Category / Music Education

by nflanagan

About that Band Director Who Got Tased

I first got wind of this story on the BDG (Band Directors Group) Facebook page, early yesterday morning. You’ve probably seen it:

After a football game last week, at Jackson Olin HS in Birmingham, Alabama, Johnny Mims, band director for the visiting team, from Minor HS, let his band finish their post-game music after police directed them to stop playing. After the band finished playing (during which, the stadium lights were turned off), police physically grabbed and attempted to arrest Mims. There was some pushing and shoving on both sides. Then the police tased Mims, three times, as his students witnessed (and screamed). It was all captured on videotape.

Here’s a full description. After the incident, Mims was taken to the University of Alabama at Birmingham Hospital and then to the Birmingham City Jail, where he was booked and later bonded out. Officers obtained arrest warrants for disorderly conduct, harassment and resisting arrest, police said.

I’ve watched the police body-cam footage a couple of times, and it’s pretty gnarly, although after the lights go off, it’s hard to see specifically what’s going on. There are band kids behind the director, on the track, and others in front of him—about 145 kids in the band, total—and they all had a ringside seat to witness their teacher twitching on the ground, shocked into submission for letting them finish about a minute’s worth of music.

There’s a lot of backfilling the story on both sides. There’s been violence after football games so police are needed to empty the stadium! But— the two band directors agreed to do a short post-game show in the stands so Mims thought he was OK to finish!  But—the other director stopped first! But police have ultimate authority!

The people I was interested in hearing from were the band directors. Unless you’ve (raising hand) been out there in front of the marching band on Friday night after Friday night, you might think that the rules for when to play and when not to play are crystal clear. They are absolutely not—and change from one venue to another. Also–everybody in the stands has an opinion on what the marching band should be doing and when. (I feel like I should repeat that last statement three times.)

The band directors on BDG first wondered if Mims actually heard the cops, over the noise—a large marching band makes a lot of decibels. (He seems to be telling them to give him a minute, at one point.) They wondered, as well, if playing after the game was planned. (Yes—both directors agreed to play, but the police had other ideas.)

Who turned off the stadium lights? (Unclear—but if the worry was public safety, turning off the lights is a far more dangerous move than letting the band play to the end of a song. If the lights were on a timer, that’s even worse, because who knows how long a game will last, and what might be happening in the parking lot afterward.)

Given the information presented by both sides, most band directors said— Hey. If the cops came over and gave me a throat-slitting motion, I’d stop the band. Just because they’re the cops and I’m a band director. I might be furious. But. They’re the cops, the ones with guns.

And—once again— who gets to play music, and when, at sporting events, is a matter of opinion.  I have seen bands chased off the field by their own teams as they’re marching to the sidelines. I have seen referees assess penalties for bands or individual tuba players being in an ‘illegal’ spot. I have heard bands reprimanded for not stopping the music when play resumes (sometimes, just a few seconds’ worth of Let’s Go Blue—very popular in my neck of the woods). And I have heard endless, countless discussions of what the “official” rules are.

One thing I can tell you: this incident will do nothing to encourage non-hostile behaviors and good sportsmanship at either of these schools. Nor will it increase respect for the police and the important work they do.

While I probably would have stopped—out of fear — when the policeman yelled at me to cease directing, it’s because I’m a nice, albeit cowardly lady and they have tasers.

But then— I have not been pushed around by the police. I have not been routinely stopped or experienced anxiety when a cop car appears in my rear view mirror. I once talked a cop wearing a knit beanie out of giving me a ticket for doing 34 mph in a 25 zone by telling him I was on my way to choir practice at church (the truth).

I have no idea what was going through Mims’ mind when the cops started trying to handcuff him, but nobody deserves to be humiliated, ganged up on, pushed around or tased, for the non-crime of directing a HS band.

But the students who watched this will remember it all their lives. It will change the way they see the world.

by nflanagan

Middle Schoolers: The Myth and the Reality

Among the worst ideas I’ve ever heard, regarding young people and how to develop their knowledge and skills, is this one: Let’s let 14 year-olds serve alcohol in bars and restaurants!

Really? We’re going to let eighth graders wait on adults, bringing them booze, asking if they’d like another, assessing their levels of inebriation? Young, barely teenaged girls “handling” older men, massaging their inebriated egos in hopes of a bigger tip?

Would these be the same young teenagers we don’t trust to select their own pleasure reading, share their own observations about racism and sexism in the classroom, or choose how they want to be identified?

I taught full-time for 32 years, only one of which did not include teaching middle school. I love teaching middle school. Sometimes, I think—in terms of my cynical, low-brow sense of humor anyway—I never really left the seventh grade.

I repeat: I love teaching middle school, and I really love kids in those middle grades.

Tell people that you taught middle school band for more than 30 years, and the first comment you get back will be some variant on “OMG, God bless you” or commentary re: how dreadful it is to parent a person who’s 13 years old—The hormones! The backtalk! — and therefore, how epically horrible it must be to try to teach these kids something, in batches of 30.  

Or, in my case, in batches of 60+, where each student is holding a noisemaker.

