By Matt Nutter, Wichita
When an observer watches a music classroom, they probably notice a variety of things: the physical layout of the room, the proximity of the teacher to the students, teacher-led or student-led instruction, the challenge presented by the level of difficulty the music provided, students on or off task, social interaction in sections and as a whole, rules and how they are followed, clear lesson plans and goal setting, and a myriad of other factors that make up a single lesson. To what degree do these factors create a classroom climate that is conducive for learning? Which of these factors does the teacher need to attend to? How can a teacher balance the necessary components to help students succeed interpersonally, intrapersonally, and musically?
Learning cannot occur in the classroom in chaos. A variety of needs have to be met before a student can be in the correct mindset to mentally and physically partake in learning. Students want to feel safe, structured, wanted, and they need material matched to the level of learning of which they are capable. A teacher cannot expect students to arrive to class already knowing what the expectations of the classroom are, including the norms, procedures, rules, participation expectations, but instead, these must be carefully crafted starting the moment the students enter the classroom for the first time. There are six main structures that must be initiated and maintained for a classroom to be successful: teacher-student, student-student, student-music, understandable classroom rules, expectation of participation, and common goals. When any of the six structures are missing, the balance of the classroom begins to fray into a less hospitable environment and trust begins to decline.
When each of the six relationships are maintained, students will feel safe to be vulnerable. Vulnerability is a key component in a music class: without the ability to try and fail, learn, and improve, the lab-like atmosphere of music classes cannot function. Students must be made to feel that they are appreciated for who they are and what they can do, capable of achieving what the teacher expects, safe to try and fail, and that their peers will be supportive of their capabilities.
Teacher-Student
Teacher-student trust is the first of the necessary components to create a learning conducive climate. Students will not work for or learn from someone who they feel does not care about them. Too often, teachers assume their role in the classroom is to deliver information or tasks, and the students roles are to intake information or participate without question. Too often, those teachers struggle with discipline and keeping students interested and on-task.
Teachers need to connect with students, know students inside and outside of the classroom, and be able to switch roles between musician, nurturer, and parental figure (Parker 2016). When a teacher takes time to connect with students, using class time to develop the relationships with the students, the students will foster a trust for the teacher. Teachers can ask students about their lives outside of class, and then use that information to grow genuine interest on topics that aren’t necessarily music related. When students feel a teacher wants to know them as a person and not just “a student,” they are far more likely to bond. The teacher needs to be the musical leader in the classroom, but they also need to be the main support and cheerleader for student learning, as well as a trustworthy adult so students can feel open to share their lives.
A trustworthy teacher also shares facets of their life with the students (Bondy 2007). When a teacher is genuine and honest, students respond more honestly as well. Students love to hear stories about their teacher’s home life, pets, family, previous musical experience, as well as humorous anecdotes. This allows students to view their teacher as a whole person, and not just as a musical guide.
Using humor is a great way to develop a joyful atmosphere in the classroom (Bondy, 2007). Humor is a skill that comes easily for some, and is appreciated by all. In using humor, teachers need to be wary that their jokes aren’t made at a student’s expense, which would undermine their relationship with the student. Using familiar words and expressions or pop culture references are usually good places to start.
Honest feedback is a way to foster a positive relationship between the teacher and student. Task-related feedback directs students how to modify their efforts to achieve acceptable results, which allows for more musical experiences. Feedback can take the form of praise, but it is only effective when it is truly focused on the task (Freer 2009). When students can expect their teacher to give them honest feedback to their efforts, they rely on the musical expertise of the teacher and develop trust. Students are surprisingly good at knowing when complements are disingenuous, so teachers need to be sure that the complements and feedback they are providing have merit and aren’t just for the purpose of inflating egos.
Student-Student
Student-student trust is the next of the necessary components for a learning conducive environment. Students of all ages are less likely to be open to trying if they feel they will be criticized or made fun of by their peers. Teachers need to actively cultivate an environment of genuine peer support and trust. The music room must be seen as a sanctuary, where students are free to excel because they are accepted for who they are as individuals (Parker 2010).
