First Year Music Teachers: The Adventure is Just Beginning

The 2016-17 school year is now or very soon will be underway. Our teenage sons are continually reminding us of this. And not in an enthusiastic way.

With the new year there will be a new wave of music educators, out of college and leaping into their first teaching job. And to any new teachers reading this we say, congratulations...welcome to one of the greatest and most important professions in the world. We've been where you are. Your adventure is only beginning.

Part of our mission here at Festivals of Music is to do all we can to provide helpful resources to teachers--whether new or experienced--in order to make the job somewhat easier and contribute to reversing the trend of shortened teaching lifespans among the music teacher population. Speaking for myself, burnout on the profession is something I know all too well.

Don't get me wrong--I'm very happy with my lives as a performance travel planner and now festival organizer. I've still considered myself an educator in these roles. But there are things I regret not having achieved or experienced during the time I was in the rehearsal room and concert hall.

Well, so far anyway...who knows what the future could bring. I could still be asked to conduct Lincolnshire Posy on a future Eastman Wind Ensemble concert. Admittedly, the only qualifier I have to that possibility is the fact that I'm still taking in oxygen. But there's always hope. 

Because being a resource for music educators is at the core of our philosophy, we have begun partnering with organizations such as the National Band Association to create online resources for music educators to assist not only musically, but with the day to day administrative tasks and challenges. These are the topics for which there is not as much collegiate training and is by nature "on the job" training. And, sadly, often the factors that lead to short tenures in the music education world.

We're tapping into a network of experienced teachers to bring together best practices on a number of topics, and you'll see more of that on our blog in the weeks and months to come. Stay tuned.

To jump start that process--we wanted to present some of the blog posts from the past year that might be most helpful to young teachers that are just beginning on their journey. Or, for that matter, experienced teachers just needing to see things through new eyes.

Here they are, at the risk of producing the equivalent of our blog's first "clip show":

  • Upon reflection of 25 years in great professions that can still be stressful, here's some thoughts on self care so that you can make it for the long haul.
  • One of the best things you can do for yourself is recharge at music conferences. For band and orchestra directors, here's some of the great things experienced last year at the Midwest Clinic. Consider attending if you haven't--we would love to see you there.
  • If one of the "to-dos" on your list this year is to take your ensemble on tour, we hope you'll give some thought to why and how this can best benefit your group.
  • If you are going to plan to tour with your group, here's reasons to consider a professional travel provider.
  • If on that tour you are considering a festival performance (and we hope you are!), here are ten reasons it can be the best option for your group. And, here are suggestions on how to get the most out of the experience.

There's more to come, and we look forward to sharing the journey with you. Bon voyage!

Ten Reasons to Perform in a Festival While on Music Tour

We lived in the Boulder, Colorado, area for nearly 15 years. If you've ever been there, you know that it is a bit of an eclectic place. Legally now.

One of our favorite things to do was to go downtown to the Pearl Street Mall, an outdoor open air plaza that was usually filled with street performers demonstrating a wide variety of talents. Poets, singers, and activists. Sometimes musicians with guitars or other instruments, always with a case open for spare change. The one that always drew a crowd was "the ZIP Code Guy." This was a person who could tell you the city and state where you lived if you told him your ZIP Code. Freaky, yet entertaining.

I often felt badly for the truly talented ones--and there were several. Here they were, pouring heart and soul and emotion into their performance art...surrounded by shoppers hustling about, the occasional siren screaming by, small children noisily running past them, and any number of other distractions that merely made them part of the scenery.

As the economy slowed in 2008, one of the natural trends in performance travel was to work to keep costs managed to allow as many students to participate as was a wise move and likely helped preserve travel traditions in countless music departments. One of the ways this was done was to find locations where groups could perform for low to no cost, thus being able to maintain the premise of a music tour and satisfy administrations and school boards by having musical content...while saving money in the process.

Open air plazas, shopping centers, lobbies or entrance areas of attractions and even observation decks in skyscrapers became places where groups could perform for little or no cost (besides the price of admission). The unfortunate trade-off was in the quality of the performance setting, and the acceptance of "good enough" for the cost. These talented musicians became simply part of the scenery, and this became a new normal for music tours.

As the economy improves, perhaps now is the time to reconsider this approach. And while it will obviously appear self-serving to hear this coming from a festival the bigger picture should consideration be given to the impression that use of these free locations makes regarding the value placed on music education? Is it truly "good enough" for our young musicians?

Compared to a free performance at an open public venue, a festival offers much more:

  • You are performing in a venue meant for music performance, in a location of acoustic and aesthetic quality where your musicians will be able to sound their best and truly showcase their talents.

  • You are in an indoor venue and not at the mercy of weather conditions. Many free venues are outdoor locations.

  • Nearly all equipment needs—large percussion instruments, piano, choral risers, music stands, chairs and sound systems—are included in your festival cost and readily available for use, rather than being rented and carted to and from the site. A self-contained performance location greatly simplifies your planning and allows you to focus on the performance.

  • You are not subject to repertoire and ensemble restrictions (as you may be in a church), noise levels (as you may be in a museum) or extraneous sound interruptions (as you may experience in an open plaza).

  • Audiences in a public venue are generally passive and transitory. At a festival, those in the audience are people who are engaged in and appreciate your work—whether they are adjudicators, other student performers or music booster parents (your own and perhaps those of other groups). They understand the hard work you put in to achieve what you do.

There is deeper educational and musical value added to your tour:

  • The commentary and clinics from the adjudication panel provide a variety of ideas, opinions and feedback from several experienced educators with differing viewpoints and expertise. This provides a wider range of ways to improve musicianship, all from a single performance.

  • The opportunity to hear other ensembles provides insight on what you may be doing well musically, what areas you can improve upon, and may introduce you to interesting unfamiliar works in the repertoire and other new ideas.

  • Listening to and supporting other ensembles develops community in the music education world, providing the opportunity to hear and interact with student musicians from many different areas and backgrounds. It makes our musical world more connected.

  • An accomplishment quality rating at a national level festival can provide a benchmark that can be a point of pride and program advocacy within your home community.

  • Even if not all of your ensemble members are able to attend, quality adjudication panels at an educationally focused festival understand these tour realities and are able to provide constructive observations in a confidence building manner.

Quality over Quantity. A meaningful music tour should include setting and achieving goals that lead to growth for the individual musician and the program as a whole, rather than a “checklist” of activities. If a performance is to be a part of your music tour plans, you want it to be a worthwhile opportunity that enhances the education and growth of your students and your program.

Ultimately a successful music tour is about balance--putting equal weight on the musical aspects and the fun activities. Making certain that the music portion is worthwhile and rewarding makes it easier to justify the truly long-term value of the experience.