Administrator Connections

Administrator Connections

by John May

After countless hours spent in rehearsals, performances, meetings, parent conferences, and fundraisers... summer has finally arrived! At last it's time for the "Other 3 Rs." They are, of course, Rest, Relaxation, and Reflection. The first two, Rest and Relaxation, I will leave in your hands. I'm absolutely certain you have already considered the best ways in which to accomplish these two goals. I do, however, have a few ideas about the third component, Reflection. This is comprised of those times when we think about the previous year and imagine how next year can be better. (That's one of the best things about teachers... no matter how good the year may have been, we always look for ways and means to improve the situation and make it better next year!) Naturally the first ideas that come to mind are directly related to music, such as new songs, new programs, and new instruments or other materials. This is as it should be, because these elements are absolutely essential for the success of every music program. However, I'd like to suggest we also look in an additional important direction.

The effects of No Child Left Behind (NCLB) have been far-reaching and dramatic. In every state in the nation, school districts are experiencing an increase in standardized testing along with a considerably high level of anxiety over whether the scores will be acceptable or not. Right or wrong, it has always been generally accepted that a football coach with two losing seasons in a row will soon be looking for a new position. Now, however, principals and other upper level administrators are beginning to share that same experience. After two years of test scores that remain flat or decrease, they too are beginning to find themselves in search of new contracts. As you may imagine, this is causing a change in the educational culture. Because these subjects are tested, and due to the importance of the scores, emphasis is now placed on language arts, mathematics, science, and social studies as never before. The result is that these subjects now receive first priority in scheduling, greater funding, and increased staffing. As there are a limited number of minutes in the school day and no general increase in educational funding, it is most likely that any cuts deemed necessary will come from the "other classes." At the elementary level these may be called "special areas," and at the secondary level they may be called "enrichment" or "elective" classes. Whatever the label, we all know that music will be included in this group. Over the last few years as 1 look across my own state and others, 1 have seen fine arts staffs reduced in numbers, budgets cut, class time reduced, and opportunities for students to take fine arts subjects decreased through changes in master schedules. Granted, some school districts are faring better than others, but we must realize that no district is immune to these issues and we should be on our collective guard.

Of course, music teachers will respond to these challenges in a variety of ways. Some will seek protection through the intervention of their teachers unions, some will appeal to the PTA or other parent groups to speak before the local school board, and some may circulate petitions. Unfortunately, some will simply retreat into their classrooms, bury themselves in their work, and hope the situation will simply go away. There is, however, another course of action, one that will gain the respect of administrators, strengthen ties between faculty members, and build a stronger learning community.

Every day in the classroom, Kodály music students experience lessons, develop skills in pitch, rhythm, and reading notation, and learn about the cultural foundation of music. The teaching and learning of these concepts and skills by themselves would be quite impressive. However, although we don't always consciously think about it, much more than this happens in the music classroom. The curricula of many other subject areas are experienced and their fundamental concepts reinforced on a regular basis. Consider the following examples. Instruction in beat, pulse, notes, and rests within measures provides one of the most effective frameworks ever designed for the teaching of addition, subtraction, multiplication, and division. The reading of music (notation and text) reinforces skills in reading/literacy. Singing songs reinforces the meter of speech and strengthens beginning reading skills. Lessons in the origins of either folk music or the music of other cultures can align perfectly with social studies units. Units of study on the origin of sound and the wide variety of musical instruments fit very well with the study of acoustics and wave motion found in the science curriculum. Lessons in form provide solid lessons in proportion, and lay the foundation for abstract thinking.

With a little attention to the commonalities between music and other subjects, much greater learning can take place in multiple areas during one lesson. The underlying principal is solid. Over the years much educational research has indicated that learning is increased when concepts are taught using different means and modalities as reinforcement. And when you think about it, the opportunities for crossover lessons are virtually endless! As you teach conceptually across the curriculum, you build and increase the intellectual framework on which the students place new knowledge. As this happens, your musicians will improve on their academic skills and your academically gifted students will increase in their musical abilities. Please notice that I've not suggested you take on a huge amount of additional work. You're simply drawing attention to the cross-curricular connections that already exist, and bringing these connections to everyone's attention. Now understand when I say "everyone's attention" I really do mean involving "everyone" in this process. Of course, your students are actively engaged every time you make a cross-curricular connection in class. Additionally, the regular education classroom teachers are drawn into the process when you discuss their curriculum with them (and you are able to point out the ways in which you are reinforcing their teaching), and your principal is involved (and impressed) when he/she reads the cross-curricular connections that you've written down in your lesson plans and discusses them with you during your evaluations.

With the investment of a little reading to familiarize yourself with the general education curriculum, the addition of some notes to your lesson plans, and some dialogue with the regular classroom teachers on your campus, your school (and you) will receive huge benefits in the form of a revitalized and more effective learning community. Additionally, you should find an increase in support for you and your program from the rest of the faculty and your principal. At least you will be seen as a team player and one who is concerned for the good of all. In the best of all possible worlds, you may be viewed as the prime mover in an educational movement. If you've been skimming the article up until now, slow down because here is the point of it all in short review: administrators and general education teachers are under tremendous pressure to increase student scores in standardized tests, and unfortunately, many think of music as a distraction from this goal. However, by using music to help them reinforce some basic concepts in the general education (tested) curriculum, you can show even the most benighted and short-sighted administrator how music is a vital part of the entire educational process. You've also shown everyone how important a member of the team you are. Best of all, you're already doing most of this. All that is suggested is that you organize your lessons and communicate with your faculty and administrators in a way that you may get credit for what already happens in your Kodály classroom on a daily basis. Hopefully, this will result in an overall increase in support for you, your program, and your budget.

So where do you get the necessary information and how do you begin? Step #1: review the curriculum. Every state has a mandated curriculum that provides details about what the students should know and be able to do in every subject at every grade level. In my own state this is called the Texas Essential Knowledge and Skills (TEKS). The complete document is available to everyone and is found on our state agency website. If this is not the case for you, a visit to your campus office should provide you with a copy of the mandated curriculum. Read it. Step #2: talk to the team leaders of each grade level, and explain how you can help reinforce their curriculum while teaching music. Ask where they need the most help. Make the cross-curricular connections, and incorporate them in your lesson plans. Step #3: inform your principal/evaluator about your plans for cross-curricular learning in music classes and give them some examples. This can become part of any "campus improvement plan" and as such may receive support in the form of additional funding and even protection in the schedule. Step #4: enjoy the musical and academic achievements of your students, and the camaraderie among the faculty and staff in your new learning community.

(Reprinted from the Kodály Envoy, Vol. 32, No. 4 by permission)