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The Life Cycle of a Musician Wavier Day Presentation November 8, 2011.

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Presentation on theme: "The Life Cycle of a Musician Wavier Day Presentation November 8, 2011."— Presentation transcript:

1 The Life Cycle of a Musician Wavier Day Presentation November 8, 2011

2 The Life Cycle of a Musician From Elementary to Middle School


4 Westerville Music Demographics  Elementary General Music Students 7500  Fifth Grade Strings 300  Middle School General Music 696  Middle School Strings 362  Middle School Bands 941  Middle School Choir 734  High School Choir 459  High School Orchestra 179  High School Band 412  Marching Band 280

5 Elementary Access Points  First grade music classes taught by music specialist  Fifth grade students have option of adding string performance class

6 What data would be helpful to know about our music students? Group Discussion

7 Characteristics of Formative Years  Students from ages 5-9 can experience their largest musical aptitude growth during this age span.  Music aptitude stabilized for students from ages 10-18.

8 Music Aptitude and Music Achievement  Music aptitude in a measure of student’s potential to learn music.  Students with low level of music achievement do not necessarily have a low level of music aptitude.  Music achievement is a measure of what a student has already learned.  Students with high level of music achievement must also have a high level of music aptitude.

9 Gordon Music Aptitude Test  The test is used to identify musically talented children.  A raw score can be generated through the tonal and rhythmic test.  Students who score in the 80 th percentile can greatly benefit from special music activities.

10 What experiences shape the elementary musician? Group Discussion

11 What external experiences support the young musician? Group Discussion

12 What experiences did students share that helped them prepare for middle school music classes?  Note reading  Playing recorder  Singing  Learning about music symbols  Playing xylophone and guitar  Keeping Tempo  5 th Grade Strings

13 What were some of their favorite activities or experiences?  Four Corners Game  Concert with singing and dancing  Playing Recorder at Pancake Breakfast  Veteran’s Day  Performing at Concerts

14 Elementary Music High School Music Middle School Music

15 What do you want middle school students to know about music?  Group Discussion

16 The Life Cycle of a Musician From Middle School to High School

17 Middle School Music Overview  6 th Grade Band  6 th Grade Orchestra Year 2  General Music  7 th Grade Choir  7 th Grade Band Year 2  7 th Grade Orch Year 3  8 th Grade Choir Year 2  8 th Grade Band Year 3  8 th Grade Orch Year 4

18 Middle School Access Points  Sixth Grade Band  Sixth Grade Orchestra  7 th Grade Choir  8 th Grade Choir

19 What experiences shape the middle school musician? Group Discussion

20 What activities or experiences help prepare them for high school?  Group Discussion

21 What experiences did students share that helped them prepare for high school music classes?  Sectional or Extra help  Playing Scales  Playing Tests  Challenging Music  Learning how to do vibrato  Learning 3 rd Position  Playing with high school students  Friday Extra Credit  Private Lessons  Participation in external groups

22 What were some of their favorite activities or experiences?  Favorite Middle School Experiences  Field Trips to Elementary Schools  Jazz Band  8 th Grade Music Festival  Marching Band Day  Watching Concert s  Kings Island/Cedar Point  Concerts  60’s Concert





27 Results indicated that 73% of the dropout students and 70% of the continuing students were never contacted or encouraged by the high school teacher to continue in the program.

28 Why do students quit music programs?

29 What students say….. (a) it’s too time-consuming, (b) conflicts with participation in sports, (c) conflicts with other school activities, and (d) fear of failure.

30 How can our curriculum promote retention of music students?  Group Discussion

31 The Life Cycle of a Musician High school thru Young Adulthood

32 High School Access Points  Concert Band  Orchestra  Jazz Band  Men’s Ensemble  Women’s Ensembles  Small Group Vocal

33 Musical Experiences  What experiences are critical for the development of the musician during the period of time you teach them?

