Category / Music Education

by nflanagan

Labor Day. Happy Birthday to Me.

So—I just had a birthday. A big, round-number birthday.

All my life, my birthday has taken place in and around Labor Day weekend, and—fairly often—happened on the first day of school. For my entire elementary school career, my new school shoes, binder and pencil box were ‘birthday presents.’ (Sad trombone.) Kindergarten:

But I didn’t mind. The whole Labor Day weekend–in my experience–represents the new year, academically and seasonally, a fresh start. One year older, one year wiser, roll up your sleeves. A day to honor my personal antecedents, who were Dutch farmers and hands-on laborers. Country builders. People who truly appreciated the respite of a long weekend and family barbecue.

When you turn 75, your past divides neatly into thirds (and lets you plan, as Gloria Steinem did, to live to 100). Although neither of my parents (58, 73) celebrated their 75th birthday, my grandmother (also named Nancy) made it to 103, so a century does not seem out of reach.

I do not remember most of my birthdays. Who does? But I do—clearly—remember #25 and #50. Thinking about them is a good way to reflect on what I’ve accomplished and what I have left to do.

I turned 25 in Aspen, Colorado with my then-boyfriend, now husband. I had already been married at 19 and divorced, returned to school to finish the degree and started my first big-girl job as a middle school band director, although it took at least two dozen humiliating interviews followed by rejections. Mostly because who ever heard of a woman band director?

It was a fun birthday, camping at Maroon Bells in the Snowmass Wilderness area. On my birthday eve, we went bar-hopping in hippie-town Aspen. Things are a little blurry, but we had five days to drive across the country and get back in time for teacher report day, the Tuesday after Labor Day. It felt as if my life were finally falling into place. Adulthood. In Colorado:

The chunk from 25 to 50 was all about family and professional goals. We were married, had two children, and I learned what it meant to be fully engaged in both motherhood and putting equal energy into becoming an accomplished teacher. We bought a house and lived there for 10 years. Then we bought another house and lived there for 20 years.

I both earned (National Board Certification) and won (Michigan Teacher of the Year) some awards for teaching. Early on, I completed a master’s degree in education at Michigan State. We took some amazing vacations, seeing at least 20 National Parks. A month before I turned 50, we went to South Korea for two weeks and Maui for another week.

I turned 50 on September 2, 2001, just nine days before 9/11. My sister and brother, spouses and kids came for a Labor Day weekend picnic. My sister wrote a snarky poem about how old I was, and there was a paper crown.

But 9/11 was a turning point. I had been teaching for more than 27 years, same job, no formal advancement (teachers everywhere, I see you nodding your heads). I felt restless. I took a Teacher in Residence job with the National Board for Professional Teaching Standards for two years—then, because the grass isn’t always greener, went back to the same school district.

I was welcomed back with open arms by parents and my colleagues. But not administrators, who suddenly saw me as Too Big for my Band Director britches. I got politically involved. I helped plan the Save Our Schools rally. I got bounced from job to job in the school district; I was a person who could no longer be trusted to put her head down and cooperate.

This third quadrant of my life has been—creaky knees excepted—by far the best and most rewarding. I retired, and launched into a PhD program in education policy. I did the coursework, but stalled, ABD, when my advisor (a famous educator) blocked my proposed dissertation topic. Instead of diligently working through this conundrum, I thought about how much more I knew, having been a target of education policy for 30+ years, than my doctoral cohort of 20-something Teach for America dropouts.

So I quit, something I hadn’t allowed myself to do for 60-odd years.

Since then, we have moved to paradise, aka the Little Finger of the Michigan mitten. I’ve had a half-dozen part-time jobs teaching, writing and directing church musicians. We have traveled every year, and spend February in Arizona. We attend lectures and go to concerts.

Best of all, I have been able to pursue the thing that got me into college, the first in my family to do so: music. I play in multiple community groups. I have time to practice. My new friends are mostly musicians.

And I muse about the maiden/mother/crone sequential archetypes in the lives of women—I am now the third, the wise woman who cares little about what others think, pursues important goals, advocates for long-term change. Also: hangs around the house, drinking wine and binge-reading.

In the past month, three of my role models have died—Dolly Parton, Wendell Berry and Gloria Steinem. It was Steinem who got me out of that first, disastrous marriage, by starting MS. Magazine, a revelation to me, and my first magazine subscription, because it was not available at the drugstore.

The NYT called Steinem “the personification of the Women’s Movement”—and I think that’s right. I read all her books, checking them out of the library. Revolution from Within was my favorite, but each of them reminded me that my voice mattered. And also that I deserved to have a credit card and my own checkbook.

