One of the fascinating things about social media is its ability to minimize the size of the world by bringing far-spread communities together in accessible ways. This takes time, effort, and a lot of hard work, but creating opportunities for discussion and community pays off in the end. This article is both a brief history of the online music education community as it relates to my own personal involvement within it.
2005: Although in 2005 there were a “hodge-podge” of music-related start-up forums and static websites. Each site with their own limited amount of resources, there was a noticeable absence of music teachers’ voices and they were often exclusive to their members only. I decided to start a freely-accessible, music, technology, and education blog, based on the WordPress platform, to help kick-start the conversation and open the discussion to include everybody. As time progressed, a virtual community of music educators began to form around these websites and blogs.

2008-2009: I wanted to help the online music education blog community grow and get more music teachers online discussing music. After a successful community campaign to get 100 music educators actively blogging, I started the Music Education Blog Carnival and the MusicEdNews.com website in order to help music educators easily find interesting and related topical information for their classes and students. These sites are both still active and continue to provide outlets for the works being generated by those blogging about music education.

2010: While many educators had started using Twitter as an additional source of sharing and engaging with information in 2009, it wasn’t until 2010 that a real shift in where the social music education conversation was started to make itself visible. On March 1st, 2010 Andy Zweibel (the originator of the #musedchat hash tag) and I co-moderated the first ever music education conversation on Twitter using the #musedchat hash tag. It was a huge success and the chat has been held every Monday evening since the launch.

As #musedchat became a useful resource for music educators, it started to become clear that dedicated social media platforms could play a significant and important role in online professional development. However, Twitter’s 140 character limit was a double edged sword. The forced succinctness could be a blessing while simultaneously being incredibly limiting.

In the summer of 2010, the MusicPLN.org, I launched a dedicated music education social media platform, was launched. Short for the Music Educators Professional Learning Network (MPLN), it was created to address some of the shortfalls of Twitter and all of “our” existing social media initiatives. As with everything that our music education community has worked towards, the mission of the MPLN was “to generate better, more accessible, information about music, education, and technology and to freely encourage dialogues from Music Educators through social media outlets.” The site was successful and was a home for many significant and important music education conversations and solidifying the idea of social media as professional development tool within music education.

2011: The MusicPLN.org was going strong, but towards the end of this year, I began to see a number of signs that pointed to a new, smore viable force within social media outlets: Facebook groups. In this year, many recent changes to Facebook groups made using these tools useful for online professional development. This became most evident to me when I noticed the radical success of the Band Directors’ Group on Facebook. This group was founded by Brian Wis, one of the original steering committee members of MusicPLN.org.

2012: This year in April, I, Amy Burns, Barbara Freedman, Richard McCready, and Thomas West, decided to evolve the MusicPLN.org into a Facebook group named the “Music Teachers” Facebook Group. I also made the bittersweet decision to close the MusicPLN.org after a very successful two year run. The MPLN, at its peak, had over 2,500 members, 37 forums, 1,000 topics, and over 12,000 user updates. These types of statistics demonstrate the effectiveness and ongoing need for these types of social media groups for professions and associations.

The Music Teachers Group on Facebook is a private group that any music teacher can freely join to read or discuss topics that are important to them. Despite the fact that Facebook offers less functionality than the MPLN, I absolutely see the move to Facebook as a positive one; given Facebook’s significant user base, the decision to move the “virtual music conversation” to where the people are made a lot of sense. This change also eliminates the need for members to have to periodically visit and follow “yet another website.” Facebook is also “mobile-ready,” which makes it easier to keep up with the group’s many conversations. The transition to Facebook went very smoothly and, in less than two months, there have been hundreds of updates created by the groups’ 1,600+ members.

What’s Next?
I do not think the Music Teacher Facebook Group should replace the need for music education bloggers, our robust Twitter community, or any other social medium that music teachers may be using. We do not need to adopt one social media form of communication over another, but rather find ways to create effective opportunities for those already using them, whatever they might be. Many national music organizations such as NAfME and TI:ME are now very active with social media and it is exciting to see the resources and communities that they are fostering because of it.

Wherever the online conversation may go with regard to music and music education, it is my hope that all musicians and educators will adopt and embrace these amazing social media technologies for professional development, to support their own programs, and to glean from all of the opportunities that they afford when used effectively.

Dr. Joseph M. Pisano is an Associate Professor of Music and Music Technology and the Associate Chair of Music and Fine Arts at Grove City College in Pennsylvania. His duties there include teaching Music Technology, Jazz History, Instrumental Conducting, and serving as the Associate Director of Bands. Abroad, he is an instrumental conductor and adjudicator, jazz trumpet player, Fine Arts Advocate, and the founder of many popular music, education, and technology Web sites including MusTech.Net and the MusicPLN.org. He also serves as a SoundTree Clinician, TI:ME Instructor, affiliate member of the Support Music Coalition, and writes the Teacher’s Guide for IN-Tune Monthly.

I am a Show Director at the School of Rock in Eden Prairie, MN. I am also a private instructor at the school, teaching both drum set and keyboard. As an experienced instructor, I thought i had a solid idea of which songs can best help my students learning. However, it wasn’t until I started trying to get back into the mindset of a beginner that I began to look deeper at what lessons students can take away from the music they study.

When I began teaching at the School of Rock seven seasons ago, I fell in love with the students’ energy and was impressed at their high level of musical proficiency. As my reputation as “the new teacher” wore off, I learned what to expect of the students, both the good and the bad. In my mind, I could identify strengths and weaknesses. My strategy for strengthening those weaknesses was to provide opportunity and encouragement. I’ve watched other instructors provide a challenging attitude to inspire students to work harder,  and I’ve seen teachers pick up an instrument and give an example of how it’s done so students can learn from that. All these are fine teaching tactics and certainly add to our teacher bag of tricks. But I’ve learned that it all isn’t quite enough.

Consider this: one of the perplexities of becoming an expert in our field is that we are inherently out of touch with the hurdles of being a beginner. We instructors have years of experience mastering our instruments, stage presence, and the many other details of putting on a great live show. However, I had to ask myself questions like these:

• What is it really like to have no experience at this?
• What is underneath why they can’t figure out this passage?
• How is my brain wired differently than theirs so that I can do this effortlessly and they struggle?

I decided to take cello lessons. Why cello? Because it’s awesome, but also because I have no experience playing any stringed instruments. Plus I like the challenge that the tenor and bass clefs bring to sight reading.

My process began with choosing the right instructor and/or school. As I called around, compared prices, researched cellists, and took trial lessons, I was reminded about the responsibility the students and parents were likely to feel when choosing me as an instructor. I bargained with a few shops that rented cellos, compared the details of instrument insurance plans, and found myself the best deal. I wrestled with my calendar for a day and time I can schedule my lesson time as well as practice time at home. I found clicking the mouse to start my SmartMusic program annoying, so I got the USB footpedal. I YouTube-searched how to rosin my bow!

