Career in Music Education

A CAREER IN

MUSIC EDUCATION

Institute Research Number 88 ISBN 1-58511-088-4 DOT Number 152.021-010 O*Net SOC Codes 25-2031.00, 25-1121.00, 25-3021.00

A CAREER IN

MUSIC EDUCATION MUSIC EXPRESSES THE INEXPRESSIBLE. ITS CHARMS CAN “SOOTHE THE SAVAGE

breast”* according to poets, and silence a crying baby. It is at once sophisticated and primitive. Music, it is said, is good for the soul. But did you know music is also good for the mind and the body? Recent research has uncovered some intriguing benefits conferred by music upon its listeners and practitioners: Children who engage in music-making improve their mathematical skills. Music instruction supports cognitive development and enhances abstract reasoning skills.

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Playing a musical instrument improves hand-eye coordination and strengthens fine motor skills. Listening to music enhances the brain’s ability to make the hormones that regulate mood and other functions. Participating in group drumming can bolster the body’s immune system. Music instruction teaches discipline, helps pupils set and achieve goals, and boosts self-esteem. Kids who study an instrument tend to get better grades and perform better on standardized tests. As a teacher, you will have the extraordinary opportunity of transforming the lives of young people – and older people, too – by helping them improve their life skills, their self-image and their opportunities for success. If you eat, breathe and sleep music, and you would like to touch people’s lives on many levels – intellectually, socially, personally, culturally – consider becoming part of a grand and glorious history by embarking on a career in music education.

EXPLORING THIS CAREER THE MUSIC TEACHERS WHO WERE INTERVIEWED FOR THIS REPORT SAID THEY

had studied music from a very young age. Young people for whom this would be a good career fit are most likely already learning how to play an instrument. If you are not, then it’s important to get started right away. Many schools have a band or orchestra as well as offering classroom instruction, but for one-on-one training and the opportunity to learn at your own pace, you may prefer to take private lessons. You can look for a private music teacher in your area who teaches your instrument of choice (including voice), at: www.MusicStaff.com. Additionally, the Music Teachers National Association publishes the Nationally Certified Teachers of Music Directory to assist students, parents and teachers in locating music teachers across the country. MTNA offers assistance in selecting a music teacher on the Choosing a Music Teacher page of its website at: www.mtna.org/choosemt.htm. You may also get referrals from other music students or from your school. 3

There are many benefits to learning to play an instrument, even if you decide not to pursue a career in music. There are intellectual, social, academic and even physiological advantages, not to mention the sense of accomplishment derived from the cumulative learning process and the sheer pleasure of producing song. Be aware, though, that the time commitment, now and throughout your career, will be substantial – and it is not negotiable. If you are already a reasonably accomplished player, volunteer to tutor younger pupils or even your classmates after school. You could supervise practice sessions with the instruments you are familiar with, or assist beginning instrumentalists who are struggling to understand musical nomenclature. Sing and perform every chance you get, at recitals, in competitions, with your school, with your house of worship, with an after-school program or youth group. Start a band with some friends, or put an ad in your school newspaper or on the public bulletin board at the supermarket, laundromat or community center, offering your musical services. The Tri-M Music Honor Society at www.menc.org/information/trim/TriMMain1.html is an international music honor society for middle/junior-high and high-school students whose mission it is to motivate and recognize musical achievement. You can find instructions and advice on starting and operating a club at your school on the website of the National Association for Music Education at: www.menc.org/information/trim/ChapterOperation.html. For insight and preparation for a career in teaching, join a Future Educators of America chapter at your school, or start one. Information is available at: www.pdkintl.org/studser/sfea.htm. The National Teacher Recruitment Clearinghouse has resources for middle- and high-school students interested in becoming teachers at: www.rnt.org/channels/clearinghouse/audience/middlehigh/default. htmThe same information for college students is available at www.rnt.org/channels/clearinghouse/audience/college/default.htm . You will find Top Five Reasons to Teach, Questions to Ask Your 4

Counselor and Conducting a Job Search. The reasons, questions, and search on this website are not limited to music education, so ask your own music teachers how and why they chose that career and whether they have any advice or recommendations in terms of academic programs or alternative ways of getting where you want to go. Music education is also known as music pedagogy, which is the study of the techniques of teaching music. You will need a bachelor’s degree to enter the teaching profession. Your music teachers, as well as your school’s guidance counselors, can advise you regarding which programs to apply to, how to start compiling your application and audition materials, and recommended steps you can take to make yourself a strong candidate for admission. The National Association of Schools of Music at: http://nasm.arts-accredit.org/index.jsp has approximately 600 accredited institutional members. On the organization’s website, click on “How do I discover which schools are best for me?” for guidance in selecting colleges or conservatories to apply to. Also available online is a list of accredited members searchable by name, city, and/or state. Following are some fun, interactive Web sites worth exploring: JazzKids www.jazzkids.com provides interactive audio and video, an educational curriculum and online games. Its mission is to build confidence through creativity by coaching users in composition and improvisation. The online tutorials link at www.datadragon.com allows users to learn and hear about different instruments; answers music questions on its message board; and even offers instruction on reading music. Music Notes at http://library.thinkquest.org/15413/ is an award-winning site developed by high-school students. It features sections on music theory (note reading, intervals, scales, chords); history from the Middle Ages on; styles, from Bach to rock; professions in music, including teacher and professor; instruments; and interactive games.

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To read stories written by middle- and high-school students about how music helped them gain confidence and become better students, visit the website of School Band and Orchestra magazine at: www.sbomagazine.com/winners2.html and www.sbomagazine.com/winners3.html.