I was born on the same day as Mark (still delicious) Harmon. Chrissie Hynde turns 75 today. There are plenty of us still kickin’ and taking names. And—it has to be said—trying to get us out of the ugly morass we find ourselves in. I hope to be part of the movement that sees him and his sycophants gone, although I know it will take more than 25 years to cleanse and re-direct the nation.

Here’s Steinem, again:

Four days after Donald Trump’s second inauguration, she wrote an entry called “Staying Hopeful: One of the uses of a long life is remembering when things were worse, and also remembering that when bad times do come, so does an outpouring of community and energy amongst those dedicated to justice.”

Amen. (Below, Porta Nigra in Trier, Germany.)

by nflanagan

Band Kids. They’re the Best.

I can’t add anything to the outpouring of love and respect for Dolly Parton. She was phenomenal, in dozens of ways. As a musician, I appreciate her melodic genius and as a writer, I admire her gift for lyrical story-telling and poignancy. But what I’ve loved most, this week, is that black and white of photo of Dolly Parton, class of 1964, in her Sevier HS band uniform.

It reminds me that so very many of the admirable people in our world developed their gifts and talents in a public school classroom. Dolly was the first in her family to graduate from high school; most of her 10 siblings who made it to adulthood dropped out, to work or to marry.

And she was in the band. She also supported underfunded school band programs across the South, for decades. We all know about Dolly’s Imagination Library program (you can donate here) and the hundreds of other ways she gave money and recognition to people who truly needed a boost.

But when we think about the roots of a spectacular career in the arts—they all started somewhere, and Dolly’s did not spring from early identification of extraordinary talent, private lessons or expensive summer camps. They started at home, and were burnished at her garden-variety TN public school.

My personal children played in the band (percussion and trombone)—and both of them expressed impatience with my barely suppressed opinion that band kids were a breed apart. Several of their good-kid friends weren’t in the band—and they could both point, accurately, to some band kids who were not, in school vernacular, good citizens.

However. I built my professional career, and my life before and after that career, on what I learned as a school-aged musician—in band, and choir and youth symphony. School music programs literally sent me to college, the first in my family.

They gave me the skills to offer my services on Saturdays at a community center, as a teenager, giving private flute lessons and earning pocket money. My music teachers—in an ordinary blue-collar public school district—steered me toward scholarships at several levels, membership in the local professional wind ensemble, and opportunities to perform in public (which is one of the big benefits of playing in a school band, BTW—dealing with performance nerves and understanding the necessity of rehearsal).

When Clinton was elected, I hung a poster of him, playing the tenor saxophone, on the band room wall. The point was not political—it was that band kids grew up to do amazing things, from comedy (Tina Fey, flute) to professional sports (Walter Payton, percussion) to walking on the moon (Neil Armstrong, euphonium).

Band kids sometimes face derision from their peers, especially in schools where instrumental music is low on the coolness totem pole. It takes some maturity to get past the name-calling, and that maturity develops on a continuum, assisted by parents and other adults in a student’s life.

Doing things for pleasure, building a community of friends, developing your own opinions—these are adulting skills. The band room can become a home for kids, the place at school where you can hang for hours (and dump your belongings and snack wrappers everywhere, driving your band teacher crazy). Simultaneously, these kids are being challenged to learn complex musical literature and skills, express powerful emotions, entertain their peers and work as a team, with every member’s contribution being important.

And it’s not easy! A couple of years ago, I was contacted by one of my former school administrators. As a retiree, he had decided to learn to play the guitar. He bought a guitar and started taking lessons. And it was frustratingly difficult.

He said that he always assumed learning to play a musical instrument was easy. After all, sixth graders in his building started band in September (in classes of 60 students) and put on a concert in December. How hard could it be?

As satisfying as that was to hear, what matters even more is the number of middle school band kids who push through the difficulty and experience the reward of performing together. That’s the real lesson.

Just ask Dolly.

by nflanagan

Boys Should Go to Music Camp

I was a middle and high school band teacher for more than 30 years. In my school, band was an elective; students were mostly in my class because they wanted to be there, year after year. More than once, clinicians and adjudicators remarked about the large numbers of boys in my middle and high school bands.

Usually, boys and girls in my concert bands were fairly balanced. Jazz band was 2/3 boys—and lots of rowdy fun. I didn’t really give it a lot of thought, until I heard it again: How do you get boys to stick with band?

I just read Kate Manne’s excellent Substack on why boys should be theatre kids:

‘It is likely that gendered socialization is pushing boys to flee from certain activities… these patterns are a microcosm of broader trends in the US that are genuinely concerning. Boys participate far less in music, dance, and other lessons, by about ten percentage points, according to recent US census data comparing children in 1998 to children in 2020. Very little has changed during this period in terms of the gender divide for children aged between six and seventeen.’

Rang true to me. As did one of the suggested reasons: Girls join clubs and go out for the school play, chorus and orchestra. Boys go out for sports.