Jeez, I totally forgot what commitment it takes just to get to a level where I can make my private lesson worth the money! I didn’t want to pay $20 to say “show me how to use this rosin thing. How do I hold this instrument? Oooooh, there are micro-tuner pegs at the bottom!” –but I did spend my money doing this the first week with a very patient Bob Galombeck at Groth Music.
I’ve been taking cello lessons since October 2011. I am able to play tunes marked “E” for “Easy” if I practice throughout the week, but level “ME” for “Medium Easy” still seems impossible. I”m very much a beginner still.

Now when I get to the School of Rock to direct rehearsals or teach private lessons, I see firsthand a beginner, like myself. The only difference is that they are on an instrument that I understand very well. I see the student’s embarrassment about how they sound on their instrument because they know they’re musical inside but are learning to prove it through their new instrument. I see students who know they sound great at home and choke in front of their teacher. I see it, and I’ve been there – like three days ago in my lesson.

I’m amazed at how I’ve grown as a teacher through the practice of a foreign instrument and the desire to play songs I know and love. New goals reveal themselves every day, and they inspire and shape how I work with my own students. It wasn’t until I really refreshed my memory on what it’s like to be a beginner that I was able to understand how songs can have many lessons in them beyond technical notes.

So, the biggest advice I have for teachers everywhere is become a student. Go through that experience again. And wish me luck on my cello ventures!

Beth Varela graduated with a Bachelors in Film Scoring from Berklee College of Music. While in Boston, she served as the Principal Conductor for the College Repetory Orchestra. She completed her Masters in Business Administration from the Minnesota School of Business with a focus on researching Funding for Technology in Music Education. Her original works have premiered professionally in theater productions, high school band concerts, radio commercials, and several independent films. She’s currently Show Director at the School of Rock, the Database / Web Analyst at MakeMusic Inc., a free-lance percussionist and independent film composer.

Scenario: You are a music education major, and a conference is coming up. Should you go, or should you wait to attend conferences when you have your own classroom?

Conferences can seem a little daunting if you have never attended one. Perhaps you will feel out of place, or unqualified to be in attendance. While those feelings are understandable, they are not the case at all! Conferences are great opportunities for music education students to prepare for their classroom careers. As a student myself, I have compiled a list of 10 reasons why I love attending conferences, and why college students should seize any opportunity to attend. Some may be obvious, but there bound to be some surprises!

1. Students usually have a discounted rate! It’s true! As a student member of a professional organization, you pay a lesser registration fee. Depending on the conference, it can be a difference as little as $30-50 or as large as $100. College students should seize these opportunities because a) They get the same experience for a cheaper price and b) They are acquiring beneficial professional development that will enhance their future teaching. Thank you, professional organizations, for realizing that college students are so very poor!
2. Conferences have great performance programs. In order for an ensemble to perform at a conference, they need to submit recordings and be selected. Only the best of the best will perform! Whether it is local school ensembles, collegiate ensembles, or professional groups, they are bound to impress! At the last SCMEA conference I attended, I heard a middle school choir that completely caught me by surprise! Not only did the choir have great tone quality, but also their soloists were legitimately awesome, for lack of a more technical term. Hearing these kinds of performance can introduce you to new repertoire, as well as inspire new goals and aspirations for your current/future ensembles.
3. 

   Marcia Neel’s keynote speech at the South Carolina Music Educators Association.

   You may meet one of your idols. I had originally labeled this bullet as “great networking opportunities,” but I wanted to relay the fact that you actually may meet one of your music education idols! At the 2011 SCMEA conference I had the privilege of attending two sessions by James Jordan, choral conductor at The Westminster Choir College. You may have also seen his podcast right here at Leading Notes! I had previously read three of his books, and am a huge fan of his style of writing, his teaching ideas, and basically his whole outlook on choral music. I decided to bring one of my books with me just in case I had the chance to accidentally run into him and have him sign it. I took the plunge after one of his sessions to go meet him, and I ended up embarrassingly admitting that all I had asked for Christmas was a new belt, makeup, and his book, The Musician’s Walk. Luckily, that didn’t faze him and he gladly signed my book! So there you go…go to conferences to potentially embarrass yourself in front of conference speakers and have them sign things.

4. The exhibit hall is like a music education mini mall. There is nothing more detrimental to your wallet at a music education conference than the distributor booths in the exhibit hall. Book publishers, music distributors, instrument vendors, and music software companies will set up their merchandise for you to peruse and potentially purchase. However, this is not a negative aspect at all! There are a lot of great teaching resources to be had by all! I have peers who will be going into elementary music who have found great books and other materials for their future classrooms at conferences. I recommend bringing some extra cash to conferences because you never know what you will find!
5. There might be free cheesecake. Make sure you thoroughly wander your music education mini mall. Schools will set up booths to supply information about their music programs, music publishers or product companies will sell merchandise. Fundraising companies also set up shop here, turning an area of the exhibit hall into something that strongly resembles Costco. That’s right: free samples! Some companies will have samples of their cheesecake, cookies, candy, pizza, coffees, etc., so that you know exactly what product you are selling. First of all, they are usually delicious. Second, it really is a great fundraising idea to keep in mind for the future! After first discovering them at my first conference, I now seek them out intentionally.
6. You may get free stuff! One of the best discoveries during a workshop, speaker session, or clinic, is opening your session packet and finding free materials. Recently, I went to a choral clinic session where an awesome college choir that performed earlier that morning would be included in the speaker’s (who was their conductor!) session on choral conducting technique. Once I found my seat, I opened my session packet to find single copies of their repertoire provided by the publisher. There is nothing better than free choral scores!
7. The valuable sessions, workshops, and clinics. Conferences are a great way to get a head start in your teaching career. There are always a wide variety of sessions to choose from, covering topics such as pedagogy, teaching techniques, technology, and conducting. My advice is to get the conference schedule and mark any sessions that you would be interested in attending. Then, if sessions overlap, choose the one that you either know the least about or the one that will benefit you most in your future classroom. Be sure to attend as many performances as you can as well!
8. The reading sessions. While I’m not sure if the instrumental world has reading sessions, or how they work if they do, they are excellent experiences for choral educators. A reading session is where you are given a (rather lengthy!) packet of literature and the entire session is comprised of everyone singing! Here are the reasons I love reading sessions: 1) You put your sight reading skills to the test. 2) You are intimately exposed to new literature that you may end up purchasing and programming for future concerts. 3) You are instantly making music with complete musician-strangers! They really are a lot of fun, and it is a great way to find new literature.
9. You get to explore a new city! It’s always fun to explore a city you haven’t been to, particularly if it’s a city that attracts a lot of tourism. Always check out popular restaurants, stores, and tourist attractions during your free time! If the conference happens to be in the city where you live, consider it a bonus! You probably don’t have to pay for a hotel, and you can act as “city experts” to those are who are visiting!
10. You may meet or see people that you follow on Twitter! At this past SCMEA conference I attended the last session with the Keynote speaker without realizing what it was about or who was speaking. I mostly went to hear a college choir perform, and ended up sticking around for the rest. As soon as the speaker was introduced, I thought to myself, “Marcia Neel…why do I know that name?” Once she got to the microphone and started speaking I immediately recognized her from Twitter and #MuseEdChats. I immediately felt cooler than my classmates because I knew who she was and have conversed with her before. You never know who will be at your conferences!