Teachers can actively foster a sense of belonging and acceptance amongst students in a variety of ways. Planned activities, such as ice breakers, games, outings, and competitions can help students grow more comfortable with each other. These need to be intentionally planned and utilized by the teacher, especially at the beginning of the year, when students are just becoming acquainted. Increasing their affiliation, or level of friendship the students feel for each other through classroom related activities (Hamann 1990), will increase trust, which will increase feelings of safety, which will increase their willingness to try and fail or succeed in front of their peers.
Pairing younger students with older students can foster a sense of inclusion (Parker 2016). When younger students have a “mentor,” a student who is used to the procedures and expectations of the classroom, the younger student has a model for acceptable behavior and expectations. Having a mentor to bond with allows the student to experience an early sense of inclusion, and gives that student somebody they can safely ask questions, growing their confidence.
Annual traditions are another way to increase student bonding and trust. A class retreat, a feast, field trips, younger students planning a special award for older students, or vice versa, are effective ways to allow students to naturally become excited about bonding with each other. They need to find out likes and dislikes, talk with others, and plan to make these experiences more meaningful, which will make their bonding more memorable.
Student-Music
Student to music connection is another important quality for classroom climate. The music must meet the educator’s goals, but also create interest by being simultaneously challenging and attainable (Stamer 1999). These pieces need to be presented in an enthusiastic manner to prevent initial frustration, using humor and new musical knowledge. Drawing student’s attention to how the compositional techniques in the new work are similar to previously performed works allows them to perceive success early to combat frustration.
In an environment where students are seen as equal contributors to learning with teachers, students have more investment in the success of a piece (Gurgle 2015). Students bring expertise and opinions with them from previous musical experiences. Having students use their background knowledge when suggesting musical ideas to incorporate facilitates conversation as to why certain musical techniques may or may not be stylistically correct for the desired effect. Allowing students to take part in musical choices gives them ownership, which in turn increases their allegiance and dedication to those musical choices, ultimately resulting in a personal connection in performance.
The class’ physiological and developmental needs must be heavily considered when selecting repertoire for the next upcoming concert, semester, and year. Range must be considered, especially when working with middle school boys in choir, although they can cope with notes that are slightly too high or too low (Kennedy 2002), so that all students have the highest possibility of success. Technical ability must be accounted for when working with a band or orchestra, selecting music that allows students to advance in their skills without becoming overly frustrated or exhausted. Teachers should be unafraid to make adjustments to quality literature as long as the adjustments are tasteful and do not alter the identity of a piece. Teachers should vary the styles of music they present to their students, and make exciting, diversified literature choices. Students deserve opportunities to enjoy and experience new styles of music so they can begin to refine their own musical knowledge and expertise.
Understandable Classroom Rules
Classroom rules and procedures are the backbone of an efficient classroom. Students don’t already know what appropriate behavior looks and sounds like – it must be taught (Bondy, 2007). When students are aware of what is acceptable behavior and what isn’t, they are more likely to make choices that benefit them and result in positive attention. Three to five plainly worded but encompassing rules is usually a good number. Teachers should post the rules in a clearly visible place and refer to them often, explaining them and giving them depth so students can see how they apply in a variety of situations. Explaining boundaries to students helps set limits so the environment feels safe and stable (Silvey, P).
Procedures should be taught and practiced early. Effective teachers have their students practice procedures, and explain why the procedures are in place so that their intrinsic value is understood. Procedures increase time on task, and provide students with a guide for success in the class. The less time students worry about how certain classroom functions are executed, the more time students can focus on more important tasks. Procedures provide structure, which increases confidence and professionalism, and gives more opportunities for success to the students.
Expectation of Participation
A great classroom is one in which all students can feel a sense of pride in their involvement. When classroom rules and procedures have been laid out, students can see the avenue to success. Ensuring that all students not only adhere to the classroom behavioral norms, but also participation norms, will foster a sense of belonging and fundamental necessity for students. They will feel needed and wanted.
