Jazz and Folk Music

Should music educators be experts in jazz or American folk music?

What American songs should all students know? 

A music educator should take courses in jazz history and do their best to learn as much about both genres as possible. However, we do not need to be experts. Jazz and American folk music are both influenced by European/Western music. By being an expert in Western music theory, a classically trained music educator is able to understand. appreciate, and teach students what is happening in jazz and folk music from a compositional standpoint. 

It is simply impossible to be an expert at everything. Musicians spend hours each day practicing their primary instrument, and at least an additional hour for every instrument that they double. Classically trained musicians should have a strong working knowledge of jazz, but to ask them to become true "experts" in the area is unrealistic.

All American students should know patriotic songs, like the Star Spangled Banner and America the Beautiful. The pieces teach them about our history and there are plenty of quality arrangements to choose from. Many children's songs, like the alphabet song and The Itsy Bitsy Spider are educational or promote the development of fine and gross motor skills. We should be teaching students folk songs that encourage physical and intellectual development, and teach our local and national history.

Mock Lesson Reflection

On February 22th, I gave the beginning of a mock flute lesson! This was supposed to be the very first lesson with a fifth grade band student. We focused upon getting to know each other, getting to know safe ways to put our flutes together, and learning the terminology for the three parts of a flute. In retrospect, I believe the teacher's objective matched what the student believed the objective was. This was achieved by verbally stating, "We will ______...so that you can ______." I know that I was speaking a little faster than I normally would have in a real lesson, but I was nervous because we only had five minutes in front of the class. After giving the lesson, I thought of creating a sheet that students could keep in their folder. The sheet would be given to them at the first lesson, and would contain what to bring to every lesson (flute, folder, pencil,) how to put the flute together safely (1. Sit on the floor 2. See the sticker on the top of the case etc,) and also the names of the joints and tips for remembering them (BIG piece = Body, head joint doesn't have any buttons and goes on top, just like your head, foot joint is the smallest joint and goes on the bottom the same way that your feet go below your body.)

As I watched other people give lessons, I learned that my getting to know you questions should have had more clear intentions and links to music. While my questions eventually transitioned to music, I had to think on my feet a lot to direct the conversation and transition into flute playing. Some of my classmates had thought of questions that naturally moved towards music or enthusiasm. If I had thought more about my questions ahead of time, I probably could have made the getting to know you process more efficient.

Developing Musicianship within the Ensemble

              After reading Brandt Schneider’s Creating Musical Flexibility Through the Ensemble, I was encouraged by the possibility to implement such a program with students, especially at lower levels. I strongly agree that good musicians should be able to complete the activities described in the article. Playing by ear, singing parts in solfege, transposing to various keys and creating accompaniments are skills that all musicians should possess; indeed, most professional musicians are required to demonstrate these skills daily. Unfortunately, many of us forget to require these skills of our students. We are used to band and choir rehearsals in which we learn pieces for the purpose of performing them in the cumulative concert. We have to be careful that we are not just teaching students to sing or play the five songs that will be performed. We need to make sure we are teaching musical concepts through the concert repertoire, so that students will carry these lessons on to future musical situations.

             Many music educators tell their students that music is more than what’s on the page, meaning historical contexts, phrasing decisions and personal interpretation contribute to music-making. But what if we told students that music is not on the page at all? Instead, sheet music is a graph of the sounds occurring over time, and music exists in the air while it is being performed. Although it rarely happens in traditional ensemble situations, we need to take students away from notation and help them experience music “without the ink.” If we approach music as an art in time, not on a page, and give students daily opportunities to develop solfege, transposition and ear playing skills as described in Schneider’s essay, students will be less anxious to perform these tasks and greatly improve their musicianship.

Response to Peter Loel Boonshaft's "Teaching Music with Purpose"

After reading Boonshaft's book, Teaching Music with Purpose, I feel encouraged and excited to teach music education. I would strongly encourage music educators to purchase a copy of this text. The book contains essays on classroom management strategies, rehearsal techniques, and general musicianship. Most importantly, the first half of Boonshaft's book aims to encourage the brand new student teacher, and to revitalize the experienced, but worn-out educator. These essays remind us why we became teachers; to serve students and to serve music. I can see myself coming back to this book again and again, throughout my career, becoming refreshed and getting something new out of it with every reading.

       
Boonshaft writes at length about his core values of music education. My own core values, based upon my experiences as a performer, choir director, and substitute teacher are currently as follows: 

1. Respect each other and the music
2. Music should be fun...

                      BUT

      3. It is fun to be good

The first is a no-brainer. You can't work as a team and make something beautiful if the ensemble members do not care about each other. Musicians have to think of the good of the whole. Are you the melody? Then play out. Do you have sustained pitches for six measures? Then provide a solid foundation for the moving parts, but make sure you can still hear the melody. Respecting each other also means being supportive. Students should feel safe enough in a band or choir setting to try new things and play on their own. In order to create this safe environment, students have to know that the other students, and the teacher, will not make fun of them or embarrass them for making a mistake or a funny noise. 

The next two values are related. If music class isn't fun, your average student isn't going to be engaged or want to participate. I have learned this through my children's choir. When I first started, I had behavior problems if I did not teach repertoire or musical concepts through games. The kids lost interest and got into trouble. Now that the kids expect to have fun in music, I can teach using a direct teaching style for a few minutes if I need to quickly relay a concept. The students listen and do not fidget because they know the faster we get through the instruction, the faster we can make music together. 

In children's choir, the students are beginning to learn that it is more fun to be good. They recently performed "Jesus Loves Me" on boomwackers and then sang the words. Each student was responsible for one note, and this individual responsibility translated into intense focus during the performance. When they sang the words a cappella, they maintained pitch and tempo better than ever before. There was not a single mistake. I was thrilled with their concentration, the parents loved it, and the kids were ecstatic. They have a new confidence in their musical ability and they keep coming to me with new ideas that incorporate independent playing and singing. 

What are your core values?