Manne’s point was that boys who rejected music, dance and drama were genuinely missing something: a community that made things, beautiful and emotionally moving things, together. (Pause for an amen.) Boys should be able to try those things, enjoy them, perhaps excel at them, without being labeled or pigeonholed.

The boys that I taught in instrumental music classes, 5th graders to seniors, dealt with being—what’s the right word here? Harassed?  Teased? Bullied?—about being in band. I know they did. We had conversations about it, every year, reviewing the reasons that being called a band fag by Joey Halfback was, in the end, meaningless. It was harder for younger kids, trying to find themselves.  

You would never be able to imagine this, when you’re in the 7th grade, but when you’re retired, you’re unlikely to be playing football, or any other sports requiring strength, speed and good wind. You might, however, think about how much you liked playing trumpet in the 8th grade band, and pick one up.

I know this, because I spent last week at the Interlochen Center for the Arts on their beautiful wooded campus, at flute camp. This was an adult ensemble workshop, 35 flutists from all over the country, polishing their skills and playing in groups, for fun. Summer music camp was going on as well—we ate lunch in their cafeteria—with hundreds of middle school and high school singers, dancers and cellists. Girls and boys, lugging cases and stretching out on the dance building porch.

You didn’t need to have years of experience as an educator to see that these kids were in their happy place. A long stretch of time where everybody was like you—a musician or a dancer—and free to be themselves. Nirvana for some teenagers.

So yes—boys should be theatre kids, and maybe run cross country, too. The arts are for everyone.

There were 35 flute players at flute camp; two were men. Make of that what you will.

A quiet moment on Interlochen’s campus. Students inside, due to hazardous smoky air.

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by nflanagan

Memorial Day, 2026

I’m not much of a flag waver, really. I always thought that author James Baldwin captured my feelings precisely in Notes of a Native Son when he wrote:

I love America more than any other country in the world, and, exactly for this reason, I insist on the right to criticize her perpetually.

These days, perpetual criticism is essential. We are immersed in dark times, I think, redefining the meaning of patriotism and sacrifice. It’s easy to lose faith in our government and the grand experiment—all men created equal—that founded this nation. It’s easy to let hope die when our rights have been systematically eroded by power-hungry politicians. When our children are not able to read certain books or study our actual national history, we’re in trouble.

I still believe, however, heart and soul, in the shining but imperfect ideals of a democratic education –equality under the law, the American common school, a free, high-quality education for all children, simply because they deserve it. Thirty-odd years of teaching school gave me a hard crust of cynicism about many things related to education and America. But I never lost my enthusiasm for the Memorial Day parade.

For 25 years, my middle school band students marched through the small town where I taught and lived, in the Memorial Day Parade. There was a whole set of traditions around this event, which grew larger and more complicated every year: the aural passing down of our special drum cadences from the self-appointed 8th grade drumline leaders, mending the color guard flags originally purchased through a pizza sale back in ’88, and patching up hand-me-down snares and sousaphones scrounged from the high school.

There was never a budget for this–middle schools don’t typically have marching bands–but somehow there were always T-shirts, and cold drinks at the end of the parade route. We had a stunning handmade banner that two moms whipped up with lots of lamé and sequins. In my last year, we marched nearly 300 students, on a morning when the sky was a sapphire blue and Air Force jets flew overhead as we rounded the corner by the cemetery.

This took up a fair amount of teaching time. I would get on my knees and beg colleagues for 20 minutes on the Friday before the parade, to assemble five bands into a single marching unit and take a few spins around the parking lot. One year, as I was trying to get the back of the band to master pinwheel corners, the front rank (rambunctious 8th grade trombones) marched right up the sidewalk, opened the front doors, and led the band, playing America the Beautiful at top volume, through the school hallways. By the time I sprinted up to the head of the band (and the principal popped, red-faced, out of his office), marching through the school was a done deal–and became yet another annual tradition.

I was always clear with my students about the meaning and purpose of Memorial Day. They would occasionally whine about how boring America the Beautiful was–Mr. Holland’s band played Louie, Louie, right? I explained that they were old enough to dedicate a morning to thanking local patriots and acknowledging the sacrifices made by Americans over centuries. Older people, watching them march by, would be pleased to hear traditional music. It was about respect.

We do this, I told them, to remember and honor those who made it possible for you to live in this beautiful little town, in this safe world. People like my Uncle Don, who died in February 1945, part of the Fourth Marine Division which stormed Iwo Jima. Or Ray Shineldecker and Joey Hoeker, two high school classmates who lost their lives in Viet Nam. I had lots of funny stories to tell about Joey, who lived around the corner in my old neighborhood–a big, goofy kid who was what guidance counselors in the 1960s called “not college material.”