So, there you have it! If you’re looking to get a head start in your career, network with other music educators, want to shop for geeky music items, or if you are just want to grab a snack with fellow music geeks, a music education conference is your place!

Lindsay Morelli is a graduate student at The College of Charleston pursuing a Masters of Arts in Teaching in Choral Conducting. For more information about Lindsay and her projects, please visit http://www.LindsayMorelli.com or follow Lindsay on Twitter: @LindsayMorelli.

Though I am a recent graduate, I’ve had the opportunity to attend many professional development conferences as an undergraduate music education student – some dealing specifically with music education and some that were not. The presentations and clinics from these that stick out the most vividly in my mind are obviously, the sessions that were well done, engaging and useful and the ones that were really bad. Like, “reading from a piece of paper” bad. In April I had the chance to try my hand at presenting at the Pennsylvania Music Educators Association (PMEA) State Conference, and it gave me a really good perspective on what it takes to present a session.

Research
When beginning to prepare my clinic at the PMEA conference, I relied on the content, technology and presentations that I remembered from the myriad of sessions that I’ve attended in the past. From traditional PowerPoint presentations to hands-on approaches, I thought through many different options to present the subjects of social media and online portfolios. I ultimately chose to do a PowerPoint presentation and demonstration. In addition, I found myself reviewing a pile of different handouts. This not only reminded me of some pretty great sessions, but helped me to begin to think about how I wanted to present my material, and what I wanted the session attendees to take home with them. This step of research proved to be very useful to me as a first-time presenter. By modeling my presentation after some of the great presentations I had attended, it assured that I was presenting my material appropriately.

Content
When thinking about the content of my session, I was determined not to have a session where I merely read to the audience and bored them for an hour. At the same time, it was hard to make this session completely hands-on as I knew not all attendees would have a computer and Internet was not easily available. I decided to present the session as a mixture of lecture and demonstration. I talked about specific aspects of social media, and then embedded visual representations of what I was talking about. For the online portfolio section, I was able to find a PowerPoint plugin to embed websites into PowerPoint slides, which allowed me to demonstrate right from the presentation.

This presentation style helped me to engage the attendees while still explaining and demonstrating the specifics effectively. With presentations, especially technology presentations, it’s really easy to lose the audience when speaking about things they may not understand fully. This becomes an even bigger problem when something difficult to understand comes at the beginning of the presentation, and the rest of the presentation is dependent upon it. By explaining aspects, and then demonstrating them, even the attendees who were not remotely well-versed in technology could understand the material and follow along.

When considering content, I also had to decide on the form I wanted my handout (click link to download) to take. When I reviewed the handouts that I had accumulated from various sessions, it was evident that most of them were a traditional outline of the topics and concepts from the session. I certainly wanted my handout to explain these concepts for the session, but I also wanted to make a sort of “How-To Guide” to online portfolio creation for the attendees.

One of the biggest questions when it comes to technology is “Where do I start?” A traditional outline would help for attendees to review the information and content of my session, but it wouldn’t help them to actually DO what was presented. To accomplish this handbook, I started by creating a traditional outline. After this was complete, I added step-by-step instructions to accomplish each task. I was  pleased with the result of the handout because it not only jogged the memory of the attendee, but it gave them a guide to accomplish what was presented.

Technology
Technology has transformed the professional development scene. It is now uncommon to see a presentation without attendees taking notes on iPads and laptops and presenters using new technology to share their content. One of the tools that proved to be the most useful to me was the PowerPoint plugin LiveWeb. This plugin allowed me to show web pages in my presentation without having to switch back and forth between PowerPoint and Google Chrome. In addition, it allowed me to use web-based applications like VisibleTweets in my presentation without leaving PowerPoint. And presenting is like anything else… there’s an app for that! I paid 9.99 for the iClickr app. This app, connected to my computer through an internet connection, allowed me to click through the slides of my presentation from my iPhone. In addition to that, the app displays either the current slide and your notes for that slide, or the next slide with your notes for that slide, so you can have your notes and clicker all on your phone. Plus, you can set it to vibrate when you’re halfway through your presentation, or have 5 minutes left. I also made my session handout available through QR code for the people in the session using iPads or smartphones.

Technology has also changed the way that attendees interact with the presentation. As an attendee, I’ve used technologies like Twitter and live-blogging to share the information I was learning in the multitude of sessions I attended. As a presenter, I was able to see how my session’s attendees engaged with the material through technology, too. It was so cool to log on to Twitter during and after the presentation and check out the conversations that were going on while I was presenting. Some great thoughts and questions came up that I hadn’t thought of.

Conclusion
If you ever have the opportunity to present a clinic, I definitely recommend doing so. You can learn a lot from simply attending a conference, but there are many opportunities to learn and network through presenting as well. After the session I had opportunities to connect with students from other colleges and universities, professors and teachers – all of whom asked questions and made observations that I hadn’t thought of and who challenged me to think about my session material even more deeply. The process of presenting is easy – develop your idea and apply! You can usually find a call for session proposals on the organization website or through their social media accounts.  While attending conferences allows you to benefit from learning, sharing and participating in clinics, presenting a session allows you to utilize and see the benefits of technology, good content, and appropriate presentation. So if you want a whole new (but still beneficial) conference experience, give presenting a shot!

__________________________

Andrew Ritenour is the director of bands at Patuxent High School in Calvert County, Maryland where his responsibilities include Marching Band, Concert Band, Wind Ensemble Jazz Band and Percussion Ensemble. He currently holds a Bachelors degree in Music Education from Grove City College. You can find more about him at http://andrewritenour.com.

Editor’s Note: When thinking of what it takes to “Educate the New Educator,” one of the things that often comes to mind is student teachers and the experiences they have. Student teachers are at a pivotal point in their process of becoming a professional educator. One of the most important facilitators of that process is their cooperating teacher. In this interview, veteran co-op Jerald Shelato discusses his experiences with guiding his student teachers through their development as professionals. -CM

1. What do you believe the role of a cooperating teacher should be in the process of a student teacher’s professional growth? 

The term “facilitator” comes to mind. Whenever possible and as much as possible, a cooperating teacher should allow a student teacher to DO in order to learn. In my opinion, this assertion isn’t any different than one that states that young student musicians should be engaged in making music as a primary mode of learning. Student teachers may be walking around in bigger bodies and may operate at a much higher level of musical sophistication than young students, but ultimately, they need to be the primary agents of their own learning through engagement in teaching activities. Therefore the cooperating teacher needs to provide opportunities for the student teacher to teach.

2. What do you need to know about an individual before you can take them on as a student teacher? 

I want to know whether or not an individual has taken the responsibility of being prepared to do a job seriously. Because I teach band, I place much weight on the need for a student teacher to have developed a certain level of performing and teaching ability on secondary instruments during their pre-student teaching coursework. I almost always ask, “What is your best secondary instrument, and which one do you consider to be a weakness?” I want to know the actual answers to these questions, but I also want to gauge whether a person is self-aware enough to be able to provide such answers.

