Certification--the worth of it!

Periodically, a survey regarding independent music teachers' fee schedules is conducted and subsequently published. Music teachers answer questions ranging from, "What do you charge?" to "Why raise fees?" and "What impact do education, experience and location have in determining a fee schedule?" The most recently related article appeared in the February 2004 Clavier with subsequent justification articles and letters to the editor, where the battle of opinions on fees raged. Most respondents justified their rates based on three criteria: 1) Education 2) Experience and 3) Location. Only one teacher mentioned that his or her fee was equal to those with degree, teaching experience AND "MTNA Certification, which is part of my commitment to professionalism." (Clavier, Feb. 2004, p. 7) Many respondents think independent music teachers have every right to set fees equal to those of other professionals, but what defines the independent music teacher as a professional? With only one respondent mentioning teacher certification, part of the problem with professional identification could be attributed to a public image problem and a personal perception problem of independent music teachers.

Reflect back to the last phone inquiry you may have fielded. In my last phone interview question #1 was, "How much do you charge?", and question #2 was "Where are you located?" This phone inquiry may or may not be typical, but it brought to light the public image problem. The question of fees came before finding out what my qualifications were, or if I had any qualifications beyond a studio name or even the type of program offered. When she said she had other teachers to call, I asked if she was looking for a nationally certified music teacher. The reply she gave is evidence of an information breakdown. "Oh, it's just for me and I only want to learn to play for fun." The public is missing the point when the assumption is "anyone can teach beginners or hobbyists." At a recent recital an adult shared how she had taken piano lessons from a friend's second cousin, who did not make it interesting enough, so she became bored and quit. Now, this can happen even with a qualified teacher, but how many "beginners" experience the same lack of motivational ideas and prematurely come to an end of their musical potential? The second problem area is the personal perception of the independent music teacher.

In the April 2004 Readers' Digest, an article entitled, "Who's Hiring Now? New Jobs--Good Pay, Great Future," appeared. Five work force fields were identified as among those most likely to offer the most growth in the near future. Each field had three levels of training: 1) high school education 2) experienced white-collar managers and 3) recent college graduates. Now, independent music teachers were not to be found among these five fields, but what was found could be a clue as to why the independent music teaching profession is still considered a cottage industry by the IRS. Within each of the five fields listed, health care, technology, security, financial services and knowledge, at least one, if not more of the positions indicated that appropriate certification would be helpful or necessary. The following quotes from this article were enlightening:

* "It's also wise to pursue professional certification ... by completing an accredited program and passing a national exam."

* "You must complete a two, three, or four-year accredited program AND pass a state board exam."

* "Boost your odds of being hired ... by getting appropriate certification."

* "You'll need prior experience, and completing a two-year certification process helps."

* "Certification by the National Institute for Certification in Engineering Technology is a plus."

* "Many consumers expect at least Certified Financial Planner (CFP) certification."

* "Certification from American Health Information Management Association (AHIMA) is preferred."

One leading independent music teacher suggests that by viewing ourselves as professionals, the public would embrace us as such. Another prophesizes that "we will command the respect and remuneration we deserve when we are confident and proud about our profession. Yet, in the Clavier survey response, only one mention was made of the MTNA Professional Certification credential as criteria for an independent music teacher's qualifications and for establishing and raising fees. This credential has the potential to bind us together professionally, to enhance our public image, to command more professional respect, to set realistic fees and to reform an image problem that has plagued us since the inception of the original MTNA Professional Certification in 1898.

So how do we go about perceiving ourselves as professionals? The first answer to that lies in the question itself. We first have to recognize MTNA Professional Certification as a means to view ourselves as having met professional standards that will identify us as committed professional music teachers, rather than hobbyists. Then, and only then, can the public perceive us in the same manner. Other professions have built-in mandatory requirements for education and certification to safeguard the public. Not so for independent music teachers, and until the public realizes even the possibility of procuring a teacher credited and certified by a national body of peers and commissioners, will we see much change in the public image of the independent music teacher. And how will they know unless we tell them? In my own experience, and those with whom I have been associated, once the NCTM credential has been earned, the confidence level in oneself is raised and a higher level of respect for accomplishments is attained.

MTNA is working more and more with college and university pedagogy departments to determine programs that will allow graduates to meet the minimum standards of MTNA Professional Certification. Many pedagogy programs have endorsed and utilized the Guidelines for the MTNA Professional Certification Portfolio as an option to complete course work toward a degree. I continue to encounter new teachers who are unaware that obtaining the MTNA Professional Certification is the first step one should take when setting up an independent studio. College and university music faculty can promote this credential to their graduating students and beginning teachers. MTNA Professional Certification can, and should, be the one unifying factor of our professional organization:

* College and university faculty can use the program's Standards and Guidelines in their pedagogy curriculum.

* Local associations can highlight it as the professional credentialing program for its membership. In addition to MTNA Professional Certification literature, a list of suggested program ideas to help promote certification is available for this purpose.

* The Independent Teachers Forum can use MTNA Professional Certification as a tool to help independent music teachers gain recognition as professional educators and small business owners from city government agencies.

If we want to be viewed as professionals, obtaining MTNA Professional Certification should be the very first goal independent music teachers accomplish, when setting up a teaching studio and business. It means meeting a certain set of equitable standards, being reviewed by a set of peers and credentialed by those in the profession. Suzanne Guy (Letter to the Editor, Clavier, April 2004, p. 2) may have pinpointed the answer when she hinted that perhaps teachers have been their own worst enemies. Respect for our profession begins at home with the encouragement of all teachers to meet the same standards.

When I was a young teen, a wonderfully wise businessman spoke to our youth group and gave us each a copy of Edgar Guest's poem, My Own Worst Enemy. I have carried that with me and passed it on to my children in an effort to elevate their thinking and respect for themselves. Let it be our call to action as we strive to elevate our perception and the public's perception of our profession.

   "Here's how I look at the game," said he,
   "I am the man that can injure me.
   Day by day and year by year
   I am the fellow I have to fear
   A thief with a pistol may steal my purse
   But things which I do to myself are worse.

   "Shall my life be a credit or just a botch?
   I am the fellow I have to watch
   Thieves may rob me and rivals strong
   May crush the dreams which I've cherished long
   But the greatest harm that can come to me
   Is the hurt I may do to myself," said he.

Our profession may not rise or fall on the strength of the MTNA Professional Certification program, but to gain an equal footing with other professional wage earners, it certainly gives us a step up from the image we currently hold.

Lucinda Lear, NCTM, of Waterloo, Iowa, is the West Central Division representative on the National Certification Commission. She has a private music studio teaching both voice and piano. Lear has served as adjudicator for several music festivals and auditions, director of several children's choirs and as a church pianist.