graduate degree to receive professional certification, we have had great success with our one-year master’s degree in music education…Because we have had such great success with the students who stay with us for 5 years and are able to find jobs without difficulties, I think this model is a successful one.”

4. Whether you’re an instrumentalist or a vocalist—you’ll have to study both.

Certification doesn’t differentiate between instrumental and vocal music. Most states certify you in “music” and as such you will need to know about all music. As an instrumentalist or a vocalist you are likely to choose a “track”—but almost every program will require you to have training in both.Ěý

“While some universities in our state (Kansas) provide options for vocal only or instrumental only, our university finds that many jobs include some aspects of both elementary and secondary,” says Bernstorf at Wichita State.Ěý

“Therefore we require all of our majors to study the PK-12 license program.”Ěý

The same is true at DePaul, says Kelly-McHale: “Knowledge across both areas is required in Illinois. We do have students choose a track to focus on; however, our program is comprehensive and there are only a few classes that differentiate the degrees.”

5. If you didn’t get a bachelor’s degree in music education, you may still be able to pursue a master’s degree and teach.

Maybe you started as a music education major and then changed to performance. Or maybe you got a degree in music business but found that training and teaching others was actually your passion. If you already have an undergraduate degree in music it is possible, in most cases, to get a master’s in music education and teach.Ěý

Brittin at University of the Pacific Conservatory of Music suggests considering the following: “First, make sure you are really intrigued with teaching, that you like being around people (as opposed to spending most time in isolated practice or writing), and that you are curious about how people learn and how to facilitate that learning. Then, ask lots of questions of grad and credential programs. Look for an institution with not only a strong placement rate (into jobs) but a strong track record of their graduates continuing to teach 5, 10, 15 years down the track.”

6. Education is a not just a degree, it’s a life.

According to Elisa Dekaney at Syracuse, “Graduation is the beginning of a new phase, not necessarily the end of another. Music teachers are more successful when they decide to live as lifelong learners. Finding a mentor in the school district or even from another school is very helpful. There should be no shame in failing or making mistakes. I am a college professor and I still learn a lot from my students and from my colleagues.”Ěý

Talbot at Gettysburg encourages future teachers to be changemakers. “The best music teachers use music to create change in their communities,” he says. “They are highly passionate and incredibly strong musicians who inspire others to be the very best versions of themselves.Ěý

“Ask yourself: How can I become an exceptional musician and teacher? How will I use music to address social, economic, and political issues in our community or across the globe? How will I create, respond with, and perform music with others? Go forth and change our world!”

One more important point: Be sure that you are interested in more than just the potential job stability for which some people turn to teaching. For the best teachers, there is much more to teaching than that.

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Currently a freelance writer and photographer, Amy Mertz was formerly the assistant director for Admissions and Community Programs at the Syracuse University Setnor School of Music.Ěý

Music conferences offer students as well as seasoned musicians a wealth of professional opportunities. They are motivating and help recharge your battery. They even help set future goals. Consider music conferences an essential component of your training and career.

by Paul Fox

Here’s why:

Music conferences “grow” your professional network and your opportunities for future collaboration. They build your knowledge base in a variety of ways. You get to:

• Hear about potential job openings.

• Stay current in the field.

• Discover mentors.

• Learn about new thinking, technology, music literature, classroom materials and curriculum initiatives, research, and unique approaches to problem-solving.

• See “state-of-the-art” student and professional performances.

How to prepare

You’ll get more out of a music conference if you do some advance preparation.

1. If the conference is offered through a professional association, check their website for the conference program. The program may also be available through an app like Core-Apps or Guidebook.

2. Review the sessions to be offered. They’re typically listed in chronological order or by content strands.

3. Look for keynote speakers, guest clinicians, showcase demonstrations, association or committee meetings, and performances.

4. See if there’s a conference planning app for setting up your schedule (“where to go and what to do”), reading the bios of the presenters, locating session rooms and exhibit booths, learning who is attending, taking notes, and hearing about last minute changes. Highlight areas of your highest interest.

5. Plan to stay at or near the venue where the conference is being held. Many conferences offer roommate options to help save money as well as conference block rates. Staying at or near the conference will allow you to focus on the conference events rather than worrying about getting to and from the conference. But this means signing up early as conference blocks sell out.

6. Prepare your business cards and review your networking skills. You’ll want people you meet to remember you.

Once you’re there

Don’t remain in your “comfort zone” by sitting exclusively with your friends and colleagues at every session and concert. For the sake of networking opportunities, get to know other professionals, possible job screeners or collaborators, etc.

