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August 15,2006 Educational Reform Movements: Middle Schools, Part 2 In Part 1 , we took a brief look at the middle school concept of education. In this segment of my three-part series, you'll read about some of the potential positive and negativ e impacts the middle school concept may have on music programs. Whenever a group of concerned parents of music students contacts me about impending changes, I ask a few basic questions: 1. Who is the individual or group leading the reform effort? 2. What are the obvious and hidden agendas? 3. What are the potential negative effects of the change? 4. Is it possible to improve your music program by putting the proposed reform in place? (For more insight, you may want to review the advice given and issues raised in the first article in my 10-part series on educational reform movements. ) Secondary Motivations I have found that new administrator(s) in the district are leading the charge behind most efforts at educational reform. However, in the case of middle schools, the two most obvious secondary motivators are the need to alleviate overcrowding by moving students to buildings where there is more space available, and the attempt to reduce costs in programs perceived to be expensive. Unfortunately, the elementary music program is usually the first targeted for reduction or elimination. This chart summarizes several typical administrative proposals to reduce or eliminate components of the music curriculum; it also details their rationale and "hidden" motivations for doing so:
The Music Issues So you're faced with one or more of the proposals above. What do you do? Here are some interesting facts and ideas you may find useful. 1. After more than 25 years, our research with national case studies indicates that when a district eliminates even one year, i.e., grade five, of the elementary (instrumental) music curriculum, there will be a minimum loss of 65% of the enrollment at the middle school level within two years. 2. When considering proposed changes, you can try to assess potential impacts on the middle school music curriculum by asking for answers to the following questions: a. Will the new format allow for curricular diversity (for example, will there be separate classes for male and female singers as well as mixed choirs)? b. Will the new format enable placement of students by skill level (for example, will it enable adequate individualized instruction to meet the needs of gifted or remedial students)? c. Will the new format provide for small group homogeneous instruction for beginning, intermediate and advanced students? d. If the first year of instruction is delayed until middle school, what measures will be put in place to provide adequate instruction to beginning students? Obviously, the placement of 50-60 beginning students playing as many as ten different instrum ents in a single classroom is far from "best practices," and will most certainly increase attrition. e. Will enough music faculty be available to provide for "team" instruction in music? f. Will daily rehearsals be facilitated, or will instruction be reduced to every other day? [Tip: One school district has successfully taken advantage of the "wheel" by scheduling individual courses for instruction on homogenous instruments. Students participating in band or orchestra are required to enroll in the "wheel" course that includes their instrument.] Strong Music Programs in Middle Schools Here are three other items that will help you maintain the strength of your music program if your district is considering, or has already adopted, the middle school concept: 1. A sequential, written curriculum with specific, achievable and measurable goals, and a system of assessment will provide your district with relevant data and assist you in demonstrating your music program's viability as a curricular entity. This in formation will be extremely important to your coalition as advocates try to preserve the integrity of your district's music programming and improve its delivery. 2. Other than a well-organized music coalition , there is probably no greater relationship for you to establish than the one with the guidance counselors. Make every effort to d emonstrate your credibility as an educator or concerned parent by providing all the guidance counselors in your district with appropriate information on the importance of making music. 3. And remember: ALWAYS keep the focus on the student–it is their program! Next time, you'll read a case study of one district that successfully made the transition to the middle school concept while also making improvements in its music program. Until then, John Benham |
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Scott Brady |