Actually, while there were certainly days when I wondered whether I might not be better off selling real estate, teaching middle school music was mostly deeply rewarding and often fun. And in case you think this was because I was teaching an elective, I also taught seventh grade math for two years (once in the 1980s, the second time in 2005), as well as an ESL class and an academic support class where there were fewer than 10 students and classroom management was way more difficult than my 65-piece eighth grade band.

Here’s my honed theory of teaching middle school, in a nutshell: We don’t give middle schoolers enough real responsibilities or credit for their ongoing moral development. They are smart and curious enough to wrestle with big questions and read challenging texts (with some scaffolding). They are trying to figure out what kind of world they will inherit, and are often anxious about the job current adult leaders are doing. This anxiety has exponentially grown by watching adults navigate a global pandemic, stand by as states go up in flames, and try to get themselves elected through the use of lies, cheating and bullying.

Still, middle-grades kids will rise to do a credible job of almost any task we set before them, if they see a point in doing the work.  And when they complain of being treated like children, they’re usually right—every time I hear teachers recommend shutting down privileges we afford adults (using the bathroom when needed, for example, or being given some grace around a missing pencil), I cringe.

Treating young adolescents as if they can’t reasonably manage their own behavior almost always results in their doing precisely that: acting irresponsibly. A well-run classroom is not achieved by imposing a long list of rules, or threats of escalating punishments. It happens, over time, when students understand that you a) like them, b) respect them, and c) think they are capable of doing the work you have to do together, whether that’s single-variable equations or discussing core democratic values.

Over those three decades of teaching middle school, did I sometimes fail to achieve those goals? Absolutely. And did I have students who exhibited appalling behaviors, ranging from mean-girls cruelty to risking bodily harm? Sure.

But the longer I taught, the higher I raised the achievement hoops, and time after time, my pre-adolescent students came through. We have always underestimated the ability of middle-grades students to discuss, write, solve problems, explore issues and help their communities. We are always too quick to pigeonhole them, based on their immaturity. We have let middle school become a kind of punch line.

Which is why I find it interesting that some states, trying to solve ongoing post-pandemic labor shortages caused by adults who are unwilling to work for subsistence wages and are now demanding better job opportunities, are turning to young teenagers. Whether this is child labor or “developing workplace skills” depends on your point of view.

But there are better ways to incorporate the nascent adult skills that middle schoolers want to display than having them deliver alcoholic drinks to adults, or do other jobs that adults refuse to do for piddling money. I think about all the times I took the middle school jazz band, for example, to the nursing home or the school for developmentally disabled students—and how willing they were, with a little coaching, to make those lives better, to interact with people who were profoundly different.

Perhaps the best way to develop middle-grades students is to offer them opportunities to develop adult trust in their capacity.

Several years ago, my school had a pilot program in community service. Students earned points for shoveling neighbors’ walks, being “counselors” at elementary after-school gymnastics or basketball programs, or “student leadership” activities like planning and decorating for school dances. All students, over the course of a year, had to earn a set number of points, reported and signed off on by their parents.

One mother sent in a form awarding her daughter points for family babysitting. The 14 year-old daughter had four younger siblings, two who were not yet in school, and her mother depended on her to come home right after school, and watch the kids, so she could work outside the home.

This seemed like a no-brainer to me. Tending four children (and, by the way, completing your homework, something this girl always did) was a major responsibility for a girl in middle school. But the counselor argued that it wasn’t “community service,” just a family expectation.

The point of having a community service program was to build students’ skills and awareness of their place in—duh—the community, to emphasize that healthy communities depend on volunteering and interdependency. To show middle schoolers that their work and skills were already valued, even though they were, say, 12 years old.

The program was eventually scrapped over issues like defining “community service.” Which I would call an adult failure to understand the considerable capacities of middle school students.

Middle schoolers can be trusted to do lots of things; my 30 years in their company gave me ample proof of that. It’s the adults who can’t be trusted in the proposal that they serve drinks.

by nflanagan

(Almost) All You Need is Love

Scene: Interview with right-leaning MI media personality, c. 2003, re: National Board Certification

Interviewer: So you say that National Board Certified Teachers—NBCTs– are the cream of the crop. What, specifically, do these teachers do that other teachers don’t?

Me: Well, lots of teachers have the qualities and skills that NBCTs have—but NBCTs have undergone a rigorous assessment of what they know and are able to do. They have studied standards for professional teaching and provided evidence that they are demonstrating those standards.

Interviewer: So what are those rigorous standards that all teachers should be aiming for?

Me: The first one—a foundation for good teaching—is knowing your students well, and being committed to their learning.

Interviewer: Seriously? You’re saying you just have to… (adopts snarky tone) love the kids? Even the bad kids? That’s all it takes?

 —————————————–

In case you’re wondering, the interview did not improve much after this moment. Many folks are laboring under the notion that some teachers have magical, almost indefinable skills that whip classrooms into shape and make learning come alive. Other teachers, presumably, have to rely on a boring combination of content knowledge, discipline and fear.

Nobody expects teachers to love every one of their students—not even the National Board. But teachers who do not develop positive and open working relationships with their students, teachers who believe that their job is dispensing knowledge, then measuring students’ retention of that knowledge, will always be behind the instructional curve and may never become what we think of as a “good teacher.” 

