According to the article, there seems to be more and more options available these days for online guitar instruction of varying formats and quality. However, there’s only one credited in Ivan’s article as the Professional Choice for high quality, college-level, accredited guitar study online: Berkleemusic.

Thanks, Ivan. I’m a huge fan of Berklee’s Continuing Education faculty, staff, and online courses and I couldn’t agree more!

“Our collective kids now outnumber the band more than 2 to 1,” explains vocalist/guitarist Ed Robertson. “We set out to make a record that would be entertaining for them…not strictly a children’s record, but a record that children would really enjoy. Making the focus about what our kids like was a truly liberating process and fun for the whole band.”

Here’s a music video based on their kid’s song entitled “7, 8, 9.”

I’m a big fan of BNL and also of high-quality music for children. To me, this album represents the best of both!

Non-conventional career opportunities beyond the classroom also abound. They include starting a private teaching practice; licensing a music education franchise like Music Together or Kindermusik, writing and arranging instrumental or choral music; authoring music education methods and materials for music education publishers; writing articles on new approaches to music education; writing reviews in trade publications for new products and services in the field; serving on music industry boards to forge innovative partnerships; presenting sessions at State and National music education conferences; consulting and advising for music industry manufacturers and publishers who develop music education products but are removed from the daily classroom experience; and the list goes on.

The late Sandy Feldstein, CEO of PlayinTime Productions and a well-known luminary in the field of music education, shared his thoughts on opportunities available to aspiring music educators in this interview filmed in August of 2006.

As Andrew Surmani, Vice President of Alfred Publishing explained in his interview with Artists House Music, there are many kinds of positions a music educator could fill at his company including sales, marketing, finance, production, editorial, and licensing. Click here for Andrew’s interview.

Music educators are skilled, resourceful and very effective communicators. These traits combined with a strong foundation in music and music education is a powerful set of attributes that will open the door to many career opportunities along the way. Be open to these opportunities—in the classroom or beyond—as trained music educator, you have the skills to succeed!

Watching this clip, I couldn’t help but think this same volunteer and mentoring approach can be applied to public school music programs in need of advocacy and support. If your local school music programs are struggling and you’d like to find a way to help, this video clip is sure to inspire some exciting ideas.

Please share your thoughts on how this approach could work for music and the arts.

Additional information and advocacy links can be found here.

Attributes of Music Educator

Music educators are skilled!

We are trained to teach all aspects and genres of music. We are usually well versed in any number of musical instruments, and teach in a variety of music educational settings including classroom, ensemble, and private lesson. As educators, we are constantly striving to develop fun, interactive, age-appropriate lesson plans and outcome-based assessment goals for music education programs K-12. This command of the language and practice of music, and its application to the educational development of students, is a powerful foundation that will support a wide variety of entrepreneurial endeavors in music for the entrepreneur.

Music educators are resourceful!

We have to be. For many of us, the weekly is daunting: teach 500+ students weekly, eight classes a day, going room-to-room with only a pushcart, and many times doing it all with no budget to purchase instruments or music. This common scenario taps into one’s resourcefulness and begins to set the stage for innovative, entrepreneurial pursuits.

Music educators have effective communication skills!

As a music educator, you’ll get very good at public speaking, crowd control, and “thinking on your feet.” You’ll gain the ability to read your audience, anticipate questions, identify needs, and make appropriate adjustments to your performances and presentations—in real time. Effective communication skills are critical to articulate entrepreneurial ideas and advocate support.

Music educators have what it takes to be entrepreneurs. The combination of expert skills in music and music education, resourcefulness, and effective communication skills provide fertile ground for the development of an aspiring entrepreneur.

Over the course of the past 20+ years, the opportunities that have come my way and the preparedness I have felt to pursue those opportunities are due in large part to the years I spent as a classroom music educator and choral director.

So, What Is An Entrepreneur?

Simply stated, an entrepreneur is someone who identifies a “need” or a problem, and then figures out a solution. Of course, comprehensive goals, strategies, and execution plans must be developed and implemented in order to achieve success with any entrepreneurial endeavor, but it all begins with a “need.”

What Are Some Entrepreneurial Opportunities in Music Education?

Entrepreneurial opportunities available to music educators abound. They include writing and arranging band or choral music to serve a program’s needs; authoring music education methods; writing articles on new approaches to music education; writing reviews in trade publications for new products and services; music industry board work to forge innovative partnerships; presenting new approaches to the profession at State and National conferences; consulting and advising for music industry manufacturers and publishers who develop music education products and publications; and the list goes on. These entrepreneurial activities provide professional development opportunities for the music educator-entrepreneur, service to the profession, and potentially, additional streams of income to fund a program, cause, or additional entrepreneurial endeavors.

Where To Begin?

Look at your current teaching situation. What are some of the needs not being met? What can your experience, insight, and skill set offer to address these “needs” for your immediate situation—and potentially—for hundreds of other music educators? How far can you take it? How far can you take it? Start by making a list: “Immediate Need” followed by, “Entrepreneurial Opportunities.” Here is an example:

Immediate Need:
A third grade teacher is planning a 100 day celebration at school and would like to do some cross-curricular planning and activities with the music program.