Creating the proper environment for participation comes from reduced apprehensions. When students are willing to attempt something new at an appropriate level of risk without experiencing embarrassment or discouragement, a protective boundary is created around the classroom (Silvey, 2014). Students need opportunities to try in a low stakes setting. Acknowledging courage more and “correctness” less is key here. Students bravery in accepting the chance to fail is a monumental step. Giving students room to make errors allows them to think through their challenges and learn from their mistakes, encouraging procedural thinking and critical thinking.
Music making should be noncompetitive. When all students feel they are on an even playing field of vulnerability, they are more likely to contribute to the whole (Parker 2010). Music making in the classroom is a shared experience, in which all students have the opportunity to fail or succeed, take risks and be rewarded.
Teachers need to find motivators for hesitant students. When a student refuses to participate, there is always an underlying reason. Humor and silliness is a great way to help boys participate more. Silliness is a coping mechanism for boys when they deal with difficult subjects (Sweet 2010). Through conversation, group encouragement, healthy peer pressure, parental and administrative involvement, and a healthy, judgment-free, relaxed classroom environment, hesitant and resistant students are more likely to participate.
Common Goals
Shared goals and values for a music classroom can create motivation for students. A program with an expectation of quality encourages hard work (Parker 2016). This expectation of quality can be created through fast-paced instruction with little downtime, where students are always actively involved in rehearsal, with encouragement from each other and from the teacher. When students receive feedback from a “hard to impress” teacher, they are motivated to gain more.
Having a communicated and shared vision of the program gives students ambition. By referring to previous teachers and the legacy they left, either with a strong arts culture or lack thereof, teachers can inspire current students to reach for greatness. Recognizing the challenges teachers and students have to sustain their level of excellence allows teachers to be realistic about their goals, and give students an end product to aim for. Gaining commitment from students motivates them towards their own visions and legacies.
Conclusion
Through the six factors listed aboved, a healthy classroom climate can be created and maintained. Positive classrooms and interactions do not happen by chance. They require deliberate choices and actions made by the teacher to increase student belief and vulnerability. Through careful planning and awareness, teachers can make students feel like partners in sustaining a joyful, safe, and intrinsically motivated music classroom.
References
Bondy, E. & Ross, D. &Gallingane, C. & Hambacher, E. (2007). Creating Environments of success and Resilience: Culturally Responsive Classroom Management and More. Urban Education, 42, 326-348
Freer, P. (2009). Boys’ Description Of Their Experiences in Choral Music. Research Studies In Music Education, 31, 142-160
Gurgel, R. (2015). Building Strong Teacher-Student Relationships in Pluralistic Music Classrooms. Music Educators Journal, 101. 77-84
Hamann, D. & Mills, C. & Bell, J. & Daugherty, E. & Koozer, R. (1990). Classroom Environment As Related To Contest Ratings Among High School Performing Ensembles. Journal of Research in Music Education, 38, 215-224
Kennedy, M. (2002). “It’s Cool Because We Like To Sing:” Junior High School Boys’ Experience of Choral Music as an Elective. Research Studies In Music Education, 18, 26-36
Parker, E. (2016). The Experience of Creating Community: An Intrinsic Case Study of Four Midwestern Public School Choral Teachers. Journal of Research in Music Education, 64, 220-237
Parker, E. (2010). Exploring Student Experiences Of Belonging Within an Urban High School Choral Ensemble: an Action Research Study. Music Education Research, 12, 339-352
Silvey, P. (2014). Reducing Apprehensions of Adolescent Singers in Choral Classrooms. Music Educators Journal, 100, 53-59
Stamer, R. (1999). Motivation in the Choral Rehearsal. Music Educators Journal, 85, 26-29
Sweet, B. (2010). A Case Study: Middle School Boys’ Perceptions of Singing and Participation in Choir. Applications of Research in Music Education, 28, 5-12