Instead of attending sessions or concerts only in your specialty or most proficient areas, attend some that are not directly related to your major field. You may be surprised at the connections you discover or the new interests that arise.

8 tips for maximizing the takeaways from music conferences

1. Don’t be shy! Music conferences are no place to be timid or afraid to start up a discussion with more experienced professionals.

2. Circulate and introduce yourself. Be your “most charming self.”

3. Attend all general sessions. These usually feature the keynote speakers, association officers, and a special performance or award presentation.

4. Don’t be the first person to leave a session. Leaving early can be seen as disruptive and rude, and doesn’t let you to get the “whole picture” of the presentation or hear or participate in the Q&A, which may be as valuable as the presentation itself.

5. Look for special sessions on interviewing and landing a job.

6. Some of the best takeaways happen informally – over a meal, after a session, at continental breakfasts or coffee hours before the daily sessions start, and on the shuttle to/from the airport. Be prepared – even seek opportunities for this to happen.

7. Take time for a walk and for a breath of fresh air, and to regroup with yourself. Music conferences can be overstimulating and typically don’t leave much time for sleep.

8. Take notes about your experience during the conference and right after. Decide what you need and want to follow up on. Follow up with anyone you met who may be able to help you move forward in your education or career.

Teaching music in inner-city schools can have positive and long-lasting benefits for students from low-income communities. Enhanced academic performance and social/emotional development demonstrate how exposure to the arts can help students succeed in school as well as in life.

by Nitasha Maindiratta

Kevin Heathwood and Mary Landry work with economically-disadvantaged students through New York City’s Education Through Music (ETM). ETM trains teachers to work in inner-city schools and then hires them to teach music as a core subject at ETM partner schools.

Heathwood, who is teaching music at M.S. 180 in the Bronx, attended with a major in Music Education and received his Masters in Music Education from Columbia University. Landry teaches at P.S. 68 in the Bronx, and attended the for her undergraduate degree and received her graduate degree at the Crane School of Music at SUNY Potsdam.

Heathwood and Landry share their experience and advice for those who are considering making a difference teaching music education in inner-city schools.

What are some of the challenges of teaching music in an inner-city school?

Kevin Heathwood: Sometimes, there is not much support from home when teaching students from low-income communities. There is no one right answer on how to help such students, so you have to really get to know each student and figure out what is best to help them succeed. It can be time consuming, but it really makes the educational experience more enjoyable for both the student and teacher.

Mary Landry: Classroom management is a little trickier than it might be in a suburban or rural school. Some of our students come from home lives that aren’t ideal. You really have to manage the class through intrinsic motivation and teach them to care about their journey and their musical product at the end of it as much as you do.

What are some of the joys?

KH: No matter the socioeconomic status, students are influenced by their educators. Students from inner-city schools, however, may have few other influences in their lives and some really depend on great educators impacting their lives in positive ways.

With less economically-advantaged students, it is easier to see how much they rely on my teachings to help them get through whatever it is they are going through. The joy comes from seeing them grow up and become successful members of society and knowing, even if it was a small part, that you had something to do with helping them get there.

ML: I’ve worked in a very affluent community where the students practiced for hours each week. Many of my students here practice that much as well but for different reasons. Music is an escape from reality for some of them. It offers a sense of joy and self-fulfillment they would never have had the opportunity to experience otherwise.

How did you prepare for working with your students? What support and training did you find most useful?

KH:Ěý I taught in a wide variety of situations. The drastic differences among these positions gave me venues to grow as an educator.

Upon getting my job with ETM, I didn’t have any experience teaching students from inner-city schools, but I had multiple experiences where I needed to be able to creatively problem solve and adapt to my new environment. The ETM support system was a great help because at the end of the day, I knew I wasn’t alone.

Having multiple professional development sessions through ETM was very helpful, and showed me and other teachers how to talk with the families, and how to find a solution and ensure that every child who is interested gets the instrument they deserve.

Because of the strong professional development network ETM provides its teachers, seeing seasoned teachers in action and seeing how they talk and interact with families was invaluable. It really made me feel comfortable as a new teacher to this environment.

ML: ETM immerses itself in the school culture and provides professional development to ensure that the teachers maintain their passion and continual self-improvement.

There were a few professional development sessions where people were brought into the ETM office to address the teachers about working with students from inner-city schools. A former Bronx principal and superintendent made a few points in his presentation that were very helpful about how to relate to the students, what is expected and how to keep a clear perspective.

What are some of the things you’ve learned while teaching music to students from low-income communities?

