Before becoming the renowned performing arts and STEM school that it is today, I.M. Terrell High School was a secondary school located in Fort Worth, Texas. The school opened in 1882 as the city's first public school for black students, during the era of formal segregation in the United States. The school was renamed I.M Terrell High School in 1921, in honor of the former principal. Under the legacy of G. A. Baxter, the music program in the mid-20th century produced many of the prominent jazz and rhythm and blues musicians of that era.
Since then, the school has been through extensive remodeling and expansions and is now the home of the I.M. Terrell Academy for STEM and VPA (Science, Technology, Engineering, and Mathematics and Visual and Performing Arts).
The campus combines the original historic school building with a new 65,000-square-foot performing arts center (PAC), connected by a unifying courtyard. It sits atop a hill with beautiful downtown views and is a beacon for the District and the community.
The PAC, featuring a 900-seat theatre, was a focal point, built to serve the many students focused on theatre, music, and other fine arts within the school, but to also serve the surrounding community.
The PAC expansion team included the school’s administration, Corgan Architects, WJHW Theatre Consultants, Batts Audio, Video and Lighting, Turner Construction and Wenger Corporation.
It was important to preserve the historical nature of the century-old school everywhere except the new performing arts center. The new center would house the latest technology and top-notch equipment to best serve the needs of the variety of performances held there.
“We have other performance venues in Fort Worth, but this would be the perfect size not only for the school but for the district and the community. We have various arts organizations that are always looking for affordable space,” said Christina Walk, Head of Visual and Performing Arts at I.M. Terrell. “We worked with community partners who all agreed that the acoustics were important to make every type of performance sound great.”
“We met with all of the different groups who would be using the space,” explained Jason Mellard, Architect with Corgan. “We talked with every teacher, fine arts directors, music directors and anyone to make sure we met their needs.”
WJHW recommended installing a Wenger Diva® Acoustical Shell with a maple veneer finish. The shell has ten towers and three rows of ceilings.
“We coordinated and communicated frequently with the theatre consultants and structural and mechanical engineers,” Mellard said. “We needed to make sure we supported the weight properly, provided power where it needed to be, and coordinated with the contractor to ensure conditions were correct before installing the shell. There’s always that nitty-gritty detail of the specific dimensions to ensure everything lines up perfectly.”
“The shell can be set up in any configuration very quickly and very safely,” said Director of Dance and Theatre with the Fort Worth Independent School District. He loves having a new space with the latest technology to use at the school and share with the community. “To be able to tuck those large units up into the fly loft when not in use is pretty amazing.”
As the shell was being designed, Mark Batts, CEO of Batts Audio, Video and Lighting (AVL) suggested the move away from incandescent lighting. He recommended multi-colored lighting in and around the stage area.
“Being able to bring them multi-colored LEDs made an impact, Batts said. “One of the first performances they hosted in that space was the United States Air Force Band. The combination of the color and some moving heads that we installed provided an extra bit of flare.”
Batts says they also installed accent strips that provide another unique element.
“I love having the opportunity to bring those fun things into spaces,” he said. “You want your client to say, ‘Wow, I’ve only seen this on Broadway.’ That’s your highest compliment.”
Batts also managed the theatre’s rigging, choosing J.R. Clancy products across the board. They installed three Titan® Hoists, 28 PowerLift® Hoists, a fire curtain line shaft hoist, and a SceneControl 15 with a remote operating pendant.
“We really appreciated that Wenger was very deliberate in making sure we knew how things worked,” said Tim Brendler, Head of the Visual and Performing Arts Department. “Our entire team appreciated that they walked us through every element and possible configuration. The flexibility that it affords us is wonderful.”
The stage includes a custom-designed STRATA® Orchestra Pit Filler, which can be quickly installed with only a small crew. It provides strong support above and open space below with an innovative column-beam design. The acoustically dampened decks fit snugly against the stage to create an extremely quiet, integrated surface.
A Black Box Theatre provides a separate, smaller performance space where Wenger’s StageTek® Seated Risers and Staging equipment can be configured in a variety of ways. There is also a portable sound system with different places to plug in the speakers and LED lighting with a dimmer rack to set the mood for any given performance.
“We can host a larger audience by placing seated risers around the entire room and then performing in the round,” Brendler said. They have hosted robotics competitions and small theatre productions, too. Similar to the shell in the theatre, he says the flexibility of the risers is key.
“It’s great to have so many different levels,” he said. “When hosting show choir competitions, it is great to be able to quickly and easily manipulate the configuration.”
The new wing also included band, orchestra, and choral rooms.
The band room houses Wenger Nota® chairs and Roughneck music stands, AcoustiCabinets® that line the walls for instrument storage, and four Soundlok® Sound Isolation Rooms with VAE® technology for individuals and small groups to practice.
The rooms are 25 percent quieter than others and have the correct amount of absorption and diffusion so the musician can clearly hear the best possible sound. Virtual acoustics allow students to hear themselves play in different performance spaces and get immediate feedback with record/playback during the practice session.
“When the students are in school, those rooms are used all day every day,” explained Brendler. “They give the students a safe space where they can practice in private. The record, playback, and other capabilities are fun and give them extra incentive to get their practice time in.”
There are already plans to add instrument repair and piano tuning classes which could be held in the ensemble rooms.
The nearby choral room includes a whiteboard for teacher notes, Nota chairs, StageTek risers, Rack ‘N Roll® Garment Racks, four more Soundlok Sound Isolation Rooms, and eight music library units.
Sound and video systems in the choral and band rooms have integrated processors connecting them with each other as well as the auditorium. If they host a large program or competition, the performers waiting in the band room can hear and see what’s happening in the auditorium to gauge when it’s their turn to perform.