HISTORY OF THIS CAREER THE GREEK PHILOSOPHER ARISTOXENUS (364 TO 304 B.C.), THE PREDOMINANT

music theorist of antiquity, developed a systematic presentation of music whose influence is still present in contemporary music scholarship. Aristoxenus was a pupil of Aristotle, the greatest of all ancient Greek philosophers. Thinkers in the Aristotelian tradition believed music education played a vital political and moral role in society. Greek music, and writings about it, were rediscovered during the Renaissance. The evolution of music criticism as a profession coincided with the rise of journalism and newspapers in the 1600s, and the first critics were composers or performers themselves. In the United States of the 18th century, it was thought that only a select few individuals had the talent to benefit from musical training. Often, musical instruction was provided only to improve the quality of the performances at church services. In 1837, the Massachusetts-born hymn writer Lowell Mason began teaching music in the Boston public schools. As president of the Handel and Haydn Society beginning in 1827, Mason had set up music classes for children, out of which grew the Boston Academy of Music. In 1838, at Mason’s urging, the Boston School Committee elected to make music part of the schools’ core curriculum, after grappling with issues that still vex such organizations: Should music education be a private or public undertaking? Is it an essential subject or an elective? Who should pay for it? Nevertheless, public-school music education was a movement that swept through the nation and by the 1850s, a fairly common curriculum was in place.

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In 1876, the Music Teachers National Association was founded. The Music Educators National Conference (now the National Association for Music Education) was established in 1907. In 1921, MENC’s Educational Council implemented the first national standards for elementary school music instruction. The National Association of Schools of Music was founded in 1924. The idea that music can have healing properties and affect behavior dates back to Aristotle, but music therapy as a discipline only began to evolve after the two World Wars. Amateur and professional instrumentalists would visit hospitals around the United States to perform for traumatized veterans, and healthcare professionals noticed positive physical and emotional responses. As hospital musician evolved into a profession, it became clear that some formal training would be in order. The world’s first music therapy degree program was established at Michigan State University in 1944. The National Association for Music Therapy was founded in 1950 and the American Association for Music Therapy came to be in 1971; in 1998, they merged to form the American Music Therapy Association. The state of public-music education deteriorated, however, when Cold War fears and competition with the Soviet Union compelled educators to refashion their curricula to focus on “the basics” – subjects like math and science – at the expense of the arts. Population shifts and an economic downturn during the 1970s caused further decline in public school music programs. More recently, however, American music education seems to be poised for a comeback, thanks to technology that allows students to experience and share music through a variety new technology, from portable synthesizers to recordable CDs and MP3 applications. More important, perhaps, is the growing body of evidence demonstrating that learning to play an instrument and making music enhances health and well being in many ways.

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WHERE YOU WILL WORK MUSIC TEACHERS WORK IN ELEMENTARY SCHOOLS, MIDDLE SCHOOLS, HIGH

schools, private schools and parochial schools. They may be employed by an individual facility, or they may be employed by a school district and travel from place to place. Geographically, teachers are distributed in a way that reflects the general population. That is, the more people there are, the more teachers there are. Music supervisors, who direct and coordinate the activities of the teaching staff, are usually affiliated with one academic institution. Choir directors may be employed by schools, or they may be retained by a church or civic organization. Educators with graduate degrees are hired to teach at performing-arts conservatories, and in music departments at colleges and universities, all over the United States and the world.

Private instructors usually work out of their homes, but others may be contracted by a music store, recording or rehearsal studio, or other music-related venue. They are also located much like the population, for opportunities are limited in sparsely populated areas and more prevalent in urban centers. Of course, there is also more competition for students in cities. Private instructors for whom performing makes up an important part of their livelihood are likely to be found in areas that support the performing arts – New York, Chicago, Los Angeles and Nashville come to mind, but many cities with populations of no more than 100,000 boast thriving arts communities. Instructors who do not live in such an area are bound to travel frequently. Those who are affiliated with institutions of higher learning generally perform with orchestras; chamber music ensembles; opera, ballet and musical theater companies; and other performance groups associated with the school. Employers of music librarians range from the Library of Congress to broadcast media libraries to music publishers to symphony orchestras. 8

Music therapists work in a variety of venues where physical and mental healthcare are provided, including psychiatric units, intermediate care facilities, nursing homes, drug rehabilitation centers, hospices, and correctional facilities. They may work in private practice, as well. Professionals with backgrounds in music education also direct programs for children’s camps, nonprofit organizations, arts centers, community centers, museums and music societies and foundations.

THE WORK YOU WILL DO CAREERS IN MUSIC EDUCATION INVOLVE ALL TYPES OF CLASSES AT ALL LEVELS, AS well as related occupations like music therapy, music

scholarship, and music library stewardship.

Teaching Kindergarten through 12th Grade General classroom music teachers at the elementary school level introduce students to the basic concepts of music, including styles (Baroque, for instance, jazz or folk), instruments (woodwind, string, percussion, brass, voice), different types of ensembles (string quartets, symphony orchestras) and terminology (rhythm, pitch, harmony, tempo, phrase, treble clef, timbre, half-note, vibrato). Some teachers have designated classrooms, while others travel from room to room, and still others travel from school to school, depending on state regulations and the budget of the school district. Music teachers lead classes in singing from a primer, with older grades being taught more complex techniques, such as harmonizing and carrying out multi-part rounds. The class may listen to a song on a CD before attempting it on their own. If the classroom is used as a rehearsal room for the school orchestra or band, the teacher may use the instruments that are kept there to demonstrate their different types and the different qualities of their respective sounds. An upright piano or other instrument is often used to demonstrate such concepts as rhythm, pitch and tone.