Entrepreneurial Opportunities:
a. Write a “100 Day Song” for the class, arrange for two-part choral, seek a music education publisher to make the piece available to schools.

b. Write a short musical for the third-grade class incorporating elements from the 100 day math curriculum. Seek a music education publisher to make the work available to all schools.

Take stock of your skills and address one of your program’s immediate needs with an entrepreneurial spirit. Find a solution to your immediate need and then and take it as far as you can. Remember, as a music educator, you have a solid foundation and the skills needed to branch out successfully in many different directions. Have fun exploring the possibilities and becoming a music educator-entrepreneur!

Here’s an example:

The Schoenberg Effect
Child never repeats a word until he’s used all the other words in his vocabulary. Sometimes talks backwards. Eventually, people stop listening to him. Child blames them for their inability to understand him.

For the full list of jokes, click here.

Do you remember the very first concert you attended as a child? Whether it was a symphony orchestra, a rock band, or a sing-along with your favorite children’s artist, your first-time concert experience was probably a memorable one. There is nothing like the sound of a live musical performance, the excitement of the crowd, and the connection felt between the performers and the audience. If you are getting ready for your child’s first concert, here are some fun things you can do—before and after the concert—to help make it an even more meaningful experience.

Prelude
Three “M”s, to focus on before the concert: Music, Milieu, and Manners.

1. Music: Getting to Know You!
The best way to maximize the concert experience is to listen to the music several weeks before the show. Buy the artist’s most recent CD and actively listen to it together. Familiarity is bliss! Although the saying isn’t an elegant one, it’s true. (Can anyone say “oldies” collections?) Take some time to help your child get to know the music she will be hearing at the concert. Dance to it, sing with it, and discover your favorite pieces together. Read stories or articles about the band or composer. Draw pictures of what the band might look like on stage performing. Your child will feel more connected to the overall concert experience if she’s gotten to know the music ahead of time.

Talk about the band, the musicians, and their instruments. What kind of group will it be? Is it a concert band, orchestra, jazz band, folk group? What are the names of the instruments will you be hearing? What instrument families do they belong to? What styles of music will the band be playing? Do you have other recordings in those styles? Listen to them together and compare.

2. Milieu: Here at last!
What is this place going to be like? Talk about the concert/theater setting. It is a very different place for first-time concertgoers. Explain that there will be musicians on stage. They will be playing and singing through microphones that are connected to a sound system with speakers. Explain that the sound system enables vocalists to use their regular singing voices and still be heard by everyone in the audience; even the ones seated way back in the last row.

In addition to the sound system, talk about the show’s lighting system. The lights will project different colors on stage to support the songs. Speaking of lights, be sure to share that they will probably flicker on and off when it’s time to be in your seats, and they will dim as the show begins.

Talk about who you will see on stage. (conductor, instrumentalists, singers) Who will you interact with before the show? (ticket-taker, the usher, the snack vendor) Explain that there will be other people there to see the show sitting in front of you, behind you, and on either side of you. Being aware of the surroundings ahead of time will help your child to relax and enjoy the show.

3. Manners: Excuse me, Pardon me, Excuse me…
Talk to your child about concert-specific manners known as “concert etiquette.” The time to clap, for example, varies by the style of music being performed. Some of us have learned the hard way that you don’t clap in between movements of a classical piece, but in a jazz concert, you clap in the middle of the song each time an instrumentalist finishes a solo. Talk about what’s appropriate for the concert you’ll be attending. There are other concert etiquette considerations such as when it is ok to talk and move about. Will there be an intermission? What is a standing ovation? Why does the band come out and play another song after they’ve already said goodbye? The more your child knows about the rules of the concert game, the more comfortable she’ll be, and the better the overall experience.

Postlude: The Reviews Are In!
Once the show is over, it’s time to put on your critics hats and review the performance together! Talk about your favorite part of the show. Was there a least-favorite part? Were there any surprises in the show? Would you recommend the concert to your friends? Why or why not? Compare/contrast the concert to the recordings you listened to at home weeks before the show. How was the live performance different from the recorded version? Which did you like better? Why?

I hope these tips help you to maximize your child’s first concert experience. Studies show that experiences in music are important to developing the whole child. Attending musical performances are an important part of those experiences, and so much fun to share together.

Enjoy the show!

The October 2007 Harris Poll that I referenced in my previous post showed music education at an early age greatly increases the likelihood that a child will grow up to seek higher education and ultimately earn a higher salary. This new poll, looking specifically at executives in top companies across the nation, confirms the October poll findings demonstrating music education provides skills and attributes that can lead to success in careers later in life.

Seventy-two percent of executives with music education feel music education equips people to be better team players in their careers and 71 percent feel music education provides you with a disciplined approach to problem solving.

Dr. Elliot W. Eisner of Stanford University reports the arts have cognitive effects, aiding in the preparation for entry into the workforce of the 21st century. Specifically, he cites the following key competencies as being developed through arts education: perception of relationships, skills in finding multiple solutions to problems; attention to nuance; adaptability; decision making skills; and visualization of goals and outcomes.