I also ask interviewees about their previous teaching and leadership experiences. I don’t do this to weed out people who haven’t had certain experiences – in some instances and for some individuals, such opportunities simply may not have been available– but I do want to get a sense of whether the interviewee has sought out and made the most of opportunities that have been available. I suppose you could say that I do hold suspect any interviewee who has intentionally chosen to put off any kind of teaching or quasi-teaching activity until the student teaching experience.

Finally, I do examine their academic transcripts prior to interviews, and I definitely ask them about any grades that I consider to be major concerns. Through all this, my primary responsibility remains the learning and well-being of my own students, and I do not wish to expose them to individuals whom I feel will be unlikely to be prepared for daily lessons.

3. What do you do to prepare your student teachers to become a part of your learning community?  What do you do to help them with this before they officially begin?

The bulk of my communication with a student teacher before they officially begin happens (a) during the interview, and (b) during the call that I make a week ahead of the start of the term to remind them when and where to report. Sometime during these communications I tell them the basics about what their experience will be like, and I tell them to review as much as they can on their weakest secondary instrument(s). Once they begin, I encourage them to attend local/regional/national music education conferences (Midwest, IMEA, etc.). I also hound them daily about the job search process, offering as much insight as I can into how to read and what to look for in job postings. 

4. What do you feel that your past student teachers have been most unprepared for? What have they needed the most help with?

I have found most of my student teachers to be quite pedagogically sound, as I have been fortunate to work with many talented and well-prepared individuals who have come from high quality undergraduate programs. Several of my student teachers have found the first few times in front of real kids to be quite unnerving, though. It might be the energy in a room full of middle school or high school kids, or it might just be the shock of working with an ensemble that isn’t nearly as musically sophisticated as the ones they’ve recently performed in as undergraduates, but many of my student teachers end up looking quite frazzled and/or tired after their first few lessons or days in the classroom. This can be due to lessons that didn’t end up as planned, or due to actual tiredness. For the former, I generally try to get the student teacher to reflect on the lesson(s) and come up with plans that include improvement on what happened, along with the reassurance that it really does get easier the more you do it.

5. What are your top priorities when helping a student teacher “hone their craft?” 

As is the case for school age kids, it’s important to make some diagnostic decisions about the student teacher early in the term. First, I want the student teacher to be able to seem confident and comfortable in addressing kids. One of the biggest ironies of teaching is the feeling of terror that a bunch of little kids are capable of giving a grown-up. I try to send home the idea that you should always talk to kids as though you consider them to be intelligent people. Nobody of any age enjoys feeling as though they are assumed to be unintelligent, gullible, or otherwise unworthy of courteous consideration. I don’t expect a student teacher to grovel in front of kids or to try to “butter them up,” but even just a little bit of basic, decent respect from one person to another goes a long way.

Second, I always try to get student teachers to have a sense of how much preparation is enough preparation in order to help them become careful planners. On those occasions when a student teacher finishes a lesson that clearly did not go well, I try to get him/her to reflect on (a) what it was he/she wanted to accomplish, and (b) whether his/her preparation for the lesson was sufficient to facilitate it. This might sound simplistic, but a poorly executed lesson can often be traced back to insufficient preparation, whether it be insufficient score study, insufficiently prepared materials, or an inaccurate sense of the pacing necessary to keep a class on track.  

6. How do you set goals for your student teachers? 

I try to keep the student teacher “in the loop” as an active member of an instructional team. As such, I set the student teacher’s goals in respect to what’s going on in my own classes throughout the semester. I constantly think out loud around him/her; an example of something I said to a recent student teacher is (paraphrased): “OK, next week, we need to be doing an eighth-quarter-eighth syncopation lesson with the sixth graders. Come up with an instructional activity lesson for Tuesday, something for Wednesday that we can assess – maybe a worksheet – and then be ready to come up with a follow-up/reteaching activity for the kids who still need help on Friday. I want to see you teach, assess, and use what you get as formative data.” I then resort to my standard practice of asking him/her how things went, about how he/she is using data to assess learning, etc.

7. What areas do you usually see the most growth in over time?

The two areas where I generally see the most growth are (a) the student teacher’s ability to comfortably and appropriately speak to classrooms full of kids, and (b) the student teacher’s ability to work through a lesson smoothly, flowing easily from one activity to another without hesitating or stopping too long to plan the next action or spoken sentence. Another area where I typically see significant growth is in student teachers’ secondary instrument skills.

8. What are your views on giving student teacher’s “podium time?” How should that be approached?

I think that a student teacher should begin doing things with the entire class, even if only warm-up and technical exercises at first, as soon as possible after spending time getting familiar with the normal happenings in the class, and after spending some time working with individuals and small groups in pedagogical settings. I try to get the student teacher conducting at least one piece of music with each ensemble per concert, and I generally allow him/her a significant amount of total “takeover” time with at least one of the ensembles (including selection of music and all planning) during the course of the semester.

9. What administrative elements of teaching music do you expose your student teachers to? How much do you allow them to do themselves?

I expose them to as much as I feel I can afford to. Sometimes there are things that I just have to do myself, but for the most part, I keep them involved throughout. The stereotypical student teaching activity is time spent at the photocopier; there is a fair amount of this, to be sure, but I also try to give the student teacher opportunities to be the person responsible for “making things go.” I am more than willing to give a student teacher access to a database and to say something akin to “For contest, we need bus roll lists and envelopes with field trip permission forms alphabetized for each grade level. Have these by Wednesday, and show me what you have when you’re done.” The key here is letting them do things by themselves, checking their work once they’re done, giving positive feedback for thorough and accurate work, and helping them understand what could potentially go wrong if such an administrative task were done incorrectly in some way.

10. What should co-ops keep in mind when helping in the transition from student to teacher? What have you seen your student teachers struggle with the most in this area?

Student teachers are, for the most part, finishing with a part of their lives in which they have become accustomed to receiving constant feedback for more or less strictly regimented academic activities. The open-thinking, do-it-for-yourself activity that is planning for instruction can make for a tough transition. It’s important to help the student teacher by starting with more specific instructions and tasks and then branching out gradually into more open-ended goals and tasks.

11. What do you do when you see that your student teacher is struggling with the general challenges they are facing?

I am at my most forward with suggestions and/or directives when I determine that real, recurring struggles are becoming manifest and that the student teacher either is not discerning that there is a problem or is at a loss for how to improve the situation. In other words, this is where I am most likely to say something like, “The kids are falling asleep. You need to keep the pace of instruction moving along at a much faster rate than you’re doing right now if you’re going to be effective.” If the student teacher is struggling in the use of a certain skill, I work specifically with him/her on developing that skill. If it a student teacher were repeatedly experiencing frustration with many things that he/she were having difficulty identifying, and if repeated discussions and attempts at improvement bore no fruit, I might find it necessary to have “the talk” with him/her (e.g., “Do you really see yourself doing this in the future?”). Fortunately, this hasn’t yet happened with any of my student teachers.