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Elementary-school music teachers explain such fundamentals as beat-counting and note-reading. They encourage promising students to audition and join the school’s choruses or instrumental ensembles. In a small school, the general classroom music teacher may serve as the vocal music coach, instrumental music instructor, and ensemble director. In larger schools, the positions are more specialized. Instrumental music teachers provide instruction in playing various instruments at the beginning, intermediate and advanced levels. Beginning students are taught the basic physics of how their instruments make music, as well as the proper care and preparation of the equipment, such as tuning, wetting the reed in a reed instrument, and rosining the bow of a violin. Novices are usually taught alongside other beginners on the same instrument. When they know better how to play, they may be brought together with those who play other instruments to form an ensemble. Music teachers keep track of each individual student’s progress and make sure that no student is holding the class back and that the class is holding no student back. They may tutor under-performing students after school or during free periods, and place superior performers in more advanced classes. Their students may play in small ensembles, jazz combos, marching bands, pep bands, orchestras, or other groups. Vocal music teachers coach students in vocal techniques for the school’s chorus, show choir, drama club, or other performance-oriented organizations. Before actual training begins, the teacher educates the students about how sounds are made and controlled in the body. For instance, students learn that the diaphragm is the membrane that separates the chest cavity from the abdominal cavity and forces air to flow between the vocal cords and out the mouth, producing sound. Positioning the mouth, throat and lips differently produces different effects, from a bellow to a hum, from dramatic to lyrical. The vocal teacher listens to each student sing individually, categorizing each girl as a soprano (the highest female voice), mezzo-soprano or contralto (lowest female voice) and each boy as a tenor (the highest male voice), baritone or bass (lowest male voice). When students rehearse and perform, those with similar voices are usually grouped together. 10

The voice is a flesh-and-blood musical instrument. During class, the teacher may have students sing scales and exercises to get their voices warmed up before they begin practicing the pieces they are working on. Music teachers may direct or lead school ensembles, put on performances, train students for competitions, and conduct rehearsals for school plays. Some of this activity may take place after school or even on evenings and weekends, which can make for a long workday and workweek. Teachers often stay after school to instruct and supervise students who need extra practice. At the middle-school level, instruction is more intensely focused. Sometimes, groups of children rotate until all students have had a session of intense, daily instruction. Other times, students take music classes several days a week for a semester or an entire academic year. In high school, all classes are given for at least one semester. In advanced classes, students may be given the opportunity to compose original pieces that will then be performed at a recital. Music teachers may be involved with student organizations that have a non-musical focus, for instance, a Russian club that wants to put on a performance of traditional Russian song and dance at a community-wide folk festival. Academic approaches to music may be taught in middle schools and high schools including music appreciation, music history or music theory. Music theory, or the science of music, examines subjects like acoustics and the reasons certain chords sound good together. Teachers research and select musical material, develop lesson plans and curricula, evaluate and grade students, provide information to parents about the music program and their children’s progress, and visit music stores and attend concerts in search of new music to share with their pupils.

Teaching at a College or Conservatory Music educators at the college level may engage in a variety of activities. They lecture on theory, music composition and arrangement, history, education, and areas of specialization like music therapy and commercial music, as well as vocal or instrumental performance. They meet with students individually, during office hours to discuss coursework, and in performance spaces to provide tutoring and extra instruction. 11

Professors and instructors supervise and select participants for extracurricular music programs offered at their colleges and universities: orchestras, bands, chamber music groups, jazz ensembles, a cappella choirs, barbershop quartets, glee clubs, opera workshops. They perform, compose music, undertake research, publish articles in professional and scholarly journals, and write textbooks.

Private Instruction Private instructors work with students one-on-one. Lessons typically take place once a week and last between 45 minutes and one hour. Instructors may specialize in a particular type of student or skill level (preschool, adult beginner, professional) or a particular style of music (rock, classical, bluegrass). They often offer instruction in just one or two instruments.

In addition to developing lesson plans, instructing, training, evaluating and motivating pupils, and communicating progress to parents, private music teachers organize recitals and concerts where students can play for family and friends, and provide guidance when students are preparing for competitions and applying for admission to special programs or for scholarships. The majority of private teachers are self-employed, so they have to perform all the tasks associated with running a small business. They publicize their services by distributing flyers, purchasing advertising in local newspapers, posting their business cards in libraries and schools, joining music teachers’ organizations, and performing at civic functions. They also maintain business accounts and keep track of expenses for tax purposes.

Performing Many music educators supplement their income from teaching by performing before live audiences, either solo or with a group or professional company of some kind. They may perform original compositions, or adapt a musical composition to achieve a style or effect appropriate to the group. (This process is known as arranging.) Some serve as studio musicians, recording session players or backup vocalists for recording engineers or production studios. Music educators who perform must practice their instrument on a regular basis and rehearse with their group. Unless they have an effective manager or agent, or a long-term 12

contract with a club or other performance venue, musicians are always hustling to book their next gig.

Other Jobs There are several other career options for individuals with an interest in music education and the appropriate training. Music Therapists These are allied health professionals who use music to address their clients’ psychological, cognitive, social and physical needs. Music therapy is applicable to a vast array of circumstances. It is used in hospitals to aid in pain alleviation, relax patients, and promote movement during physical rehabilitation. It helps clients with psychiatric disorders explore their feelings, regain a sense of control over their lives, and learn to resolve conflicts. Music therapy can help young people with developmental disabilities improve their communication skills. Music’s sensory and intellectual stimulation can contribute to an elderly person’s quality of life. For healthy people, music therapy can relieve stress, and can be used to ease the process of childbirth. Each treatment is highly individualized for the client, but generally involves creating music, singing along to it, moving to it, or consciously listening to music. Musicology This is the scholarly study of music as it is written and performed, as well as its cultural and historical context. History, psychology, anthropology, sociology, acoustics, aesthetics, and psychology are all elements of musicology, and there are as many sub-specialties in this field as there are elements. Music historians and anthropologists are scholars who study past and present musical culture. They may collect sheet music or artifacts for a museum, give lectures, verify the credibility of anecdotes or the historic accuracy of paraphernalia, restore and preserve artifacts, or lecture on the history of music. Ethnomusicologists, who study world cultures through music, are one type of music anthropologist. Music Librarians They perform the tasks traditionally associated with librarianship. They organize, catalog, and maintain collections; assist patrons; answer reference questions; select materials for acquisition; and make recommendations for the preservation and storage of materials. The difference is that they have a thorough educational background in music as well as in library science. 13