“Everyone loves these rooms dedicated to the band, orchestra, and choir,” said Walk. “They were well designed, and the windows offer spectacular views of downtown Fort Worth.”
The new PAC is stunning and impressive by all accounts. Wide hallways lead to generous specialty classrooms with all of the latest technology and useful equipment. Everything about it is impressive.
“The community loves it. The symphony plays there, the opera plays there and the Texas Ballet Theater plans to return with their annual Nutcracker performance. When it opened, it was always packed and has made a tremendous difference for the district and the community,” said Mellard.
“The Diva shell and the variety of spaces enable us to do what we love: collaborate to a higher degree at a professional level,” said Brendler.
And the extra effort to get the sound right was well worth it.
“Everyone loves this space,” said Walk. “If it didn’t have excellent acoustics, it wouldn’t have been worth building. In this hall, everything sounds great.”
With the added stressors in our lives right now, you might not be rushing to add something more to your calendar or to-do list. However, in an era dominated by video calls, it’s easier than ever to try out something new with relatively low commitment or involvement. If you never have before, try taking this opportunity to get involved with your student’s music booster club and school board meetings!
There are two organizations that have a strong influence on your child's music education: your booster group, and your school board. It helps to keep a finger on the pulse of these groups as they make decisions that affect your student. An easy way to get started is to take the time to listen to their meetings. This is easier than ever during the pandemic, as most have moved their meetings online.
Find the meeting time and date, plus login information, and put it on your calendar. This information should be available via their email or website. Remember to create a notification to remind you a few moments before the meeting begins; it’s easy to miss a meeting when life gets in the way. If you’re just there to watch and learn, you can join via audio-only, so you don't have to be camera-ready.
Be aware of your school board’s workflow. You should be able to learn the basics by checking the school board meeting schedule on your district’s website. For instance, at a “workshop” meeting, they have discussions, ask questions, make decisions, and generally do the work of the board. Then later (it might be an hour, a day, or a couple of weeks) they’ll have the formal legislative meeting where they vote to approve their decisions (often without any public discussion at all, because that was done at the workshop meeting). Perhaps a district will do the bulk of their work in committee meetings, and then bring results to a full board meeting. Most of the meetings should be open to the public, except for closed sessions where personnel and staffing issues are discussed.
What should you listen for? In his book Music Advocacy: Moving from Survival to Vision, John Benham writes, “No decision should ever be made without someone asking, ‘What will the short- and long-term impacts of this decision be on the students?’” If you can’t answer it for yourself, consider reaching out to an administrator or school board member privately, or level up and ask that question publicly at the school board meeting.
With each agenda item, ask that question. Pay special attention to agenda items that make changes that will affect the music department budget, staffing, and facilities. John Benham cuts to the chase when he writes: “Remember: A cut is any decision made that will negatively impact the ability of any student to participate in making music.”
In the meantime, between meetings, consider beginning or strengthening relationships with board members, administrators, or other stakeholders. It doesn’t even need to be a substantive interaction. When they get to know your friendly face, hopefully they’ll be more willing to work with you on strengthening music education in your district.
Once you’ve gotten the hang of school board meetings in your district, you’re ready to level up. At most school board meetings, you have to be a resident or taxpayer to speak. Learn when during the meeting the board will accept public comments. For instance, comments related to agenda items may be accepted at the beginning of the meeting, while other comments may be reserved until the end of the meeting. You may be asked to introduce yourself and list your address. If your meeting will be broadcast live, and you’re not comfortable sharing that information publicly, reach out to the board secretary or other designated contact to request to speak and give them your address privately ahead of time. Make sure to give them enough time to process it; they may not see your email if it arrives 30 minutes before the meeting begins.
A great way to open communications with your school board and other stakeholders would be to thank them for their support of music education in your district thus far. Even if a given school board member is not a particularly strong supporter at this point, they have allowed your district music program to grow enough that your child was motivated to join. So express gratitude for that! So many kids in your district have had the opportunities they did because there was music in your schools. There will be plenty of opportunities in the future where you can press them to increase their support.
If you’ve read this far, then you’re a music education advocate already! Author John Benham defines it this way: “Music advocacy is based on the belief that making music is essential to learning, the enjoyment of life, and the preservation of culture.” If your child is participating in music, then you already believe this.
Experts suggest that future school district funding will be drastically negatively impacted as a result of the COVID-19 pandemic. We need to start advocating now for our music programs; they’re always among the first to be cut.
As a music education advocate, you have one job: Ask for what you and other music education advocates want (more music, improved scheduling, better funding, etc.). Work with your music coalition and music educators to determine those goals for your district. As a parent, or as a taxpayer, it might be tempting to empathize with the sticky financial situation the school district is facing. Don’t let that interfere with what you’re there to do. John Benham explains it this way:
Rule #1: No cuts or compromises should be suggested by any member of the community, including the music coalition, music educators, or the music supervisor!
As an advocate, it’s your job to ask for the moon, and let others decide how to pull it off. Increasing access to and the quality of music education in your district benefits everyone long-term, even if it will take a few more late-night budget meetings to make it happen.
To multiply your advocacy efforts, bring friends! We humans are social creatures and are susceptible to peer pressure. Even if your companions don’t speak, but join you wearing your music parent merch, board members will understand exactly why they’re there. Those who can’t attend in person should send letters. A well-timed “show of force” by your booster group or music coalition may convince your district’s budget committee to look elsewhere for easy budget cuts.
This sure sounds like a lot of work, but not all of it needs to be done right away. You can build up to it. You can recruit a fellow music parent to join you, and you’ve doubled your efforts. Any attempt is better than none at all. Perhaps this year, you send or hand-deliver thank-you notes, or thank the administration and school board in person at their next meeting. Next year, you can work on pulling together the data for the Best Communities for Music Education Survey. But remember, any positive exchange with the decision-makers in your community will reap positive benefits, so look for opportunities! Invite them to a performance, or on a trip. Or even just take a moment to drop them an email, thanking them for their service to the district and for their support of music education. You’ll be glad you did.
