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Sound Strategies

Utilizing Collegiate Faculty

Christopher Clark
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For 4 or more years (alternative pathways to music teaching, notwithstanding,) practicing music educators spent most of their days studying music at an institution of higher learning. Thinking back on your higher education journey and all the relationships that were built during those years, how many collegiate faculty are you still in contact with? Obviously, the Development or Donor Relationship office contacts you annually or more to ask for a monetary donation. Do you still talk to your applied lessons teacher? Theory professor? If you are teaching in the area, the answer might be yes. But especially if you are teaching in a new geographic location, have changed musical disciplines, or for a variety of miscellaneous reasons, the answer might be no. Can you cultivate new relationships with local or state institutions of higher education?
Nothing in this article is groundbreaking, rather a reminder that we are not silos in our districts and to utilize all the resources at your disposal, even if you live in a geographically rural part of Ohio without many colleges/universities. When I taught public school in rural Massachusetts, the relationships I formed with collegiate faculty both near (relatively) to my school and across the state informed how, what, and why I taught. Having studied in Ohio, I did not know the collegiate faculty in Massachusetts. By attending concerts, participating in the Massachusetts Music Education Association, volunteering for the Exec Board of MassACDA, and participating in community musical ensembles, I was able to meet faculty from across the state, whom I was able to continue to learn from.
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Collegiate faculty can benefit students, programs, and music educators in many ways. The most obvious and presumably most common strategy is to invite local collegiate faculty to clinic with an ensemble, pre-concert or pre-adjudicated event. Many faculty will happily work with students. It will give the students and the music educator different thoughts on the music, or, as is often the case, the clinician will say the exact same thing you have been saying to the students, but this time it will stick because someone else is saying it.
If a district is far from a college campus, work with the ensemble director from a neighboring district so that the collegiate faculty work at one district in the morning and one district in the afternoon, to make it more worthwhile to drive farther distances. Additionally, you could bring your students to their campus. A district might be more likely to financially support a field trip for music students to work with collegiate faculty if there is a campus tour involved, or students can talk to current music students on their experiences majoring in music. Ensemble directors frequently partner with ensembles in performance contexts, either for joint performances of larger works in which the ensembles complement each other or sharing a concert program with a few combined pieces.
Similarly, by chairing an honor choir, you can influence who the conductor of the ensemble will be and can learn from their rehearsals, as well as ask questions at the mealtimes. I have become lifelong friends and colleagues with numerous collegiate faculty I met this way, and still field questions from educators from honor choirs I have conducted.
There are ways to engage with collegiate faculty beyond ensembles as well. Email and ask ensemble directors about what rep they like for your ensemble voicing and skill level. Many collegiate faculty are up on the current literature for secondary ensembles and can have great recommendations. Or they could recommend someone else with great programming choices for you to ask. Curriculum and assessment thoughts could be directed to specific music education faculty that teach these classes. Younger choirs can benefit from elementary general professors. This content specificity could be better than searching sheet music sites or asking questions on social media. Have a local applied lessons faculty play with your ensemble.
When I taught in Massachusetts, I applied for and received a grant from a local foundation to commission a composer at the nearby community college for a new choral work for narrator, piano, and choir. As the poem they selected was a historical poem about the town/area, we were able to partner with the local historical society to advertise the concert to a population who would not generally attend a high school choral concert.
There are several reasons that I often hear from music educators why they can’t or don’t partner with collegiate faculty. The cost frequently comes up. However, with many collegiate faculty, recruitment activities are a part of their tenure and promotion guidelines, so if faculty get a few minutes to talk about the musical opportunities that exist at their institution, that is enough to be reimbursed mileage or add a line to their CV. An honorarium can be appreciated, but many faculty see it as a service to the profession. Secondly, like much of music, it can be vulnerable to open yourself up to what through one lens could be construed as criticism. Third, some music educators have expressed that collegiate faculty do not know what it is like to teach public school. This can be a concern, but most faculty who have taught public school list that proudly in their bios, so make sure to read them to find one who has that important experience of working with those populations. Finally, some music educators view it as an imposition, like “collegiate faculty would never want to work with these students”. I would bet that most collegiate faculty would not consider it an imposition, but if they did, I am sure they would be able to steer you to a person who enjoyed it.
The important conclusion from this article is that collegiate faculty are a resource for practicing music educators to use. Graduation from college does not mean that these resources cease to exist, rather they continue to exist to help the larger music education field, but you might need to seek them out. Encouraging new and seasoned teachers to take advantage of these resources help all parties involved and build relationships that last for years.
Christopher Clark, Case Western Reserve University Instructor, Department of Music, College of Arts and Sciences Director of Choirs
Dr. Clark earned a Bachelor of Music cum laude from Cleveland State University, two Masters of Music degrees in Choral Conducting and Music Education from Bowling Green State University, and a Doctor of Philosophy degree in Music Education from The Hartt School of Music.