MUSIC TEACHERS TELL YOU ABOUT THEIR CAREERS I Teach and Perform Classical Flute and Piccolo in Seattle “I have a strong family background in music. My father and my uncle on my mom’s side were both band directors. My father also performed with the Denver Symphony Orchestra, so music was always being heard at my house. Teaching goes hand in hand with playing for me. I started teaching while I was in college. Nothing is too typical in my current line of work, but I generally start teaching in the early afternoon and work into the evening. When I perform I often have to cancel some students, but I would be unhappy to just teach and not perform. I enjoy getting students prepared for auditions and contests and feel a strong responsibility to help them work toward a solid foundation in tone and technique so they have more tools with which to express themselves. I like the variety of ages of young people I work with, anywhere from age nine or 10 up to age 18. I love starting new beginners and working with them through various stages in their development, both musical and personal.. It is very exciting seeing a student overcome a musical challenge, whatever it might be, depending upon age and ability, and seeing the person blossom as a musician. I’m self-employed as a private teacher and am not affiliated with a public school or university. As with all self-employed people, this means odd hours, slightly unstable income and no benefits like health and dental insurance. If playing and teaching are what you love to do and you could not see yourself doing anything else, then go for it! Realize you will face rejection and setbacks, but determination and hard work will help you through. There is nothing like the combination of hard work and relentless determination to help reach your goals. Talent alone will not cut it. Get the best teacher you can as early as possible and know that in order to be good at anything requires self-sacrifice at times.” 14

I Teach Studio and Class Piano, Piano Literature, Piano Pedagogy, and Chamber Music at Hastings College in Nebraska “I could think of nothing I like more or wanted to do more than music. I got into teaching piano late (in graduate school) when my teacher’s wife had several students take over her studio each summer in her absence. Typical work day starts with some warming up/practicing, teaching a mixture of classes (including group piano III and IV, piano pedagogy, piano literature) and private lessons – about four hours per day. Maybe some more practicing, and maybe teach some pre-collegiate students, of whom I have eight in my studio. The best part of my job is watching students learn how to solve problems and grow in independence as people and musicians. I also like the amount of playing and practicing I do. It keeps me in touch with what I ask my students to do. Academic committee meetings, political intrigues, budget woes are all tough challenges. I only recommend that students who absolutely cannot live without music pursue it as a career. I hold a Bachelor of Music degree in applied music and music education from Ithaca College, and the Master of Music and Doctor of Musical Arts degrees in piano performance from the University of Wisconsin-Madison. I recommend the best possible training for anyone considering this field. I consult with high school students I work with about their career and life goals, and their choice of schools to attend when they graduate. There are lots of factors in making a decision.”

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I Am a Keyboardist, Composer, Producer and Teacher “I always loved to play music. I got encouragement from my mother, as well as from my music teachers. I got into teaching by studying at a private school and being asked by the head of the school if I would like a teaching job. I work from my home, so I don’t need to drive to work. When I’m not teaching, I prepare lesson plans and I practice the piano. I play a lot of gigs – two to five every week – and make recordings. I play everything – pop, rock, classical, jazz, Broadway, folk, blues, country, ethnic, world music. I have performed in New York, Boston, Tokyo, and Cabo San Lucas, Mexico, but mainly I play in Southern California. Music is fun! It is very rewarding to see students improve their skills, although it’s frustrating when they don’t practice enough.”

I Taught the Drums in Minneapolis “I pursued a job in music because it was something I could be passionate about. I couldn’t bear the idea of doing a mind-numbing 40-hour-a-week ‘normal’ job. I got into teaching simply because I had accumulated enough skills as a musician, so that I was knowledgeable enough to pass them on. In addition, I had good communication skills and I liked the idea of creating future musicians. I love being a part of the arts, and cultivating that passion in future artists. I am not currently teaching music. I have made a career shift into theater, both performing and teaching. When I was teaching private music lessons, I would teach as many as 30 students over four days a week. I had to be prepared to teach many individuals, to know their skills and what they needed to work on. To be able to pick up right where we’d left off the week before was an important knack I cultivated.

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Working with low-talent students can be frustrating. Also doing adequate prep work for 20 or more students in a week can be difficult if you are also working other jobs (as I was). Know your instrument inside and out. I taught music without a music degree, but I never meant it to be my only vocation. If that is your goal, focus strictly on it. Attend a conservatory, or an undergraduate program with very high standards.”

I Have Been an English Teacher and a Voice Teacher “My mother was a big band singer. During my childhood I was constantly surrounded by music, mostly recorded music. Although I initially became a college teacher of English literature, my musical muse pulled me towards a professional career as a musician. Over the course of a long performing career, I have often been called upon to teach singing, often by professionals. Eventually, my wife and I (she is a fine pianist and vocalist) decided to take on a very few students, to pass along what we had learned, both as students of distinguished teachers and as long-time, working professionals. We have a very limited student enrollment. In this situation, most of our day continues to be spent in writing and rehearsal for our own performances. It is important to mention that we place no time-of-day restriction on our lessons. In terms of our responsibilities, aside from technical information, exercises and the like, we have found it essential that we reinforce a sense of self esteem and achievement in all of our students. At times, this becomes our central task and responsibility. To this end, we are very careful in terms of our teaching environment and our approach, which can be markedly different depending upon each student’s need. Teaching can be even more rewarding than the most successful performances. Perhaps this is because there is something very satisfying about gaining the trust and elevating the artistic awareness of another person. We never 17

try to disguise the fact that much work lies behind even the smallest improvement. Hence, we are doubly gratified when the student realizes (almost as if a bulb has lit up over the head) the direct connection between effort and achievement. Young students are often fatigued by over-scheduling of too many activities. Consequently, many must struggle against low energy levels. And many are obviously struggling with the consequences of junk food diets, diets which tend to decrease the ability to concentrate and to focus. It is unfortunate that the teacher must deal with these additional burdens. We do it with love but it is difficult to deal with a student who frequently comes to lessons with a head cold and/or scratchy throat.”