Take small steps! When you’re comfortable, level up.
Many of us are taxed from online learning. It is an unavoidable situation that has many educators reinventing music classes from the ground up. If you’re craving a taste of “normal" opportunities for your students, Music for All has spring semester educational experiences that can help.
Music for All is offering opportunities for schools to perform live from their home communities and share the amazing things your students are creating with the world. This past fall, participating ensembles in our Live Showcases valued the opportunity to perform this fall sharing scholastic performances from around the country through our online viewing platform. Each performance was broadcast in real time on video.musicforall.org so families and communities could see what their students were able to accomplish.
For many schools, COVID-19 safety guidelines prevent the gathering of an audience to see what great work your students are doing. Music for All’s Live Showcases provide a way to share your performance safely with audience members across the country.
With the same equipment you use to conduct virtual classes, you can stream your performance to Music for All. Music for All can take a stream from your school via phone, tablet, or camera and broadcast it to an audience through video.musicforall.org. This is not a pre-recorded video take. This is live, in the moment.
We think it is important to provide an opportunity for students to get that pre-performance flutter, energy, and experience that only comes with live performance. Plus, you can share this opportunity with parents and community members so that they can enjoy what your students have worked so hard to achieve. Best yet, supporters can watch from their homes in a safe environment.
We know that everyone has different restrictions, rehearsal times, number of students, and opportunities. Music for All believes in the importance of sharing your successes – no matter what that looks like this year. This is important not only for your students, but for the community and world to see that music education is alive and students and teachers are working together to do amazing work.
Every ensemble has the opportunity to receive evaluator feedback on their performance opportunity. A panel of three renowned music educators will be selected to provide audio feedback about your group’s performance. They will be watching your performance live as it happens and recording real-time feedback that will be sent to you just a few minutes after your performance is complete.
Music for All Live Showcases are $100 for a 15-minute performance opportunity.
Adding performance evaluation brings the total cost to $275 for a 15-minute performance and feedback from three evaluators.
Tickets for spectators are $15 per household or device. Purchasing a “ticket” is the equivalent of purchasing one login, so you can watch solo or as a household.
Enroll your ensemble today at instruction.musicforall.org!
The Patrick John Hughes Parent Booster Award recognizes the extraordinary commitment, dedication, support, and sacrifice of music parents and boosters across the nation by shining a spotlight on a recipient who exemplifies these qualities.
The award is named in honor of Patrick John Hughes, the father of Patrick Henry Hughes. Patrick Henry is a remarkable young man who, despite physical challenges that would seem overwhelming to many, has excelled as a musician and student, singing and playing piano and trumpet with the Louisville Marching and Pep Bands, with the help of his father, who tirelessly maneuvers his son’s wheelchair through the formations with the other 220+ members of the Cardinal Marching Band.
During Music for All’s Live Pledge Event on November 14, 2020, the 2020 Patrick John Hughes Parent Booster award was awarded to Bill Montgomery of Bellbrook High School, OH.
Mr. Montgomery has been a dedicated volunteer with Bellbrook High School in Ohio since 2005 when his daughter joined the band as a flute player. Over the last fifteen years, he has served as trustee, chairman, and pit dad. No matter his role, Bill has always been there for every single musician at Bellbrook. His fellow band boosters say Bill genuinely cares about the kids in the band - he learns their names and what they play, and he always has a high five and words of encouragement for them.
Bill is Bellbrook’s resident master pizza maker, an essential aspect of Bellbrook band’s concession stand fundraising efforts. Beyond this culinary duty, Bill volunteers his time to build props, attend parades and competitions, and train new pit dads. Bill is known for taking new volunteers under his wing to show them the ropes and make them feel welcome. His humble, passionate work ethic sets the tone for other parents and volunteers.
“Year after year, the Bellbrook Band has been the fortunate beneficiary of Bill’s extraordinary character and true selflessness. I am lucky indeed to know him, and even luckier that he chooses to spend his valuable time working for this organization,” says Barbara Siler, director of bands at Bellbrook High School.
Congratulations Mr. Montgomery!
You know how important music education is, but unfortunately, not everyone does. Whatever your role may be, it’s hard to advocate for your school music program when it feels like you’re the only one speaking. Now throw in the consequences of a global pandemic, and it’s harder still. Directors may not be able to meet in person with prospective students, and annual instrument petting zoos aren’t possible. Established recruitment strategies are out of the question.
How can you grow your program—or even maintain it—under these conditions?
Challenge students, past and present, to step up. Ask those who know the benefits of your program to share their positive experiences with the world by giving testimonials!
These testimonials will serve as evergreen pieces of content that you can point to for years to come. Share them with incoming students, parents, and other stakeholders—anyone who could be invested in the success of your program. Testimonials can function as social proof, showing that your program produces responsible citizens. Prospective students and their parents will look to them for a peek into their own futures. For current students, testimonials can reinforce the good choices they made when they joined your program and may help you retain them even longer. They’ll remind alumni and other community members of the value of your program and will inspire them to advocate for music education in your district.
Plus, they’re a dynamic activity that can be executed in any learning environment—in-person or remote, individually or as a team—and submitted digitally. It’s also repeatable: each year brings a new incoming class, plus a new class of alumni, and each passing year creates new experiences. Consider doing this project annually as a sort of “exit interview” for your students before they leave for summer break. Then, watch your library of testimonials—and your entire music program—grow.