On our last band trip to Washington D.C., after performing on the steps of the Lincoln Memorial, I was loading tympani onto the buses as my students toured the Mall. A few girls came running up, calling “Mrs. Flanagan! We found him!” Found who, I asked.

Joey Hoeker, of course–on the Wall. And I lost it, right in front of all those kids.

I thank those who served and sacrificed so I can love my country, and criticize it, too. A hat tip to all the band teachers and student musicians who help make Memorial Day meaningful this weekend.

And another hat tip to community bands, providing the same service. I’ll be in Northport, Michigan on Memorial Day–settling in the cemetery to play the National Anthem, Sousa marches–and a tribute to the Armed Services. Join us at 10:30 a.m. You won’t be sorry.

by nflanagan

I Write the Songs

As a music educator, I was always interested in having my students create music, a goal that gets a lot of lip service in the profession (including being one of the four pillars of the National Music Content Standards).  It’s a seductive idea—you’ll see music labeled as a  creative art in all the curriculum literature.

In real-life music classrooms, it’s a lot more complicated. A whole lot of music education (often the kind preferred by administrators and parents in the community) might best be described as rehearse-rehearse-perform, with the goal being precisely accurate and thoroughly impressive reproduction of already-published music.

There are concerts, parades and halftime shows, maybe an elementary school musical or graded contests. Not a lot of time for messing around with the tools of music, let alone thinking about the cultural importance of music in students’ lives—or even pure enjoyment. In some secondary schools, music is all about competing.

I had some success with students creating their own music (more on that later), but one basic fact I taught all of my students, over more than 30 years, was that there are entertainers and there are songwriters and they are not always one and the same.

If you ask a kindergartener who Beethoven was, chances are he’ll say, “A famous piano player.”  And when Michael Jackson died, in 2009, it drove me crazy when the media talked about his greatest hit songs—Thriller!—many of which were written by other people. Of course, there are superstars who write and perform—but there are also music creators whose considerable body of work is interpreted, for better or worse, by other musicians.

I am old enough to remember when folks started talking about intellectual property as something we needed to pay attention to, in schools. (About the time when schools got Xerox machines and the internet.)  If you’ve ever been at a middle school talent show, watching kids lip sync and groove to pop tunes, you can identify the urge to copy something fun and sticky. The trick for educators is to get past copying, into generating your own ideas.

Acknowledging songwriters and composers is easy and worthwhile when you’re teaching K-12 music—their names are there on the printed page. Credit where credit is due is a great way to start students thinking about the music in their world and how much fun it might be to produce their own.

I am aware of co-writing credits where any performer’s suggestions about a piece of music turn into recognition (and probably financial reward). Maybe it’s impossible to tease out just who made the notes and lyrics so catchy in a simple, three-chord song. Songs—like recipes—feel like templates for creative exploration. A faster tempo and minor 2nd chord replacing that subdominant and voila! Take a sad song, and make it better.

Old bottle, new wine. But still. Carole King wrote some of her best hooks when she considered herself a grind-em-out songwriter, before she sat down at the piano on stage—and then became one (according to the New York Times) of the thirty greatest living American songwriters, with an incredible, innovative catalog of songs.

The NYT piece is fascinating. If you haven’t read it, try naming some of the greatest living songwriters before checking their list. (Confession: there were three of the 30 songwriters I’d never heard of.) Several famous performers were asked to name their favorite songwriters—I found my list corresponded most strongly with Bonnie Raitt’s picks. There’s a quiz to see if you know who wrote some of your go-to songs, and sound samples.

Here’s a free link. It’s a delicious wade into the craft of making sonic art.

So how did this go in my very ordinary middle school band room?
At first, it had to do with technology, when kids had access to audio and video recording at home, and their compositions (solos or groups) could be submitted to me via cassette or disc, then email. The assignment was always broad, and I listened to a lot (and I mean A LOT) of meandering drum solos. But they were creating.

Middle school students were often surprised that ‘songwriters’ didn’t mean people who put music on paper, necessarily. Getting past that, to the idea of trying out an original melody on your band instrument, maybe having your friend the euphonium player drone some long notes underneath. Fooling around, then recording. The rubric for success was “sounds good to you.”

Then we got new warmup books that had blues scales in them and I started to do some of what might be called instructional scaffolding with second- and third-year band kids. We learned the basic twelve-bar blues progression, and kids started improvising blues riffs, using the notes in the chord sequence. The key was not being afraid to make mistakes—the exact opposite of how we usually teach musical performance.

I should repeat that, because that’s what creativity is, in a nutshell: not being anxious about trying something, trusting your own judgment, editing and listening to criticism. Trying again. Starting with a classic template—then making it your own.

One observation: once you encourage kids to create their own music, they’re going to want you to listen to any number of pieces they write. Nothing to do with grades or assignments—just fun.