12. What is the best thing that a cooperating teacher can do to facilitate the growth of the student teacher?

Ultimately, the cooperating teacher needs to prepare the student teacher for that day when he/she starts the new job and finds him/herself working alone without the cooperating teacher present. It’s important for the cooperating teacher to do a lot of reflecting, too, as years of experience tend to erase the memory of the toughest parts of being a new teacher. The first year of teaching can be a year of extreme challenge and downright loneliness without the benefit of the safety net offered by the cooperating teacher, and a new teacher needs as much practical experience to draw upon as possible in order to make it successfully to year two. Those things that were difficult or challenging in a cooperating teacher’s first couple of years of teaching may have become “old hat” by the time he/she starts taking on student teachers, and it’s important for the cooperating teacher to temper all instruction with a healthy dose of memory about how things were early in his/her career.

Finally, I find it important to say that the cooperating teacher should consider a student teacher’s assignment as far more than a convenient help for running one’s own program. It is imperative that the cooperating teacher remembers that the student teacher is involved in an internship program and that he/she is there to hone skills and gain knowledge, and not just to do work for the cooperating teacher. I try to remember that a new teacher who has spent time as my student teacher will be a reflection of the job that I’ve done as a cooperating teacher, and after all, my influence on the profession will extend far beyond my own classroom.

***

Jerald Shelato teaches in the Champaign (IL) Unit #4 Schools, where he is the Director of Bands at Jefferson Middle School and teaches beginning fifth grade band at Robeson and Westview Elementary Schools. He has served as a cooperating teacher for student teachers from the University of Illinois at Urbana-Champaign (UIUC) and from Eastern Illinois University, and currently hosts pre-student teaching practicum undergraduate students from UIUC. In his 17 years as a public school teacher, Mr. Shelato has directed bands at all levels, including concert, jazz, and athletic bands, and has also taught high school class guitar. Mr. Shelato holds the B.S. in Music Education and the Master of Music Education degrees from the UIUC, where he has also completed coursework in the doctoral program in music education. He has performed on tuba in numerous UIUC ensembles, in the avant-jazz group Ear Doctor, and in the Champaign Brass and the Aduro Brass quintets. He is a tenor and cantor in the choir of the Episcopal Chapel of St. John the Divine on the campus of UIUC. He and his wife, Piper, are proud parents of a daughter and a son.

As I write this article, I am proud to say that I have completed my first decade in the field of music education.  Two degrees, three teaching positions, four states, and eight years in public high school classrooms have brought me great joy, hard-earned wisdom, and a genuine excitement for what lies ahead.  It has not been an easy journey, but I can say with great certainty that I would have never made it this far if it was not for some great advice along the way.  May this repackaging of sage advice serve you as it has served me over the years.

There are no great gigs out there – YOU have to make it a great gig.  – Frank Battisti

I think we can all recall why we decided to go to school for music as well as the type of job we imagined we would have upon graduation.  Very few people will end up doing exactly what they imagined they would for the entirety of their career.  In fact, most people will never have the type of job that inspired them to be music teachers to begin with.  It is so important, for the sake of your students and for your own sanity, that you accept this and set new goals that are based on your current situation.  My most inspiring colleagues adapt to their current circumstances and find ways to fuel their passion for teaching music in their positions.

The workforce itself can also bring many challenges.  Issues with scheduling, a feeder program, or a disagreement with a colleague, for example, can make a work environment miserable.  There are so many factors that can add complications, frustration, or even disinterest to a job that it is easy to perceive greener pastures elsewhere.  There are no perfect jobs out there.  My most effective colleagues often appear to be the happiest.  They embrace that which they can control and make their gigs a great environment for their students to learn and for them to teach.

We like to say that your degree is only a license to practice music education, or better yet, a license to learn. – Mark Fonder

If we could learn everything there was to know about teaching music in a four year college experience, we would not have much of a profession to be a part of.  I didn’t realize how difficult it was to prioritize the skills necessary to be a music educator and fit them into a four year undergraduate curriculum until I was asked to do so as a graduate course assignment.  In addition to standard courses in music theory, aural skills, music history, private study, ensemble, conducting, instructional methods, secondary instrument methods, and a host of other electives that are so very important in preparing us for a career as an ensemble director, what about guitar, ukulele, electronic music, jazz improvisation, steel drums, half-time show drill writing, instrument repair, and countless other skills necessary for today’s workforce?

The fact remains that the greatest joy in music education is also our greatest challenge: there are so many avenues through which it can be taught.  In addition to the current course offerings in public school music programs, we must also accept that things will likely look different in a few years.  Outside factors such as evolving technology and student interests have a great impact on the content we teach and how we can teach it most effectively.  It is literally impossible to be fully prepared for a realistic job setting in the 21^st century.  We must embrace that there is a lot to learn and commit to a lifetime of learning.

Success leaves clues. – Marvin VanDyke

As a music teacher, we are often one of a kind in our building or even in our district.  While we can learn a great deal from our colleagues in other departments, it can never compare to the depth and breadth of learning possible when we seek others in our own area of interest.  Music journals, periodicals such as this one, and organizational music conferences provide small doses of valuable professional development, but nothing rivals human observation and interaction.  It is difficult to find time in our teaching schedules or personal lives for formal graduate classes, so we must find our own mentors from which to learn.

More business decisions occur over lunch and dinner than at any other time, yet no MBA courses are given on the subject. – Peter Drucker

I once read that John Maxwell, one of my favorite leadership authors, traveled across the country to meet with the highest achieving leaders of his day.  He would contact them and offer them $100 for an hour of their time so that he could hear their story and ask them to reveal the secrets behind their success.  Dozens of coaches, business executives, pastors, and organizational leaders obliged his request, even though they had never met him or heard of him before.  As an enthusiastic young teacher, this anecdote gave me the courage to make my first important contacts in the realm beyond college and still serves me to this day.

Luckily, most of the music educators whom I have wanted to meet have gladly found some time to talk with me over lunch or dinner for less than $100.  In fact, many of them have made time to talk over the phone, respond to my emails, or grab a bench at a conference to share their knowledge without any compensation – they just wanted to share their wisdom with an enthusiastic listener who would put it to good use.

Over the last ten years, I have been truly fortunate to have met and cultivated life-long relationships with many wonderful people who have been great influences on me.  I actively sought connections with many authors, composers, half-time show writers, collegiate conductors, professors, recording engineers, producers, professional musicians, stage managers, instrument repair technicians, coaches, athletes, and fellow educators.  I attribute my success in building such a great network of colleagues to my passion for learning and a genuine respect for and curiosity toward those who have succeeded before me.

Follow your bliss. – Joseph Campbell

 It is impossible to find true enjoyment or success at anything without a passion for it.  While I took great joy in participating in collegiate athletics, I have never been excited about retaining and regurgitating sports statistics as so many enthusiasts do.  What I can rattle off, however, is who the band directors or music education professors are at major universities and high schools, the title and composer of a piece of wind band literature in a “drop the needle” challenge, or the names and years of service of each of my predecessors in both school systems in which I have served.  I take these as indicators that I picked the right field.

