Teaching for independence.

Whether the student is a violinist, pianist, French hornist or vocalist, the ultimate goal of music teachers is to prepare students to become self-directed in their learning. This is sometimes called "inspired learning," but it really is nothing more than setting into motion a plan for success.

As abstract as musicians might think themselves to be, we still are craftsmen whose art emerges from very concrete skills. It is critical to teach these skills carefully and methodically from the very beginning, or students may develop habits, both in their practice and technique, that become limiting later on. In addition to careful structure, there must be an element of fun for its own sake, particularly for the young student, to sustain enthusiasm and interest. The teacher is responsible for establishing these priorities and sequencing them properly so as students mature and consequently come to expect more from their musical experiences, they are equipped to do so.

As a high school band director, my students come to me with three years of experience on their instruments. However, the task of teaching them to play those instruments is far from over! With many kids and many different instruments to teach, there is an enormous need for structure to ensure quality at all levels of experience and interest.

Structure

Despite what kids would have us believe, they secretly crave structure. After all, structure is safe. When there is a plan in place and a method for carrying it out, there is a sense of confidence and assurance that the outcome will be positive. A high degree of specificity on my part as the teacher sends the message that success is realized through attention to detail and through the meticulous pursuit of quality. I hold my students highly accountable for the mastering of fundamental skills as the point of departure in creating a musical experience. The curriculum calls for students at every grade level to pass "barriers" for placement in a performing band. As the process unfolds, students are fully aware of their progress at every turn. This allows students to participate along with the teacher, not just as an object of instruction.

Strategy

As a high school math student, I took great comfort in the fact that my textbook had an answer key in the appendix. My math teacher, an inspiration to me because of the way he helped me become successful in his class, required that we show all our work on assignments. Simply writing down the answer was not enough, so the answer key didn't substitute for the process of arriving at the result. Being able to corroborate my calculations with the answer key created countless "ah HA!" moments for me as the accuracy of my work was either confirmed or refuted.

My music students have those same moments because they, too, have the answer key. Each student is provided a highly detailed criteria-reference guide that is used to evaluate the degree to which they satisfy various aspects of their musical study. By sharing with them the criteria used to evaluate their progress, our musical relationship becomes a collaborative effort. They can refer to the guide and the descriptors to determine the qualities present or lacking in their performances and then pursue the objectives at the next level. The strategy is to educate students to evaluate their own performance as I do as their teacher, then identify and pursue those attributes that will help them advance independently. This type of self-directed learning creates a sense of ownership in the process and builds enthusiasm as the student takes responsibility for his own mastery.

Process

This process does not, in any way, relieve the teacher from being a master pedagogue. On the contrary, the teacher, once the criteria have been established, must be able to offer highly substantive feedback so the next level of achievement is attainable. The answer in the back of the math book doesn't necessarily help with the process: it serves primarily to confirm or refute the result. The teacher must be eager and willing to spend time with the student individually to help her understand how the criteria apply to her performance and what that means in the process of becoming a better musician.

For example, when evaluating scales, the student is given a score ranging from 1 through 10 for each scale performed. A summary of the criteria referenced by those scores is as follows (Note that these particular descriptors apply to wind instrumentalists.):

Score    Evaluation Criteria

1:       The student attempted to play the scale, but it is
         unrecognizable.

2:       Tone quality may be poor and many of the notes are
         wrong, or the student did not finish the scale.

3:       Some of the notes are correct. Tone quality may be
         poor, and the correct range may not have been
         performed.

4:       Most or all the notes are correct, but rhythm/pulse
         may be uneven. Tone quality may not be characteristic
         of the instrument. The correct range was attempted
         but may not have been completed.

5:       All notes and fingerings are correct. Rhythm is even or
         very close, and the correct range was performed. Tone
         is developing properly but may be inconsistent in the
         extreme ranges. Vibrato may or may not be present.
         Articulation is consistent but may be in need of further
         attention.

6:       Articulation is clear, and tone quality is generally
         characteristic. Technique is even, and the tempo is steady.
         The scale is not perceived as slow. Vibrato is present
         on long notes (for designated instruments), and the
         last note finishes the phrase musically.

6.5:     The scale takes on all positive characteristics of a "6"
         but at a faster tempo. There is melodic direction, and
         the scale begins to take on a refined feeling.

