Category / Music Education

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.

by nflanagan

A Veteran Teacher’s Thoughts about ADHD

I can remember the first time I heard about ADHD. It was in the early 1990s—and the person who was educating me was the mother of one of my students. His teachers—six of us, plus an admin—were sitting around a table, meeting to discuss his classroom behaviors (not good), when she whipped out stapled packets of articles on ADD.

He’d been officially diagnosed, and she was part of a parent support group, which provided materials for teachers. The packets she gave us were thick—maybe 50 pages—and filled with scientific-sounding information about diagnosis and treatment of this disease, then thought to apply to perhaps three percent of all students.

Reading through it (rather than round-filing it, as a couple of colleagues did), you could see what was coming. The Attention-Deficit Era had begun. He wasn’t hyperactive or oppositional-defiant, or a troublemaker. Not anymore. He had ADD.

Let me say, upfront, that I believe ADHD is a real thing, and using medication judiciously to treat it is often a lifesaver for parents and teachers. Let me also say that the way some classrooms operate is not conducive to deep learning for a range of students who need lots of movement and hands-on activities. And—side note– this is often not their teachers’ fault, given our increasing national focus on testing, compliance and narrowing the curriculum. Raising the damned bar.

I was horrified to read in Paul Tough’s excellent piece in the NY Times Magazine, Have We Been Thinking About A.D.H.D. All Wrong?  that nearly a quarter of 17-year old boys in the United States have now been diagnosed as having ADHD. Tough does a good job of tracking the factors—drug treatments, specifically—that have made one in four boys unable to focus in a quiet classroom without chemical assistance.

He rightfully notes that ADHD symptoms also look like a lot of other things: anxiety, head injury, lead exposure and many other traumas.

But the piece ends on a hopeful note, with lots of testimony from young adult men who have found the right jobs and life circumstances and seldom experience troublesome ADHD symptoms. Which makes me ponder what there is about school that makes the kids we used to call hyperactive need drugs to get by every day, even though the medicines don’t improve their learning.

“Believing the problem lay in their environments rather than solely in themselves helped individuals allay feelings of inadequacy: Characterizing A.D.H.D. as a personality trait rather than a disorder, they saw themselves as different rather than defective.”

The kid whose mother insisted he had a disease, rather than merely being disobedient? He was, in fact, hyperactive and prone to (cheerfully) destroying order in a classroom. Once, while I was moving band equipment, chairs and stands across the hall from the band room for an assembly in the gym, I instructed him to load percussion equipment on a flat pushcart. (Teacher tip: Always give restless students an important job.)  

Instead, he assembled the drum set on the cart, then had another kid push him down the hall while he pounded out a little Metallica. Down the hall—and past the office. It didn’t end well for either of us. He wasn’t a bad drummer, by the way. According to mom, it was his favorite class.

I looked him up on internet, and he’s now a multimillion-selling real estate agent. Go figure.

I taught for two more decades after that day I first heard of ADD. Lots more students were diagnosed with ADD, over time—then, ADHD. My colleagues and I talked often about accurate language, and accurate diagnoses, and the differences in kids when they were medicated. Sometimes, parents let teachers know their child had been diagnosed—sometimes, they didn’t.

I took kids to camp and on field trips where I had to administer their ADHD medications, or have conversations with their concerned parents about behavior issues when they were unmedicated—at an evening performance or band camp.

And I often felt grateful that I was teaching band, with 65 students at once, all holding noisemakers. There was a lot of stimulation in the band room, plenty of activity. There was also discipline (because otherwise there would be chaos), but my attention-deficit kids could tolerate rules and procedures, as long as they were moving and doing things. Mostly.

I also taught 7th grade math for two years. I found that maintaining student focus with 28 students in a desks-and-chalkboard setting was often way more difficult than keeping 60 band kids on track.

Read Paul Tough’s piece, if you get a chance. It’s nuanced and layered with contradictions, like most things about schooling, and raising healthy children. We could be doing lots more for kids who are immersed in screens and entertainment daily, and have difficulty staying on task when that task involves paper and pencils.

But then—we could be doing a lot more for many kids, who bring their various backgrounds and issues to school. If only we had the resources. And a genuine commitment to the next generation.