KH: The biggest thing I’ve learned is that every kid can learn. It is just about finding the right process to make that happen. At times, I’ve learned to use music as a tool to teach more life and social skills.

ML: I’ve learned that students from low-income communities are children just like any other children. You’ll have students whose lives are touched by music and some students whose lives aren’t, just like at any other school. Sure, the motives behind some of their behaviors are different, but once you figure that out, it’s not so different from a school outside of the city.

Any favorite stories to share?

KH: My students and I stepped up to the stage at the ETM Festival and hit the first note of our second selection, Star Wars Saga by John Williams, a high school level piece. Immediately the crowd’s reaction was shock and awe. At the beginning of the first theme, the crowd erupted in applause. I couldn’t help but smile, thinking in my head, “Oh yeah, we did it,” and I looked at all of the students’ faces as they were playing with the same look in their eyes. It made me full of pride for each of them because they are all such great kids and worked so hard. I have no doubt they will take the lessons, not just musical lessons, but everything I taught them – and use them on their journey to success wherever life takes them.

ML: There is always a moment that comes every year in 5th grade orchestra when I’m tuning instruments and the students are practicing individually at their seats, when suddenly I hear two students start to play the same passage together. Then another will join. Then another. Then maybe some students from another section will join. Then the whole orchestra will start playing at the same point in the music together. Then a student will make an observation about how to make the music better and they’ll go back and play that part again. Pretty soon fifteen minutes of rehearsal have passed and the students still haven’t realized I’m sitting in the auditorium seats, watching them rehearse themselves. That’s always a proud moment for me. After all, isn’t that our goal as music teachers, to help students become independent music lovers and learners?

Advice for those looking to work as a music teacher in an inner-city school?

KH: Your first year is going to be tough. You will make mistakes. But then you will see a growth in your students and yourself. You may have felt a lesson was a disaster, but then students come up to you and say “thank you,” and you realize that all this stress and work is worth it. It means something. Believe in yourself, believe in the system, and make a difference.

ML: Focus on the good. There are students whose lives you will transform through the power of music, just as we always dreamed we would when we were in college. Concentrate on the hundreds of students who will have a positive musical experience because you were their teacher.

Nitasha Maindiratta works with the team. ETM partners with inner-city schools to provide music as a core subject for all children, and utilizes music education as a catalyst to improve academic achievement, motivation for school and self-confidence. Currently, the nonprofit serves nearly 27,000 students in 48 inner-city schools.

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Popular music has been gaining recognition as an essential element of music education training.

According to Bryan Powell, Chief Program Officer at Music Will (see below), traditional school music programs work for approximately only 20% of K-12 students. For music education to be more accessible to the other 80%, additional strategies are essential.

“Alternative approaches to teaching music are invaluable for teachers of this generation because we are faced with the task of upholding traditions of music education while at the same time piquing the interest of a new generation of students,” says Kaelynn Newton, B.M., Music Education, Choral-Vocal Music, California State University, Long Beach (’15). “Emerging Methods” is a class she took in college with Dr. Dan Zanutto to introduce prospective teachers to popular music styles, instruments, and techniques. “Even as a teacher of a traditional ensemble such as band, orchestra, or choir, techniques of popular music education can be employed to meet students in a place where they are more comfortable and willing to learn. An example of this would be doing rhythmic warm ups with a classical choir using a cell phone drum machine app that you can easily hook up to classroom speakers. This training also gives a teacher the option to offer to teach alternate ensembles such as rock, folk, mariachi, steel pan, etc. and utilize materials available to them if the resources are not available to support a traditional band.”

Radio Cremata, assistant professor of Music Education at , is committed to ensuring that music education is universally available. As a “teacher of teachers,” he says that prospective music educators need more than traditional conducting and general music in their music education training. “Experience in planning and teaching popular music in collaborative student-led music settings,” is also essential, he says.

In his research and teaching, Cremata focuses on music technology as a “familiar digital platform” from which children can explore their ideas. Music educators should be effective in a variety of inclusive contexts, he says. They “need to know how to navigate things like sound systems, recording, technology, iPads, drum sets, drum machines, guitars, and basses. They also need experiences in facilitating songwriting and other negotiated creative learning environments.”

Landing a job

Nathan Phung, B.M., Music Education & Piano Performance, California State University, Long Beach (’13), is convinced his background and experience in popular music helped him land a high school instrumental teaching job in San Bernardino, California. He currently teaches two string orchestras, two bands, and a percussion class. And he’s in charge of the marching, jazz, and pep bands in addition to coordinating the winter percussion ensembles.