Peter Green, whose work is always worth reading, just wrote a moving and beautiful piece about teaching, in which he says this, about loving our students:  Here’s a big thing I believe about love–it’s not so much a feeling as an action and a choice, a commitment. You can choose to love people, and you can do it based on who you are instead of waiting to be inspired by who they are.

There’s that word, commitment, again. Greene also says this:

Twenty years of modern reform and especially two years of pandemess and CRT panic have worked to drive love and trust out of schools. Since (at least) A Nation at Risk, critics have deliberately ignored and abused the notion that teachers might choose to teach out of love and care, but must instead be threatened with Consequences.

Bingo.

All of this love talk goes a long way toward explaining why—again, and again, and in spite of what sometimes seems like an organized media conspiracy to crush public education—parents (somewhere between 80% and 85%) report being satisfied with their public schools.

If the only information you get about the public schools in your community comes from Moms 4 Liberty, or articles about School Board uproars over book banning and faux accusations of grooming, or the relentless drumbeat of “learning loss” that substitutes quantification for compassion— well, you’re likely to be in the majority of non-parents who think public education is failing.

And let’s be brutally honest—some public schools are so stressed that trust and commitment aren’t in the cards. They are, in fact, failing to be committed to their students, and their students’ learning. These failures show up in inability to hire qualified staff, incoherent curriculum, lack of strong leadership or trust, and general chaos—not test scores.

I like the way Matt Barnum (or whoever wrote his headline) phrased it: Are Parents Mad at Schools?

The data-supported answer is no. No, they’re not.

Because— in spite of the pounding that public schools have taken during and post-pandemic, there is still commitment and caring, teachers who drove around rural districts with stapled-together packets and backpacks full of food. Teachers who persisted in trying to adapt to teaching on-line or outdoors. Teachers who went to school unvaccinated, because their students needed them.

Parents also see, up close and personal, what the impact of a global pandemic has been on their own children— not just the disruption to their normal lives, but the free-floating anxiety around masking, illness in the family, squabbling over vaccines and fear of catching a potentially lethal disease. Children who were sad or bored, whose days lacked the social and intellectual structure of M-F schooling, recess and friends.

What kids need now is not, God help us, “acceleration” techniques to get them to an arbitrary (testable) level of learning. They need the aforementioned structure, knowing what to expect from their world. They need the concern and commitment of their teachers.

What about content— knowledge and skills, the measurable outcomes of school? Here’s a secret: Most of what is learned in school has to be continuously refreshed and applied in order for it to stick and be useful in adult life. Scoring well on a test is not a mark of being well-educated, prepared for adulthood. Human relationships prepare us for life. Content comes and goes.

And bad kids? How do we love them?

I was fortunate. For most of my career as a music teacher, I had students for two to three years, sometimes more. I did come to genuinely love—or at least get along swimmingly with—nearly all of them. I was fond of them, and am curious now about what they’ve done with their lives.

But there was this one kid…

It was a year after I’d been out on leave, and had been assigned to teach a semester-long music class that students did NOT choose. Lots of those students were surly at first, being forced into an elective they didn’t want. It was an uphill climb, but eventually, I started winning them over. I saw them relax and even enjoy the things we were doing. There was laughter. Except for one boy.

He was defiant. He refused to participate. He muttered things about me and his fellow students under his breath. I tried ignoring him. I tried gently looping him into groups. I tried calling him out, but with humor. I kept thinking he just needed to know that I was committed to him, and wouldn’t give up. He remained bitter and overtly hostile. Once, after students had formed groups to create compositions, he picked up his belongings and left the room, for no apparent reason, letting the door slam (of course). He was hard to love.

So I mentioned him in the teachers’ lounge (sometimes, good things happen in the teachers’ lounge). You know about his brother, right? one of my colleagues asked. It turned out that this boy’s older brother had committed suicide in the school parking lot the previous summer. Because I had been gone, I didn’t have a clue. Nobody bothered to tell me.

The semester was almost over. I never did develop any trust with this boy. I would have given him a great deal more emotional space, had I known, and interpreted his anger very differently. I would have tried much harder to love him. Because— and this is often true— students often just need the security that comes with knowing their teachers are committed to them, no matter what.

by nflanagan

 Learning to Read in Middle School

I am fascinated by the increasing politicization—no other word for it—of reading instruction. How to best teach reading has always been contentious in the United States, from the 1950s look-say method featuring Dick and Jane, accused of letting Ivan slip ahead of us in the space race, right up until last week, when Moms for Liberty jumped into the Faux Science of Reading (FSoR) fray.

It’s unclear why Moms for Liberty has aligned itself with the phonics-forward FSoR movement. I get that white parents, accustomed to being first in line for educational goodies, feel threatened when they’re told that other children may be having their needs met first. I know racism is a thread that has run through the entire history of public education in America. I also know that many ordinary citizens feel bewildered and angered by rapidly changing social beliefs and customs around acceptance of the LGBTQ+ community.

A friend of my says you can measure social progress by observing who can be beat up on Saturday night without consequences—Wives and girlfriends? Ethnic minorities? Gentle souls like Matthew Shepherd and Elijah McLain?  I hate living in a country where threats align with archaic ideas about who’s in charge of our customs and institutions, including public schools. I hate it, but I understand why it happens.