If you truly want to continue to inspire others, you must maintain the presence to be inspired yourself.  This philosophy has been instilled in me by my mentors and professional role models. Determine your own mentors, cherish those relationships, and heed their advice: stay active in your area music organizations, remain current with the latest research and teaching best practices, and you will never lose sight of your passion.

***
Matthew P. Bufis was appointed Director of Bands at Westmont High School in May of 2008. A native of New Jersey, he holds a Bachelor’s of Music in Music Education degree from Ithaca College in Ithaca, New York and a Master’s in Music Education degree from the University of Illinois at Urbana-Champaign. Since his appointment in 2008, the Westmont Symphonic Band has been accepted to perform at the prestigious University of Illinois Superstate Concert Band Festival each year and the Jazz Ensemble has consistently garnered superior ratings at major regional festivals. The program has rehearsed and performed under dozens of guest conductors from major universities and high achieving high schools, and has performed with numerous acclaimed musicians in the concert and jazz mediums. Mr. Bufis is also responsible for revising the 5-12 instrumental music curriculum, and designing and implementing the Guitar 1, Guitar 2, and Electronic Music curricula at Westmont High School.

When I tell people about the fact I started pursuing National Board Certification in Early and Middle Childhood Music, all they seem to comment on is the Big Blue Box. Most educators I have talked to know little about the process except for it requires a whole lot of writing that culminates with the submission of the infamous “blue box.” What I discovered about myself as a teacher through the National Board process was so much more than could be contained on a ream of paper in a cardboard box.

Why National Board?

If you speak to my fellow music colleague or my mentor and you will see why I decided to take on this process. Seeing me in the classroom, they will tell you what a perfectionist I am. Even before receiving my first job, in my student teaching, I was obsessed with working to be the best music teacher I could be. I would constantly reflect (sometimes a bit too harshly) on what would go on daily in my classroom and the improvements I could make to my instruction.

This process of growth continued as I pursued a Master’s degree at Arizona State University. I graduated in May, 2011, and wanted to continue my growth as an educator after leaving the university. For that reason, I decided to enroll in the National Board Certification process. My district was encouraging teacher’s to pursue the process, selling to us, not only the financial benefits (the district was both sponsoring the some of the cost of the process and offering a significant pay increase upon “achievement” of the certification). What appealed to me most was their explanation that National Board was a perfect fit for passionate teachers looking to take their teaching to a higher level. That description fit me perfectly; I was sold.

The Process Begins: Videotaping, Writing, and Reflection, Reflection, Reflection

I began the first part of the National Board process in January 2012. I began to assemble my portfolio, the first of the two major components in the certification process. The portfolio, or the “blue box” as everyone referenced it, had multiple elements including four differing entries, video documentation of my teaching, and what seemed like a mountain of forms. The four entries required me to reflect on and document my teaching in the areas of planning, delivering instruction, developing my students’ musicianship, and professional accomplishments. For each short video segment, I ended up filming multiple classes to get what I viewed as a “quality” video. These initial lessons were “good,” but they were missing many of the elements I was expected to demonstrate in my portfolio entries. These lessons did not embody all the pre-planning, engagement, differentiation, assessment, and reflection that a “master” teacher would have present in the classroom. By recording, watching, and reflecting on my teaching, I was able to see what occurred in my classroom in more detail. Although many of my lessons were strong and I could see the musical successes my students were achieving, the intense and detailed reflection required by the National Board Portfolio required me to analyze my teaching on a new, extremely detailed, and rigorous level.

Currently, I am beginning the second component of the certification process, assessments. In early summer, I will begin the required six assessments for “achievement.” The tests are timed (thirty minutes each) covering a wide variety of topics such as world music, composition, and error detection. Although, I am excited to test my knowledge in this way, the time and freedom to rewrite and analyze my end product like I had in the first phase, is not a luxury of the timed assessments.

Challenges

National Board is an amazing process that I know has made me a better music educator. With that in mind, it still has many downfalls. The entire experience is costly. Although it is a quality organization, NBPTS is in the business of producing high quality teachers. Even with scholarships, the process will end up costing me about $1,500 out of pocket. I feel the pressure to achieve the certification on the first attempt, as retaking elements of the process would add to my expenses.

Secondly, the actual certification in and of itself is a natural flaw. I am registered as a candidate with the label, “Early and Middle Childhood Music, Vocal Focus.” My undergraduate degree is Music Education (with an instrumental focus), Master’s degree in Music Education (with a general music focus), and I have been teaching general music and choir for the past four years. When applying for the program, I had to label myself as band, orchestra, or vocal. The creators of this program failed to recognize that many music educators are not in teaching situations in areas in which they have been formally trained. Also, as a general music educator, the absence of the option of general music bothered me. Now, I consider the fact that the examiners are looking at my classroom situation through the eyes of me as a vocalist (I am not, I am a flutist), as just another challenge to surmount in this process.

Why You Should Consider National Board

Despite the cost, long nights of writing self-reflections after a full day of teaching, and the general pressure “to achieve,” I highly recommend the National Board Certification process. I set out on this journey to become the best teacher I possibly can be and National Board is helping me achieve that goal. My portfolio reflections caused me to, at times harshly, dissect my teaching to an extremely detailed level. Being labeled as “vocal” and not a general music practitioner gave me the initiative to finally put myself back in private voice lessons and start attending community choir concerts. The assessments are encouraging me to sit down and study subjects that I might not have explored in depth since my undergraduate courses.

Abigail Van Klompenberg is a K-8 General Music and Choral teacher in the Littleton Elementary School District No. 65 (Avondale, Arizona). She earned her Bachelor’s in Music Education from Western Michigan University and her Master’s in Music Education from Arizona State University. Upon graduation from ASU, she was named Outstanding Graduate Student from the Herberger Institute for Design and the Arts for her accomplishment in the field of music education.

You can follow Abigail on Twitter @namelesstweet.

Like many music educators, I attend various conventions and workshops for state, regional and international music education organizations.  While the scope of the conventions is as varied as its intended audience, one topic is making its way to the forefront of each convention: Advocacy.  The idea is that music educators should use their expertise to “prove” to the rest of educational community the value of music or in the fine arts in general.  The most popular arguments center around the notion that students involved in music education have higher test scores and are better prepared for the core curriculum because of the development of the “whole mind”.  While some may find these arguments compelling, they only go to the level of correlation, not causation.

As I have witnessed many schools slash music programming, it has become clear that simply presenting this “music makes us smarter” approach is becoming an increasingly futile measure.  It seems that once school boards and administrators start crunching numbers, this argument becomes completely ignored.

In short, the popular idea of music advocacy may be misguided.  This is not to say those that have put together similar arguments are wrong, but the effort is just not always effective in this economic climate.  Many times teachers will not be able to fight hard budgets with soft arguments.

I decided to advocate for my music program without trying to show correlation between test scores and music involvement, or without any other argument subject to opinion.  My advocacy technique is simple: increase enrollment.  By reaching out and marketing to a large and diverse population of students, and pushing the music department numbers up 25%, while also increasing diversity, I no longer have to prove the worth of my music department.  The enrollment proves it.

