What Makes a Strong Program

TEACHING:

1. Schedule
   1. Frequency of teaching opportunities are in direct relationship with program quality.

   2. Elementary Instrumental Program
      • Begin in 5th grade, sometimes in 4th for strings and 5th for the winds and percussion
      • Have no fewer than 2 meetings per week, most preferably 3 to 5 per week
      • All classes are in the regular school day

   3. Middle or Middle High Instrumental Program
      • Daily instruction is the majority pattern
      • Provisions for full orchestra with winds exist for at least two grading periods per year

   4. High School Instrumental Music Program
      • Daily instruction offered
      • Provisions for regular full orchestra with winds begins after marching band season ends.
      • The finest instrumental music programs always had provisions for private instruction, provisions for sectional instructing of like instruments and a small ensemble program.

1. Directed aspects

   Planning obvious:

   • Anticipatory set
   • Quality plans available
   • Class outcomes are related to planning
   • Time envelope is controlled with consideration of pacing, energy profile, and starting and ending times

2. Self-directed aspects
   • Students are aware and responsive to routine
   • Students involve themselves in appropriate activity quickly and efficiently

1. Strategy choice
   • Ear to hand beginning instruction
   • Non-verbal teaching used extensively
   • Experiential teaching devices
   • Multiple strategies and teaching devices employed in every class session

2. Modeling
   • An instrument, voice, gesture, media or proxy is used to demonstrate as opposed to verbal description.

1. Ratio is maintained at a maximum of 15% verbiage to 85% activity.

2. Teacher demonstrates awareness and use of proxemics
   • Eye scan is used evenly to all parts of the room and is direct to the student
   • Proximity to students spread evenly around the room
   • Pedagogical or supportive touch is used appropriately
   • Names of students are used

3. Pacing elements
   • Pace consistent and controlled between instruction and response
   • Energy profile is controlled by teacher

4. Prioritization
   • Teaching interventions follow a sense of priorities
   1. Posture
   2. Format or mechanics of playing
   3. Sound
   4. Intonation
   5. Rhythmic structure (Intonation and rhythm may be switched for older students)
   6. Style/Speed

5. Curriculum
   • A printed curriculum is available
   • There is common understanding among the staff There is skill-based grading in use

1. Chain of command/decision making
   1. Parents
   2. School Board
   3. Superintendent
   4. Assistant Superintendents
   5. Area Supervisors or Coordinators, including building principals
   6. Teachers

2. Meeting function and structure
   1. Access to agenda
   2. Meeting is run efficiently
   3. Minutes are kept
   4. Contentious problem solving process in place

3. Paperwork
   1. Computer is used extensively
   2. Curriculum/planning is an ongoing procedure
   3. Grading is based on skill acquisition
   4. Cumulative file for music program]
   5. Memo process

4. Data gathering/use
   1. Cost per student
   2. Percentage of student body in program
   3. Drop out rate analyzed and kept to under 15% any year
   4. Schedule disruption and cause
   5. Skill acquisition over time
   6. Course election patterns

5. Budget
   1. Predictable
   2. Based on student count and activities
   3. Managed by music department or building principal
   4. Based upon an amortization rate of equipment replacement costs

6. Inventory
   1. Maintained on a schedule
   2. Storage and access is adequate
   3. Is renewed upon an amortized base

7. Schedule
   1. A central calendar is maintained district wide
   2. Secondary music classes are scheduled before single section classes
   3. Elementary music classes are scheduled by a music administrator
   4. Annual performances by major ensembles
      High School - 8to 11
      Middle/Middle High School - 4 to 8
      Elementary - 3 to 5

8. Library
   1. Centralized library with staff
   2. Computerized control and maintenance

9. Support Structures
   1. Parent Boosters are music department wide
   2. By-laws clearly delineate functions of teacher and supporters
   3. Community resources include service groups, media, etc.

10. Interdepartmental politics
    1. All areas of the music department are equally supported
    2. Stafl supports other areas than their own
    3. Recruiting is a collective effort, especially between band and orchestra

11. Community
    1. Private teachers role
       • Available as resource to school program, attitude development, sectionals, festival assistance, etc.
       • Support school groups

    2. Professional musicians role
       • Positive performance model for student population
       • Available as resource to school program, attitude development, sectionals, festival assistance, etc.

    3. Commercial music stores
       • Support school groups with maintenance visits, loaner program, economic support for special programs, tours, clinicians, etc.

    4. Higher education
       • Available as resource to school program, attitude development, sectionals, festival assistance, etc.
       • Clinician and consultant availability
       • Student teacher availability
       • Demonstration resources to keep schools abreast of developments

    Introduction
    History of Music in the St. Helens Public Schools
    Short and Long Term Impacts
    Curriculum Impacts
    Student Participation Impacts
    Economic Impacts
    Summary, Conclusions and Recommendations
    Appendix A
    Bibliography
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