Testimonials, as well as other advocacy initiatives, can be made even more effective with the incorporation of Social Emotional Learning (SEL)! Dr. Scott N. Edgar has provided information about SEL, as well as, SEL-related advocacy prompts to incorporate into your testimonials project. Check these out later in this article!
Follow these steps to implement testimonials into YOUR advocacy strategy:
Once your testimonials have been shared widely, share them again.
Not right away, of course, but these are valuable pieces of content that deserve to be seen over and over again. Share different testimonials to different platforms at different times. Depending on how many you get from students, you can share one on your social media channels every few days or every few weeks. Take a look at a calendar and make sure you share them widely just before important decisions are made, like school scheduling or school board budget meetings.
SEL represents a widely-accepted construct that administrators and policymakers at all levels value. Music teachers need to have a plan to capitalize on Musical SEL. While SEL is inherently possible in music classrooms, intentional, embedded, and sustained implementation is necessary to:
(a) maximize social and emotional benefits for students, and
(b) effectively advocate to policymakers and administrators for the value of music education utilizing SEL.
To effectively make an argument, all elements of SEL are needed. Realizing the personal/collective value of music education (self-awareness/identity), understanding how this value will be perceived by decision-makers (social-awareness/belonging), and promoting music education through advocacy (responsible decision-making/agency) culminate in a cohesive SEL process and thoughtful argument. Engaging students in this process not only lends relevance to music education’s value, but also models/teaches students these important skills while forwarding the cause for music education.
Compelling arguments for music education utilizing SEL are:
SEL will be front and center for administrators and SEL can provide one solution to help our students cope, heal, and move forward through music. For more information on SEL in music education, see the Music for All Social Emotional Learning website education.musicforall.org/SEL. For more information on advocating for music education utilizing SEL, see this article by Scott Edgar and Bob Morrison in Teaching Music.
Testimonials are powerful tools to recruit new students and to help state the value of your program. Below are some prompts to help students and alumni get started writing or recording testimonials of their own! Happy advocating!
As a music educator, your focus is all about preparing your students for a performance. But imagine using those performances to strengthen ties with all of your stakeholders: students, parents, administrators, the school board, and your community. With a little preparation—a lot of which could be outsourced to parents and other volunteers—your performances could be the super glue that holds your program together.
As Dr. John Gallagher of the New York State School Music Association suggests,
“Perform, perform, perform. It's what we do.
“The process over the product, though—however, the product being the performance, the concert, the special event—the process is what matters.
“Watching students rehearse, watching the young ones first pick up an instrument. Watch them try to understand this new foreign language, which literally it is. Music notes are just like letters, and you put different letters together, you have a word. You put different notes together, you have a measure. You put different measures together, you've got a whole piece of music—which is really a story.
“So what they're doing is learning this foreign language. They have their kinesthetic movements now where they're learning their fingerings, they're learning bowing techniques. The physicality of it. They're learning how to breathe, they're learning what their trachea does. They're learning how good posture promotes good breathing. So I think the best thing that we can do is perform.”
There are people at every level whose decisions affect the success of your program: prospective students, parents, administrators, and school board members. Consider adding local media contacts to that list; they can magnify your message to those who aren’t able to attend in person. Imagine being able to give all of them a positive interaction with your program—at the same time and in the same place!
Your concerts and performances give all of them an opportunity to see the product of your classroom. It’s so much easier to support something you understand. Help them help you. Make sure that your stakeholders understand what you’re teaching and more importantly, WHY you’re teaching it. Check out this inspiration from conductor and composer Jack Stamp.
Your performances are a force for good in your community. Music brings people together, regardless of their differences in other areas. Giving your administrators and school board members access to that opportunity benefits not only your program, but the administrators and school board members, as well as your community. Find small things you can ask them for; it will pave the way for successful bigger asks down the road. Ask these administrators to write a letter of welcome for your program book. Invite them to attend, and perhaps your school board members, to speak from the stage in support of your program. Psychologically, it will cement in their minds, as well as the minds of your audience, the importance of music education in your community. If they’ve just told your audience how important music education is at your concert, it’ll be much more difficult to make the decision to defund music education at the next school board meeting.
With a bit of promotion, you can fill your auditorium with community members who are likely to vote the next time there's a funding referendum for the school district. If they see your ensembles out in the community performing and delighting audiences, they'll feel like their tax dollars are well spent, even if they don't have a child in school. And don’t you think your elected school board members would love to have access to their voters, while supporting students at a heartwarming musical experience right in their own community?
Don’t just invite them to one performance, either; invite them to every performance at each level of your program! It’ll be easy for your stakeholders to see student progression if they attend elementary, middle school, AND high school performances: it’s practically like time-traveling!
Share programming choices and program notes with your audience. Explain what you expect students to learn from each piece. Let them know it’s not JUST about playing pretty music. You’ll earn bonus points for having your students write these blurbs and present them to your audience.
You know that parents will drop off students early for warm-ups. While they wait in the auditorium, give them something to do and something to consider while they wait.
In your program book, add advocacy materials rather than leaving parts of pages blank. Underneath the repertoire list, fill that space with The Three Brain Benefits of Musical Training, for example. We’ve collected a large selection from reputable sources here.
Deliver that same information another way! If your auditorium is equipped with a projector, show slides that demonstrate the power of music education If you feel like the messaging might be a bit too heavy-hitting, intersperse these slides with candid photos of your students. Mom, Dad, Grandma and Grandpa will be so busy watching for their students’ faces, they’ll hardly notice that they’ve learned something.
In addition, surrounded by the families of other music students, they’ll have social proof that they made a good decision when they encouraged their child to enroll in music. That auditorium may be the very room where families decide that perhaps it would be good if that student continued on to middle school and high school music. That decision may be made even easier if you have older students attend and participate in the performance. Make it easy to identify them by having them wear a tee shirt or jacket with the name of their ensemble.