What I do NOT understand is why a far-right, power-grabbing, deep-pocket-funded group of purported “concerned moms” are choosing to endorse One Right Way to learn the skill of reading.

Surely some of their children learned to read using cuing systems or word walls or balanced literacy. Surely some of their children picked up reading quickly and easily reading stories on grandma’s lap. Surely some of their children had caring and creative teachers who employed multiple strategies to nurture genuine literacy.

Which makes me think that a lot of the enmity around learning to read stems from free-floating hostility toward public education and schoolteachers in general, greatly exacerbated by recent events: a pandemic, a child-care crisis, growing and dangerous inequities, and terrible political leadership that plays to the worst in human nature.

John Spencer, an especially smart edu-buddy, recently posted a long, thoughtful tweet about what he called the phonics-centric Science of Reading approach for older students— middle school kids, for example, who theoretically should already be ‘reading to learn.’ He muses about encouraging reading for pleasure, and to build endurance, more than discrete skills. He notes that a one-size approach to decoding words is inappropriate for young teenagers. His last two points were key: most of the people advocating for the so-called “Science” of reading hadn’t read or didn’t understand the research, and that there are multiple assistive tools (audio readers, for ex) that can help kids learn to love reading.

What followed was a long discussion thread, mostly probing and expanding John’s well-considered ideas. But a couple of hours later, he posted this:

I wrote a long tweet about my concerns in using Science of Reading approaches with middle school students. Not a critique. Just a set of concerns. Getting some angry responses in my DMs. Each one fails to address my 5 points. All of them resort to personal attacks. Most of them somehow frame this as a partisan political issue. Wild.

And… there it is. Again. Politicizing the very heart of teachers’—TEACHERS’– professional work. Why is that happening?

I have written several published pieces about learning to read. Like John, I have received angry responses, mostly centered on the fact that I am not a reading teacher, and therefore, have no expertise.

The fact is: I have taught approximately 4000 children, over 32 years, to read music, in order to play a band instrument. Most of them were 5th and 6th grade beginners, aged 10-12. They may have had earlier experiences—piano lessons, say, or the church choir—in reading music (similar to first graders who come to school with dozens of sight-words already mastered), but most were not musically literate at all when they came to me.

They learned in large, mixed-instrument groups, using method books in which everyone necessarily goes at a glacial pace. In addition to understanding a completely new set of symbols designating pitch, duration, silence, articulations and tempo, they have to struggle with making pleasant and consistent sounds on a complex device.

It’s incredibly difficult. The interesting thing is that some kids who excel at traditional school tasks—including reading and math, the skills we value most—find learning to play an instrument very frustrating, especially when other students, academic lesser lights, quickly pick up tunes via watching, listening and repetition.

Good instrumental music teachers quickly learn that slogging through the method book, day in and day out, one new note at a time, will kill off the rabid enthusiasm for playing in the band that your average fifth grader displays on the night he gets his new trumpet.

These teachers turn to ideas similar to what John Spencer references: Playing by ear for pleasure or long tone contests to build endurance. Multiple modalities of playing (watching, repeating, chord-building) besides straight-up note-reading. Playing with CDs. Bringing in older students who demonstrate what fun it is to play music in groups. Encouraging students to make up songs, or pick out a popular tune.

The key is the first performance where everyone (including the kids who don’t yet know correct note names or how to interpret a key signature) plays that six-note version of Jingle Bells, and families go home happy. A huge part of being a beginning band teacher is herding all the kids forward, even though they’re learning different things at wildly different rates, and making the whole process joyful.

There are, of course, instrumental music teachers who insist that there is only one way to teach kids to read music and play an instrument. How can you play music if you don’t know that the third space treble clef is a C, and a dotted note gets one and a half times the value of the original note? Start at the beginning, and don’t move ahead until everyone gets it. The method book as ‘settled science.’

The truth is that breaking down music-reading skills into discrete bits—like phonics, in reading– is only one of a palate of options; the motivated student can always cycle back to pick up new knowledge or techniques once curiosity and love are established.

Good teachers at all levels and subjects set kids free, tapping their natural abilities and making things joyful. The Faux Science of Reading wants every child to learn in the same way, just like the Moms for Liberty want children to read the same books and believe the same things about who has power in this country.

by nflanagan

The Blessings of Liberty Still Exist– But for How Long?

I played my flute in a patriotic-themed outdoor concert last Fourth of July, with the Northport Community Band–as cooling breezes blew across Grand Traverse Bay and firecrackers popped in the distance. There were at least 400 people seated in lawn chairs, clapping along to You’re a Grand Old Flag, The National Emblem and The Stars and Stripes Forever. We played a service medley, as we always do, asking veterans to stand when the tune representing their branch of the service was played. This is standard for our summer concerts–and I usually think of this as hokey, the musical equivalent of a ‘Support Our Troops!’ bumper sticker.