We spend way too much time pursuing right answers. Isn’t it ironic?

by nflanagan

It’s Not about Cheating

Recent conversation with a contemporary (a man who worked in sales all his life, and whose grandchildren attend a Christian school):

Him: So what do you think about AI? How will your public schools deal with the fact that AI is going to control all jobs in the future?

Me: AI will certainly have an impact on the job market, but I don’t think the future of work is written in stone. As with all technologies, experience will tell us whether AI is actually useful in enhancing learning in any way. Lots of things that sound good in education turn out to be oversold or hype. Or even counterproductive.

Him: But isn’t AI going to make it impossible to tell who’s cheating? That’s what I’d be worried about if I was a teacher.

Me: What do you mean by cheating?

Him: Well, kids will get AI to write their papers and do their assignments. And teachers won’t know who wrote the paper and will be forced to give it a good grade. And if everyone gets good grades, there will be grade inflation, so it will be hard to pick out the really smart students for the top colleges.

Me: It’s not about cheating. It’s about actual learning. Students learn by doing the work, including making mistakes—whether that work is putting two blocks with three blocks to make five blocks, or testing pond water samples, producing an original haiku in class–or writing a research paper. When people talk about AI and cheating, they’re usually thinking about writing assignments—but there are many more paths to learning, K-12, than writing a paper or answering questions on a worksheet. Besides, teachers who know their students well, and have seen their skills in action, will understand how an AI-constructed response would compare to an actual response.

Him: (dubious) I suppose sharp teachers can catch them that way. Besides, you’ll have more time to ferret out cheaters when AI starts grading student work and writing your lesson plans.

Me: Only someone who knows the students and knows the usual flow of content and skills at that level can write useful lesson plans. And assessing student work is how teachers observe what their students have learned, and what they need next. I personally don’t see AI as being particularly useful in developing instructional materials, either. It certainly can’t develop relationships with kids or inspire them.

Him: Of course, this would all be different for you, as a band director—AI will change everything for regular teachers but maybe not for you. If band even exists as a class any more.

———–

Sigh. This conversation actually happened. And the man I was talking to was not an idiot. He had some magazine-article background knowledge about AI, saw its impact as inevitable and teachers as unfortunately unionized Luddites, unwilling to adapt to a rapidly changing world.

He was also right about musical performing groups—as a K-12 musical specialist, I have been having these conversations about electronic alternatives to learning to play an instrument or sing for three decades. Who would want to go to the trouble, a well-meaning friend who teaches English asked me, to learn to play the bassoon? Or even worry about singing in tune, now that auto-tune is available to fix hot musical stars’ vocal uncertainties?Why not grab a bunch of keyboards and software? Isn’t that all the instruction musicians need to, you know, put out musical content?  

The great danger of using the range of AI products in the classroom has nothing to do with cheating, per se. Fact is, students have been cheating—in the ways we usually perceive as academic cheating—forever.

From writing dates on a shirt cuff to paying someone to take your SATs, cheating is deeply embedded in academic practice. If there is a potentially positive outcome here, it might be disconnecting old ideas about plagiarism and cheating. Instead, we might be teaching our students to assess information they are presented with, comparing it to different analyses, perhaps rooting out alternative facts that aren’t really factual.

Fact is: plagiarism is ill-defined, in an era when students have access to the Library of Congress in their raggedy jeans pockets: “Anybody who embarks on a study of plagiarism hoping for bright lines is in for a foggy shock. One of the pleasing facets of plagiarism is that it doesn’t exist—not in the eyes of the law, that is, and especially not if those eyes are American. There is intellectual-property law, and a law that prohibits the trafficking of counterfeit goods. There are laws against copyright infringement. If plagiarists are sent to prison, however, it will not be because they have filched a slice of poetry, or half a juicy ballad, and passed it off as their own. Plagiarism is not a crime. It is a sin.’”

Here’s another fact: Large language models that support the kinds of AI K-12 teachers and students are being urged to adopt are constructed of plagiarized, if you will, content. Speaking of cheating.

But it’s the original point that matters most here: AI in its various platforms robs students of doing the actual work of learning: absorbing, comprehending, analyzing, synthesizing and so on. I would like to think that this is the reason that states and school districts are banning the use of cellphones in the classroom—to prevent students from believing that graded products represent actual learning.

I would also assert that learn-by-doing classes that require groups of learners (like band and choir, debate, drama and so many others) reward students for all the right habits: working together, interdependence, ongoing skill building toward a clear goal, aesthetic pleasure. Creativity, the antithesis of AI use.

Philosophy professor Kate Manne wrote a terrific piece about preventing her university students from using AI, and how it all worked out:  “I feel strongly, as I explained, that their AI use will prevent me from doing my job in helping them to grow as thinkers and writers.” Spoiler alert: students produced such superior work and thinking that she cancelled the final exam. Read the piece. It’s solid evidence.

