Today I received some amazing news. In many ways, I already feel happier, lighter, and more excited about teaching. But this news also brings a challenge.
The choir directors have reworked how they are dividing the duties of making this large department function well. And as part of that, they decided that they need to cover the organizational stuff related to running the voice program (assigning students to teachers, masterclass day, solo and ensemble contest, all-state auditions, etc.) and just let me teach. The good news is that I was doing a lot of stressful work for the department without any monetary compensation and now I don't have to worry about it.
On the other hand, although some of the work was dumped on me, some I took on voluntarily to make teaching and learning here a more positive experience. I'm a little nervous about some of those details and how they will be dealt with in the future, but I'm also viewing it as a chance for me to learn to let go and trust.
The first two tests of my ability to let go will happen very soon. One of the reasons I agreed to do the assigning of students was so that I could make sure I had enough students. By the end of the second week, I'll know what is happening there.
The second test will be studio rotation. I've always made a rotation schedule so all the teachers get a chance at the good room and no one gives all their lessons in the tiny modules. I don't know if someone will take care of this or not. My guess is that it will be a free for all, kind of like this summer. If you're the 1st one here, you get the good space. It's actually a great motivator to get here early.
So, I've been doing this for over a decade and it's time to let go. Since I won't be organizing anything, my January through mid-April should be much nicer. I just have to prepare my students for all the performances those months. That I can do. And I think I will be even better at it without all the other stuff to stress me out.
-- Posted from my iPhone
Tuesday, August 31, 2010
Thursday, August 26, 2010
Karl Paulnack's Welcome Address
In case you didn't catch this in the September/October 2010 Journal of Singing, here's a link to the Boston Conservatory page:
http://www.bostonconservatory.edu/s/940/Bio.aspx?sid=940&gid=1&pgid=1241
This is why I am a musician!
-- Posted from my iPhone
http://www.bostonconservatory.edu/s/940/Bio.aspx?sid=940&gid=1&pgid=1241
This is why I am a musician!
-- Posted from my iPhone
Playing for my students
I have a 2 tier "club" system for evaluating the expressiveness of my students' singing and admission to these "clubs" is hard to get. Club 2 is when the student in singing so expressively that they make me change the way I play (I become more expessive because of how they sing). Club 1 is when they give me goosebumps or make me cry.
Recent reading has made me remember that I also have the power as an accompanist to influence the expessivity of the singer. When I am only the accompanist, and don't have to be voice teacher as well, this is much easier to do. Sometimes when I am listening for technical issues my playing becomes more of just hitting the right notes in the right rhythms rather than creating music. My goal is to be more attentive to the possibilities of expression in the piano part from the very beginning of the student's learning process and thus encourage them to be expressive earlier.
In an article in the May 2010 Choral Journal, Tammy Miller discusses how an accompanist of a children's choir can aid the director in teaching expressivity. While playing parts to help the students learn the notes, an accompanist can model appropriate phrasing and articulation. I love this quote, "Quite simply, they will sing what I play the way I play it; they are easily influenced."
I've been reading Martin Katz's The Collaborative Pianist and have been pleasantly surprised to find that much of what he is telling the accompanists about building an interpretation is very similar to what I tell my singers. At first, my response was, "But isn't that the singer's choice to make?" But then I realized that he's right. If both the singer and the accompanist come to the rehearsal with interpretive ideas, it truly becomes more of a collaboration. The accompanist and singer can feed off the energy and emotions the other is bringing, creating a much more dynamic performance.
So now the question becomes, "How can I play differently in lesssons, from the first day of learning pitches, to help my students be more expressive?" I think I've already started to revise how my students learn a song. At the end of the last school year, I revised my Microwave Memorization method to involve not just learning notes and words quickly, but to include technique and interpretation from the very beginning. (To view the handout on this, click the Resources tab on my website www.jeanninerobinett.com)
My other goals are:
1. Always play melodies with expression (phrase shaping, dynamics, articulation, and meaning). They will sing it the way they hear it. If I bang, they will sound bad too.
2. Remember to ask them when we begin a new song what they think the song is about. We can further refine the interpretation in future lessons, but they need at least a general idea to get them started.
3. Practice committing to the interpretation AND listening for technical difficulties at the same time.
I started this post by explaining the 2 "clubs" to which my students aspire. Here are the 2 "clubs" that I'm working towards: Club 2--Inspire my students to be expressive by making every note that they hear me play expressive. Club 1--Give my students opportunities for goosebumps and crying as I demonstrate how beautiful those same old folk songs or Italian arias can be.