I Teach Guitar in Arkansas “Very simply, the love of music got me into this field. I took guitar lessons for six years, and then started working for my teachers. I start most days around 10 a.m. I teach students from eight years old on up. I work late hours and on Saturdays. I run my own business from my home and work to as late as 9 p.m. many days a week. I charge $30 per hour, or $55 per month (30 minutes per week). I teach lessons with guitar, banjo, dobro and bass to students from the ages of eight to 70 years old. My students are my friends. I am truly thankful for them. It’s wonderful to see my students really get it. If you are going to get into this work, start slow, teaching no more than five students to begin with. (I now teach 70 per week!) Take music theory classes, get all the playing experience that you can, and do workshops.”

I Am Employed by a Studio in Nashville “I have played piano since I was five. I have always wanted to do something in music. I actually started in college as a commercial piano performance major. Then I realized how many performance majors never even end up working in music. I decided If I 18

wanted to pursue a career in music, teaching was the way to go. I changed my major to piano pedagogy and still work for the music studio where I did my student teaching I usually work after school hours with one morning where I take home schoolers and adults. I have 54 students and help run the large studio where I work. We have approximately 140 students, four full-time piano teachers, one part-time piano teacher, a violin instructor and a guitar teacher. I take care of all of the promotion, accounting and scheduling as well as teaching. I love the interaction with students of all levels and talents. I feel music is for everyone, not just the extremely talented. Therefore, we have a no auditions policy. We accept all students. For me, instilling the love of music in a child is the most rewarding. Therefore, my best success stories are not the students who will go on to be music majors and performers, but the ones who will always enjoy piano as a hobby. There is not much I do not like about my job. The only think I can think of is dealing with some parents. It is also a challenge for me because I am not the owner, yet I have all the responsibilities of running the studio. Sometimes I think that I would be better off teaching out of my home, but then I would not have the partnership with other teachers, nor the friendship I have with the owner. However, I know in the future the owner is going to turn over the studio to me, so that makes it worth the wait. Students who are interested in this career definitely need to get a bachelor’s degree in music! I can not tell you how many students we get who were taught by a teacher who had some piano lessons and just decided to teach. The level of professionalism and training to teach all levels is invaluable. I feel you do not achieve this unless you have had college-level music training yourself.”

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I Am Associate Professor of Piano at University of Tennessee, Knoxville “I started piano at a very early age and loved it. My mama played – not really well, but she was determined that her only child would play the piano. She sat with me while I practiced to make sure I obtained a good beginning. My mother was a schoolteacher, like most of my other relatives. My piano teacher was a really great lady and I always wanted to be just like her. Currently, I teach at the University of Tennessee from 8 a.m. to 3 p.m. each day and then begin teaching private students. My typical day lasts until about 8 p.m. I meet so many wonderful kids and their families in this line of work. I love to have students who work towards a goal and then win a competition. You must be dedicated and disciplined to succeed in this field. It takes many hours of practice and study. I would recommend starting lessons early with the best teacher possible. Take theory classes if available. Find a good university setting with performance and pedagogy opportunities.”

I Am a Contralto Soloist, Composer, Author and Educator “I have been playing the piano and singing since I was six. Music is a part of my life. I especially enjoy performing with, as well as teaching talented individuals. I have a bachelor’s and a master’s in music and a master’s degree in education. I taught 24 years in the Seattle Public School System, while performing 17 years with Seattle Opera Association. During the summers, I appeared with Houston Opera and the Lucayan Chorale in Nassau, Bahamas.

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I sustained a horrible back injury that prevented me from performing opera, which is strenuous, and also curtailed my doctoral studies. Now I run a company that publishes sheet music and records three songs from one new songwriter every year. Now I compose music, write books (on music vocabulary), train voices, teach private lessons in piano and guitar, and direct choral workshops, and I still perform. We are currently working on our next recital, coming up in two months. I am recording a CD and am rehearsing along with a vocal ensemble, performing some of my new pieces. The best thing, which is rewarding about my work is success, when students take my advice of using proper technique, perform well, and enjoy what they are doing. The hardest part of my job is getting some people, with not enough patience, through complicated pieces. It is a challenge! However, we manage and it usually ends up positive. My advice to high-school students who strive to pursue the arts: practice daily, build repertoires of a variety of types of music, and learn to play at least one other instrument besides your forte. I recommend private study, performance, competing in auditions and definitely a college education.”

I Am a Voice Teacher “Music is a calling I cannot ignore. I got into teacher after taking many voice lessons and noticed I had a knack for explaining things to other singers. I work alone which means I have to wear many hats. Workdays start by answering emails. Then students arrive between 10 a.m. and 8 p.m. After 8:00, I am usually writing articles, recording, performing or rehearsing. The most rewarding aspect is the look on a singer’s face when they achieved the voice they had always dreamed of. My least favorite aspect is working with people who are not willing to help themselves. Showing them that achieving a better voice requires their participation is the biggest challenge.

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There are now colleges which offer studies call vocology, which is a prep for a career as a voice teacher. I had to piece together my information from many different sources. Either way, I recommend pursuing a deep understanding of the workings of the voice.”

I Operate a Guitar Store “Music always fulfilled me in a special way and I believe our work should be a joyous part of our life, not just a job. I began teaching very young and did it on and off for years part time. Initially I simply placed an ad and began teaching, then I realized I enjoyed it. I teach part time. I run my own guitar store days and teach in the evenings. Teaching tasks include preparing lesson plans, scheduling students, and ordering materials. Also hours of practice so that I continue to grow musically. I most like teaching my advanced students because it’s very rewarding when they play a complex piece that you showed them. Teaching students taking lessons for the wrong reasons, for instance because their parents want them to, is a drag. If the student is bored and not practicing teaching is not enjoyable. I don’t recommend teaching music as a full time job because then you need to take every student who appears on your doorstep and keep every student. Do it as a great part-time job to allow you to perform and do other things in music as well. I don’t know many people who teach full time for life; they usually burn out and quit.”