The Emerging Methods music education course at Cal State Long Beach provided Phung with popular music pedagogical training. Student teaching in the Music, Media & Entertainment Technology program at Huntington Beach High School in Orange County, California gave him hands-on experience. He credits both for equipping him with the “open-mindedness and tenacity” necessary for getting hired and becoming successful at his job.

Phung sees himself “providing a perspective of practicality and industry experience, plus encouragement and validation for students who listen to and love alternative music styles.”

His background as a gigging ska, reggae and punk rock musician – the music he grew up listening to – has been invaluable. “My whole experience as a popular music performer provides me an outlet, and I feel that this outlet is something I can share with teenagers and adolescents as they go through a time in their life where they’re learning to deal with new emotions and might be dealing with their first major life struggles,” he says.

How to learn more

The hosts an annual conference in June that brings together college music faculty, K-12 music teachers, and others interested in sharing best practices for including popular music in the K-12 as well as college music education curricula. High school bands are invited to perform and receive songwriting and other training from faculty of college popular music and music industry programs.

(IASPM) was founded in 1981 and advocates for popular music “inquiry, scholarship and analysis.” Conferences, research, and publications are the major areas of focus to “advance an understanding of popular music and the processes involved in its production and consumption.”

provides access to music education to over a million students who might not have otherwise had access in their schools. These programs teach students popular genres such as rock, pop, R&B, Latin, rap, and country, along with styles found in typical school programs such as classical and jazz.

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Photo:ĚýMusic, Media & Entertainment Technology program at Huntington Beach High School (CA)

Are music teacher job interviews somewhere on your horizon?ĚýIf so, here are 7 suggestions for what you can do now while you are still in college and have access to great resources.

by Paul Fox

1. Market your pre-K – 12 general proficiencies in music education.ĚýDon’t just focus on specific training on your major instrument or voice. Don’t “label” your abilities, put yourself out there as a specialist, or sell yourself short. You should be able to teach general music at any grade level, lead a jazz rehearsal, design a lesson on folk dancing, conduct choir, direct a musical, chart a marching band halftime show, prepare students to take the music theory advanced placement exam, and start a string program.

2.ĚýBecome a jack-of-all-trades.ĚýImagine that the primary teaching assignment of your first job will be the area(s) in which you now feel weak or unprepared. While you are still in college, use your peers and exchange your expertise to help you bone up on singing, playing the piano, performing on every instrument type you can (woodwind, brass, percussion, strings, folk, and electric). Improvise on any/all instruments andĚýconduct any kind of ensemble you can. Be prepared with strong classroom technology skills as well.

3.ĚýLearn how to match your skill set and experiences with the job opening’s needs.ĚýBe ready to share anecdotes of your accomplishments and strengths. For example, instead of simply stating “I am a leader” or “I have good classroom management skills,” recall a story about a meaningful moment during your field experiences, counseling at a summer camp, directing a church group, coaching a sports team, volunteering at a childcare center, or completing other positive interactions with young people that support these assertions.

Prepare examples that validate your history of modeling theĚýideal teaching and professional standards for which most school district administratorsĚýare looking:Ěýadaptability, communication, content mastery, dependability, discipline, empathy, initiative, innovation, judgment, leadership, philosophy, planning and organization, problem solving, professional development, and teamwork.

4. Enhance your online presence.ĚýA digital portfolio and website are indispensable to show off your proficiencies, experiences, and awards. This is where you warehouse your:

• RĂŠsumĂŠ or curriculum vitae
• Awards
• Transcripts/test records
• Employment history
• Sample programs of recitals and concerts
• References
• Student teaching evaluations
• Congratulatory notes from staff and parents
• Examples of your teaching and your students’ work
• Music education goals, philosophy, classroom management guidelines, assessment rubrics, writing samples

Prepare digital samples (pictures, audio and video recordings) of your teaching experience. Try to show your involvement in a variety of settings, grade levels, and subjects areas (all interactions with music kids) such as: band and string lessons, rehearsals of small ensembles, large group conducting, choral practices, general music classes, dance/drama coaching, marching band events, guitar performances, music technology sessions, jazz improvisation, etc.

Create a business card with an easy-access link (including the password) to your portfolio and website.

5.ĚýSet up organizational systemsĚýfor archiving your successes, managing the employment/interview search/follow-up process, and keeping your professional contacts and notes catalogued and conveniently handy.