Pushback against AI is not and never has been about cheating. It’s about genuine learning.

by nflanagan

The Pentagon Buys a Flute

Tucked into the horrific informational gusher of Just How Much This Unnecessary and Ill-Advised War is Costing Us–an analysis of where the Department of Unwanted War has spent last month’s end-of-fiscal-year budget. 

Most of the reporting deals with steaks, Alaskan King crab legs and Herman Miller chairs—maybe Pete Hegseth sits in one, in his newly-installed makeup studio?—rightfully contrasting the $93 billion year-end military splurge with cuts in SNAP benefits and school lunches. But there were some other purchases that caught my eye:

“Musical instruments joined the shopping list. A $98,329 Steinway & Sons grand piano, a $26,000 violin, and a $21,750 handmade Japanese flute were among $1.8 million spent on instruments.”

Anyone who’s ever had to monitor a line-item budget for a school program knows about spending it all, to ensure that nobody will think they gave you too much. Buying cautiously or retaining part of this year’s budget to make a big purchase next year, sound like fiscal responsibility but can end up biting you when the red pencils come out.

I say this as a person who knows how much musical instruments cost, and who once tried to use two years’ budgets combined to purchase a very modest used student model tuba. Unsuccessfully.

For many years, my all-in school band budget (for somewhere around 300 students) was $500, all of which had to be spent in the first few weeks of the year. I was fund-raising year-round, but spent the school-provided money first, to ensure there actually was a band budget in upcoming years.

Maintaining a music library and functional instrument inventory—crucial to a successful band program—doesn’t sound so essential when teachers are being laid off or the social studies texts are 20 years old. And demanding an adequate budget figure could (and occasionally did) lead to a decision to eliminate the band program altogether, as a belt-tightening measure.

So yeah—I was deeply curious about how the Department of Defense spent $1.8 million on musical instruments. The Steinway grand piano went to the Air Force Chief of Staff’s home, but a fair amount of googling hasn’t revealed who got the violin or the handmade flute (a Muramatsu). I’d like to think they went to deserving students in Department of Defense Schools—but who knows?

A friend, after reading about the drunken-sailor spending, laughingly commented on how I probably wished I had a $21,700 flute. Thing is, I have more than that invested in my flute, two head joints and two piccolos. A $21K Muramatsu is a nice axe, all right, but it’s easy to spend over $100,000 on a flute with all the bells and whistles and gold. 

The most expensive violins in the world—the precious Stradivarius and Guarneri masterworks that can never be duplicated—run $20 million and up. So, while $1.8 million in instruments could buy some really nice stuff, the question remains: who’s using them?

Earlier this month, I paid a visit to the Musical Instrument Museum in Scottsdale, AZ, to see their Magical Flute exhibit.  

This was a kind of holy pilgrimage for me; I took over 50 photos of various flutes and walked around goggling the diamond-encrusted James Galway flute (also a Muramatsu) and various owned-by-the-famous instruments.

The most remarkable historic flute was a faceted crystal and silver number belonging to Napoleon. After his decisive military and political defeat at Waterloo, friends gave Napoleon the crystal flute as a kind of consolation prize. His brother, Louis, who was king of Holland, got a similar flute made of cobalt glass.

There is no evidence that Napoleon ever played any flute, let alone the crystal beauty. I hope whoever is in possession of the $21.7K Department of Defense flute is playing their heart out.

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by nflanagan

Gifted and Talented Redux

I got my master’s degree in gifted education—actually, a master’s in curriculum and instruction with an emphasis on identifying and serving gifted students, but whatever. At the time—the 1980s—I was focused on the ‘talented’ part, as a music teacher.

What could I do, I wondered, to better understand and challenge the exceptionally proficient students who showed up in my band room? There had only been a handful, at that time, students who leapt over my pedestrian instruction, right into credible Mozart concertos in the 6th grade, relying on recordings and (this sounds so quaint) library books about the great composers and their style characteristics.

I had many thoughtful conversations with people in my master’s classes, in my building, and fellow band directors (whose advice was generally directed toward private lessons and summer camps–the ‘better teacher/better cohort’ theory). But overall, takeaways on who was gifted and what to do about it were murky.

One person’s budding genius was another teacher’s ho-hum. A lot of it had to do with perceived student effort, and very little was about digging gifts and talents or even preferences and goals out of kids who were content to skate by.

Also, lots of kids who had exceptional natural talent in playing instruments were not so gifted in other areas, and therefore not interesting to the guy teaching Algebra II to 7th graders. Just because you can flawlessly pick up salsa rhythms with all four of your limbs or produce a crystalline high C on the trumpet doesn’t mean you’re… gifted. Or so it seemed.