I Teach Sax and Other Instruments in Albuquerque “I got into private teaching to help supplement my income so that I could pay for lessons and music early on. I loved it and continued. I pursued music because I enjoyed performing and working with others. I asked professionals their opinion of my skills and they offered advice and gave good criticism which I could apply to my practices and performances. 22

I work as a director of worship and music ministries. I organize, teach, lead and direct as well as help to give input to the overall vision of my church and organizations. This helps to get things done for the weekly services and annual concerts and special events. I get to make people happy. I get to share my gifts with the world and I get to do what I like to do and what I have trained for. The challenges are mostly due to ignorance on the part of non-musicians who don’t understand the complexity of music and the arts. The arts can develop people far greater than pure ‘academics’. I had a choice between physics, pharmacy and music. I chose music. Let students study hard and develop a good work ethic. Pursue their music, but also have their feet planted firmly on the ground by having a backup plan and minor they can fall back on. Pursue the highest degree possible because they may not have enough time later as life goes on. Continue to study music with private lessons and teach or volunteer. Learn to perform in other areas of the arts (dance, drama, fine art) or with community groups.”

I Am a Professional Musician and a Music Teacher “When I was seven, I wanted to learn to play the guitar, and it just became a part of me that I could never let go of. Either it was meant to be or the nature of music is addictive. I feel that it was a calling. I do all the administrative work for my band. Booking performances (which I don’t enjoy), writing music, organizing rehearsals, making posters and mailers to promote our gigs. Being on stage playing music is electric. As far as teaching goes, I get so much pleasure out of seeing that I can change someone’s life for the better and add excitement. I like everything about teaching.

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Students interested in this career must take it seriously and live it. They must practice every day. Patience. Perseverance. Practice."

PERSONAL QUALIFICATIONS YOU WILL NEED BESIDES THE OBVIOUS REQUIREMENT THAT YOU SHOULD HARBOR A PASSION

for music and demonstrate some proficiency in executing it, you must have the self-discipline to practice and train regularly without fail and to strive constantly to hone your technique and enhance your interpretive abilities. You must have the willingness and versatility, the eagerness, to learn to play at least one or two additional instruments beyond your primary one. The time commitment can be considerable. Music teachers are inspired to excite inspiration in others. They are leaders who command respect and attention. They must be able to coax the best possible performance out of their pupils, help them advance their skills and achieve their potential, have patience and encourage students to persist when they don’t seem to be making much progress, and motivate youngsters to practice every day. They are creative, coming up with musical games to capture the imaginations of very young pupils and developing lesson plans with lively and fun educational activities. They enjoy acquiring and sharing knowledge. In addition, music educators must be excellent communicators, demonstrating musical techniques with clarity, providing direction, and breaking down complex concepts and musical passages. Organizational, administrative, managerial, and record-keeping abilities are necessary, too, especially is you give private lessons on your own. These teachers are self-motivated and able to work with minimal supervision.

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ATTRACTIVE FEATURES FOR THOSE WITH THE PASSION AND THE TALENT TO DO IT, TEACHING MUSIC IS A

deeply rewarding and enjoyable occupation. Helping students grasp the power and beauty of music is enormously satisfying. Because learning and playing an instrument impart so many personal benefits beyond the ability to produce beautiful sounds, music educators can have a profound influence on their lives of those they work with. Educators take pride in their students’ achievements, and when they watch from the audience or the wings as their well-rehearsed proteges perform before their peers, teachers and loved ones, they enjoy a tremendous sense of pride and accomplishment, even something approaching jubilation. More often than not, they will be approached by parents and others after the show to be thanked, praised and congratulated. Teaching affords musicians the opportunity to study and practice musical instruments as a vocation and for a lifetime. Music needn’t be treated as a hobby that one gets to when you have the chance, but rather as a vocation that enriches daily life. Having the summers free allows school teachers to more deeply explore their musical interests. Instructors who operate private studios enjoy the benefits of being self-employed, which include a flexible schedule and very high income potential, limited only by the time and energy they are willing to spend building their businesses. At the college level, music professors are given the time and resources to pursue their own interests and passions, from composing to performing to conducting research. As you may know from your own experience, performing live is fulfilling on another level entirely. There is pride in your ability to master and execute the technical aspects of music-making; delight in the sounds you are able to produce; gratification in the intimate interaction that is taking place between players and between the players and the audience; and exhilaration at the audience’s enjoyment of the piece and approving response, enhanced if some of those hearing you are your family and friends.

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UNATTRACTIVE FEATURES MUSIC EDUCATORS ARE IN THE UNIQUE AND UNENVIABLE POSITION OF PUTTING their pedagogical skills on public display on a regular

basis, in the form of concerts and recitals, to be critiqued by students, other educators, parents, the teachers’ employers and the general population. The stress of constantly being judged and the feelings of being misunderstood and unappreciated that may ensue are possibly the single most common factor that music teachers hate about their profession. It can be difficult to motivate a student who is not self-motivated, who think it is cool to play in a band but doesn’t want to practice, or who is driven to study an instrument by parental pressure instead of personal desire. There are always budgetary issues at all levels of music education, but they are most pronounced at the elementary and secondary school levels. Teachers and ensemble directors may be expected to produce performances of equal quality year after year with less and less funding. Budget cuts are always a threat, because music programs are usually seen as discretionary rather than essential parts of a curriculum. A music teacher’s day begins before school and may not end until the last concert or rehearsal is completed in the evening. When salary is measured against how many hours teachers are actually on the job, hourly wages can seem very low. Like all self-employed people, independent instructors constantly have to be on the lookout for new students and replace students who drop out or move away. They may spend as much time marketing as instructing. The same is true of music teachers who perform, unless they have a steady engagement.