But last year, in our first post(ish)-pandemic outdoor concert, instead of zoning out during the rests, I watched the crowd– the old men struggling to get to their feet or simply waving from their wheelchairs as the crowd clapped and cheered for them. And I thought of all the major sacrifices–not just lives of young, innocent men and women, determined to serve their country, but the endless struggles for civil rights and equity and justice. I reflected on the striving, loss and pain incurred in the ongoing process of trying to make this nation a true democracy (or republic–take your choice).

The people who tartly point out that we have never been a just and fair nation are correct. But I don’t remember a Fourth of July where I’ve felt more discouraged about the home of the brave, land of the not-really free. I’ve been thinking this for years, but the recent Supreme Court decisions have steamrollered any optimism about having a competent president, or political leadership.

I also still feel a deep commitment, an obligation, to the relevant principles, even as they’re chipped away and made meaningless: Liberty. Opportunity. Equity. Justice. Peace. Persistence.

I found myself, unexpectedly, in tears while reading about the SCOTUS decisions. So much has been lost, damaged, soiled or destroyed. Evil is rising. You can’t deny it. Just watch the news.

Were all the sacrifices in vain–going all the way back to the ragtag Colonial armies, losing their lives over taxation and the conviction that somehow this was their land, that they were entitled, by their Creator, to defend their homesteads and the fruits of their labor? What about the terrible price paid to end the scourge of slavery? To build and invest in becoming a world-class power? All the people who steadfastly developed the American dream– is it just the way of the world that their sacrifices were meaningless in the face of greed and corruption?

The etymological root of the word sacrifice is to ‘make sacred.’ I think I was experiencing the sacred last year, watching the 90-something Navy man sing ‘Anchors Aweigh’ in the front row–and the grandfathers who served in Vietnam shyly nod to each other across the crowd.

I also thought about where and how those men and women were educated. Where did they absorb the idea that citizenship is both blessing and duty? Who taught them to read and calculate, who nurtured their talents and their dreams?

The county where I live–one of the most beautiful spots in the nation, according to Good Morning, America–– was originally settled by Native Americans, who still have a large and active presence here, and whose children attend public schools. The abundant fresh waters that drew them here centuries ago are now threatened by a crumbling oil pipeline that lies under a major shipping lane.  Should a public education include factual information about protecting our greatest environmental asset? Is that not also a sacred American principle?

In this holiday week, I am choosing to still believe in the things that genuinely have made America great, those blessings of liberty that include a free, high-quality, fully public education for every child.

by nflanagan

Memorial Day 2023– Thanks, Band Directors

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 headed into 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 years of teaching school have given 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 to hero teachers and band directors everywhere– donating yet another weekend to the community –please keep teaching, in spite of everything.

And another hat tip to community bands, providing the same service. I’ll be in Northport, Michigan on Memorial Day–playing Taps from the porch of another flutist, then 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

The Wreck of the Edmund Fitzgerald and my Middle School Band

With the passing of Gordon Lightfoot, I have been surprised and touched by the number of folks posting Lightfoot lyrics and links. They’re not all aging folkies, either—lots of them are in their 30s and 40s, and some are my former students.

That’s gratifying. One of my best memories about teaching comes from a Gordon Lightfoot song—“The Wreck of the Edmund Fitzgerald.”

It’s worth mentioning that the saga of the Edmund Fitzgerald is very much a Michigan story. When you grow up surrounded by the Great Lakes, you’ve probably spent a vacation or two watching freighters go through locks, or traverse the sightlines in front of your rented cottage. The sinking of the freighter—when the witch of November comes stealin’—has just the right combination of tragedy and seaborne terror to capture the imagination of schoolchildren.

But it is Lightfoot’s ballad, which was released in 1976, exactly one year after the vessel sank, that has kept the tale in memory. Lightfoot considered the song his masterpiece, and I agree. He captures the terrifying scene and the details of the voyage pretty accurately, while giving us lines like:

Does anyone know where the love of God goes
When the waves turn the minutes to hours?
The searchers all say they’d have made Whitefish Bay
If they’d put fifteen more miles behind her
They might have split up or they might have capsized
They may have broke deep and took water
And all that remains is the faces and the names
Of the wives and the sons and the daughters

Listening to the song gives me chills, even today.

 When the song was released, I was teaching in Hartland (I was pretty much always teaching in Hartland…), and the students wanted to play it. I knew what was likely to happen, but when a band arrangement was eventually released—which often occurs years after the song was popular– I bought it.

The beauty of the song (and it IS beautiful) lies in the words. There are only four measures of thematic melodic material (in 12/8 time). There are some slight melodic variations in the intro and interlude, but it’s the same four measures, the same five-chord sequence, through the whole song. Musically speaking, it’s static (that’s a polite word). Lightfoot (and pop/rock artists everywhere) take these music fragments and make them come expressively alive with lyrics and production tricks—wailing guitar improvisations, synthesized backgrounds, strings. But mostly—people are listening to the words.

When the musical palette is “middle school band,” however, there’s not much you can do to vary what becomes the same short tune over and over and over. The kids, after learning the song (which didn’t take long), recognized that: The Wreck of the Edmund Fitzgerald was repetitive and (here comes that word) boring. A whole lot of long notes.  

But–here’s the Lightfoot magic–we turned that band arrangement into a different lesson, around the two questions:

  • Why is the Gordon Lightfoot song so cool and moving, and the band arrangement so…static?
  • What could we add to or change in the band arrangement to make it more interesting, more like the GL song?

