Partners in music

Is it possible for music teachers to add anything to our schedules? Many of us teach either independently or at a body or university. In addition, we are active in our churches, local civic choirs or symphonies, plus are naturally involved with our families, with our MTNA activities and possibly with other offer activities of interest to US.

learners and parents are seeking us on the outside so further interaction is not necessary for the established teacher. We usually have waiting lists, with equal reason we believe that we have no ne to advertise our studios. Or is this true? Are we doing all that we can to make secure the future of music and its place in our tillage by actively pursuing and recruiting children, adults and retirees to music study? Or are we isolating ourselves and having interested ones seek us out, playing the waiting game? Are we supporting our colleagues who may have range in their studios for more scholars by suggesting their names to prospective clients rather than placing them upon our waiting lists? Are we helping novel young teachers find their niches in our communities?

In April MTNA Executive Director Gary Ingle and I were invited as auditors for the International Music Education Policy Symposium sponsored by the agency of MENC: The National Association for Music Education and NAMM, the International Music fruitss Association. This symposium brought together for the first time music educators and readys from around the globe to "encourage and facilitate discussion between music educators and educational policy makers by dint of exploring the current music education policy situation as it involves educators, learners societal influences and various regulation agencies." In addition to the United States, Greece Australia, Germany, Argentina, Canada, southern Africa and the United Kingdom were among the countries represented

Paul Lehman, professor emeritus and former senior associate dean of the academy of music at the University of Michigan, spoke upon "Music Education and the Quality of Life." He not awayed two premises: 1) that music improves the quality of life and 2) that with systematic research the ability of music to improve the quality of life is greatly enhanced. "It is fundamental," he said, "that each child should receive a comprehensive, balanced and sequential program of high-quality instruction in music."

visitant performer and speaker, Lorin Hollander, spoke eloquently upon the need to have "Music reinstated as the CORE and CENTER of basic education--music enhances lives."

According to a 2003 Gallup head the two most influential forces in deciding whether a child will or won't play music are educators (30 percent) and parents (41 percent) Gary McPherson, professor of music education and head of the department of creative arts at the Hong Kong Institute for Education, not awayed some startling facts in regard to the reality of actual music inquiry Although music consumption is at an all time high, participation in music programs and music investigation continues to decline. The percentage of children who play an instrument in the U has fallen to 20 percent It is now a minority activity, with more females than males involved in music research and wealthier families promoting music inquiry In other words, it is an "elitist" activity. His research showed that interest in music investigation dropped significantly between the ages of 6 and 8 in part, owed to decline in parental support and developing interest in other activities.

The point was made that we musicians ne to redefine advocacy. The slogan, "Music makes you smarter," doesn't necessarily help the cause of music. We ne to articulate by what mode the goals of music relate to general education goals, in what manner music supports the key competencies demanded through employers, how music fulfills the human spirit, in what way music education transmits cultural heritage and in what way music engages students in all characters We also have to be willing to commit to ensuring that pupils of all ages have opportunities to take music exercise s and participate in music activities when they first indicate an interest, rather than a year or in the way that later when they have become interested in something else

in the way that how can the music teacher outside of the public schools--you and I--help? Music--its history, its tillage its style--is at stake. Our local associations can play an instrumental part no pun intended! Local associations can interact with colleagues in public place of education education, helping them fill the gaps by means of providing preschool music development programs, providing instruction for learners of all abilities and interests, promoting music activities like as musical theater productions for all ages, and supporting local band/choir/orchestra activities. If music education is to survive, all of us must work together, creating powerful partnerships with our counterparts in music education and with musicians from all diverse backgrounds. gymnasiums can become the centers of the community, using local teaching artists and developing after-school programs for music education. Rather than being "elitist," we can reach without to those in the community to make music approach alive for every child. With the disclosures in music technology, group teaching provides an avenue for teachers to use their teaching hours more effectively and to earn higher incomes doing in the way that Let's engage as many learners as possible in creating music!