I’ve written many pieces—here, here, here, here and here, for example—about giftedness. Invariably, they draw nasty comments. It’s very much a tender spot for parents of bright children who worry that their children are not being adequately challenged. Or are ignored by their teachers because so many other kids are struggling or misbehaving. I get it.

But I also know that talents and gifts are randomly distributed across school populations and have to be developed over time, with the cooperation of the identified GT student. I was struck by this quote from a spokesperson for Mayor Zohran Mamdani, reflecting on the mayoral decision not to test kindergarteners to determine who’s gifted:

This administration does not believe in G. & T. evaluation for kindergartners. But that’s not the same as eliminating advanced opportunities across all grades. 

My thoughts, precisely.

I recognize that NY City is unique—such a diverse population, so many school options, such hot politicking and parent-pleasing—but I fully agree with the mayor (or his advisor, more likely): Testing five-year olds for giftedness is ridiculous and bound to siphon off disadvantaged kids before they’ve really had a chance to, you know, go to school and learn stuff.

It’s the ultimate, rigged-end game: the outcomes of inequality, right out of the chute. Dividing the herd, yet again. Why? How does that help us?

If I had faith in any test to identify extraordinary, socially useful intelligence, skills, or creativity, I might feel differently. But I don’t. What I do believe is that all children deserve a rich and challenging education, whether a test identifies them as potentially brainy or sub-par. You just never know what role they might play, eventually, in making the world better.

Since more than half of American teens now admit to using chatbots to do “research” that they may not be able to evaluate for veracity, to write and calculate for them, it’s going to get harder and harder to distinguish students who produce genuinely brilliant work from those who are merely good at disguising where that work product originated.

We still need brilliant original work—not to feed the AI maw, but to enlighten ourselves, cure diseases, prevent wars, create peace, to explore, entertain and inspire. We need the indisputably brilliant kid who plays salsa rhythms but forgets to turn in his social studies worksheets for some reason. Because he has gifts to share.

We need a new definition of ‘gifted’—and maybe one for ‘talented’ as well. We need to stop accepting the assertion that machines are helping students learn better than human interaction and judgment. And most of all—we need to stop cutting kids off at the pass, sorting and labeling them when they’re in kindergarten.

Photo:sanbeiji (Creative Commons)

by nflanagan

Youth. For Christ? At School?

I should probably preface what I’m about to say by noting that I self-identify as a liberal Christian. Without getting too far into the theological weeds—or alienating those who are rightfully skeptical about some current Christian churches’ lack of commitment to feeding the poor, etc.—I have been a church member and/or employee for decades, off and on.

All the way back to the 5th grade, in fact, playing “Angels We Have Heard on High” on my flute and swapping out my little-kid animal ears for a white robe and tinsel halo in the church Christmas pageant. Good times.

Or maybe—not so good. I’ve dealt with the insertion of religious tunes into public school holiday programs for my entire career. It’s the evergreen issue for music teachers in December. Bottom line: Public schools need to tread lightly, when it comes to the separation of church and state, even at times when you are hearing angels on high in your local grocery store or used car lot.

I retired—for good—from my last church music director position after Easter, and have since had the pleasant experience of being asked to play in several local churches, which are always looking for free talent.

Last summer, I was surprised to play a service and see two dozen teenagers seated together. There was a junior trad-wife fashion sense for the girls, all with long, curled hair and cute summer dresses. The girls were mostly carrying Bibles; the boys, with their llama-head haircuts, were carrying phones (and scrolling on them during the sermon).

Later, I learned that they were a newly organized chapter of Youth for Christ, meeting with their leaders (an attractive, early-20s married couple), in their home for coffee and prayer before school. Several of them had been baptized by that couple in Lake Michigan, earlier that month.

The guy sitting next to me at the service whispered that he was hoping that these kids were associated with Charlie Kirk’s Turning Point USA, which claims over 1000 chapters in high schools across the country: ‘Turning Point USA is also getting an assist from Republican leaders. The U.S. Department of Education announced it was partnering with the organization, along with dozens of other conservative groups, to launch a coalition to produce educational programming for schools and universities in advance of America’s 250th birthday next year.’

Eek.

I can’t tell you, precisely, what made me most uneasy about seeing perhaps 25 teenagers attending a conservative church en masse. None of the small, rural churches in this county have dozens of HS-aged members, for starters—so their organizational point was obviously somewhere other than an actual church. And the occasional teenager who showed up at the church where I worked never came dressed like a candidate on Bama Rush or looking like a Department of Labor poster boy.

It turns out that the Youth for Christ leaders are salaried, and were posted here to start a chapter, a task they accomplished by volunteering at a local school district. They got some help from a friendly uncle (real estate here is sky-high), and found a place downtown to meet, then began recruiting the kids they met while volunteering as tutors and cafeteria supervisors.

