It's all your business: a final overview of professionalism in the music studio.

Over the last 30 years I have been fortunate to learn a great deal concerning professional issues. From my first year of charging $2.00 an hour and keeping no records to the present, it has been an exciting journey! By conducting teacher surveys, doing research, giving presentations, networking with other music teachers and writing articles and books, the area of professionalism in the music studio has become one of special interest to me. In this, my final column of "It's All of Your Business," I offer a brief overview of what I consider to be the essential elements of a professional studio. It seemed impossible to list them in order of importance, so this order is completely random.

Professional Attitude

Music is a necessary part of our culture, and it is grounded in the work that we do in our studios. Our job provides a valuable service to society, and we need to reflect that by thinking, looking, speaking and acting professionally. There is little chance that we will be perceived as highly accomplished professionals if we do not first perceive ourselves in that manner.

When we view what we do with pride and project that pride to others, they will see us far differently than if we act as if our work is insignificant. "I run an independent music studio" sounds quite a bit different than "I just teach piano in my home." Keeping studio space well organized, dressing professionally, using professional speech, separating teaching time from family time, keeping lesson time uninterrupted by outside distractions, and paying attention to the other nine items listed in this column all contribute to being perceived as a professional. Ultimately a higher caliber of students will be attracted, parents will pay better rates and the community-at-large will perceive us in a more respectful manner when we first do all we can to project a professional image.

Professional Policies

Professional policies include a carefully thought out plan for make-up lessons, one in which our time is respected. The firmer the policy, the less likely it is to be abused. Standing by a firmly worded policy such as "Payment is to be made for lessons not attended" carries much more weight than waffling back and forth over a poorly worded or ambiguous make-up policy.

Policies concerning a clear system of payment, parking, parental involvement, practice and so on, all reflect a well-planned, professional studio.

Rates

I have done a national survey on rates where the average annual income of the independent music teacher fell somewhere between a manicurist and a maid. We deserve far better. Some teachers might say, "But I only work part-time." Often those who see themselves as working part-time actually work more than 40 hours a week--they just don't teach 40 hours a week. We all need to look at our work week as including many activities, not just our teaching time, before we decide if we work fulltime or part-time.

When setting rates it is important to remember that we get no benefits (health insurance, paid sick leave, retirement plan and so forth), our rates need to cover a number of activities besides lesson time (recitals, festivals, reviewing new repertoire, performance classes, theory classes, workstations, bookwork, judging, professional meetings and the like) and we have a number of overhead expenses (studio space, instruments, music, books, recordings, and equipment such as computers and printer).

When parents ask, "How much do you charge per lesson?" I don't answer that question. Instead I describe the many services I provide in my studio and speak about my tuition. I set my tuition by deciding how many weeks I wish to teach during the year and multiplying that number by how much I charge for each week's complete activities. This gives me the annual income I will receive per student. By dividing that income into 10 months, 12 months, 4 terms, 2 semesters or whatever period of time I desire, I establish a set, steady tuition that is not diminished by missed lessons or holidays.

It behooves us all to calculate our annual income and to decide if we are being paid what we are worth. Factors that affect income include educational level, years of experience, location, services provided in the studio and a clear understanding of what other professions in the area charge. A recent Dallas magazine article stated that a local hairdresser was earning $100,000. My guess is that there are many music teachers in that area with more skill and experience who are earning much less.

Professional Documents/ Marketing

Studio documents say a great deal about us. They reflect how organized and professional we are in our work and serve as valuable marketing tools. Although there are many types of documents that we can self-publish, among the most important are:

* Studio policy sheet: outlines all important policies. A copy of this document should be signed by a parent or guardian (agreeing to all studio policies) and returned.

* Registration form: lists all the pertinent information about a new student.

* Studio brochure: lists important information about the teacher and the studio, such as a brief bio, services offered and so on.

* Interview form: lists important questions to be asked during the interview with a clear format for recording information.

* Business card and studio stationery: includes studio name and logo, as should all studio documents.

* Studio newsletter: keeps parents up to date on studio activities, dates and other news.

* Studio calendar: lists all important studio events and dates, such as performance classes, festivals, competitions, state theory exams, recitals, holidays and other events.

* Bookkeeping records: organizes and documents studio bookkeeping, either in a written format or a computer program. * Webpage: can include links to studio brochure and newsletter, registration form, policy sheet and so forth. Just a reminder: no pictures of any student should be published in any document without first receiving written permission from a parent or guardian.

Professional Organizations/ Networking/Conferences

Too often the independent teacher sees him or herself as just that--independent. The point has been made that we are also interdependent. When we learn from each other we function far better than when we are isolated in a studio experiencing no contact with the world of music and teaching. Teachers with a high level of professionalism generally join professional organizations and attend local, state and national meetings and conferences. Local meetings allow teachers to learn from monthly programs, as well as from each other. State and national conferences provide an invaluable tool for self-improvement and networking. Rather than attending a few meetings now and then, much more can be gained by being truly active in a group, chairing committees and holding offices.

Professional Development

The conferences and meetings listed above provide a valuable tool for professional development. Other areas for self-improvement include setting aside regular time to read professional magazines, as well as the many fine books related to our profession. Just as a doctor or pharmacist must devote time to continuing education, so should we.

Practice

In our busy schedules, it is easy to feel there just isn't enough time to practice our instrument. Some teachers may feel that this isn't even necessary. In reality, we all need to maintain our own skills as musicians. Practicing on a regular basis, taking lessons when possible, and learning new teaching repertoire all contribute to improving our skills as a teacher and thus being a more professional practitioner of our craft.

Professional Curriculum

As teachers, we can teach from the same books and plan the same activities year after year, or we can make a conscious effort to vary the curriculum we offer in our studio. When new ideas are executed, the teacher, students and studio life stays fresh and invigorated. An inclusive and ever-changing curriculum might include areas such as:

* new repertoire

* music history

* music theory

* improvisation 

* composition

* chamber music

* summer camps

* computer labs or workstations

* themed semesters

* a systemized approach to:

** sight-playing

** practice and memorization techniques

** counting/rhythm

Technology

Regardless of our age or our technology background, it is time for us all to test the waters of technology. Every studio can benefit from a computer lab and MIDI keyboards. New software programs assist with all of the areas listed under Professional Curriculum, as well as with business issues such as developing studio documents and keeping accurate records. Technology will not take over the creative, musical or technical skills we need as music teachers; rather, it serves as a tool to enhance our curriculum and make better use of our teaching time.

Advocacy

In this time of diminished concert attendance and decreased funding for the arts, we all can serve as strong advocates for the arts. We do this first by being active musicians and running professional studios, thus adding to the presence of music within our communities. Beyond that, when our city commissioners vote on funding for the arts, or the school board addresses issues affecting the arts, we need to be present and vocal. Each of us can then choose a path for further advocacy. The arts need our strong, visible, vocal, enthusiastic and passionate support.

Although I could go on for hours, I hope this article provides a helpful overview of the central elements needed for a professional studio. It has been a pleasure to write "It's All of Your Business" and I offer my thanks to all who have shared ideas with me over the years.

Editor's Note: In this, her last column, Beth Klingenstein has written an overview of her thoughts on professional issues. We would like to thank Beth for her years of work for AMT.

Beth Gigante Klingenstein, NCTM, is nationally known for her presentations and writings on professional issues affecting the independent music teacher. Klingenstein taught as an independent teacher for 28 years before accepting a position at Valley City State University. where she also is the founding director of the VCSU Community School of the Arts.