• After each interview, debrief yourself – write downĚýeverythingĚýyou think you did “right” or “wrong”. What information/documents do you need to include in future correspondence?
• Make a list of the names/email addresses of the key people on the committee and send them thank you notes.

6. Get together with your classmates for mock interviews.ĚýAssess each others’ skills in sharing anecdotes that model core teaching standards (see #3 above). Make video recordings of these simulated “performances” to review. Your colleagues can also help you proofread your rĂŠsumĂŠ, cover letter, and professional website.

7.ĚýBuild a network of the professionals with whom you connect.ĚýInclude teachers; guest clinicians; staff and administrators at all field experiences; and other college students – including music education majors at other schools. Join the National Association for Music EducatorsĚý (NAfME) and your state professional organization, and attend local and state music teacher conferences and workshops.

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Paul Fox, BFA, Music/Viola; MFA, Music Education () is the State Retired Members’ Coordinator for the Pennsylvania Music Educators Association. As a music educator, he taught orchestra, choral and general music, elementary band, music theory; produced school musicals; and more. Visit his blogpost at paulkfoxusc.wordpress.com.

El Sistema is a global approach using music education to transform lives and bring about social change. In El Sistema-inspired programs, children as young as age 2 and living in impoverished and sometimes dangerous situations are offered intensive music training.

The results have been nothing short of miraculous in many situations. Children learn to play music in an ensemble-based program. Their training includes instruction on an instrument, basic musicianship, and improvisation and composition.

Founded in Venezuela in 1975 by the late economist and musician JosĂŠ Antonio Abreu, El Sistema programs are found in more than 55 countries including the U.S. In addition to gaining the ability to play an instrument and perform in an ensemble, participants have shown measurable gains in academic performance, as well as improvement in school attendance and behavior both inside and outside the classroom.

El Sistema Colorado’s Jamie Wolf, program director, and Megan Moran, former lead teaching artist, spoke with ťĆšĎapp about the benefits and challenges of their work with El Sistema.

What drew you to start teaching with El Sistema Colorado?

Jamie Wolf:ĚýIn college, I was continually frustrated with the lack of connection between the music school and the outside world. It baffled me that students would spend hours alone in a practice room, rarely taking that talent out and sharing it for the good of others. I had a growing passion to work with the underserved, and a deep-seated belief in the power of music to make a real difference in people’s lives. Throughout my undergrad, I sought out ways to make that connection myself and provide other students with opportunities to experience that kind of work as well. Working as an Americorps volunteer with a non-profit school reform organization at a low-income school the year after I graduated solidified my desire to make music and social change part of my career as a choral director.

Megan Moran:ĚýI originally found out about Sistema in my work with afterschool programming in Portland, OR. I was working with a program that had kids coming in an hour or two a week and I was curious what could happen if there was more intensity. I looked into El Sistema and was accepted into the Abreu Fellowship at the New England Conservatory.*

The biggest thing that drew me to Colorado is that it was so easy to jump in and work with the team. Everybody had a lot of good energy and the kids seemed fun to work with.

ĚýWhat are some of the benefits of your work? What are some of the things you’ve learned?

Jamie:ĚýI feel so lucky to have a job that I love – even on the hard days! It feels great to be doing meaningful work that challenges me to be a better teacher, musician, and human being every day. Working with low-income students is where I feel called to be right now, and I love giving them the opportunity to discover a talent they might never have had the chance to realize. I learn so many things every day!

Megan:ĚýI’ve learned a lot about myself personally and as a teacher, and the kids challenged me every day ––Ěý which I appreciated! The students all brought their own stories, imagination, experiences, and excitement –– and that’s really contagious. It’s exciting to see where these kids can go.

What are some of the challenges anyone thinking about working with El Sistema should know about?

Jamie:ĚýAlthough I’ve been teaching for quite a few years, and majored in music education, I am pushed to the limits of my teaching skills every single day with my kids. Classroom management is a continuous challenge. Like many non-profit jobs, a job with an El Sistema-inspired program also usually means working really hard for very modest compensation.

Megan:ĚýIt’s a big time and energy commitment. There’s not a lot of precedent for the work we’re doing and the way that we were doing it in the United States. Finding what works within one’s own community can be a challenge because what works in Venezuela or what works in Boston may not work in Denver.

What kind of special training did you need for this work?

Jamie:ĚýI was grateful to be accepted into an internship atĚýNorthwestern UniversityĚýcalled “Partnerships through the Arts” where I got to work with Chicago public schools and professional teaching artists.