In an effort to increase enrollment, my music colleagues and I asked three questions:

1. Who are we teaching?

2. Who aren’t we teaching?

3. Who are we unable to retain?

Most school districts record internal enrollment data allowing teachers to determine the types of students they serve and compare them to the overall population of the school.  When we charted this information we realized the Hispanic population, which was growing in the district, was being underserved in the music department.  We talked about possible causes for this enrollment discrepancy, and determined that a lack of relevant course options and too many prerequisite requirements were causing this issue.  By removing some prerequisite requirements, expanding the numbers in our general music courses, and adding “The History of Rock and Roll” to the curriculum, we were able to increase the enrollment of our music department by just over 100 students in one year.  We used a simple three-step process: analyze internal data, recognize a problem, and brainstorm a few ways to fix it.  All of this analysis occurred on a micro level, using available and easy to understand enrollment data.  This is nothing more than simple demographic marketing.  It would be the most boring article ever written in a business magazine, but for some reason schools have not yet caught on to this approach en masse.  While this first step is very simple, there is another step, and this one requires us to take our cues from the world of corporate marketing.

What are businesses doing that schools could do after they master the simple use of internal data? 

I asked myself this question when I received exactly 47 baby-related mailings in the month following our first ultrasound.  How do companies know when I switch target demographics so quickly? It’s really quite simple – businesses use data collected by Experian and stored in the “Longitudinal Data System”.  Experian markets this product and sells it to any group willing to buy it.  The product is called the “Mosaic Profile Builder”, and it profiles every single household based on thousands of data points such as response to print marketing, response to electronic marketing, access to automobiles, spending patterns, etc.  There are so many data points included in this system it is impossible to hide, even if the subject is not a legal US citizen.

Imagine if you were able to take a look inside the households of every student in a district that has not enrolled in a music class by their senior year.  With thousands of data points available, there would certainly be commonalities in the sets for these students.  Educators could brainstorm possible causes for these lags in enrollment, based on common data points, and address them.  You could do the same for the students dropping music form their course-load.

The opportunities to gain a greater understanding of student enrollment, and tailor marketing directed to attract specific demographics is huge using this product.  It is not cheap, probably about $10,000 to $20,000 for the average community.  This would likely be a district-wide purchase.  There are certainly other groups that would be interested in purchasing the data –  community colleges, villages, universities, etc. – and it is possible to share the costs.

As we fight for our proverbial lives in the education world, it may not be enough to simply explain our importance.  We have to prove it through enrollment.  These systems of data analysis and marketing are commonplace in the business world, but they can be revolutionary in education, and they might just save a music program.

During the school year, music educators tend to be one of a kind in their schools. Not a lot of us have others that are in situations similar to ours. We feed off our own motivation and drive throughout the school year to be the best educators we can be, but what happens when that well of motivation runs dry? We cannot be satisfied with dragging ourselves to school praying for a summer vacation to begin. This is how the idea for Music Ed Motivation Day (#musedmot) came to be – an idea I thought up to help music educators from around the globe motivate themselves to the end of the school year and into the summer.

Throughout #musedmot, we discussed a variety of different topics that were all related to motivation. The goal was to keep everyone actively thinking about next year and excited for September.

Getting Ready for #musedmot
The #musedmot event was held on Saturday June 2, 2012. This event was a free web conference where music educators from all over the globe could connect with each other online to talk about our practices, share resources, and network with each other. Social media was handy not only during the event itself but also during its promotion. I decided to use 3 platforms for #musedmot, Facebook, Twitter, and Google+, for the following reasons:
● Facebook had the music teachers group with almost 2000 members ready to chat.
● Twitter was ready to give an interactive chat for topics not discussed in the Google+ hangouts scheduled for the evening.
● Google+ had the hangouts for face-to-face discussion over video chat. This social network is fairly new and a lot of users were excited to try out the new Hangouts On Air feature. Up to 10 people from all over the globe can get together in a hangout and broadcast their conversation to hundreds more who can tune in by clicking play on the moderator’s profile page.

After the event was over, those who could not attend could rewatch all the action on Google+ or YouTube.

The importance of networking and self-driven learning
#musedmot was successful because when the going gets tough throughout the school year, our music education community is always able to push through by relying on connecting with each other. Whether we choose to engage with a colleague, another teacher in the building, or a parent, we have many opportunities to talk about what we do with others and receive feedback. Also, seeking out these important connections keeps us focused and driven to always learn and improve. #musedmot was another opportunity to bounce ideas off colleagues, read up on your craft, and create our own PD opportunity.

Using resources to spice up an old routine
Throughout #musedmot, we were able to discuss a lot of different websites, books, curriculum supplements, and teaching materials available, all waiting to be tried in the classroom. Now that summer is here, take this opportunity to keep yourself motivated by seeking out different resources. JWPepper.com, a popular source for musical selections, also provides fun ideas for the classroom. Quavermusic.com is a new company that gives music educators access to a complete 21st century program of curriculum supplements covering the important musical concepts every student should know. Amazon.com carries a music educators summer reading list with recommendations such as “Using Technology to Unlock Musical Creativity” by Scott Watson or “Learning Sequences in Music” by Edwin Gordon. Introducing new ideas to your classroom throughout the school year breaks up the normal routine, which can create many exciting experiences for the teacher and students.

Conclusion
I was glad that #musedmot was a success, and it definitely was very motivating! Of course, the fact that the event took place solely online proves how beneficial social media can be to music educators looking to stay excited about their craft. Facebook gives those who are wary of other social media tools the opportunity to get involved in discussions and get the answers they need. For those willing to get involved in Twitter, there are a lot of exciting people to follow and a lot of information to take in. Lastly, Google+ allows you to take advantage of multi-person chat venues for impromptu face to face meetings with other educators; you can continue to talk shop no matter where you are in the world!

#musedmot motivated me to keep myself focused and connected to other educators, something I hope to continue throughout the school year! For me, it really hit home the fact that if you are driven to become better at what you do, anything can become a learning opportunity and a meaningful experience.

If you couldn’t make this first #musedmot, keep an eye out on the website; you never know when the next date is going to appear. In the meantime, check out the archives!

__________________________

Catie Dwinal holds a B.S. in Music Education from Plymouth State University and currently teaches general music and chorus at Pleasant and Elm Street Schools in Laconia New Hampshire. When not teaching she writes on her blog http://www.celticnovelist.wordpress.com and plays a variety of unique world instruments in the community. To contact her please visit http://www.cdwinal.com or email cedwinal@plymouth.edu.

“Student teaching is probably the hardest time in a lot of young educators’ lives. It marks the beginning of the single biggest change they’re going to experience.”

Recently, I asked a handful of recent student teachers and young music educators to reflect on their own student teaching experiences in the hopes that they would provide some insight into how to get the most out of it. While definitely not all-encompassing, their reflections and advice are invaluable and I hope that future student teachers takes it to heart.

