It’s my second full week of teaching. I know some of you have been back to school and lessons for a month now, but I’m still getting my bearings, adjusting to a new schedule, organizing studio classes, and setting my intentions for the year.
This is not a formal practice, but it’s something I sort of subconsciously do to mark the beginning of the new teaching year. Today, I’m sharing 7 things to carry into the new teaching year, and I hope this inspires you on your teaching journey.
I did a poll on Instagram recently to see if any of my music teacher friends had ever hosted a musical informance. A few said "yes," a few said "no," but a surprising number of respondents chose the third option: "What's an informance?"
An informance is basically an informal performance or as Eastman professor Dave Headlam describes, "A performance for the information age." (source: Oxford Handbook of Public Music Theory)
It's an opportunity to share musical works in progress or perform in a laid-back environment while inviting the audience into the process. There's a teaching component and a performing component, and depending on how you structure it, a conversational or interactive component.
I received an email from a listener recently, a piano teacher in North Carolina. She had purchased a set of my tonal pattern cards and was looking for ideas and suggestions for how to incorporate them into her teaching this year.
This prompted me to sit down and think through the importance of building a musical vocabulary (rhythm and tonal), how we learn to read music, and creative ways to engage our students through listening, pattern recognition, matching, imitating, and improvising using a basic set of tonal pattern cards.
In this episode, you'll learn about the mental process behind how we read music, the importance of reading patterns vs. individual notes, a 5-step sequence for musical skill development, and seven creative ideas for using tonal pattern cards in your teaching on a regular basis.
"I found this piece that I'd like to learn," one of my high school students said to me in a lesson earlier this summer. He carefully laid out the pages of the score of Alexander Scriabin's Prelude in C Major, Op. 11, No. 1 that he'd downloaded from IMSLP.
"I have a question about it, though," he said turning toward the score. "How do you count this?"
He pointed at the first line written in flowing quintuplets straddling the barlines. I leaned in to take a closer look. My student is very mathematically-minded, so we talked about how the beats are organized and divided into groups of 2+3. The way that it's notated in cut time creates tension—a feeling of pushing or transcending the boundaries to create something free and expressive.
Next, we studied the tonal structure, the repeated use of 4ths, moments of tension and resolution, the way the hands sweep in toward the center in contrary motion. We talked about the formal structure, the technical challenges inherent in the left-hand octave leaps and open arpeggios.
The more we analyzed the score together, the more intrigued I was to take it home and learn it myself. So I pulled up a copy of the same edition on my iPad that day and saved it to my forScore library for later.
Scott Price once said, "The teacher is always and forever the student and the student is the teacher.” What does this look like in practice? In this episode, I'm sharing a glimpse into a project I've been working on this summer and what it looks like to be a student again.
You know those moments when something just *clicks*? When something suddenly makes sense to you that was confusing before or you make a new connection or you realize you're able to do something you didn't know you could do.
Sometimes we call these a-ha moments or breakthroughs. These are some of my favorite things to observe in my studio: when a student recognizes a new musical concept, makes a new connection, or can do something independently that they couldn't do without help before.
Summer is a great time to rest, recharge, and work on professional development. This is often when we as music educators attend conferences and workshops, participate in training and certification programs, take summer classes at a local university, and catch up on all the reading we intended to do during the year.
Today, I'm sharing a curated list of 11 pedagogy-related books for music teachers. Some I've read, and some are on my reading list, but all offer a fresh perspective on the teaching and learning process that I hope will inspire and inform your teaching practice in the year to come.
What makes learning formal or informal?
Often they’re presented as a dichotomy: Formal learning is learning that happens with a teacher in a structured environment and informal learning is learning that takes place out in the world, between peers, or things the student learns on their own.
In music, genre is often wrapped up in these distinctions. To generalize, classical music and sometimes jazz are taught and experienced in formal situations (like schools, lessons, and community ensembles), and pop, rock, and everything else are experienced in informal contexts (at home, in the car, with friends, in the garage band).
But can music learning be both formal and informal? What does that look like?
That's what we're going to talk about today.
It was 1997.
My piano teacher had just shown us a picture of Belle, Bonne, Sage, a rondeau about love written in the shape of a heart by 15th-century French composer, Baude Cordier. I studied the top two staves, curved to create the top of the heart, the illuminated letter B at the beginning of the first word, Belle, and the unique black-and-red notation.
This signaled the beginning of the annual studio-wide Valentine composition project.
Happy New Year!
The change in the calendar year reminds us that there are things in life that ebb and flow. There's comfort in that familiar rhythm, the cyclical nature of our seasons, our routines. What does the beginning of a New Year signify for you? What kind of season do you find yourself in these days?
I recognized recently that I am in a season of learning.
Of course, I am still actively teaching five days a week, but at the same time, I'm reflecting, jotting down stories and realizations at the end of the teaching day—things I'd like to do differently next time or things I didn't plan but observed or participated in that ended up teaching me something as well as my student.
Welcome, December: A month of parties and pageants, decorations and delight, twine-wrapped packages and twinkling lights.
In the midst of all the end-of-year festivities, I like to steal a few quiet moments for reflection:
I make a list of all the books I read this year and what I want to read next year (look for the link to that in the show notes, if you're curious),
I make an end-of-year summary for my business and send a spring calendar to my studio families,
I write a year-in-review blog post, and
I reflect on what I've learned as a teacher.
Taking time to reflect on our teaching practice is an important and necessary part of the teaching-and-learning equation. So today, I'm looking back on all the moments I documented on the podcast this year and sharing seven things I've learned as a music educator.
