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In my current and past schools, the music programs were easy to understand. I think of my high school music experience as standard or as the definition of music education, since that was what was around me every day. Three bands and choirs, one for the freshman, one that was un-auditioned, and one that was auditioned. The un-auditioned choir was actually a women’s choir and the boys who did not make Concert Choir stayed in the freshman group. Both band and choir had a separate extracurricular auditioned chamber ensemble, and band had two extracurricular jazz bands (auditioned and un-auditioned) as well. We did not have a marching band, though some surrounding schools did. Our school did not have an orchestra, although there was a community one for our school and the surrounding schools. We had musicals, but that world was separate from me.

I would see structure as someone visiting without knowing the program. I would also see tiers, where there was a clear “top” group. That would be an interesting observation to make. That is something that was unique to high school for our program, although the middle school had a show choir that was auditioned. It was separate enough from choir that the “tiers” in middle school were grade level, not skill level.

In comparison, SCSU has a little less structure. Since each music student is on their own journey performance and teaching wise, it might seem more chaotic from the outside. Each person can be found in a practice room working hard at their own music. There is not really a “tier” list for band or choir. There is one concert band, a sports band that is separate, one concert choir, and a chamber/jazz choir. Each is separate from each other, though many people overlap. Since the repertoire between each group is different, there is something for everyone. Each group is lightly auditioned. Though there is less obvious structure, there is a place for every individual, regardless of talent or musical interest. It feels similar enough to my high school, since there is also no school orchestra or marching band. The music the concert groups do is somewhat similar as well. The main difference, especially with band, is size. High school had about 80 players and here is under 30. However, music is music!

In my school’s music programs, I stood out as an oboe player and pianist. Though I never tried out for solos in choir, I stood out as a student accompanist, which was not something other students did. My freshman year, I was in the Wind Ensemble, which was auditioned and made up of 10th-12th graders. I also was in the M8 honor band that year, and stood out in the band program as a result. Additionally, I was the 4th of my family to be in the band, and everyone knew the talents of my elder siblings (French horn, flute, and trumpet players), naturally assuming I possessed the same.

I was quieter throughout high school, but always stood out because of my efforts in music and school. I was the top of the class throughout high school (until PSEO) and often was reached out to for help with homework and projects. I was also tasked with being a fill-in percussionist and music tutor for many fellow students. I often got comments from people outside of the music department asking what school I was going to, what I was going to study, etc. Being in Mock Trial, I often got asked if I was considering law. I was not. I never considered anything besides music and I never considered attending a prestigious school, regardless of my academic success.

During my senior year, I significantly relaxed about my grades. I also stopped really going to high school and thus no one cared about me anymore. It was a relief. I don’t know what was in the water in 10th and 11th grade, but those AP classes got competitive; even if I kept my mouth shut, there were a few people determined to take my spot at the top of the class and beat my scores in the ACT and AP exams. Perhaps we were all a little melodramatic, as I see none of that matters now. Since most of my classes are now in my field of interest, I feel less pressure to show anyone up. I can just enjoy the classes and their content because I am mostly secure in my musical experience and joys.

My musical identity was always one of quiet assuredness, regardless of my inner self doubts. No one ever doubted me and thus were a little surprised when I picked SCSU, which is not known for its’ music program. However, I don’t think I would thrive in a competitive music program. Thus far, I have been pleased, especially with individual lessons. My musical role feels much more individual now than ever before.

My roles have shifted outside of school as well. Now, I am found accompanying, leading section practices and full group rehearsals, and putting together programs for my church choir. I also have been participating in a small group instrumental chamber music CD, which has been rewarding to say the least. I also have been teaching piano, which is its own musical role. Am I the best at any of those things? Not really; there are always more qualified (and older) people! Regardless, I have many mentors who have their own musical role to me.