It was a great, inspired, discussion– resulting in percussion mallets on brake drums to add noises that sounded like ship’s gear. Someone brought in a ship’s bell, which we added to the intro and final measures. We improvised vocal noises like roaring wind. We fussed with the dynamics–to try to tell a powerful story without words, just moody chords and phrase shaping. We even put bits of the lyrics in the program, and two students read a verse to introduce the song to the audience. (It’s a long song.)

It was also a chance to learn about ballads, and music as storytelling. It turned into the most memorable piece on the concert, judging by parent and student feedback.

Rest well, Gordon Lightfoot. Michigan thanks you.

by nflanagan

Eight Observations about Boredom in the Classroom

My child is bored!

Several years ago, I got into a classroom tangle with one of my 8th grade percussionists. I won’t share the details, but take my word that what he did and said was egregiously defiant, disrespectful to other students–and very public. I called him out for his unacceptable behavior–also in public–and sent him to the office to cool down, something I did fewer than a dozen times in 30 years of classroom practice. Later, I met with him in the office, privately, and we settled on what would happen next. He went on to his next class.

Then I called his mother, who was a high-profile person in our small community, just to let her hear what happened and what the outcomes were. She was appreciative of the call and expressed agreement with my actions. And then she said: Maybe this is my fault for not pulling him out of the band. Lately, he’s been so bored in your class.

I was floored. While this boy may have been a star in some of his classes, he was a middle-of-the-pack performer in the drum section. He was also smart enough to know the music I was dishing off to him was at his challenge level. We were preparing for several fun performances, and he had some key parts to play.

So–why complain to your mom about being bored? What’s that about? How should parents and teachers interpret and deal with charges of being bored in the classroom? Here are eight of my experience-honed, overlapping ideas about student “boredom:”

  • Boredom is never an excuse for bad behavior. Being bored doesn’t get you off the hook for rudeness or worse. If you’re bored, see it as an opportunity to figure out why. In addition, bear in mind that many excellent life habits are established through repetition and plodding along.
  • Boredom should not be immediately equated with “dumbed down” curriculum and instruction. Applied learning happens in peaks and valleys. Practicing almost anything can feel boring, at times. It’s not “too easy” if it’s not yet automatic. Practice at a lower level–solving single-variable equations, reading a young adult novel, singing with a less-experienced choir, playing soccer with younger players–can also be very pleasurable. As a music teacher, I tried to have music in the folder that was over my students’ heads as well as rip-through-it simple.
  • Buying into kids’ boredom as valid reason for disconnecting or misbehaving corresponds to another fallacy: the idea that “good” teachers should make every lesson novel and entertaining to kids. True, there is a strong acting/entertainment factor in dynamic teaching. Great teaching should inspire learning through more than attention-grabbing, however. Reminder: the person who does the–hard, and occasionally monotonous–work of learning is the student. It doesn’t matter how many white-lab-coat chemical explosions they witness, or if their fifth grade teacher dresses up like Amelia Earhart–there is no learning without diligent effort on the part of the child.
  • Boredom is not a sign of giftedness. I once honked off a few hundred parents (and teachers) in the Gifted/Talented community by suggesting that if their children were truly gifted they’d be finding ways to amuse themselves in so-called boring classes. (I also suggested some of these might be less than desirable, given personal experience with very bright kids who love to keep things lively.) Boredom and giftedness are two separate things. I do support challenging curriculum and instruction for very capable students–but not because they’re bored.
  • “Boredom” should not be used as reason to assert that kids should never have to wait for other children to catch up. Children consistently learning at the wrong level (both too low and too high) will be vulnerable to disengagement, of course. But having to wait until the class has solidified a concept before moving ahead is not a crisis. Cliched but true–education is a journey, not a race. Sometimes, you’re leading the pack. Other times, you aren’t. There are benefits to learning in a cooperative group, the primary one being developing the skill of acceptance and appreciation for the viewpoints and capabilities of other human beings.
  • Boredom is merely lack of engagement, a two-way street in terms of responsibility. Are there boring classrooms? Yes. There are boring drills, boring lectures, boring warm-ups–and any number of boring instructional strategies (i.e., worked examples in mathematics) that yield some learning benefits. Daily practice of musical scales isn’t much fun, but it’s an enormously effective technique-builder. Brushing your teeth is boring, too, but that doesn’t mean you should stop.
  • Boredom can be cured–by students. I think the most useful thing parents, teachers (and students) can do to prevent genuine boredom is devise individual strategies to extend learning– read a different book, tackle a more challenging solo, ask for harder problems or other enrichments. Anyone who’s ever leafed through a well-used textbook knows that some kids know how to doodle their way to amusement. Tell your kids to own their boredom and fix it.

My cocky 8th grade student calmed down and finished the year–as do most kids who make a big deal about how bored they are. We should teach students that boredom, like any problem, can be your friend. Right?

by nflanagan

Field Trips Gone Wild

Truth meme, about teaching middle school: Sometimes, Stuff Happens. Or, more accurately, stuff happens all the time and pretty much everyone rolls with it. Because middle school.