7.5-8:   Tempos are approaching the maximum for the
         instrument. Tone quality is consistent and well developed
         over the range of the scale. Vibrato is refined and
         mature. Inconsistencies in pitch in extreme ranges may
         exist to a small degree. Articulation is clear throughout
         and does not cause distraction.

9:       Maximum tempo is used for the instrument. The scale
         is well in tune, and the performance is perceived as
         effortless. The performer plays the scale melodically
         with clear phrase direction, shape and tonal energy: all
         elements of a musical performance are present.

10:      There are no discernible flaws to the most discriminating
         listener. The presentation takes on all positive
         characteristics of a professional performance.

Clearly, the lower the numerical score, the more highly objective the descriptors are that correspond to that number. The higher the numerical score, the more subjective the descriptors become. Scores of 1 through 4 identify specific characteristics of the scale performance that must be corrected before the scale is considered "right." A score of 5 represents the threshold for a "correct" scale performance, satisfying the minimum objectives of right notes, rhythm and articulation. Scores above 5 have corresponding descriptors that become more and more subjective and reveal a greater command of technique, as well as musicianship.

Each scale is scored separately on a small chart that is given to students following their performance. Students have instant, easily understood feedback on each and every scale so they can reflect on their success or failure. But more importantly, they know precisely what to do to improve their performance. Using this process, the student and teacher collaborate in evaluation, correction and musical growth with the ultimate goal of creating independent learning on the part of the student.

In my own band program, there are three ability-based performing groups ranging from about fifty to seventy-five in each group. Every student in the program plays twelve major scales by memory to qualify for one of those three performing bands. Students wishing to place in a higher band, or who wish to advance from one band to the next, must satisfy the criteria for that group. For instance, each student in the third band is required to perform all twelve major scales by memory in one sitting. The total scale score must equal 60 with no single-scale score lower than 5. Regardless of total score, a score lower than 5 on any individual scale means the student must replay all twelve scales in a subsequent performance to qualify for the third band.

Students who qualify for the second band also must meet the minimum score of 5 on each scale; however, the total score must be 66 or higher. This means the student must perform some or all scales with more of the subjective qualities found with the scores of 6 or higher. The standard for the top band is a total scale score of 76 with no individual scale score lower than 6.

Most students will play scales many, many times to find their best scores. Students are encouraged to play as many times as they wish, and they keep their highest total score; they never risk receiving a lower total score. Because they never risk a lower score, this elevates the level of confidence students bring to the auditions, which, in turn, helps improve the overall confidence of performance in general.

Scales alone do not determine placement in an ensemble. In the fall, students also prepare three contrasting etudes, and in the spring they perform solos. There is a similar criteria-reference system in place for evaluating this as well (As before, the following descriptors apply to wind instrumentalists.):

Score    Evaluation Criteria

0-9:     An attempt was made to play the etude. Tone quality
         may be poor, and many of the notes are wrong due to
         lack of preparation and/or fundamental skill. The student
         may not have finished the excerpt.

10-20:   There is a superficial level of preparation and the
         presence of some fundamental technical skill. Wrong
         notes and rhythms are a constant distraction, and little
         or no attention to articulation and dynamics is evident.
         Characteristic sound may or may not be present. The
         student's instrument may not be in working condition.

21-40:   There is evidence of a focused effort at preparing
         the excerpt, and the instrument is in good playing
         condition. An awareness of the key is present, though
         occasional errors in key signature may occur. Tone
         quality is developing properly, but may be in need of
         improvement. Tempos are constant, but may be significantly
         slower than indicated in the Performance
         Guide. An understanding of the rhythms is evident,
         though errors may be frequent. There is some dynamic
         contrast. Frequent or occasional stops prevent any
         meaningful musical communication.

41-60:   Note errors are almost nonexistent. Occasional stops
         do not occur at this level. Rhythms are performed correctly,
         but may be uneven or have a tendency to distort
         the tempo. Articulation is generally correct,
         although inconsistencies may exist. Dynamic contrast
         is present to some degree. Ornaments (trills, turns,
         moments and so forth) must be performed to achieve
         a score of 50 or higher. Tone quality is appropriate for
         the age or experience of the performer. Phrasing
         (breathing) has been addressed, but may not be fully
         refined. Tempos may be below those indicated to facilitate
         accurate performance. The performer occasionally
         displays expressive qualities, which elevate the piece
         beyond mere notes.