Your performances are going to happen anyway. Don’t let another one slip by without juicing it for all its worth. Find ways you can slip in messages about the importance of music education to the decision-makers in your audience. As author Dan Pink writes, “To sell well is to convince someone else to part with resources—not to deprive that person, but to leave him better off in the end.” You’ll agree that selling your audience on music education leaves everyone better off in the end!
Each January, America prepares to receive the State of the Union address. Both houses of Congress attend, and the speech is broadcast widely. There is much pomp and circumstance.
Our Executive Branch may be onto something. They’re being proactive about spreading their message, not reactive. Think about that, and then consider how we might adapt that idea for music education.
Consider a “State of the Music Program” address. Once a year, a representative of your music or fine arts department prepares a written (and oral) report and reserves time to present the report to the school board.
There are so many good reasons to do this. First, you get to tell your story, your way, to decision-makers. That’s huge. Consider the alternative: someone else telling your story inaccurately and in a less-than-positive light.
The process of compiling the report will give you perspective on your achievements. You’ll get a birds-eye view of your program. Armed with that information, you’ll be able to plan for the future more efficiently.
You’ll develop relationships with the decision-makers in your community, and you never know how that may pay off. A school board member, remembering the warm fuzzies she felt when you welcomed her to a performance, may be more inclined to speak up on your behalf when budgeting.
You’ll be educating not only the school board but your own stakeholders and the community on the powerful benefits of music education. Again, you never know what that might do. Anyone who’s listening may become a music education advocate like you, and that could make big ripples for years to come.
Much like the president’s annual address, the report should touch on the past and future of the program, working together, and optimism. In the State of the Union address, “Presidents can advocate for policies already being considered by Congress, introduce innovative ideas, or threaten vetoes.”
While the music program is hardly in a position to threaten vetoes, it could (especially backed by their parent booster group) certainly push for policies that the school board is considering, introduce innovative ideas (new uniforms, different types of performances, or different performance venues), or provide a counter-argument to policies under consideration that would negatively impact the music department.
This can be determined between the invested parties. If it’s just the band program, perhaps the band director should present it. Maybe it’s the head of the music department, or the chair of the entire fine arts department. (We wholeheartedly support, by the way, banding together with the other arts disciplines in your district for advocacy. There is significant strength in numbers!)
For best results, the report should be presented by a parent booster, perhaps a member of your music coalition (you do HAVE one, right?) or music booster group. In front of the school board, a parent carries much more weight than a teacher might. A teacher is an employee of the district and serves at the school board’s will. A parent, however, is both the consumer of the school district’s product (education for their child) and perhaps more importantly, a voter, who has the power to vote school board members out of office.
School boards typically begin their budgeting process a full year before it takes effect at the beginning of a new school year. There are a lot of moving parts, so it can’t hurt to get on the school board’s calendar before the process starts. If you’re looking to affect the 2023-2024 budget, for example, I’d say you may want to present the report Spring 2021. The school year is drawing to a close at that point, so it’s a good time to both reflect on the year and plan ahead.
After you present the report in person, publish it on your website so the world can see the amazing work your program is doing. That might be a written report, a video, a slideshow, or some combination thereof.
And while you’re at it, kick it upstairs. There’s no reason why you couldn’t share the report with local media, and government officials at the local, state, and national levels! If you do, you’ll not only be advocating for your own program, but you’ll be helping music programs everywhere.
Obviously, you’ll probably only get the school board’s full attendance and attention at a school board meeting. While you could simply submit the written report (which may or may not get read), an oral presentation to the full school board is much harder to ignore.
In preparation for the big night, you may want to present some or all of the report at a springtime gathering, like an end-of-the-year concert or the unveiling of next fall’s halftime show. It’ll give the presenter a chance to practice while making sure that all stakeholders (parents, students, and educators) are aware of the music department’s message and impact. It will also help your stakeholders to be well-informed, relentlessly positive advocates for your program.
Where to begin
Every year the NAMM Foundation collects their Best Communities for Music Education Survey. It provides a comprehensive snapshot of a music program. If you pull together all the information you’ll need to submit the survey by their deadline at the end of January, you’ll be in great shape to use that information for your “State of the Music Program” address. (Plus, you’ll be all ready to submit to be named a Best Community for Music Education!) While the data itself will probably be a bit dry, you can share it in the written report, while presenting the most dynamic information orally (as well as in written form). Consider adding graphs to illustrate data points in your favor.
Knock ’Em Dead
You may want to consider creating presentation slides of some of the most impactful points you’ll be making. Be careful not to fill each slide with multiple bullet points and clip art, though! You may want to consider tips from Nancy Duarte’s work.
Give ’Em Living, Breathing Examples
Each year at the State of the Union, the First Lady sits with a few invited guests of the President. Often, those people are used as success stories during the course of the speech. You can do the same thing by selecting a few students, alumni, or even community members who have been positively affected by your program. Bonus points if they can attend in-person at the meeting.
Maybe one of your students is a truly gifted performer, or an alumnus has gone on to attend a prestigious college or achieve fame and fortune. Maybe you even want to feature a short performance.
But don’t forget to highlight the “little” things, too—like the student who only came out of his shell after joining marching band, or the kid who was at risk of dropping out but didn’t want to miss music class. Consider asking current students and alumni to provide testimonials about their experience with your program and how they benefitted from staying involved.
One of the best ways to get someone on your side is to be generous. You give them something, and they’ll feel (often subconsciously!) indebted to you, and they’ll actively look for ways to (more than!) even the score. Hook up your administration and school board with tee shirts or other swag, accompanied by a handwritten note thanking them for their support of your program. Even if you present it to a school board member who has been —ahem— LESS than supportive of your program, being publicly thanked for their support will hopefully make them feel (again, often subconsciously!) like they have to stick with that “music supporter” label.
