It's all your business: work stations: enhancing the independent studio.

Teaching music in an independent studio has changed drastically over the last thirty years. Students, who at one time primarily received instruction on how to play an instrument, now often receive a more rounded approach to music education. The independent music teacher of today focuses more on additional areas such as music theory, music history, ear training, sight reading, world music, ensemble playing or composition, as well as the traditional emphasis on performance. One of the best ways to successfully integrate a broad curriculum, as well as increase studio income, is by incorporating a work station into the independent studio.

A work station can be simple or elaborate, "low tech" or "high tech." A small space within the existing studio may be used, or the work station may expand to a whole new room. The variations are limitless, and each teacher can decide what is best depending on budget, space considerations and musical goals.

One misconception about a work station is that it is expensive and requires high-tech equipment and skills. In actuality, an extremely functional work station can be built with only three pieces of furniture--a table, a chair and a file cabinet or shelf with dividers for folders and books. Each student can sit at the table and open an individualized folder, with the assignment for the day included in the folder. Perhaps a music theory workbook would be included in each folder or a reading assignment for music history. This means certain books must be purchased, but individual workbooks can be charged directly to the students.

Although many teachers are familiar with music theory workbooks, they may not be using music history books. A small library of student-level books about music periods or composers can be purchased easily and may be deducted as a studio expense. A few to consider are They All Sat Down--Pianists in Profile, by Leonice Thompson Price (Willis Music Company) and Student's Guide to the Great Composers, by L. Dean Bye (Mel Bay Publications, Inc.). Workbooks also can be purchased, such as Famous Composers and their Music, by Henrietta Atkin (Hayes School Publishing Co, Inc.); Music Alive! Great Composers of the 20th Century, by Jacquiline Wollan Gibbons (Hal Leonard Corporation); Let's Meet Famous Composers, by Kinghorn, Badman, Lewis-Spicer (T.S. Denison & Company, Inc.); and Meet the Great Composers, Books One and Two (with or without CD), by June Montgomery and Maurice Hinson (Alfred Publishing Co., Inc.).

Add to this basic set-up just a few more items, and the possibilities expand. By purchasing a tape recorder/CD player with a head set, students can be given listening assignments. World's Greatest Composers (five sets of six cassettes) by Brad Thompson (available through musicedmarket.com) has a series of stories about composers and musical periods. A larger program, Excellence in Music (seven sets of twelve cassettes, also available through musicedmarket.com) by Thompson, has a series of twenty-minute lessons designed to teach a broad foundation in music theory, harmony, ear training and music history. Individual workbooks can be purchased to accompany the sequential cassette lessons. CDs, such as the Classical Kids Series by Susan Hammond (available through childrensgroup.com), tell stories built on the lives of composers, such as "Mr. Bach Comes to Call," "Beethoven Lives Upstairs" and "Mozart's Magic Fantasy."

CDs and workbooks on world music can be enjoyed at a work station, as can recordings of great music. Listening assignments can include a piece by a composer the student is studying, or examples of symphonies, trumpet concertos or operas that may provide a new experience.

Assignments can be organized around a theme, such as Beethoven, baroque music, opera or jazz. The theme can change every few months, gradually building a broader understanding of the many facets of music. Many teachers already have a CD library of great music, but even if materials must be purchased, they will be a business expense, a tax deduction and a great asset to the studio.

The possibilities for a "high-tech" work station are limited only by money and space, with far more uses for technology than I can do justice to here. On the most basic level, a high-tech work station needs only include a computer with music software. The potential for varied assignments increases with the addition of a MIDI keyboard and an Internet connection. This type of work station also can be incorporated into the studio space, and takes little more space than a table, chair and bookshelf or file.

Computer software exists that teaches music theory, music history, ear training, world music, composition, rhythmic dictation and aural dictation. One thing to look for when purchasing software packages is whether the programs are tutorial or drill. The tutorial programs will teach the student new skills; the drill programs will drill areas that have already been presented. Some programs are games with colorful pictures, while others are similar to black-and-white worksheets. It is important to decide in advance which you prefer. Many of these programs log in students individually, test them as they go through the drills and record their scores for the teacher to view later.

All programs can be chosen for the age and level of the students intended, and many cover a wide range of levels. Some programs require the use of a MIDI keyboard, others do not. Notation packages exist to assist with writing music by computer. Sequencing programs help students write multi-layered compositions using the MIDI keyboards, layering string sounds with flute or trumpet sounds.

It is important to give the student a specific assignment and check progress regularly. Assignments, which use a variety of different programs or types of activities, also hold their interest. For example, the teacher could assign a scale drill (MiBAC Music Lessons by MiBAC Music Software), an ear-training assignment (Play It by Ear by Ibis Software), notation of a composition (Finale by MakeMusic!) and an interactive CD-ROM (The Musical World of Professor Piccolo by OpCode Systems) all in the same lesson.

A valuable addition to this type of work station is an Internet connection. With access to the Internet, students can research material related to their composition, composer, type of piece or period of music. You and your students can work together to build a studio library of helpful Internet sites. By conducting a search, such as "baroque music," "Robert Schumann" or "string quartets," the Internet can provide a number of educational sites, complete with pictures and often with links to musical examples. Students can then report to you verbally on their research, do a written report or prepare a PowerPoint presentation for extra studio credit. Never fear that your students will be unable to use the technology. Usually they are more technologically savvy than the adults in their lives!

When the work station is in a room other than the studio, multiple keyboards and computers allow for ensemble playing, group research on the Internet and interactive learning. Another piece of equipment to consider for a work station, especially if it is in a separate room, is a television with a VCR/DVD player. A number of videos about the lives of great composers can be incorporated easily into a planned curriculum.

The teacher who wishes to build a work station should budget a small, reasonable amount each month toward work station materials. It won't take long to build a functional library of materials that can be used and reused through the years. A number of companies have catalogues listing a variety of books, videos and CDs, such as Friendship House (www.friendshiphouse.com), Music in Motion (www.musicmotion.com), CLEARVUE/eav (www.clearvue.com) and Music Educators Marketplace (www.musicedmarket.com).

There will be extra work involved in running a work station. The teacher will need to plan a curriculum, as well as assign and correct workbooks, (unless a self-correcting software program is used) or read written assignments. Increased work and expenses from the addition of a work station should result in the addition of a work station fee or an increase in overall tuition. A studio brochure can reflect this special feature of the studio, and parents will not only understand, but will appreciate the reason for the additional fees. Many teachers charge half of the private lesson fee for an equivalent amount of student time spent at the work station. Some teachers employ an older student to help with correcting work station assignments or organizing materials. Often, work station time is arranged as thirty to sixty minutes before or after the weekly private lesson, adding significantly to student time in the studio. The additional fees help cover the cost of the work station, but also should increase the income of the teacher. It is important to remember that the more we do for our students, the more we should be paid for our services!

The benefits of adding a work station to the independent studio are numerous. A work station will allow the teacher to cover a multitude of areas more thoroughly than would be possible in a private lesson. A more creative curriculum increases students' enjoyment and varies their learning opportunities. Additional income is earned, and the teacher can take pride in a studio that is truly unique.

Beth Gigante Klingenstein, NCTM, has been an independent music teacher for twenty-eight years and is on the faculty of Valley City State University (VCSU) in North Dakota, where she also is the director of the VCSU Community School of the Arts.