And, miracle of miracles, parents in this conservative community didn’t like it. There were 78 non-consent forms, representing 109 minor children, filed with the Youth for Christ leaders and their organization, saying, essentially: Hands off our kids. If we want them to have religious experiences, we’re in charge of that.

It’s a small school—109 minor children represent a third of the school population. YFC is undeterred, planning to establish a ‘teen hangout’ in the tiny resort downtown, courtesy of Generous Uncle. And downtown merchants, perennially cramped for space, parking and business have turned this into a zoning issue. They might actually win—as I noted, this is a conservative, business-friendly town.

But I want to return to the Christianity—if that’s the right word—inherent in recruiting members for your religious club from a public school setting. When I think about all the angst about not referencing equity, inclusion or diversity in school curricula, and all the book-banning Moms 4 Censorship types showing up at school board meetings, shouldn’t there have been outrage over paid recruiters “volunteering” and proselytizing during lunch?

Not long after Charlie Kirk was killed, CA Governor Gavin Newsome remarked on his goal of organizing young men as effectively as the TPUSA model does. He asked why left-leaning young men have not collectively fought the ‘epidemic of loneliness’ with liberal activism. I don’t have an answer for that, but it’s a good question.

In the season where Jesus sneaks into the daily life of families and communities—Joy to the World!—I am in favor of parents’ careful attention to who’s recruiting their kids.

by nflanagan

Teachers Work in Systems We Did Not Create

Back in the day, I used to go to ed-tech conferences, especially the Michigan Association for Computers Users in Learning (MACUL) gathering. Like everyone else, I was there to find that elusive app or device that would make my work easier.

For maybe a decade, MACUL was the hot ticket, worth burning a personal day, sitting in ballrooms looking at guys in logoed polo shirts and khakis, narrating fast-paced product-focused PowerPoints with amusing memes sprinkled throughout. The first question you got, wandering through the massive exhibits hall was “Are you in charge of tech purchases for your school?”

Nope, I wasn’t.

What I was looking for was new ways of thinking about education, specifically music education. It seemed to me that music, as a human endeavor, was way more than what I was teaching: how to play an instrument and replicate pre-written pieces, as accurately as possible. These were skills that were fairly easy to standardize and grade, but 180 degrees away from creativity and improvisation, the capacity to play with musical ideas, and evaluate your own results. Not to mention things like joy and fun.

I was working in a system that privileged the standard school band, including competitions evaluating fidelity to everything from instrumentation to tempo markings. The party line on music education is that it’s creative, but secondary music education often leaves little room for students’ imagination or original work. The teamwork and drive for excellence are valuable, but usually end when a student graduates.

Don’t get me wrong—learning to play a musical instrument and read music are useful, foundational skills in ways that many folks don’t see or appreciate. If I ran the world, all kids would learn to play an instrument, to understand and create their own music, and play daily with others.

But how could I encourage my students to try out their own musical ideas? To have fun, even jam, without a conductor and sheet music and—God forbid—weekly playing tests, speaking of pre-set system reqs… This seemed to be something that technology might do.

 Now, 20 years later, there are plenty of creative music apps to carry around on your phone or tablet. But what the techies were selling, back then, fell into three buckets:

The first was programs to make school administration easier— attendance, budgets, scheduling,etc. The second group were things to make teachers’ non-instructional duties easier—grading, standards, lesson planning, and so on. The third cluster was programs for students, most of which were usable by classes, in computer labs and directed by teachers.

There was lots of new! exciting! software, but nobody seemed to be interested in developing programs that let students experiment with the tools of music. At least, not for schools, where performing concerts and musical events for parents and the community were the ultimate curricular goals.

It was a system I didn’t create, and innovative technologies were no help in budging it. Even in ways that I knew would be good for kids, building their confidence and exploring their individual musicianship.

I thought about that today when I read this article in WIRED: Microsoft, OpenAI, and a US Teachers’ Union Are Hatching a Plan to ‘Bring AI Into the Classroom.’  The National Academy for AI Instruction will make artificial intelligence training accessible to educators across the country, a first-of-its-kind $23 million initiative funded by the tech companies to bring free training to teachers.

First thought: Do teachers WANT to bring AI into their classrooms? If so, for what purposes?

Second thought: Why is the AFT jumping on this bandwagon? To “get ahead” of some imaginary curve? To get “free” (and none of this is truly free) stuff?

Third thought: Since AI is essentially composed of stolen content, what does this do for teachers who still believe in nurturing students’ imagination? Somebody created all the literature, art and other media that goes into the giant maw of AI, so there are also ethical questions.

Final thought: Why are we ‘training’ educators to do what OpenAI thinks they should be doing? Did we ask teachers first—what would you like to know about AI? How do you think it could be useful in your classroom?

Once again, we’re forcing teachers into systems they did not create. And that’s never a good idea.