61-75:   Virtually all notes, rhythms, articulations, dynamics,
         tempos and phrasing are correct and performed confidently.
         Breathing supports the phrase and is natural; it
         rarely causes distraction. Errors, if they occur, are handled
         with maturity and poise. The performer demonstrates
         qualities worthy of selection to the All-Region
         Band.

76-88:   The performer executes all the technical demands of
         the piece fluently. Inconsistencies in articulation,
         phrase direction and tone quality in extreme ranges
         and at extreme dynamic levels may be present, but are
         rare. Moments of credible artistic expression are frequent,
         as all elements of a well-prepared performance
         are in place. The performance would be worthy of
         Outstanding Soloist recognition at solo and ensemble
         competition and may qualify the performer for membership
         in the All-Region Orchestra and to advance to
         the Area level.

89-94:   There are no distractions to the listener, and the
         technical execution of the piece is perceived as effortless.
         Articulation and tone quality are clear within
         every style and are never a distraction. Expressive and
         artistic in every way, any question regarding the musicality
         of the performance is reduced to a matter of personal
         taste. The performance distinguishes the
         musician as among the best at the high school or college
         level. This performance is worthy of selection to
         the All-State Band or All-State Orchestra.

96-100:  This performance challenges the listener's concept
         of the ideal. Professional in all aspects, the performer
         and the presentation may be compared to the finest
         musicians on the instrument.

When working with middle school students, it is necessary to adapt these criteria so the language is age-appropriate. In addition, it might be advisable to modify the range of available scores so younger students, or any students new to this level of accountability, do not feel overwhelmed at the amount of information. Perhaps, scales are scored on a range of 1 through 6 or 7 and etude on a scale of 0 through 60 or 75.

It should be noted that a process, like the one offered here, requires a significant commitment of time on the teacher's part to make himself available to hear students individually over an extended period. Typically, the process of hearing etudes begins in late September and runs through early December. Scale performances begin in November and conclude at the same time as the etude performances. This is, of course, in addition to the other literature being studied for concerts and other events.

Student Response

This is all nothing but rhetoric unless it actually works! During the five-year period this process has been in place, student performance has improved dramatically as indicated by membership in All-Region and All-State organizations, ratings at chamber music festivals and, perhaps most importantly, in the frequency with which students advance from the third band on up to the first. It is such a fulfilling moment when a student, after finally reaching the threshold of 60 on her scales, rushes out of my office waving her scale evaluation, proudly telling her friends that she made it! Inevitably, that student will come back again and again to work on improving her scores because she now knows how. Now we can explore more of those subjective qualities that help this student evolve into a musician and not just a technician.

The enthusiasm with which students embrace this process has led to a very interesting and rewarding byproduct. On the morning following each day's performances, scores are posted (not grades; just scores), and a new chair order is listed. As one student's score edges out another, the enthusiasm with which they seek out a director to replay is almost overwhelming. They are highly motivated to make the next threshold or earn a higher chair. Whereas this might seem to overemphasize the competitive aspect of music performance, the criteria that must be satisfied to achieve higher scores is progressively more artistic and aesthetically centered. In this way, competition can be put in proper perspective.

The student, by offering to replay without being called upon, has put himself in charge of the audition. He approaches his performance as someone who is eager to do just that: perform. He is assertive about showing his new skills and is less likely to treat the experience as a trial.

Another very important benefit to this process as it applies to ensemble performance is that it evaluates the effort and achievement of the student over time, not just on a single performance. While there is still a final audition for ensemble placement, the audition only counts as a percentage of the final placement. Over the weeks that scales and etudes are heard and scores are posted, students can see how they perform in relation to their peers, which then helps them predict which ensemble they are on track to earn membership in. This certainly helps reduce the anxiety of single audition and the disappointment a single poor performance might bring about. It also allows the teacher to place students more appropriately, something a single audition may not accurately reveal.

Teachings for Independence

Ironically, teaching our students to become independent learners doesn't create less demand on us as teachers. It may require more of us to keep the student on the path toward independence, since that really is a very long journey with many temptations toward something safer. Students who have been taught to assume responsibility for their learning also risk losing more when they fall short of expectation. But success is far more real to the independent learners because they feel ownership in their learning. Whether or not our young music students continue their study toward becoming professional musicians, the lesson of independent learning is pervasive and far-reaching. Our students learn music, but they also learn that structure, strategies and a well thought-out process yield creativity and fulfilling results.