Musically, my “peak” performance experiences have been with my high school band, the auditioned “Symphonic Winds”, as well as with my high school choirs, both the auditioned “Concert Choir” and the auditioned chamber group, “Alba Coro”. I would not say that I completed high school being as happy in those groups, as I was only there about once a week and, post-Covid, it was much harder to reinstate the quality of music previously present.

My tenth grade year, our Symphonic Winds performed at Ted Mann Hall, playing music from David Maslanka and Percy Grainger, among other composers. That year, our choir got to do a high school event with Voces8, a professional chamber group from Britain. The year before, our Concert Choir sang at MMEA.

Repertoire was a big part of why I loved being in band and choir in high school. We often did grade level 5 music in band, and my director was quite adept at programming a variety of music from a variety of composers. We played everything from band classics to solo features to music from cultures around the world. In choir, we sang everything from cultural music with movement, excerpts from operas and biblical works, newer choral music, and music in Russian, Italian, Spanish, and everything in between. Additionally, more popular music was present. In the Alba Coro group, we often sang a few oldies at a joint concert with jazz band in addition to the medieval and classical choral music. In band, we had one extra “Pops” concert each year that the students picked a theme for with additional effects. Last year, we played a piece in the dark with some very eerie effects.

Another factor that made performance experiences in high school extra special, especially before Covid, was the full district concerts. We had an All-City Choir Concert every year that included every choir from 4th grade to 12th grade. Each year, a guest conductor would come in and we would sing three huge pieces together after each choir performed their set. Band had something similar every other year, but was somewhat less of a large event. That sort of event would be something super fun to replicate for my future students.

Overall, though my musical time in high school was somewhat cut short because of Covid, the experiences I did get to have even in a modest sized program gave me a really good idea of what I want my future teaching experience to look like. My band teacher especially had a really nice way of connecting with students, keeping rehearsal running, and finding repertoire that was challenging and motivating. I always loved choir, but I got to love band even more in high school. That connection with students is something I would love to replicate in my future teaching.

In ED205, we have discussed state and national standards for all teachers, as well as specific to each content area. In terms of teaching, there are licensure exams. For example, MTLEs (basic skills test), content tests, and edTPAs (during student teaching). We discussed the different tiers of licenses as well. In terms of standards, we have discussed both state and national standards for teaching and have been given opportunities to explore our content standards on our own.

In exploring music education standards, I found there are less standards for music than many other content areas. MN standards for music are broken into five categories, two of which are specific to either vocal or instrumental teaching. The first three are all a list of music skills needed to teach music, and the last two have more to do with teaching in general. National standards are a little harder to consolidate, but are also found on the NAfME website. In exploring national standards, the NAfME music standards feel more relevant.

In schools, a lot of music curriculum understanding is up to the teacher. Especially in schools where there is less of a focus on music, it is up to the individual teacher(s) to create a curriculum, find relevant repertoire, and teach music in a meaningful way. Music is something that is harder to test on a large scale, regardless of performance ability. I think schools could strengthen music programs by realizing that it is more of a core class than it might seem. Music is everywhere and is so beneficial for everyone that participation in programs should be encouraged in upper levels. Additionally, I think that more music teachers is better than less, especially for larger programs. Even in elementary schools, some music teachers are on their own with 800+ students. That is unlike most other teachers, especially for something so integral to humanity. I believe that the teacher makes the program, but leaving a teacher all alone without backup can lead to less music learning and more burnout.

I think music standards are relatively good. There usually is a focus on performance, which I don’t always agree with, but music is music. I would love to see more exploration of different ways to learn, play, compose, and analyze music at a young age, regardless of standards. Though many of these important tools are referenced in the standards, the standards are rather brief. There are so many amazing music teachers out there having tons of fun with students, but the pressure to succeed is present as a lone teacher of a subject in a school. Especially when “success” is so hard to measure in music!

I have had some choir directing experience through my church choir and various music camps, but no directing experience in a school choir setting. However, I have been in school choirs since age 9, so I feel I have some observation experience through watching and observing teachers and classmates.