This sure sounds like a lot of work, but not all of it needs to be done right away. You can build up to it. Any efforts are better than none at all. Perhaps this year, you send or hand-deliver thank-you notes, or thank the administration and school board in person at their next meeting. Next year, you can work on pulling together the data for the Best Communities for Music Education Survey. But remember, any positive exchange with the decision-makers in your community will reap positive benefits, so look for opportunities! Invite them to a performance, or on a trip. Or even just take a moment to drop them an email, thanking them for their service to the district and for their support of music education. You’ll be glad you did.
While your State of the Music Program address probably won’t be attended by members of Congress or the Joint Chiefs of Staff, it’s still a huge opportunity for you to recap each year and outline your vision. Maybe you’ll want to have members of your booster group regularly attend each school board meeting…just in case of emergency.) And no matter how it goes, at least you won’t have to endure a carefully crafted “opposition response!”
Originally posted on NAfME.org
Each year, your music program produces a new class of graduates. For four years, those students have dedicated their time, talents, and treasure to their music education. But their diploma doesn’t mean that their time — or their parents’ time — with your program has to end. By investing a bit of thought and effort into your alumni, you’ll reap the benefits of building a large, supportive community around your program. Don’t let these valuable relationships slip through your fingers!
One more responsibility to juggle, one more hat to wear. If you build it right, though, your alumni efforts can be self-sustaining — and mostly hands-off for you! The reason your alumni and their parents are so valuable to your program is because they GET IT. They know exactly what you do and why you do it, and why music education is so important. They’ve been through it.
After four years, they know, like, trust, and thoroughly understand the value of music education, specifically your music program.
After four years, they’ve stored a lot of knowledge about your program that often isn’t tapped efficiently — or at all.
After four years, they are already in the HABIT of contributing to your organization. Take advantage of that! Habits can be a strong ally in this situation.
After four years, they’ve developed a strong emotional connection to your program and the people in it. Don’t be afraid to tug on those heartstrings to get your alumni to help bolster your music program for years to come!
The first step is finding a volunteer or two to spearhead these efforts. Key skills include talking to other alumni (you want someone who can really work a room!), as well as handling administrative and communications tasks. Once you’ve found the right people for the job, here’s where to start.
As soon as possible, start collecting data. That may sound cold and clinical, but it’s the first step to maintaining a warm relationship with your alums. You can‘t have a relationship if you can’t find these people, so start to build systems to collect this information so you can keep in touch with them from here on out.
There are a lot of options available to you, including sophisticated donor management systems, but you can start with a plain old spreadsheet. Here are some of the fields you should include:
You may also want to make note of the following information:
Who’s your employer?
Many employers provide matching funds when an employee donates to a nonprofit. Or if your program solicits sponsorships, having someone with contacts “on the inside” can be invaluable to creating the perfect partnership.
How would you like to be contacted?
This is a great way to find out what channels your alumni prefer to use, so be sure to ask how they would like to be contacted by you, and how often they’d like to hear from you. Any unwanted communications are considered spam by the recipient, and you don’t want your information to fall into that category. Some may want only emails, while others may want to hear from you on Tumblr or check out YouTube videos, and yet another might want to receive a text message anytime your group performs nearby.
When you collect this information, make it easy on your alumni. If it’s difficult, or a pain to do, people won’t do it, even if they fully support what you do. For this year’s graduates, it might just mean exporting their existing data into your new spreadsheet. For others, it might mean having them handwrite their information onto a form at your next performance or event. It might be you calling the last phone number you have for them, and asking them for this information over the phone. Or perhaps it’s a link shared on social media to a web page where they can fill out the information online.
Based on the information you collect and the resources available to you, decide how you’ll continue to communicate with your alumni going forward. Email? Social media? Text message? Snail mail? Phone?
Whichever methods you choose, set up a plan to communicate regularly and consistently. Maybe a quarterly newsletter is sufficient. Or perhaps during marching season when so much is happening, your alumni would like monthly or even weekly updates!
Once you set up your communications plan, find ways to keep your alumni involved. Continue to ask them for their contributions on a regular basis. That might be as simple as asking them to post a photo for you to feature on #ThrowbackThursday, or to spend time training a new parent on the volunteer position that they used to hold.
If they’re local, have them actively advocate for your music program. The word of a tax-paying alum goes a long way in front of the school board. Alumni are close enough to your program to be credible sources, but not so close that people will assume that they will benefit directly from the program. This is what makes them perfect advocates. In fact, you should consider encouraging your alumni to run for school board!
Sometimes parents are so grateful for what music did for their own child that they’d continue to sacrifice financially so that another child can also benefit from your music program. They could sponsor a student individually, contribute toward expenses, or spearhead a scholarship program. Have your alumni contribute toward giving students the same great experience that they had in your program. In return, invite them to attend your performances, or drop in on a rehearsal.
Think of ways that you can utilize the loyalty of your alumni for the benefit of your music program. Consider challenging your crosstown rival.
We all know that there are often friendly section rivalries, so take advantage of those as well. Challenge the brass to take on the woodwinds, or high brass against low brass. See which section can raise the most money in exchange for bragging rights. Or if you know you need a new sousaphone, for example, you may want to target low brass alumni who would be more likely to contribute to that fundraising campaign.
Consider providing a menu of donation opportunities. It’s so much more satisfying to donate when donors know exactly what their dollars will buy. For example, a $10 donation buys an incoming freshman a band camp t-shirt. Fifty bucks buys five cans of spray paint for the props. Seventy-five dollars covers the cost of a tank of gas for the equipment truck. Or $1,000 pays for one school bus for a local competition.