I almost hate posting this blog. I know the district and the union would prefer that this incident be quickly forgotten, as it should have been. And as it would have been, had a newbie board member not turned it into an opportunistic fanning the flames of Our Schools are Corrupting Innocent Youth.

Short synopsis: Middle school band and orchestra students, accompanied by their teachers, take a field trip to see the Detroit Symphony. They stop for a pizza lunch on the way home. Because there are so many of them, the owner of the pizza joint offers extra space upstairs to eat. This space—empty when the students are eating there—is set up as a nightclub on weekends. Kids take photos of themselves swinging on poles—and Board member foments outrage by talking about how teachers are taking their kids to strip clubs in a sketchy area, inviting parents to complain.

Yeah. Because that’s what music teachers do—take their students to naughty places. Grooming them, via Beethoven and bassoons.  

What bothers me most is that nobody—not in any of the articles or social media outbursts—comments on the teachers’ professional generosity and ambitious goal for their students– to see and hear a world-class orchestra, and include lunch in the deal.

As any teacher who’s ever initiated a field trip—even a walk to the local fire station—knows, these things take a lot of time and planning. There are the parent permission slips (which these students had), the content students must absorb before going (how to behave, when to clap, which instruments form an orchestra, information about the music they’re going to hear and the musicians playing it). There is the problem of recruiting enough parent chaperones. Don’t forget the financial arrangements—whether the cost was picked up by the school, the boosters organization or the students themselves—which represent hours of management, collecting money and fund-raising.

Why isn’t anybody saying Wow! Plaudits to those music teachers for their hard work in putting together a worthy field trip for music students?

Because I’m fairly certain that this will be the last time those particular teachers take their kids to see the Detroit Symphony. Or any other special, academically valuable foray outside the school walls.

I say this as a 30-year veteran of taking music students places, to see/hear/experience music beyond our own band room. I took 8th graders out of state and occasionally out of the country every year, to see and hear things that weren’t available to them in our semi-rural community. There were always two concerts on these multi-day trips—one to listen to, the other that we played—and a focus on music and culture. There were also formal, sit-down dinners, buffet breakfasts, museums and science centers, musicals and movies on the bus and rules! So many rules!—all of which took preparation and parent buy-in.

And I have stories.

Lots of stories, most of which are like this pizza lunch—amusing, spur of the moment, Stuff that Happened, certainly not pre-planned. I’ve had students get lost in the Toronto Science Center (with a parent, no less). I’ve had tornadoes come through the city where we were staying, requiring us to kneel in the hallway of the hotel, hands laced over our necks. I once took a student who was eight months pregnant on a four-day field trip in another state (she was a dedicated musician, who now sings professionally).

Then there was the time that more than half of the 130 students came down with a stomach bug, while on the trip. Not fun at all.

The story I’d like to share, however, is about taking my students to a night club in Chicago, on Rush Street, near Division. It had been a great trip—the Chicago Symphony, seeing West Side Story at Drury Lane, eating at Ed Debevic’s—and on the last day, we scheduled a pizza lunch at this particular club, so we could hear the house band play some blues before heading home.

As we entered the place, it smelled strongly of smoke. In the daylight, it was not a glamorous place—there was a little stage, sans pole– but it was clean, and the staff was bringing out pizzas and pitchers of soda and water. The four-piece band started playing and the students started pulling their chairs up to listen.

The tour guide—a retired band director—unpacked his trombone and played a few choruses, and the kids applauded wildly. The band made comments between tunes, explaining how they played from memory and lead sheet, and what made certain songs ‘the blues.’ They took questions from the students.

Then they asked if any of the students wanted to sit in. One of my percussionists (let’s call him Scott Ego) volunteered, and had the experience of playing drums with four grizzled, legit jazz musicians on Rush Street in Chicago, at age 13.

After the trip was over, we always surveyed students about what they learned. Hands-down, the pizza lunch with jazz was their favorite thing; the comments were filled with respect and information. 

What are the kids on the Detroit Symphony field trip learning?

Maybe that adults are using them and their teachers to politicize a harmless incident.

by nflanagan

Keep Your Hands Off My Curriculum

There is a certain irony, I realize, in a music teacher writing a piece called ‘Keep Your Hands Off My Curriculum.’ Music education is generally one of those areas that Moms for Faux Liberty types ignore (unless—and this comes from personal experience—it’s critiquing the tunes chosen by the marching band whose entire existence, to some people, hinges on supporting football players).

Who cares what they’re learning? It’s just music! There’s a lot wrong with that assumption, beginning with the universality of music—as human beings, we’re swimming in it—but first, I want to talk about all everyday curriculum, across the K-12 spectrum–and who controls it.

My pitch here is about the individual teacher voice in selecting materials and designing lessons for students, and it’s based on two fundamental teacher competencies: *
1. Knowing your students well, and being committed to their learning.

2. Having deep and always-growing knowledge and pedagogical expertise in the subjects and developmental levels you teach.

The second of these is something that can and should be continuously improved, across a teaching career. It’s the point (if not the actual outcome) of what we call professional development.

The first, however, depends on the individual teacher’s character and temperament, their belief that all students have a right to learn.