-- Posted from my iPhone
Recent reading has made me remember that I also have the power as an accompanist to influence the expessivity of the singer. When I am only the accompanist, and don't have to be voice teacher as well, this is much easier to do. Sometimes when I am listening for technical issues my playing becomes more of just hitting the right notes in the right rhythms rather than creating music. My goal is to be more attentive to the possibilities of expression in the piano part from the very beginning of the student's learning process and thus encourage them to be expressive earlier.
In an article in the May 2010 Choral Journal, Tammy Miller discusses how an accompanist of a children's choir can aid the director in teaching expressivity. While playing parts to help the students learn the notes, an accompanist can model appropriate phrasing and articulation. I love this quote, "Quite simply, they will sing what I play the way I play it; they are easily influenced."
I've been reading Martin Katz's The Collaborative Pianist and have been pleasantly surprised to find that much of what he is telling the accompanists about building an interpretation is very similar to what I tell my singers. At first, my response was, "But isn't that the singer's choice to make?" But then I realized that he's right. If both the singer and the accompanist come to the rehearsal with interpretive ideas, it truly becomes more of a collaboration. The accompanist and singer can feed off the energy and emotions the other is bringing, creating a much more dynamic performance.
So now the question becomes, "How can I play differently in lesssons, from the first day of learning pitches, to help my students be more expressive?" I think I've already started to revise how my students learn a song. At the end of the last school year, I revised my Microwave Memorization method to involve not just learning notes and words quickly, but to include technique and interpretation from the very beginning. (To view the handout on this, click the Resources tab on my website www.jeanninerobinett.com)
My other goals are:
1. Always play melodies with expression (phrase shaping, dynamics, articulation, and meaning). They will sing it the way they hear it. If I bang, they will sound bad too.
2. Remember to ask them when we begin a new song what they think the song is about. We can further refine the interpretation in future lessons, but they need at least a general idea to get them started.
3. Practice committing to the interpretation AND listening for technical difficulties at the same time.
I started this post by explaining the 2 "clubs" to which my students aspire. Here are the 2 "clubs" that I'm working towards: Club 2--Inspire my students to be expressive by making every note that they hear me play expressive. Club 1--Give my students opportunities for goosebumps and crying as I demonstrate how beautiful those same old folk songs or Italian arias can be.
-- Posted from my iPhone
Sunday, August 22, 2010
Put down the ducky
Once again, I apologize that blogging from my phone doesn't allow all the same helpful features as if I was at my computer. But here is a great link:
http://www.youtube.com/watch?v=SMAixgo_zJ4&feature=youtube_gdata_player
It's a lot of fun, plus it says something important to music students: Sometimes being a musician requires a sacrifice and we have to temporarily give up something really important to us to achieve our dreams. But we don't have to give it up forever, we can pick it back up again later.
-- Posted from my iPhone
http://www.youtube.com/watch?v=SMAixgo_zJ4&feature=youtube_gdata_player
It's a lot of fun, plus it says something important to music students: Sometimes being a musician requires a sacrifice and we have to temporarily give up something really important to us to achieve our dreams. But we don't have to give it up forever, we can pick it back up again later.
-- Posted from my iPhone
Friday, August 20, 2010
Questions and answers about my studio
On the Music Teacher's Helper Forum, a teacher posted a list of questions in the introductions section. I spent some time coming up with answers and decided that I might as well use this as a blog post. His questions reminded me of a survey I was putting together last year to learn more about how other voice teachers teach and run their businesses. I'll post those questions and my own answers sometime in the future. For now, here are my answers to the questions on the MTH forum:
1. Your name (or remain anonymous).
Jeannine Robinett
www.jeanninerobinett.com
2. Instrument(s) taught and/or voice?
I used to teach piano and organ too, but now my studio has grown enough that I can focus on what I do best and love most--teaching voice.
3. Years of teaching experience? Your age?
I am 40 years old and have been teaching voice for 17 or 18 years.
4. Did you have formal teacher training?
I have B.M. and M.M. degrees in vocal performance and my course work for both included classes in vocal pedagogy. In addition, I started out as an elementary ed major and completed many of the required courses there before switching to music.
5. Typical high and low numbers of students during the year? Approximate number of hours spent teaching each week?
I teach between 60 and 100 students during the school year and about half that during the summer. When I have close to 100 students, it is usually because I am teaching several small groups (3-6 students sharing a lesson). I have 28-35 hours of student contact time per week during the school year.