Some friends and I started a student group called the Music Learning Community which included an initiative to partner with a local church to give free private music lessons to community members who couldn’t afford afford them. Through concerted effort, I got a student teaching placement in an inner city high school (rather than in the more affluent suburbs as was the general practice). After college I taught in many different settings and at a few Title 1 (low-income) schools.

Megan:ĚýDuring the Abreu Fellowship, most relevant was my residency at another El Sistema-inspired program in Juneau, Alaska. The Fellowship program was focused on running a non-profit –– the strategic planning and budget side of things –– which was helpful in gaining the bigger picture of how all the pieces fit together. Seeing lots of different kinds of teaching and learning different group pedagogy was also helpful.

Another aspect of training for working with an El Sistema program is classroom management plus an awareness of the population and culture you’ll be working with –– and how that may differ from your own background and set of experiences.

Can you do this work and still perform and/or teach privately?

Jamie:ĚýMost of our staff at El Sistema Colorado are part-time, which means most are also teaching privately and working as professional gigging musicians around the city. That is part of what makes the teaching artist role powerful with kids –– they have mentors who can inspire them with what it is like in the real world as a musician.

Megan:ĚýI think it is definitely possible. It’s what makes Sistema unique. You’re often dealing with teaching artists rather than trained music teachers. They are active artists in addition to their roles as teachers. There can be drawbacks but there are also positives.

What are El Sistema programs looking for in teaching artist applicants?

Jamie:ĚýI am always looking for people who are passionate about the bigger vision and mission of El Sistema: to change lives and communities through music. Our teaching artists need to have experience working with groups of children and be masters of their instruments. They need to be flexible, collaborative, and naturally take initiative. People who are bilingual (in the language of the students we work with) are a huge asset.

Megan:ĚýDedication and commitment. Somebody who is not only going to be invested in the musical progress of their students but their entire well-being. Somebody who has a passion for what they do because that will be communicated to the students. Prior teaching experience in a group setting is important. Some familiarity with pedagogy within one’s instrument is also important.

* The Sistema Fellows Program was a post-graduate certificate initiative offered by New England Conservatory from 2010-14. Through master classes, workshops, internships and residencies, participants received the training needed to start El Sistema programs throughout the U.S. and other countries.

Prospective and current music education majors… you’ll be facing a very different job market than in the past. To be employable, you’ll be required to have a broader set of skills and be far more flexible in where and how you work. And it won’t work for you to wait until you’re ready to graduate to start looking for a job.

See what music educators around the country recommend to help prepare you to meet the job market head on.

1. Be an outstanding musician. “As a music educator, you have to be a great musician. Music teaching is about guiding inexperienced musicians in developing their musicianship and a big part of that process is always demonstrating high levels of personal musicianship,” states Kerry Filsinger, University Fellow and PhD candidate in Music Education at Temple University Boyer College of Music & Dance. “I am constantly striving to become a better musician, so that I can be the best possible music model for my future students.”

2. Learn how to improvise. A teacher who can walk into the classroom and perform on their instrument without music is a great asset, says Edward Smaldone, professor of composition and director of the Aaron Copland School of Music at Queens College. “Music is about communication, not just about playing what is on the page. ĚýIf the music does not live in your imagination it can’t be communicated effectively. You need to practice both: reading and improvising.” Smaldone stresses thatĚýimprovisation is a valuable skill to learn and hone, and not just on your instrument. “Knowing how to improvise means you can adapt,” he says. “Lesson plans provide great ideas, but as a teacher, you can’t script every word for every situation.” This translates to myriad situations music educators will find themselves in, from needing to transpose to figuring out how to make a wind ensemble work with too many of one instrument and not enough of others. And it’s a life skill that can be passed on to your own students.

3. Acquire entrepreneurial skills.ĚýAccording to Russ Sperling, president of the California Music Educators Association and instrumental music specialist for San Diego City Schools in the Visual and Performing Arts Department: “It’s no surprise that, as a music educator, you must be a fine musician. At the same time you have to be skilled in marketing because you’ll have to be recruiting students into your program. You’ll also have to deal with all of the administrative work it takes to run that program.”

Susan Wharton Conkling, the late professor and chair of Music Education at Boston University School of Music, had reminded: “Music teachers must stop limiting their thinking to music education as a K-12, public school enterprise. They must also stop limiting their thinking to music education as band, chorus, and orchestra.” She pointed to other areas where music educators can create employment for themselves: working with very young children, partnering with local YMCA or youth-based clubs; working with senior centers and retirement or assisted living facilities. Conkling added, “Music educators who have developed high-quality, broad-based musicianship are ready to be entrepreneurial. They can already think ‘outside the box.’ These music teachers will always have employment because they’ll create their own employment.”