So many involved alumni parents feel heartbroken when their child is leaving the program, and they may feel like they’ll have to give up volunteering for you. Let them know that they can (and should!) continue to contribute and volunteer.
Have former students come back and volunteer. You spent four long years showing them how it’s done, so let them pay it forward. They can be teaching assistants during band camp, or they can fill in volunteer spots at events while current parents watch their students perform.
(IMPORTANT SIDE NOTE: Please make sure not to allow alumni to crowd out current parents from volunteer opportunities. While it’s tempting to go with the long-time volunteer that’s tried, true and reliable, choosing an alumni parent to volunteer over current parents just teaches an entire generation of current parents that their help isn’t needed. To ensure the strength of your program now and for years to come, you need to engage as many current and alumni parents and volunteers as possible!)
Music for All has announced that Eric L. Martin will be the first inductee into the newly-named Music for All Hall of Fame.
Providing more than 25 years of continuous service, Eric L. Martin was the Chief Executive Officer of Music for All (MFA). Mr. Martin served first on Music for All’s Board of Directors, followed by positions as MFA’s Associate Executive Director, then Executive Vice President and Chief Operating Officer, until being appointed as CEO in 2010, a role in which he served until April 2020. He currently serves as Interim President of ScholarshipAuditions.com.
During his tenure as Music for All’s CEO, Mr. Martin championed initiatives that strengthened the organization’s fiscal position, expanded its organizational capacity, and consistently increased the number of students, teachers, and others directly served by Music for All.
Mr. Martin is a member of several Indianapolis and Indiana boards of directors. He is an honors graduate of Dartmouth College. He also holds a Juris Doctor degree from the University of Michigan Law School and has been admitted by exam to the District of Columbia and State of Georgia bar associations.
A Certified Festivals and Events Executive, he is Past Chairman of the Board of Directors of the International Festivals and Events Association and an inductee into the Miller Brewing Hall of Fame, the highest honor awarded by IFEA. In August, Mr. Martin received the 2020 Outstanding PAS Supporter Award from the Percussive Arts Society.
Prior to joining Music for All, Mr. Martin earned national event production credits for some of America’s largest events, including the 1996 Atlanta Paralympic Games, the World University Games, San Francisco’s Chinese New Year Parade, Philadelphia’s Bicentennial Parade, and the “Operation Welcome Home” Ticker Tape Parade in New York, celebrating America’s victory in the first Persian Gulf War. In 1993, Mr. Martin won a Regional Emmy® for his production of the Martin Luther King, Jr. National Holiday Parade on SuperStation TBS.
A native of Greenville, MS, Mr. Martin participated instrumental music programs throughout high school and college. In 1971, he was one of the first African Americans inducted into the Greenville High School Hall of Fame.
Music for All’s Bands of America Hall of Fame debuted in 2003, recognizing individuals who have had a positively life-changing impact through Music for All and Bands of America programs, as well as in music education. With Mr. Martin’s induction on Saturday evening, November 14, the Hall of Fame will be renamed the Music for All Hall of Fame, signaling a widening to recognize leaders in all areas of scholastic music.
Mr. Martin will be recognized as an inductee during an online broadcast, All Together Now!, a live pledge event benefitting Music for All’s educational programs. The show will include the virtual induction ceremony, alongside special performances, celebrity messages of support, and awards ceremonies that typically occur during Music for All live events.
The live pledge event takes place on Saturday evening, November 14, from 6:00-9:00 PM EST, on what would have been the evening of the Bands of America Grand National Championship Finals in Lucas Oil Stadium. The broadcast will take place online at musicforall.org/alltogethernow. The Grand National Championships and all Bands of America and Music for All events were cancelled in 2020 due to pandemic health and safety concerns.
“A global pandemic is not the way you’d want to force music education to modernize,” explains Philip Brown, choral director at Jefferson High School in Bloomington, Minn. “But the new tools we’re using may prove very engaging.”
COVID-19 has caused profound changes to school music programs, with technology taking on elevated importance. Tools like videoconferencing, interactive software and Wenger’s active acoustic technology are helping music educators survive and even thrive in dynamic circumstances.
Through these challenging times, the love of music and music-making keeps educators and students motivated. After the spring 2020 shutdown and summer vacation, a variety of learning models are in place this fall. More than 70 percent of music educators Wenger surveyed indicated rehearsals had resumed, with distancing modifications. However, nearly half the districts were undecided about the future of performances. Whatever the circumstances, affection for music – its creation and appreciation – is a common, unifying bond.
For example, the desire to perform just one minute of a Mozart string quartet inspired orchestra students at Wayzata High School in Plymouth, Minn., -- in a modified hybrid model this fall – to accomplish this remote feat using the free Acappella app. The four students layered their parts together, creating a basic sense of ensemble music-making that satisfied their longing while “really challenging them” and raising their level of personal accountability to each other, according to their director, Mark Gitch.
Altered expectations are also stretching music educators, while fostering their greater understanding and creativity in engaging students.
“Certainly I’ve learned a lot of things not to do,” says Matt Weidner, band director at Gunnison Valley High School in Gunnison, Utah. “I’ve become more empathetic to different types of family situations, realizing that not everyone’s in the same boat. Each person’s facing different kinds of stress with themselves, their homes and families.”
Choir director Michael Gutierrez at Firebaugh High School, Firebaugh, Calif., initially considered the pandemic as a threat to his program’s survival. “This fall I realized I needed to focus on the social and emotional learning of my students and individual music-making,” he says.