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EDUCATION AND TRAINING YOU WILL NEED ELEMENTARY AND SECONDARY SCHOOL TEACHERS MUST UNDERSTAND CHILD

development, be proficient in simple classroom instruments like piano, guitar and recorders, and demonstrate competency in vocal techniques. College-level professors (unless they are world-renowned performers) need advanced degrees in music pedagogy or a related subject. There are two main types of school those pursuing degrees in music may choose from: a dedicated music conservatory, like the prestigious Berklee College of Music, or a college or university with a strong music department, like New York University. Conservatories are highly competitive and rigorous and can afford to admit only the best and the brightest young musicians. Accordingly, much of the course of study emphasizes performance.

Conservatories Berklee College of Music (www.berklee.edu/) is the largest independent music college in the world. Located in Boston, the school’s mission is to turn out professionals competent in composition, performance and recording/production as well as the business side of the contemporary music industry. A student majoring in music education may prepare to become a choir director, college/conservatory/university music educator, elementary school music teacher, music supervisor, private instructor or secondary school music teacher. Coursework instructs students in arranging for high school jazz and vocal ensembles; elementary classroom methods; instrumental conducting; and methods and materials for marching bands, among other topics. Students engage in practice teaching, participate in choirs and recitals, and are guided in their preparation for licensing exams. The Music Division of the Boston Conservatory (www.bostonconservatory.edu/) offers degrees in performance (instrumental and vocal) and composition as well as a concentration in music education, which students complete in two intensive summers and one semester of student teaching following the completion of the Bachelor of Music degree. Eastman School of Music at the University of Rochester (www.rochester.edu/Eastman/) offers several options for students interested in becoming music educators, one of which is the 27

so-called 3 + 2 program in music education, a sequence of study jointly offered through the University of Rochester and the Eastman School that combines the requirements for the Bachelor of Arts in music, teacher certification, and the Master of Arts in music education within a period of five years. The music-in-education concentration (www.nec-musicined.org/) at Boston’s New England Conservatory of Music (www.newenglandconservatory.edu/) prepares students for entry into the field of education by offering introductory courses as well as teaching guided internships in six areas: pedagogy of the private lesson; classroom music; music in interdisciplinary settings; coaching, conducting and rehearsing; performance ensembles (including composing and arranging for school ensembles); artist-in-residence; and arts education organizations. The course of study may lead to advanced teacher certification awarded by the Massachusetts Department of Education. The aim of the Department of Music Education at Oberlin Conservatory (www.oberlin.edu/con/) in Ohio is to prepare students to teach music in public and private schools, grades kindergarten through 12 by providing an understanding of the total educational program in a variety of school settings. There are two concentrations, one for students who plant to teach vocal or general music or to conduct choirs (the vocal-emphasis curriculum); and one for those wishing to conduct orchestras or bands or to teach instrumental classes (the instrumental-emphasis curriculum). Coursework includes clinical and field experiences, including students spending time in real classrooms as observers, participant-aides, project directors, and student teachers. Liberal-arts courses include educational psychology and the principles of education. The curriculum is approved by the state of Ohio for its initial teaching license, which is reciprocal with most other states. Oberlin College’s first course in public school music was taught in 1902, and the school implemented the first four-year college-degree program in music education in the United States in 1921.

Colleges and Universities About 50 institutions of higher learning in the United States boast truly outstanding music departments. Following are just a handful:

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St. Olaf College in Minnesota offers a Bachelor of Music in Music Education (www.stolaf.edu/catalog/academicprogram/music.html) that is designed to lead to a public school teaching career immediately after graduation. Course requirements include performance studies on the student’s principal instrument as well as in a secondary area; conducting; the child and adolescent voice; world music; and art or theater. For instrumental specialization, the principal performing area must be brass, percussion, string, woodwind or piano; for vocal specialization it must be voice or piano. There are solo and ensemble performing requirements, as well. Numerous academic courses for beginners are available from the Music Department at Amherst College in Massachusetts (www.amherst.edu/music/). Course titles range from the very general (discovering music; introduction to music; exploring music) to fairly specific (Germans, Jews, and the music of Richard Wagner; Klezmer music: from the shtetl to the knitting factory) and everything in between (jazz theory and improvisation; music and culture; music of the whole earth). In addition, private performance instruction is offered, and students may participate in for-credit ensembles with no more than an intermediate proficiency in voice or an instruments. Music majors at New York University (www.nyu.edu/gsas/dept/music/) take a total of 40 points of coursework, including harmony and counterpoint and two courses from history of European music. It is assumed that students can read music and have a knowledge of basic music theory. Graduate program degree tracks include historical musicology and ethnomusicology. Students participating in the track in historical musicology develop skills in document study, archival research, stylistic analysis and the study of performance practice. Graduate students in ethnomusicology prepare for academic as well as public and private sector careers by studying popular music, urban ethnomusicology, critical theory and cultural studies. The university maintains a collection of world musical instruments and an ethnomusicology laboratory and sponsors rotating world music ensembles. And, of course, there is no dearth of other musical resources around New York City, where the school is located.

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Licensure and Certification All public-school teachers (but not private-school teachers) must be licensed by a state board of education or other authority. Teachers may be licensed to teach a particular age group, or they may be licensed in music. Requirements for licensure are typically a bachelor’s degree, a teacher training program, and supervised student-teaching. You will probably want to be certified by the Music Teachers National Association (www.mtnacertification.org/home.htm) so you can be listed in the organization’s directory and take advantage of MTNA’s networking opportunities to advance your career. Certification also enhances your professional standing and your credibility.

WHAT YOU WILL EARN ACCORDING TO RECENT SURVEYS, THE AVERAGE TEACHER’S SALARY IS $45,000.