4. Become as broad-based and well-trained as possible. “Employers will look for candidates who can do a lot!” says Dr. Deborah Sheldon, professor and chair of Music Education at Temple University Boyer College of Music and Dance. “They will be more drawn to those who are skilled and capable in a number of areas, from instrumental to choral to general music. They will look for candidates who bring something unique to the school such as ideas for how to connect the school experience with the greater community, the use of new technologies to advance music and arts, and entrepreneurial ventures that will bring greater visibility to the arts. They will have their pick of many candidates so the one who is well-prepared, a polished musician, a creative thinker, an artful teacher, a good communicator,and a team player will have the advantage over others.”

5. Combine advocacy with exchange to create better programs. Lauren Kapalka Richerme, a doctoral student in music education at Arizona State University, published an important piece, “Apparently, We Disappeared,” in the September 2011 Music Educators Journal. She emphasizes the value of sharing ideas within the broader community that lead to action. Richerme states: “Music educators must alter their practices by implementing the ideas generated from their dialogue with various constituencies. Words are not enough; we must change our actions as a result of these exchanges. Combining advocacy with exchanges allows music educators to promote and improve their programs and build a better relationship with their communities.”

6. Learn all you can about relevant technology. Technology plays a significant role in music education. From apps and programs for everything from teaching chording and music theory to recording, tuning, and improvisation, music educators and music education majors have a wealth of options at their fingertips. But the technology changes quickly and sometimes dramatically, so it’s essential to continually stay on top of what’s current, assess its value, and learn how to use what’s relevant.

7. Keep an updated list of your skills, relevant experiences, and training. When you’re ready to enter the job market, having a running list of your experiences will come in handy. You’ll want to memorize some of it so you can succinctly respond to interview questions in a way that demonstrates why you’re the right candidate for the job. Take advantage of opportunities where you can teach or assist in teaching music to a variety of ages. Gain experience speaking in front of groups. Find performance venues and get your music out there. Participate in relevant workshops. Explore the music of other cultures. And remember to add all of it to your list of skills and experiences.

My wife and I are music teachers who have been teaching music abroad for several years. We have taught in a bomb shelter in Uganda; have worked in Caracas (where we also saw street riots); have conducted a concert under frangipani and coconut trees in Sri Lanka; and are currently preparing a concert in a Buddhist temple here in Yangon, where we now work at the International School of Myanmar.

by Thomas J. Stief

Are you seeking a sense of adventure? A yearning to experience different cultures, to meet new people, and to see a different side of nature? Do you have a feeling that there is a whole wide world out there to be discovered? ĚýThis kind of mindset, along with a sense of humor, flexibility, and the ability to meet new challenges, is a good starting point if you’re interested in teaching music abroad.

Requirements

International schools will typically require a BA and a US teaching certificate for prospective teachers. Usually, they’ll offer renewable 2-year contracts, housing, health insurance, visaĚýassistance, and a set number of personal/sick leave days.

Getting Hired

SchoolsĚýoften hire through job fairs and ads, and more and more via Skype interviews.

TIE, ISS , SEARCH and CIS (see links in sidebar) are some of the organizations international schools use for recruitment purposes. While prospective teachers may go through one of these, often the application process is independently initiated by the candidate.

Some teachers stay in international education for one contract, some for the remainder of their teaching careers. Some stay in one school, some move through a number of countries and schools.

What to Expect

International faculties tend to be a mix of all age groups and often many different nationalities. Schools will typically have inservice programs that may include activities and workshopsĚýrelated toĚýcurriculum, assessment, and day-to-day operations. The culture and customs of the host country are also introduced. Most schools will operate a professional development program throughout the year via professional development days. The teaching language is almost exclusively English. However, English is often the students’ second or third language.

You’ll want to be able to teach many different elements of music, and be able to “sell” and run a whole music program. Also plan to hone your diplomatic and organizational skills. It is very important to be able to think on your feet and to beĚýcreative as well as proactive –– in your work life and outside of school.

You may find facilities and a program that match your preferences and strengths, but more likely, you will find yourself building,ĚýrevampingĚýand/or developing a program that will match the needs of the students, school and the community, and that will incorporate your personal strengths.

Getting Acclimated

Living and working in a new host country is both a blessing and a challenge. There are as many different circumstances and challenges as there are international schools!ĚýResearching ahead of time, observing and listening without judging, and staying curious and open-minded all will go a long way towardsĚýa smooth transition and laying the groundwork for a satisfying experience. Be ready for new customs, foods, religions, climate, and nature –– and differences in how music and even teachers are appreciated.