In terms of choral strengths, I believe I have the skills to pick some repertoire, accompany warm ups and daily practice, hear the balance and blend of the choir and adjust accordingly, and give most students the tools they need.

In terms of where I would like more preparation would include things like extracurricular choirs, more diverse repertoire, and tools for dealing with a wide variety of skill levels at the same time.

Though I could still use more preparation (and will likely not be teaching choir in the schools), I believe I still have enough tools and choir experience to lead successful rehearsals, program concerts, and get a variety of pieces performance ready in a fun way. So far, I have done so with a smaller choir and more pieces with lower standards from the audience point of view. I am unsure how that would translate to larger choirs, but I think the extra time with rehearsal would allow for it. Either way, I’m not going to fret about it!

In an ideal high school choir program, I would be one of two teachers. There would be five choirs offered; an un-auditioned concert choir, a women’s choir, an auditioned concert choir, an auditioned chamber choir, and a jazz/show choir. I would teach the women’s choir, the chamber choir, and the auditioned concert choir, while the other teacher would do the jazz choir and the un-auditioned choir. The other teacher would also lead musicals. In this way, each student has an opportunity to participate in a choir that fits their tastes and have a teacher fit for that music.

For the chamber choir, I would stick to choral music of all varieties. I would do similar pieces with the concert choir, though perhaps more complex works. The women’s choir would be a similar variety. Choral music includes the classics, cultural music, and new choral works.

The music would work for any school, but this program would only work for a larger school. In any setting, I would strive to include every student that wants to participate. Regardless of if I was the only teacher, every choir is important, not just the “good” ones. Each student deserves to have fun.

Culture and music are intertwined and somewhat synonymous. When one participates in music, they participate in culture and, when one participates in culture, music is inescapable. As future teachers and current learners, it is important to take note of diverse cultures and music, as well as consider how to apply those concepts in music lessons and classes.

When listening to music from different cultures, students might learn a new way of viewing music. They might learn of different cultures from around the world through music and want to learn more. When playing or singing music from other cultures, students might connect with that music and thus, a new culture. This is important for young students, as connecting, accepting, and feeling the human experience from a different perspective makes culturally aware and empathetic people.

As a teacher, it might feel daunting to start incorporating cultural music and elements in the classroom. Listening to cultural music is an easy first step. Giving students a chance to listen, reflect, and discuss what they heard or observed creates a space to start singing or playing that music. Additionally, when discussing cultural music with older students, it is important to make connections with history and current events.

Regardless of what sort of music sticks with students, being exposed to a variety of music from different cultures is important. Giving students the tools to connect with other cultures and music sets up a lifetime of connectivity, empathy, and awareness.

My main music experiences have been a mix of formal and informal instruction, as well as regular exposure to music in the home, at school, and in church.

Every instrument I have learned has mostly been through formal instruction. I started with violin at the ripe age of 5, adding piano a year later. Violin slowly became more informal as I began playing with family and we all had fun with trying new things and pieces together. Piano continued to be formal until around that same time, about age 11, where I lost my piano teacher and started independent exploration. Classroom instruments such as recorder were more formally taught. Then, I added oboe through relatively independent means, where I was part of the school band but otherwise self taught. All the instruments I have learned since have been self-taught and thus more informal. However, when considering the music listening or actual repertoire, much of it has been learned through a more enculturative means. For me, this included hearing siblings practice their classical music, listening to classical music as a family, and generally being exposed to much in the classical sense and not a lot of popular or modern music.

