The Happy Classroom Part 1 by William Gourley
In the case of the music instructor we are concerned with how we encourage students to stay in our programs year after year.
This past festival season I was reminded of one of those little pearls of wisdom, "Kids join band/orchestra because they like music, they stay in because they like the director". Another of these pearls came from Ken Bloomquist, Director of Bands at Michigan State when I was a student, "Band directing is 10% talent and 90% personality." Both of these are oversimplifications of the complexities of teaching but they do put the focus of successful teaching on its primary source, the teacher.
All of us in education have had the opportunity to witness a variety of classrooms, band, orchestra and choir rehearsals with a wide range of personalities and styles teaching the class. There are effective teachers with higher standards and stringent classroom management expectations, and there are those with a relaxed classroom atmosphere and an apparent liaise-affair approach to classroom management.
One can debate the merits of various styles but in the case of the music instructor we are concerned with how we encourage students with a cornucopia of choices to stay in our programs year after year. Students are required to take English Lit., science, social studies, etc. As long as the school's enrollment stays the same or grows the "core" classroom teacher can be assured of a room full of students each fall. Music is an option competing with a lot of other classes that require far less commitment for a limited number of bodies. Even if the student body enrollment increases, filling the chairs each fall becomes more challenging with each added graduation requirement, AP offering, extra-curricular activity or job taken to earn money for the latest video game on the market. Considering these factors, that 90% personality thing is quite daunting.
I am not suggesting personality alone makes an effective teacher. It is, however, a key factor in inspiring students to want to learn, and in band or orchestra, want to return. In my experiences, whether it is a kindergarten teacher, high school math teacher or music educator, 95% of the successful, inspiring teachers have happy classrooms. Even if there is intense focused learning going on, the teacher infuses joy into the learning.
The artist in us would love to think the rewards from playing great music is reason enough to endure hours of scales, long tones, rhythm, bowing and tonguing exercises, etc. and stay in band or orchestra year after year. The fact is we are not teaching ourselves we are teaching our classmates that did not go on to become music ed teachers. What factors encouraged them to sign-up for band each year and what factors encouraged them to discontinue? Of all the reasons to stay-trips, marching band, drum line, color guard, friends, great performances-if the student isn't in a happy environment on a daily basis it is difficult to cling to the other incentives.
Let me clarify, happy does not necessarily imply a lack of order, discipline or high expectations. I know many teachers who have a reputation for being disciplinarians and their students toe-the-line. Teachers, students and parents are amazed that these same teachers instill laughter and joy into their teaching and the students. Everything from academic expectations to classroom behavior is taught, reinforced and administered in a positive, respectful and joyful manner.
Pacing
Busy hands are happy hands and idle hands are the Devil's playground.
A middle school assistant principal related a story to me about a student who had problems in every class except mine. The student had been referred, again, for disciplinary problems and, knowing the young man enjoyed my class, when the assistant principal asked, "What would happen if you did that in Mr. Gourley's class?" the student replied, "There is no time to get in trouble in Mr. Gourley's class." The younger the student the more vital pacing is. The children don't come to band or orchestra to listen to the instructor talk any more than adults come to community bands to listen to the director talk. They want to play.
Routine
A routine starts the class or rehearsal with a focus, it gets the show on the road and the class moving whether it's beginners or 85 year olds. Too often teachers create a negative environment at the beginning of the class by admonishing students for not being ready to play. A routine during the first 25% of the class creates an environment where students are ready to go and gets hands busy while reinforcing musical skills.
Stay as non-verbal as you can. Model how to play by using play-response or ear-to-hand exercises. Incorporate a lot of review in this section to reinforce a feeling of accomplishment in the students and allow less advanced students a chance to catch-up to the class. Accomplishment = Happy.
The next 15% of the class period introduce new concepts or material. Teach the new note, rhythm, finger pattern, etc. while the students are fresh and focused. Even here you need to use as little talking as possible. Rhythms can be taught by echo playing a rhythm, then adding the symbols and playing and finally counting and performing it. New notes can be reinforced by pointing to it on an overhead or monitor and asking the students to name the note. The key is not over-teaching a concept. Break it into smaller units and spread it over a few class periods if possible.
The remaining 60% of the rehearsal is equally divided between learning a few new exercises or songs from the lesson book or perfecting a section of the concert music and review of previously learned songs or concert music. In the beginning classes don't hesitate to play material from the front of the book during this reinforcement section of the class period. Playing is playing.
William W. Gourley is the Senior Program Development Executive and Educational Coordinator for the Marshall Music Company of Lansing, Michigan where his responsibilities include editing and writing Marshall's educational newsletter, mentoring music teachers throughout the state, lecturing at universities, presenting workshops and coordinating educational programs and seminars for music educators.. Gourley is in demand as a clinician, adjudicator, guest conductor, and lecturer for student and adult ensembles in the state and nationally. Mr. Gourley is also a featured clinician at the Conn-Selmer Institute, the preeminent educational workshop in the music industry. For more information, visit www.csinstitute.org
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