Now—I’m not opposed to standards or other common agreements, whatever each state or district calls them, the big buckets of what students should learn and when. Broad standards can organize and sequence curriculum; outlining disciplinary essentials and giving all educators a framework for what students should know and be able to do, at the end of their schooling, is undeniably important.

What I’m saying is that site-specific agreements– what all 9th graders in the district should read, for example, or how to teach the life cycle of a butterfly–ought to be made by those on the front lines. The ones who know the kids, and are committed to their learning.

This idea ought to be glaringly self-evident—to educators, to parents, even to Joe Lunchbucket who watches Fox News. Kids who live in Flint, Michigan may need to know and be able to do different things than kids who live in Dallas—or Anchorage. Who is best positioned to choose engaging materials, develop concepts, deliver instruction, lead discussions and check for learning?

Certainly not Chris Rufo, who seems to be everywhere these days, merrily inserting his personal beliefs into college syllabi and waging gleeful war on beleaguered K-12 public schoolteachers trying dutifully to teach things, it must be noted, prescribed by others.

It was the linked article on Rufo—and this piece–that inspired this blog. The story is about an Ohio administrator who interrupts a teacher reading Dr. Seuss’s The Sneetches during a recording session intended for an NPR podcast.  A third grader makes a very astute comment; the teacher (Mandy Robek) continues reading, but the admin (Amanda Beeman) shuts that whole thing down:    

“It’s almost like what happened back then, how people were treated … Like, disrespected … Like, white people disrespected Black people…,” a third grade student is heard saying on the podcast.

Robek keeps on reading, but it’s shortly after this student’s comment is made on the podcast that Beeman interrupts the reading.  

“I just don’t think that this is going to be the discussion that we wanted around economics,” Beeman said on the podcast. “So I’m sorry. We’re going to cut this one off.”

(NPR reporter) Beras tried to tell Beeman that “The Sneetches” is about preferences, open markets and economic loss, but Beeman replied, “I just don’t think it might be appropriate for the third-grade class and for them to have a discussion around it.”

I actually have some empathy for the administrator. She’s totally wrong—kudos to the teacher and the reporter for choosing the book and understanding the relevance of the child’s comment—but I’m sure Beeman envisioned her job security disappearing in a wave of rabid, sign-waving Moms for Control Over Everything at the next school board meeting, and panicked.

But that’s the point here: Educators need to be prepared to defend their curricular choices, with passion, conviction, and carefully considered rationales. Rolling over for the likes of Chris Rufo, the Hillsdale crowd, and dark-money funded and fully politicized organizations who wish to take down public education is not professional behavior.

Once they control what gets said and read in the classroom, the next target will be public libraries. All publicly funded services, the things that build healthy civilization and make diverse communities strong, will be on the chopping block. Ironically, this is about what the Sneetches were trying to teach the kids in Ohio: preferences, open markets and economic loss. What students learn, even in 3rd grade, matters, it seems.

This is a huge issue, wrestling over curriculum and parents’ desires, and it’s been part of public education since the very beginning. No matter how many standards are imposed, or school board meetings disrupted, however, the most critical aspect of instruction remains the individual teacher’s understanding of what is useful and important for the students in their care, and their personal knowledge and skill in delivering those things. 

Here’s a story:

In 2008, I was e-mentoring some first-year teachers in an alternative-entry program (in other words, not traditionally trained). They were white teachers, assigned to an all-Black district in eastern North Carolina, country that was once endless tobacco fields. Most of them came from elite universities, and all were laboring under the misconception that they were ‘giving back’ to society. A lot of their conversations were about raising the bar, making a difference, blah blah blah.

It was also the Fall of 2008, when Obama was closing in on the presidency. Students in the school were wild with excitement. One of my mentees, teaching Civics and Government, kept sending me long emails pouring out his concern over the ‘unprofessional’ teachers–the ones who had been there for years. They allowed students to disregard the official curriculum! They spent classroom time talking about this miracle that was about to happen, even letting students campaign. Unethical!

He, of course, maintained that he was sticking to standards and remaining neutral about the race. After all, the students would be taking statewide exams next spring, and he wanted them to score well.  He went so far as talking to the principal about his concerns.

I tried to suggest that he was teaching during events that could make history—and incorporating real life into lessons made them more meaningful. I asked if he had conversations with his veteran colleagues, about why they thought abandoning the prescribed curriculum was sometimes okay. Our dialogue got more and more strained, until he basically stopped communicating with me.

This young man had always considered himself an outstanding scholar in the social sciences. His lesson designs (debates, short-writes, small-group discussions, film clips) weren’t bad at all, especially for a newbie. He had some ideas about how to be a good teacher, and passion for the subject matter. What he was missing was knowledge of students and commitment to their learning. When the principal had a pep assembly to celebrate Obama’s victory, he was disgusted. For a public school, this is totally wrong! he wrote.

I have thought of him often—I’m fairly sure he’s not teaching any more. Which is too bad. Because being a master at custom-tailoring worthy curriculum to the students in front of you is a skill that takes time and confidence. It really cannot be outsourced.

* If you sat for National Board Certification, these principles will look familiar. If they resonate with you, check out the National Board for Professional Teaching Standards’ Five Core Propositions. Good stuff.