In terms of voice, it is about the same experience. I have sung my whole life, as many children do, and have been in choir since the age of 9. I never took formal voice lessons until this year, similarly to my restart of my formal lessons in piano and oboe. Much of the music I learned with voice was either choir music or church hymns, both of which I still listen to on a regular basis. I learned choir music in choir but also by being around family members singing, listening with the family, and attending concerts. As a family, we have several musical traditions that have stuck with me. I have listened to many oratorios with my family, especially around Christmas time, and we also listen to Nine Lessons and Carols every season. Classical MPR was the radio station we listened to aside from church CDs, and that consistent exposure with musical commentary from my dad encouraged active listening and enjoyment. I consider myself a classical music lover, and honestly don’t listen to much else.

With church, I learned most of the 600+ hymns just by being in church, hearing the congregation sing, and participating in children’s programs and choirs. I wanted to keep learning piano not just for classical music, but also so I could play our hymns on the piano and organ.

With all the music I grew up with, I continue to return to it as my home base of music. I don’t find myself enjoying popular music styles, since they are unfamiliar to me. For me, classical music, choral music, hymns, and other music along those lines feels like home. When I hear the word “music”, that is what I think of. My music learning now is still a similar mix of formal and informal, as I learn new things every day from both my teachers, friends, family, classmates, and listening experiences. After 7 years of band, 9+ years of choir, and many years of individual music exploration, I rarely find myself straying from the music I love.

The best-case scenario for teaching music to children is connection in both formal and informal settings. For example, when thinking about the children who learn music in a more complete sense, they have both formal instruction as well as informal exposure on a regular basis. Thus, as a teacher, the best-case scenario would include seeing the students for longer periods of time quite often, as well as having parents be involved in teaching their children informally. For example, being able to give access to good music and instrument exploration in the home. However, since that is not always possible, the second best would be to use the time with the kids in class to explore different music and have each student find an instrument or style they can connect with. This is difficult to do with each student when time is limited, so I feel either daily instruction or longer periods of time every other day would be ideal. Additionally, I would want to have one-on-one time or small group time with students to encourage learning instruments or improving their voice.

With an unlimited budget, I would purchase time and unlimited qualified instructors. Or at least, high quality instruments and spaces for music exploration. This could include classroom pianos or keyboards, a wide variety of percussion instruments, basic classroom instruments like recorders and ukuleles, and practice rooms or large spaces so that the children can explore independently more frequently.

Objective-wise, I would want students to be able to both read and play music notes and rhythms, but also be able to create and analyze music in a general sense. For example, be able to compose simple melodies on an instrument or voice, as well as recognize musical qualities in a variety of music. These objectives would be carried into intermediate grades with a continued emphasis on music exploration and listening.

Now, though I made a sort of list of what would be ideal, I think each program needs something different. For example, not all kids will love to explore or analyze music. Just enjoying it is enough. Regardless of all the different things that would be ideal, the real best-case scenario would be to have kids who enjoy music and a teacher who can connect with those music students, regardless of budget, abilities of students, and time constraints. Music is for everyone!

Music is something that every child has in themselves without even trying. In fact, people as a whole have a natural rhythm. It is a tale as old as time; music is a part of humanity. Every culture has some sort of music, whether it involve complex rhythms and instruments or just simple voicing. Aside from notes, everything from our steps to our breathing to our heartbeat is has an innate rhythm. This rhythm translates to children with their musical play.

Often, we hear young children singing and playing in a carefree manner. Children as young as two can sing in tune with words and correct rhythms. I have seen this often with younger siblings and other young children. In fact, just yesterday I observed a two year old singing along to a Finnish children’s song with great rhythm and pitch accuracy! We as a class also observed a variety of young children singing together and practicing such things, with varying degrees of success. Regardless of things such as note accuracy, children of all ages love to sing and dance freely. This is also true of childlike people, such as those with down syndrome or other disabilities. It is so special to see those with developmental disabilities to love music in all it’s forms.

Music has been around since the beginning of time and will never cease to amaze me with it’s versatility. There are no words to describe the sweetness of a little child’s voice or the beauty of a children’s choir (especially when they’re in tune!). Regardless, the sweetness and innocence of natural music in children is something quite special.