Gutierrez accepted that some students did not want to sing at home, or may not feel comfortable doing so. To keep students engaged, he surveyed them about musical skills they wanted to learn besides singing. After considering their input, he let them choose from four paths: 1) Digital music with Soundtrap online software; 2) Songwriting using Soundtrap and Google Docs; 3) Keyboard, using extra keyboards the school had; and 4) Voice, for students who wanted to focus on singing. He concludes, “I wanted my students to have useful experiences expressing themselves through their own music making, while keeping them emotionally connected to the program.”
As today’s educators modify their expectations, they’re also shifting lesson delivery. Teaching via videoconferencing is “far from optimal” according to Gitch. “We will cover less content with fewer performance opportunities, but what we can teach, we can teach pretty well.”
Varying internet speeds make creating an ensemble sound impossible. Rather, the focus is more on individual attention, which Gitch considers one benefit. “Last spring’s one-on-one lessons over Zoom exposed a lot of students -- for not understanding rhythm, for example,” he recalls.
“Recording yourself to self-assess is one thing, but it’s completely different to record yourself for a duet, knowing someone else is relying on your accuracy,” says Gitch. Students use apps like Acapella or GarageBand for these assignments. He believes that this realization -- “I’m not quite as good as I thought I was” – positively motivated all his students.
For Weidner’s highly motivated students, tools like SmartMusic and Essential Elements Interactive enabled them to greatly accelerate their own personal development during the shutdown. “Those who worked hard online last spring developed into really fine musicians,” he states, adding that some likely finished last school year stronger on their own, without peers holding them back.
To inspire students to practice, band director Natalia Albacete at West Lake Middle School in Humble, Texas, likes Tonara software, which is installed on each student’s computer or smart phone. Tonara listens to them practicing; students earn points based on how long they’re actually playing. A customizable leaderboard tracks students’ practice times; she awards prizes to high performers. “The system creates a nice community and lots of competition for my students; it’s pretty cool,” comments Albacete. Tonara compares simple student recordings to an uploaded teacher example and provides feedback about alignment with the metronome and tone accuracy.
A number of other tools – both new and updated – are helping music educators. Brown’s students each recently received a Music First account, which includes various software. “It’s helping us maintain four essential elements: vocal warmups, sight reading, music enrichment and also rehearsing a few songs,” he explains. Brown believes the website has great potential for tracking individual progress and engaging students, better enticing them to learn and stay focused.
Weidner is using Essential Elements Interactive for his middle school beginners, featuring professionals playing the parts in the students’ method books. There are 5-6 different background accompaniments – piano, pop, reggae, etc. – so students experience playing different music styles.
He also uses the same Canvas online learning platform from graduate school several years earlier. “We can easily set up recordings for the students to turn in on Canvas,” Weidner explains. “If the kids need to hear a recording of us playing, I can post a recording online so all the students can evaluate it.”
For these teachers, another tool is proving helpful: Wenger’s virtual acoustic technology. Installed in a rehearsal space or practice room, it can electronically simulate nine different performance environments, helping accelerate student learning and concert preparation.
“This technology helps teach my students that every environment requires a different kind of performance,” says Jacquelyn Vondette, choir director at West Lake Middle School. Whether a vocal musician or instrumentalist, students hone their critical-listening skills while learning to balance and blend their sound with other musicians in the ensemble.
Under today’s hybrid’s learning models, having an acoustically supportive rehearsal space is especially valuable with fewer students in school. “In high school choirs, there’s power in numbers, says Kalle Akkerman, choir director at Austin High School, Austin, Minn. The fewer students he has in class, the more timid they are as singers.
By bolstering the sound, the Wenger active acoustic system provides more confidence to smaller groups that aren’t necessarily comfortable singing alone. “Now it’s like everyone is singing in their own personal shower,” he notes. System microphones pick up any sound in the room, modify it using digital signal processing technology and broadcast it through the array of speakers in the walls and ceiling – all in real time.
With digital record and playback capabilities, the Wenger active acoustic system also helps create a full ensemble sound that’s not physically possible due to the pandemic, scheduling conflicts, or any other reason.
“Now we can combine our beginner band classes without physically combining them,” explains Tami Goss, band director at Bridge City High School in Bridge City, Texas. “We record different instrument sections, like trumpets and clarinets together, and other sections play along later. This makes concert preparation much easier and I think our concerts turn out better too.”
Along with enabling larger-group “virtual rehearsals”, the integrated digital record/playback capability offers other important benefits such as enabling immediate feedback and self-critique.
“Self-assessment is one of the big analytical concepts we’re working on,” explains Vondette. “As teachers, our goal is for students eventually not to need us – to develop their own skills. Being able to listen to themselves through a high-quality system helps build that part of their brain and analytical ability.”
Her students love the instant gratification of hearing themselves perform and are able to tune and adjust as needed. “I can tell them all day and night: Your vowels need to be taller, Your breath support needs to be stronger, and other concepts,” Vondette adds. “But if they don’t hear the difference, they’re not going to adapt.”
Even before Wenger’s Virtual Acoustic Environment (VAE®) technology was adapted for large rehearsal or performance spaces, it was first developed for individual practice rooms. The patented technology can be incorporated in Wenger’s modular, reloctable Soundlok® Sound-Isolation Rooms or even retrofit into existing built-in practice rooms, called a Studio VAE® system.
Recordings of individual practice sessions or ensemble rehearsals can be easily downloaded for online distribution to students, to support their at-home practice. Finally, the technology’s key benefits also help satisfy the National Music Standards for K-12 education, related to students’ ability to create, perform and respond to music.
As everyone eagerly anticipates a “new normal” in music education and society overall, Akkerman is also looking ahead to the creativity these unusual times will likely inspire.
“Technology has helped us be together, and also to make and share music, but what kind of music is being created now?” he wonders. “All music is a reflection of a time and place. In ten years, I will be excited to look back at what’s come out of the pandemic; I’m sure people will still be writing music about this time.”