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by nflanagan

Trump and his “Aptitude for Music”

There are so many things to be said about the ongoing demolition of the American government that your average reader—even someone who follows politics closely–can’t keep up. Everything from the Massive Erroneous Deportation to the Declaration of Independence in the Oval Office to the biggest upward transfer of wealth in history. Not to mention Goodbye to the Department of Education.

Lots of great writing about where we find ourselves as a nation, as well—I am learning to get along without the Washington Post, with the great political commentary coming from independent newsletters like The Contrarian, Meidas, Robert Reich, Heather Cox Richardson, Lucian Truscott, The Education Wars and the Bulwark, which are only the ones I’m currently paying for. Can’t add much, beyond my personal open-mouthed horror, to the wall-to-wall political coverage available.

However. Here’s one inane Trump declaration where I have considerable expertise: Touring Kennedy Center, Trump Mused on His Childhood ‘Aptitude for Music.’ 

In case you’ve missed it (and you’re forgiven if you have): President Donald J. Trump — who recently overhauled the once-bipartisan board of directors at the John F. Kennedy Center for the Performing Arts and installed it with loyalists who elected him to serve as its chairman — held court Monday in a place that he had not publicly visited during either of his terms in office: the Kennedy Center.

Remarks were made to the Washington Post by Trump officials who recently toured the arts venue and described it as “filthy,” noted that it “smelled of vomit,” and added that they “saw rats.”

But not to worry! Trump alone can fix the Kennedy Center. In fact, Trump—who could have been a superb musician, if his parents hadn’t pushed him into becoming an outstanding athlete and phenomenally successful businessman instead— can add “born arts connoisseur” to his  already-substantial resume’. Because ‘the test’ showed what we’ve all missed: the guy who bragged about punching out his music teacher in second grade was really an untapped musical genius.  

First of all: Hahhahahhahaha.

Like all Trump anecdotes—Sir! Sir!– this one is mainly bullshit: He told the assembled board members that in his youth he had shown special abilities in music after taking aptitude tests ordered by his parents, according to three participants in the meeting. He could pick out notes on the piano, he told the board members.

If you polled actual music teachers, all of them could tell you stories about small children whose parents considered them exceptional, because they could dance to a beat , clap a rhythm or pick out a tune on the keyboard. Many of them had a great-grandmother who taught piano or uncle who was a whiz on the saxophone—thereby confirming that their talent was inherent, according to mom.

Some of those kids (especially the ones whose parents encouraged practice and persistence, attending every concert) turned out to be good musicians, after some basic musical instruction. Others, not so much.

Second: Testing children’s innate musical ability has fallen out of favor, for the same reasons that other standardized testing has been rightfully criticized. In the post-war years, a ‘musical abilities test’—the Seashore Test—was popular, often used to determine who should get to use expensive school-owned instruments. I took it myself, in the 4th grade.

What the Seashore Test did, mostly, was identify kids who had some musical experience—piano lessons, singing in the church choir, music-making in their families. Because the more you do music, the better your ‘ear’ and sense of rhythm. Kind of like the way kids who go on family trips to the library or museum get a leg up on other kids, when tested on their reading abilities or content knowledge.

Is there such a thing as talent? Sure. But testing as a means of determining talent—or taste, or creativity—when the testee is a child is pointless. Genuine, exceptional talent emerges as a result of passion and tenacity and, sometimes, good luck.

Here’s a story about my own failing in assessing talent, as a music teacher.

Why did such testing fade away? Because it missed a lot of students who became strong musicians—singers and trombonists, the lead in the school musical—down the road.

Lesson learned: ALL children should all enjoy making music in our schools. Because you never know if someday your child might be Chair of the Kennedy Center Board.

by nflanagan

Diversity, Political Culture and Middle School Band

Like all educators, I’ve been following the repercussions of the “Dear Colleague” letter the federal government sent to public schools, threatening to cut off funding for schools that dabble in things like human rights and accurate history. The fact that the poor, strapped (snort) Department of Education used some of their evidently dwindling resources to set up a snitch line so parents could rat out teachers and school leaders is telling.

Dear Colleague, my ass.

More like Big Brother is watching. Or Here’s Our Grand Portal of baseless conspiracy theories and fear-mongering to support so-called “parents’ rights”—jump right in!