One of the best administrators we have ever worked for asked us during the interview: “And what do you do in your spare time?” More important than you might imagine is to have an “outside life,” especially when you live in a completely different culture, thousands of miles away from home and family. Some musicians join or start a choir or a local/expat group of musicians, or play in a local jazz club.ĚýI write music when I get inspired and am not out exploring.

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Thomas J. StiefĚýis a musician, composer and educator who, with his wife Barbara, currently lives and works in Yangon, Myanmar. He received his training at the Richard Strauss Conservatory in Munich, Germany and the University of Southern Mississippi in Hattiesburg, MS. He and his wife have performed concert tours as soloists and chamber musicians and have worked as music instructors for international schools in many different parts of the world.

Overcoming the challenges of finding your first music teaching job requires patience, knowledge, and support. Some of the biggest hurdles include:

• How to prepare for the job hunt?
• What to do to set yourself apart from the competition?
• How to show school administrators that you are the right candidate for their school?
• How to address your lack of experience?

by Kevin Brady

Challenges + Solutions

1. Many music teachers are specialized in one area or another (band, chorus, strings). More and more often, however, they are expected to teach outside their area of specialization, or teach multiple areas.

Solution: Practice teaching outside your specialization as much as you can. This way, you will feel more comfortable with any assignment a district might request.

2. Many music teachers have few – if any – music colleagues at their schools.

Solution: Stay active in national, state and local music educators associations to make connections with other music teachers, as well as to share and gain new ideas to continually improve your teaching skills. Membership in these organizations can help compensate for the lack of colleagues at the school level.

3. Many job postings indicate that prior teaching experience is required, leaving young teachers asking the question “How am I supposed to gain job experience if I need experience to get a job?

Solution: Take advantage of any opportunity you can find to work with young people. Volunteering and working at summer camps or after-school programs, for example, are less likely to require teaching experience.

4. Some areas of the country have a greater need for teachers. This may require you to relocate.

Solution: If teaching music is truly your passion, don’t be afraid to follow opportunities to new places or even other states.

What Young, Employed Teachers Wish They’d Known

School districts post their jobs in many different ways, so it’s important to know that hunting for a public school music teaching job is a very time-consuming process. You may find jobs on websites like indeed.com, but some schools post jobs through regional online systems, and some only post on their district’s own website.

Take every opportunity you can to interview. This way, you will have had lots of practice answering interview questions in a real situation. When you get the interview for your dream job, you’ll be better prepared.

What do administrators look for in a potential music teacher?

Confidence
Learn to make a good first impression and practice your interviewing skills. Make eye contact, know how to answer questions you expect to be asked. Practice answering typical interview questions, but make sure they don’t sound rehearsed.

Flexibility and nimbleness
Be able to think on your feet and don’t be afraid to make changes to your plan.

Attentiveness
Show that you are someone who will be aware of what is going on in your classroom, what works for your students, and what their needs are.

Proactive approach
Present yourself as someone who will seek out opportunities to create the best experience you can for your students.

It is important to note that some of these traits and behaviors can only be seen in action. If asked to do a demo lesson, you’ll have a chance to demonstrate these qualities at that time. It can also be helpful to put together a digital portfolio that includes videos of you teaching, conducting, and even performing. This is another opportunity to show how well you work with students, how you work with ensembles, that you care about performing music, and that you’re an excellent musician.

Words of Wisdom for New Teachers

1. Take every opportunity you can to observe great teaching. Keep a list of techniques, ideas and qualities you want to use or embody someday.

2. Watch other directors’ rehearsals, but before the rehearsal, try studying the score. Imagine what you would do and how you would approach the pieces. Then compare that to what the director actually does.

3. Music teaching is a difficult profession since many school districts see music teachers and music education as a luxury. If music is your passion, fight for it!

4. There are definitely jobs out there, but you need to be persistent. No district is going to knock on your door and ask you to teach for them. You need to prove to them why you are the perfect fit for their district.

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Kevin BradyĚýis the Elementary Band Director in the Cave Creek Unified School District, Cave Creek, AZ. A 2014 graduate of the Crane School of Music, he studied Music Education and Music Business, completing a student teaching assignment in Mount Sinai, NY and a marketing internship at DANSR, Inc., the U.S. distributor for Vandoren and Denis Wick Music Products in Chicago, IL.

Photo credit:ĚýRobert Moriarty