34 How do we measure student success in music? Group Discussion

35 Maslow’s Hierarchy of Needs  Self-Actualization needs: to find self-fulfillment and realize one’s potential  Aesthetic needs: symmetry, order, and beauty  Cognitive needs: to know, understand, and explore  Esteem Needs: to achieve, be competent, and gain approval and recognition  Belongingness and love needs: to affiliate with others, be accepted, and belong  Safety needs: to feel secure and safe, out of danger  Physiological needs: hunger, thirst, and so forth

36 Transitions Beyond High School  How do we educate students about career opportunities in music?  How do we communicate options for music participation in college?  What bridges to we build to the adult musical community?

37 Harvard University William Fitzsimmons, Dean of Admissions  We look for students whose previous participation in the arts shows that they can make a substantial contribution to our community.

38 UCLA Vu Tran, Director of Undergraduate Admissions  Students who can demonstrate their skills and achievements as accomplished music or artists would definitely enhance their chance for admissions in all majors.

39 The Life Cycle of a Musician Middle and Late Adulthood

40 Why all the fuss about lifelong learning?  More diverse methods of communication and information exchange  Increased need for adults to continue to engage in learning  Information is put different contexts and different orientations  Promotes positive health effects providing new opportunities, new purposes, and personal growth

41 Adults view of the arts  Adults look favorably upon the arts  Positive benefits, aesthetic, intellectual, physical, and social aspects.  They enjoy participation later in life, many say they never forgot the fun and excitement they had participating in their high school music groups.

42  Members cite their diverse experience in high school.  Love of music, personal pleasure, need to express themselves  Parents and teachers were reported as the most influential people in the development of their musical interest  Teachers encouraged participation in continuing participation beyond high school. Community Band Participation

43 Community Band Demographics  Most participation between 51 and 60 years of age (36%)  No children living at home (65.9%)  Annual income of $66,000 or more (50%)  Live in suburbs  Have at least a bachelor’s degree (89.7%)

44 Community Parents Administrators and other Teachers Music Program Building our adult community

45 The Adult Community  Parents  Administrators  Colleagues  Church Musicians  Other Music Teachers  Alunmi

46 Adults participate when they are aware of the mission or vision.

47 OMEA Mission Highlights: encourages programs for gifted, special needs, and pre-school children, supports the concept of diversity in music education, encourages the use of technology and new approaches to music teaching and learning, and promotes life long participation and learning in music.

48 National Association for Music Education Mission Statement  Music allows us to celebrate and preserve our cultural heritages, and also to explore the realms of expression, imagination, and creation resulting in new knowledge.  Therefore, every individual should be guaranteed the opportunity to learn music and to share in musical experiences.

49 Westerville City Schools Mission Statement  Vision Our vision is to be the benchmark of educational excellence. __________________________ Mission Our mission is to prepare students to contribute to the competitive and changing world in which we live. __________________________

50 Parental Involvement  Adults are goal-activity oriented  Adults are group joiners  Seek social contacts  Select groups on the amount and kind of relationships the group yields

51  Management is getting people to do what needs to be done.  Leadership is getting people to want to do what needs to be done.

52 Parents as Coaches  Sit in on a private lesson.  Sit in on a home practice session.  Attend a concert with your child.  Engage a conversation about music that you hear on television, on the radio, at music listening devices.  Discuss how music relates to other areas of your life and how it makes you feel.

53 Parents as Coaches  Listen to recorded music and ask your child to describe what instruments are being played and other elements of the performance. Encourage your child to use musical terms (e.g. melody, rhythm, staccato, legato)  Ask your child to memorize a piece of music and perform it for you from memory.

54 Parents as Coaches  Send your child to a summer music camp.  Encourage your child to join an after school music program.  Clap your hands to the consistent tempo and beat of rock- and-roll music. Try clapping on the off beat.

55 Group Discussion  What do you want from your administrators?

56 Discussion  What kinds of support would be appropriate from the community?

57 What experiences are critical for the development of the musician during the period of time you teach them?  Group Discussion

58 Group Discussion What ways may be appropriate for parents to support elementary, middle school, and high school music students?


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