To make this all seem “normal,” the ED sent out a nine page read-what-our-lawyers-say explainer that further muddies the waters. The purpose of this second epistle seemed to be upping the threat while appearing to be efficient and legal-ish.

Many times, in my long career as a vocal and instrumental music teacher, I’ve had dear colleagues (ahem) express mild envy over that fact that the general public saw my subject discipline as what we used to call a “frill”—nice, but neither substantial nor essential.

Parents, these teachers suggested, didn’t really care about what kids were learning or singing in music class. It was an elective, not part of the more important career-preparation/serious-academics curriculum. In other words, my students were not being tested on the music curriculum, like theirs were. In band and choir class, we were just, you know, playing around. Fluff.

As you may imagine, I’ve written countless blogs and think pieces about what kids take away from a quality music program. If you think that the arts are a value-free zone—not tested, so not important—I’ve got news for you.

The classroom where I spent more than 30 years, teaching secondary vocal and instrumental music, was a platform for learning about lots more than the fingering for Eb and how long to hold a dotted quarter note. It was a place where we could explore how the music that students are marinating in, 24/7, came to be—a cultural voyage, through time and place, and the human response to make art reflecting the artist’s circumstances.

Proof of that–a couple of days ago, a young band director, on a Facebook page for instrumental music, asked his dear virtual colleagues for advice on this dilemma: His 8th grade band had been preparing Moscow 1941, a terrific composition, for an upcoming performance. Given the current fluctuating official opinion on Russia, Russia, Russia, he was stymied by his middle schoolers asking if they were playing a Russian march to show support for the Trump administration.

What do I do? he asked. Do I tell them Russians were the good guys in 1941, but not now? Do I say it’s just notes and rhythms, forget the title? Do I just pick something else? The kids like the piece and we have it ready for performance. Also—I’ve already talked to the kids about great Russian composers and the dark and moody music they have produced, over centuries.

First—I love that there’s an online forum for discussing these professional issues. Responses were mostly thoughtful, ranging from “tell kids the truth about Russia, then and now” (including a couple of good resources) to “get your principal involved.” There were also a few “avoid conflict, always—dump the piece” responses, which I took as evidence that teachers, in general, are rightfully anxious about threats from federal, state and local officials. Music programs are chronically in the crosshairs and choosing music that Trump-voting parents could misinterpret could be risky.

The discussion morphed into examples of band directors who chose music to represent Ukraine, and other masterworks inspired by political events, like Karel Husa’s Music for Prague, 1968. This is what the arts are supposed to do—help us make sense of the world.

Back in the 1990s, I bought a piece for my middle school bands called A Lantern in the Window, a musical depiction of the Underground Railroad. There was a quiet, spooky opening, followed by a pulse-pounding chase, and the piece ended with a richly harmonized quote from an old Negro spiritual, Steal Away to Jesus.

I programmed Lantern often, every two or three years, because it was a perfect teaching piece. There were multiple tempos and styles, and I could talk about the use of familiar songs, how a few measures could remind us of a powerful cultural idea.

Students always wondered why an enslaved person would believe in Jesus—and yes, these conversations had to be carefully handled. But they were worth it. They illustrated the power of music to tell an important story. And that, I thought, was the heart of my job.

Last week, “The President’s Own” Marine Band quietly canceled a concert program originally billed as the “Equity Arc Wind Symphony.” The performance was to be the culmination of a “multi-day music intensive with musicians from ‘The President’s Own’” and high school musician fellows selected through auditions organized by the Chicago-based Equity Arc, a nonprofit organization that provides “specialized mentoring support for young BIPOC musicians and helps institutions take meaningful steps toward equity and inclusion.”

When I see stories like this in the news, I wonder how music teachers, specifically, can stand against federal threats. Our job—our low-paying, high-importance, mega-stressful job—is to give children of all ages, colors and abilities the chance to love, understand and perform music. Politicizing that—for whatever stupid reason—is both wrong and damaging to children and to our American culture. That’s a good reason to push back.

I have empathy for teachers, like the band director worried about Moscow, 1941, but I also know that huge masses of the middle class workers will have to stand against the takeover of our government and our national culture in order to stop the carnage going on right now.

Deep breath. Buck up. There is lots of work to do.