The average beginning teacher salary is about $30,000. New England, Mid-Atlantic, Great Lakes, and Pacific states have average salaries in the low $50,000s. The Southeast and Rocky Mountain regions have salaries in the low $40,000s, on average. Average salaries in the Plains and Southwestern states are in the high $30,000. In terms of individual states, teachers in California are the highest paid, with an average annual salary of about $55,000, followed by Michigan, Connecticut, Rhode Island, and New York – all above $50,000. South Dakota is the state with the lowest average salary at a little more than $30,000. The highest starting salaries are offered in Alaska ($36,000), New Jersey ($35,000); New York ($35,000), Connecticut ($35,000) and California ($35,000). Public-school teachers generally earn more than private-school teachers. In both cases, there may be a stipend for extra work, such as serving as band director. Most teachers spend summers taking continuing education and other professional development courses, teaching summer school, or doing other work in seasonal or part-time jobs to earn additional money. One way to supplement income, of course, is 30

by performing. A regular weekend or summer gig could add perhaps $20,000 to a music teacher’s yearly income, but these can be hard to come by. Often, performers play for the sheer joy of it rather than to add meaningfully to their earnings. Private instructors’ earnings can vary tremendously. Hourly rates may be anywhere from $20 to $75 per hour, and the number of weekly lessons can range from just a couple to 70 or more. This translates into an annual income of between roughly $5,000 to as much as $250,000 for an accomplished and well-known musician who can take on the maximum number of students (some of whom might be taught by the maestro’s proteges) and charge the highest rates. A recent salary survey conducted by the American Association of University Professors (www.aaup.org/) reveals the average salary of a full professor teaching PhD candidates at a private university is about $120,000. Including the value of retirement funds, medical and dental insurance, disability insurance, free tuition for family members, life insurance and other benefits, actual compensation can total $150,000. At the other end of the spectrum, an undergraduate instructor at a four-year academic institution affiliated with a religious institution may make $40,000, on average (total compensation, $45,000). College professors routinely supplement their incomes by publishing articles and books Administrators in large, university music departments at can earn $175,000 per year or more. A music librarian for a college, university, conservatory, public library or orchestra earns roughly $25,000 to $50,000 per year, according to the National Association for Music Education (www.menc.org/industry/job/careers/careers.html#ml), while music therapists earn from about $20,000 to $75,000, depending on where they are employed (those in private practice earn the most; salaries at clinics for disabled children are the lowest).

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OUTLOOK FOR THIS CAREER THE OUTLOOK FOR OPPORTUNITIES THE TEACHING PROFESSION IS EXTREMELY

positive. Employment of elementary, middle and secondary school teachers will grow by as much as 20% in the coming decade, representing as many as 250,000 new openings. Student enrollment will rise by over 50 million, and by almost five percent in high schools. Added to these increases is the impact of many teachers expected to retire soon (one-quarter of currently employed teachers are at least 50 years old). California, Texas, Nevada, North Carolina, and Florida are among the states with rapidly growing populations that are already facing chronic shortfalls in teacher recruitment. School reform initiatives are calling for smaller classes to ensure the best-quality education, further increasing the need for new teachers. Teacher shortages are especially acute in urban and rural communities, and Spanish-speaking educators are in particular demand. Employment in post-secondary schools is projected to increase by as much as 35% within the coming decade, also because of increasing enrollment which, in turn, is a factor of an increase in the number of college-aged Americans. On the website of the National Association for Music Education, there is the following exhortation to teachers: “Today’s music teacher shortage indicates that now, more than ever, we need to encourage and support our music students in their pursuit of a music profession.”

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GETTING STARTED BECAUSE MUSIC EDUCATION IS A VERY PROFESSION-ORIENTED COURSE OF STUDY, your college or university will have specific advice for you

when it is time to start looking for your first full-time job. Nevertheless, it’s best to be proactive. On the website of the National Association for Music Education, there are tips for new music teachers (www.menc.org/industry/job /career.html), including compiling a resumé, writing cover letters, filling out application forms, interviewing, and even deciding whether to go to graduate school. If you think you would like a career in which you share your enthusiasm and passion for music and ignite it in others; help prepare the next generation to become contributing members of society; and continue a lifelong journey of professional growth and personal enrichment, music education might be just the pursuit for you. Good luck!

ORGANIZATIONS O American Federation of Teachers

www.aft.org O American Institute of Musicology

www.corpusmusicae.com/ O American Music Conference

www.amc-music.com O American Music Therapy Association

www.musictherapy.org/ O American Musicological Society

www.sas.upenn.edu/music/ams/ O Association for Childhood Education International

www.acei.org O College Music Society

www.music.org/membership/aboutcms.html O Council for Research in Music Education

www-camil.music.uiuc.edu/crme/default.html 33

O Music & Entertainment Industry Educators Association

www.meiea.org/ O Music Library Association

www.musiclibraryassoc.org/ O Music Teachers National Association

www.mtna.org O Music Therapy Association

www.musictherapy.org/ O National Association for Music Education

www.menc.org/ O National Association for the Education of Young Children

www.naeyc.org O National Association of Schools of Music

www.nasm.arts-accredit .org/index.jsp O National Council for Accreditation of Teacher Education

www.ncate.org O National Education Association

www.nea.org O Recruiting New Teachers

www.rnt.org O Society for Ethnomusicology

www.indiana.edu/ethmusic/

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PERIODICALS O American Music Teacher

www.mtna.org/amt.htm O Bulletin of the Council for Research in Music Education

www-camil.music.uiuc.edu/crme /bulletin.html O Ethnomusicology

www.indiana.edu/ethmusic /publications/publications.html O Journal of Historical Research in Music Education

music.asu.edu/jhrme/ O Journal of Music Therapy

www.musictherapy.org/pubs.html O Journal of Research in Music Education

www.menc.org/publication/articles /jrmeind.html O Journal of the American Musicological Society

www.ucpress.edu/journals/jams/ O MLA Newsletter Online

www.musiclibraryassoc.org/ O Musical Family

www.musicalfamily.com/ O School Band and Orchestra

www.sbomagazine.com/index.html

COPYRIGHT Institute For Career Research 2010 CAREERS INTERNET DATABASE www.careers-internet.org

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