6. Do you perform? If so, roughly what percentage of your musical income/time is spent performing vs. teaching?
I have not done much performing professionally in the last 10 years, but I am currently preparing a recital.
7. Do you teach music privately or are you an employee of a school (or both)? If teaching privately, do you use a home studio or rent elsewhere? If a school, what kind?
I am a private contractor that works in a public school. Technically I own my own business. The students pay me directly, but I teach at the school. Students leave their choir classes or study halls for lessons.
8. Do you have paid work other than music teaching? If so, What do you do? How much time do you spend teaching music compared with other work? Is this by necessity or preference?
With the exception of the occassional performance or adjudication, my income is entirely from teaching. I prefer this. Over the years I have been able to cut back on other work and also to condense my studio to one location and this has made my life much simpler and happier.
9. What are your rates? If you don’t mind, indicate the range of your monthly income from teaching music.
Tuition is $160 per quarter for half hour lessons which includes 7 lessons plus a studio class and/or recital. During the summer I charge $23 for half hour lessons and most students enrolled for summer take between 5 and 10 lessons.
Because most students pay quarterly, I have some months that are over $8,000 and some that are under $1,000. Since the size of my studio varies from year to year, the only way I can really figure out a monthly income is to add up the last year and divide by 12. It make my own personal budgeting rather complicated.
10. Do you limit what students you work with in terms of level, age, gender, style of music, etc.?
Although I do accept children, it is always on a trial basis. Generally I prefer to work with middle school aged students and older. I teach many styles, but reserve the right to "veto" any song a student brings in that is inappropipriate for them based on their age and vocal development. The foundation of what I teach is classical, and all my students receive some classical training even if it is only to compare it to other styles and techniques. I specialize in beginning and intermediate students, but also teach advanced and professional singers. If they need more than I feel that I can give them, I send them on to someone else.
11. Do you have student recitals? If so, how often? Are they encouraged or required of students?
I have a recital at the end of the school year plus an informal Holiday recital/party. Students also have the opportunity to perform at 3 studio classes held throughout the year. Performance is encouraged, but not required. However, studio classes and recitals are part of their tuition package and I don't give refunds if they choose not to participate.
12. Do you prepare students for competitions or auditions?
All my high school students are given the opportunity to sing at the district Solo and Ensemble Contest. Sometimes other competition or audition experiences are offered to students meeting the entrance requirements. I prepare students for choir auditions, musical auditions, and any other auditions for school related events.
13. Do you teach private students or classes or both?
Most of my lessons are private lessons, but through the school, I also offer 2 person lessons and small group lessons.
14. Do you coach ensembles? If so, how large?
At this time, I only work with small ensembles (duets, trios, etc.) in preparation for Contest.
15. Do you teach at music camps?
I'm not currently connected to any camps, but would love to do more of this. Contact me if you know of any good opportunities.
16. Best experience(s) with students?
The best experiences are when I see my students succeed. Sometimes it's a big success, but often it's just those little light bulb moments when you know they get it.
17. Worst experience that comes to mind?
Having to tell a talented student that really wanted to learn that I couldn't teach her anymore until her divorced parents figured out who was going to pay the $355 that they already owed me. Especially in cases like this, I wish I could teach for free, but then how would I pay my bills?
18. Funniest experience?
We laugh and have a good time in lessons, but for some reason, I can't think of any really funny experiences.
19. What is most rewarding to you about teaching?
Watching students grow. Even the little steps forward are exciting to me. Sometimes the most rewarding lessons are not the ones of the star students, but the ones where the kid finally sings a phrases matching all of the pitches correctly. I love teaching the kids that frustrate other teachers.
20. What is most challenging?
The most challenging aspect of teaching is dealing with the students and the parents that want instant miracles, that don't understand that learning to sing well takes time, effort, and patience.
21. Have you ever felt burnt out at any time, and if so, what did you do about it?
I lived in burnout mode for several years. For me, burnout was a result of overworking. Even if you love what you do, too much of it can kill you. Over the past 5 years or so, I voluntarily cut back giving up about $13,000 of income per year. Financially, life is a little trickier, but I feel better, and I am a better teacher. I've also invested my time and money in things that feed me, like conventions, continuing education classes, and Tai Chi classes.
22. Are you a member of a professional organization?
I am a member of NATS, ACDA, MTNA and MMTA.
23. Do you attend conferences, workshops, lessons or classes for your own professional development?
Absolutely! This year I attended 3 conferences/conventions. Yes, it's expensive, but it is so worth it.
