Music teachers - classroom and studio alike, we are a special breed!

Collaboration Over Division:

Why must we say Classroom “versus” Instrumental Teaching - should they not be working alongside each other, one strengthening the other? When was the last time you asked the classroom teacher at your school or the head of the department, as an instrumental teacher, for a moment of their time? When have you gone to the instrumental teachers and asked to collaborate with them as a music classroom teacher? We are all in the game of giving – nothing could be truer – teachers give and give and receive very little back but how wonderful is getting up and going to work when your workplace is one of enjoyment, collaboration, and growth for yourself and students? Simply from knowing the team you work with are all on the same page.

Recognising the Differences:

The vast differences between the two roles cannot be denied. A classroom teacher teaches every student within a school in groups of 25 on average (before elective music) whereas instrumental teachers generally teach those who have elected to be in lessons, and have roughly 7 per group at maximum. Learning is more of a general matter in the classroom, and instrumental is a centralised focus on the intricacies of the instrument. The building of relationships and learning a student's learning style is always easier in an instrumental lesson setting. Yet, classroom teachers have a vast and reliable array of classroom engagement and management tools.

Having a toolkit of ‘12’ different ways to teach the same concept or to problem solve is apparent in both roles, and applies to conductors. Having the flexibility to take a lesson or rehearsal in the direction that is needed for the arisen issue, whilst ensuring skills and knowledge are the central focus. We are technicians, engineering the future of the music world, lantern bearers who are aiming to pass on the joy of music-making to our students through their learning, so they no longer require us to be their problem solvers.

Navigating the Challenges:

Depending on which State you are teaching in within Australia, we often face challenges where there is very little to no guidance through curriculum structure for instrumental music until Year 11. In some states, classroom curricula are also very vague. What becomes the responsibility of the classroom teacher and what is expected of the instrumental teacher to ensure every student receives the best of their music education? How often are schools working with their music staff to support them in creating a structured sequence of learning in the classroom, and instrumental lessons as well as in band rehearsals to lead them to have the basics of performance, theory, history, and technique?

Balancing Expectations and Reality:

Society puts an oversized expectation on all musicians of every kind – that each note and piece must sound perfect. We can aim for this, but we should also ensure that students, audiences, family members, colleagues, and administrators have an understanding that making music is a process of evolution. There is a brilliant work commissioned by the American Composers Forum and composed by Thomas Duffy called A+: A ‘Precise” Prelude and an “Excellent” March. It is written in a way that aligns the percentage of how many correctly played notes would equal an A, B, C as though it was a math test. It’s a brilliant way to help show an audience that there needs to be a balance between aiming for improvement and hitting developmental stages in a student's learning.

The Many Hats of a Music Educator:

It must be acknowledged that many educators across Australia are fulfilling the role of classroom and instrumental teachers, music administrators, timetable, recruiters, ‘councillors’, negotiators, and conductors – all within one school. Students, families, and administrators find it hard to recognise that you are the instrumental teacher on Monday and the classroom teacher from Tuesday to Friday, and you must swap hats instantaneously to try and balance their expectations. You navigate through ensuring your classroom is structured in a way that those who are having instrumental lessons are still being challenged, as you know you taught them the basics of rhythm reading 2 years before their classmates. You develop extra ensembles in your lunchtimes on your classroom days to give your instrumental students extension opportunities. You undertake professional learning on your weekends or holidays because you want to further your abilities in the area you doubt your skill set isn’t on par with your expectations. is, but we should also ensure that students, audiences, family members, colleagues, and administrators have an understanding that making music is a process of evolution. There is a brilliant work commissioned by the American Composers Forum and composed by Thomas Duffy called A+: A ‘Precise” Prelude and an “Excellent” March. It is written in a way that aligns the percentage of how many correctly played notes would equal an A, B, C as though it was a math test. It’s a brilliant way to help show an audience that there needs to be a balance between aiming for improvement and hitting developmental stages in a student's learning.

The Path Forward

As music educators, we’re equipped with the unique ability to shape the future of music through our diverse roles. Let’s embrace the differences between classroom/studio teaching and band directing. Recognise that each requires a distinct approach and set of skills, but that the path to excellence lies in collaboration. Reach out to your peers, share your experiences, and work together to create the best possible learning environment for your students.

Every one of us – the classroom, instrumental teachers, conductor…. are unique, extremely hardworking, and dedicated educators who make our schools and students thrive. Be proud of the work you do; of the hats you wear, and know that you are not alone in the madness and joy of music education.