As stated in my “Do We Really Need a Reason” post, and reinforced by reader’s comments, I celebrate music making for very different reasons than the findings stated in these two Harris Polls. However, in this era of arts program budget cuts it’s good to have more advocacy tools, such these studies, to fight for what we know is important to educating the whole child… arts education. And, if we need it, thanks to this most recent study, we have “yet another reason.”

Throughout the course of my 25-year career in music and music education, I’ve been a music educator, choral director, arranger, author, publisher, and college administrator. I recently entered the world of children’s music and have added children’s recording and performing artist to the roster with Debbie and Friends. The rewards, challenges, and opportunities are among the greatest I’ve encountered in my entire musical career.

A Rewarding Experience
The rewards of a children’s music artist are incredible. The feedback from your audience is real; children have not learned the fine art of being “polite” when they don’t like something. So, if they don’t like your music, you will know right away. But, if they are into your music, it’s real and they will relish and participate in the musical experience with reckless abandon!

The other reward is fostering an environment where parents, grandparents, caregivers, and children engage in musical experiences together. I’m often told stories of how my songs are an integral part of a family’s routine and they enjoy singing the songs together.

The Challenges
Performing music for children and their families has some inherent challenges. Here are some practical tips to ensure a successful program.

1. Know Your Audience!
Don’t ask a group of two year olds what the opposite of “hot” is, or the opposite of anything. It’s beyond their skill level. For audiences with a mixture of age ranges, I have something for everyone and tend to dedicate a song to a given age group and invite the others to join in and help the younger ones, for example. This seems to work very well.

2. Attention Span
No matter how well your show is going, there will come a point where the “natives get restless” and the meltdown begins. You can postpone the inevitable for a while by keeping everyone actively involved and participating. Be sure to have a great deal of variety in your set…mix it up. Some songs standing and moving, some songs sitting, all songs should contain active participation. Any combination of movement, dance, call-and-response, and lots and lots of singing will do! Young children love the variety and they need to be free to move!

3. Boundaries for Safety (The Baby Mosh Pit)
If you lay the ground rules from the beginning, kids and parents will follow them. During set up, I place a line of colored masking tape on the floor in front of me, parallel to my keyboard and my percussionist’s set up. I usually start the program by saying, “We have just one rule. Please don’t cross the “safety line” (pointing to the tape) because there is a lot of equipment back here and things could topple over. We sure don’t want anyone to get hurt! Parents, thanks for helping to make sure everyone stays safe. Now let’s have some fun!” Setting this one rule enables you to remain focused on the music and interaction with the children, and puts responsibility on the parents to help. Before I had a safety line my shows were often filled with me having to redirect kids throughout the performance.

4. Logistical Considerations
Movement activities can be a challenge in a tightly packed room full of kids and adults. Provide verbal cues that help to keep things safe. For example, when you need everyone to stand up or sit down, try saying: “Stand up right where your feet are.” Or, “Sit down right where your feet are.” For songs with gross motor cues, ask them to run in place, walk in place, carefully do the “hokey pokey” and turn themselves around without bumping into anyone. Also, give fun verbal cues: “When you hear me clap three times, “freeze like a statue.” Another device that works is to describe what’s coming up with a very soft voice. This makes everyone work hard at listening. The key to logistic considerations is anticipating what effect your activity may cause, and create strategies that provide a safe environment.

Opportunities: Show “Business” Tips
Performing is your best opportunity to establish a relationship and make long-lasting connections with the parents/caregivers in your audience. In addition to putting on a great program, you should tend to two very important aspects of your business: 1. Promoting your CD(s), and 2. Adding families to your email/mailing list.

1. Sell Your CD(s)
Mention your CD throughout the program. Point out that song you all just had so much fun singing together is on your latest release. Tell a quick anecdote about the recording project. Did neighborhood kids sing on some of the recordings? Are there lots of different styles or instruments represented? Did something funny happen on the way to the recording studio?

Have a table set up with copies of your CD prominently displayed. Mention you will be selling the CDs after the show, price and the form of payment you’ll take. Cite quotes and endorsements from parents and kids. You have a captive audience and if they are loving the program, they’ll want to recreate that experience for their family at home.

Be sure to have some sharpie pens handy for autographs!

2. Build Your Mailing List
Your fans are your lifeline. It’s important to grow and maintain your email/mailing list. Pass around a sign-up sheet at your program and mention it a few times. Be sure to tell parents that you will not share their email address with anyone, and that you will only be sending out email updates once a month regarding shows, CD releases, and related news. Send an email later that very day, thanking them for being at the show, and for signing up. If you have anything special you can give them, do it! Examples include: a PDF coloring page based on one of your songs, an mp3 of a new song in progress, music activity page, etc.), and a reminder of where they can buy your CD.

Of course, everyone has to find their own way and some of the suggestions contained within may not suit your personal style. Please take what works for you. Performing music for children and their families is one of the most rewarding musical experiences I’ve ever had. I encourage anyone interested in exploring this wonderful genre to give it a try!