Before you student teach:

Seek out teaching opportunities before student teaching.
While there is no avoiding the awkward transition from full-time college student to professional teacher that is the student teaching experience, you will be best served if you seek out opportunities to teach early and often during your undergraduate career. Yes, these early teaching experiences will help you practice and refine your teaching strategies, but they will also provide you with opportunities to practice being in front of young people. Private lessons are a great start, but try to find situations that allow you to be in front of groups of children. This will give you the chance to understand the most effective ways to interact with young musicians. Music teachers in your area are always in need of quality help. Simply send them an email and ask if you can come help out on a consistent basis. There is simply no substitute for experience.

Get in touch with your cooperating teacher as early as possible.
As soon as possible, try to meet your cooperating teacher and begin the process of developing a positive professional relationship with him or her. Of course, many music departments have more than one music teacher on staff, so it is important that you try and develop good relationships with all of the teachers around you. Early in this “getting to know each other” process, try to ascertain what responsibilities you can expect to have while student teaching. It is not uncommon for a pre-service teacher to essentially take over the teaching responsibilities for an ensemble or class (music theory or music technology, for example). As soon as you find out what your responsibilities are, attempt to get your hand on as many materials as possible so that you’ll be ready to teach on day one. Not only will this impress your cooperating teacher, but it will mean that your students will be getting the quality educational experience that they deserve.

Start acquiring teacher clothes early.
This might seem a bit specific, but trying to purchase a teacher wardrobe in the month before you start student teaching can be expensive and stressful. If you plan a year or two ahead and ask for teacher clothes for birthdays and holidays, you’ll have more than enough to wear in no time.

Clear your calendar & save your money.
Even if your cooperating teacher says that you have no after-school commitments (which is highly unlikely), make sure you have as few evening conflicts as possible. Student teaching is going to make you mentally and physically exhausted. You need as much time to both recover from your current day and plan for the next one as possible. Participating in collegiate ensembles may be fun, but keep in mind that student teaching is an entirely new experience that will wear you out. As far as part-time jobs go, obviously some people aren’t in a position to leave their job, but perhaps by planning ahead and saving money, you can minimize the amount of hours you will need to work.

Have a “pedagogy boot camp”.
When you get a chance (perhaps after finals and before student teaching), take a couple of weeks where you spend 2-3 hours per day simply reviewing and reflecting on all of the important pedagogical concepts that you imagine you’ll need during student teaching. But taking the time to remind yourself of the things you may have forgotten, you’ll be more effective in the classroom from day one – which allows you to focus on other important concepts that you still need to learn.

During Student Teaching: The Easy(ish) List

Get plenty of sleep.
When I started my teaching career, someone once told me, “It’s not getting up early that is difficult – you get used to that. It’s going to bed early – that’s the hard part.” He couldn’t have been more right. I had spent years starting homework after The Daily Show and, while that’s fine when you don’t have class until 10 AM and can take a nap in the middle of the day, it simply won’t work when you have to wake up before 6 AM and then be at your best in front of large groups of people. Start practicing going to bed early and then keep a consistent bedtime.

Work ahead as much as possible.
If you know you’re going to be teaching a lesson on rhythm or conducting a specific piece, get working on it right away. This will limit the amount of stress you encounter throughout student teaching. Develop this habit during student teaching and you’ll find your professional career much less stressful.

Try everything your cooperating teacher suggests at least once.
There are going to be moments when your cooperating teacher gives you a suggestion that you may not agree with. It would be in your best interest to give it a shot anyway. This is true for a couple of reasons. First, it might actually work! The cooperating teacher is going to know their students better than you do and they’ve had more time to develop teaching strategies that work. Secondly, by trying every suggestion, you show the cooperating teacher that you trust them. This will be received positively and will only serve to create a stronger mentor/mentee relationship.

If you don’t understand something, ask.
These questions can range from the simple, “Where does this piece of paper go?” to the more complex, “Why am I teaching this concept?” Whatever the question is, do not be afraid to ask clarifying questions anytime that you are confused. By asking questions early, you’ll be able to put yourself in the best position possible to succeed and then built on that success.

The not-so-easy list

Accept failure.
Not everything is going to go the way you planned it. In fact, when you start student teaching, most things won’t! It is your job to recognize that through failure you grow as a teacher.

Be open with your cooperating teacher.
If there are things in your life that are proving to be difficult and you feel that they are getting in the way of your teaching, you might consider sharing the problem with your cooperating teacher. Now, this does not apply to minor issues like you didn’t get enough sleep the night before or you forgot to DVR American Idol. This step applies to issues related to your health or home life that are impacting your ability to fully commit and focus on student teaching. As one young educator said to me, “If s*** is happening to you, you have to tell your co-op.” The idea is that life happens and sometimes there’s nothing we can do about it. If you find yourself in a situation where your teaching is being impacted by your personal life, you should find a way to communicate that to your cooperating teacher.

As much as you may love your students, they are “not yours”.
Overall, the way your students behave while you’re in front of them is a reflection of your cooperating teacher – not you. For many undergrads who student teach with a successful large ensemble, this is especially true. More often than not, you will learn simply how to maintain the classroom environment of your cooperating teacher. There is no doubt that this knowledge is very valuable. However, what you probably won’t see is the process the teacher went through to establish those classroom expectations. That takes time and experience. With this in mind, be aware that some of the techniques the cooperating teacher will work with your teacher personality and beliefs – others won’t. Take lots of notes, try everything out, and then realize that you’ll be starting from scratch at your first job.

For the record, this is also true for programs where student focus is limited. Your inability to gain control of a classroom that has little control to begin with should not be how you gauge your success as a teacher. You simply won’t be able to transform a classroom culture in 16 weeks, especially as the student teacher. Learn what you can and…

Enjoy the small victories.
As mentioned earlier, failure is a part of the learning process – this is as true for you as it is for your students. With that in mind, you need to remember the little moments that went according to plan and enjoy them. This is easier said than done, for sure, but it’s very important. In a day of mixed results, it can be easy to forget that you probably had a ton of small victories along the way. Do whatever you can to remember those moments and reflect on what made them successful.

Your student teaching peers are going through the same things you are.
Sometimes you alk to your student teaching friends and all you hear is how great everything is going. While things are probably going pretty well, often times student teachers feel that sharing the “failures” is a sign of weakness. This is simply not true! By recognizing the areas in which you need to improve, you can start the process of actually improving. Be open and honest with your peers. In the long run, it will benefit all of you.

All in all, student teaching is a time of great change and challenge. Keep in mind that the time is fleeting – grab as much knowledge and experiences as you can! There will be successes and failures, it’s simply the nature of the beast and it’s what makes student teaching so rewarding. Good luck out there!

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Nick stands in front of a bunch of books he hasn’t read.

Nick Jaworski is the Co-Founder and Co-Editor of Leading Notes. He recently received his graduate degree in music education from the University of Illinois in Urbana, Illinois. In addition to teaching introductory music education technology classes at the university, he serves as the Vice-President of Secondary General Music for the Illinois Music Educators Association. Previous to graduate school, Nick taught band, music appreciation, and rock & roll methods at Winnebago High School, in Winnebago, IL. Ways to get in touch: Contact him at nick@leadingnotes.org. Nick currently blogs at teachingmusic.tumblr.com. Follow him on Twitter: @JaworskiMusic.