24. When teaching, do you use published materials, your own materials, or both?
I use many of the same voice anthologies that most voice teachers use. I have a huge personal music library plus a lending library for students who cannot afford to purchase music. On my studio website, students can access numerous handouts that I have prepared on voice related topics.
25. Do you use recordings in teaching?
Yes, I have students listen to professional recordings and I also record students singing at their lessons and have them listen to it.
26. Do you advertise?
My advertising is minimal. At the beginning of the school year, I attend Open House and Orientation, and go to the choir classes to talk to students and their parents about lessons. I also let the teachers at our school plus the middle schools know when I have openings in case they have students that ask about lessons. My website might serve as advertising, but I haven't paid any fees to make sure that it comes up at the top of searches.
-- Posted from my iPhone
1. Your name (or remain anonymous).
Jeannine Robinett
www.jeanninerobinett.com
2. Instrument(s) taught and/or voice?
I used to teach piano and organ too, but now my studio has grown enough that I can focus on what I do best and love most--teaching voice.
3. Years of teaching experience? Your age?
I am 40 years old and have been teaching voice for 17 or 18 years.
4. Did you have formal teacher training?
I have B.M. and M.M. degrees in vocal performance and my course work for both included classes in vocal pedagogy. In addition, I started out as an elementary ed major and completed many of the required courses there before switching to music.
5. Typical high and low numbers of students during the year? Approximate number of hours spent teaching each week?
I teach between 60 and 100 students during the school year and about half that during the summer. When I have close to 100 students, it is usually because I am teaching several small groups (3-6 students sharing a lesson). I have 28-35 hours of student contact time per week during the school year.
6. Do you perform? If so, roughly what percentage of your musical income/time is spent performing vs. teaching?
I have not done much performing professionally in the last 10 years, but I am currently preparing a recital.
7. Do you teach music privately or are you an employee of a school (or both)? If teaching privately, do you use a home studio or rent elsewhere? If a school, what kind?
I am a private contractor that works in a public school. Technically I own my own business. The students pay me directly, but I teach at the school. Students leave their choir classes or study halls for lessons.
8. Do you have paid work other than music teaching? If so, What do you do? How much time do you spend teaching music compared with other work? Is this by necessity or preference?
With the exception of the occassional performance or adjudication, my income is entirely from teaching. I prefer this. Over the years I have been able to cut back on other work and also to condense my studio to one location and this has made my life much simpler and happier.
9. What are your rates? If you don’t mind, indicate the range of your monthly income from teaching music.
Tuition is $160 per quarter for half hour lessons which includes 7 lessons plus a studio class and/or recital. During the summer I charge $23 for half hour lessons and most students enrolled for summer take between 5 and 10 lessons.
Because most students pay quarterly, I have some months that are over $8,000 and some that are under $1,000. Since the size of my studio varies from year to year, the only way I can really figure out a monthly income is to add up the last year and divide by 12. It make my own personal budgeting rather complicated.
10. Do you limit what students you work with in terms of level, age, gender, style of music, etc.?
Although I do accept children, it is always on a trial basis. Generally I prefer to work with middle school aged students and older. I teach many styles, but reserve the right to "veto" any song a student brings in that is inappropipriate for them based on their age and vocal development. The foundation of what I teach is classical, and all my students receive some classical training even if it is only to compare it to other styles and techniques. I specialize in beginning and intermediate students, but also teach advanced and professional singers. If they need more than I feel that I can give them, I send them on to someone else.
11. Do you have student recitals? If so, how often? Are they encouraged or required of students?
I have a recital at the end of the school year plus an informal Holiday recital/party. Students also have the opportunity to perform at 3 studio classes held throughout the year. Performance is encouraged, but not required. However, studio classes and recitals are part of their tuition package and I don't give refunds if they choose not to participate.
12. Do you prepare students for competitions or auditions?
All my high school students are given the opportunity to sing at the district Solo and Ensemble Contest. Sometimes other competition or audition experiences are offered to students meeting the entrance requirements. I prepare students for choir auditions, musical auditions, and any other auditions for school related events.
13. Do you teach private students or classes or both?
Most of my lessons are private lessons, but through the school, I also offer 2 person lessons and small group lessons.
14. Do you coach ensembles? If so, how large?
At this time, I only work with small ensembles (duets, trios, etc.) in preparation for Contest.
15. Do you teach at music camps?
I'm not currently connected to any camps, but would love to do more of this. Contact me if you know of any good opportunities.
16. Best experience(s) with students?
The best experiences are when I see my students succeed. Sometimes it's a big success, but often it's just those little light bulb moments when you know they get it.
17. Worst experience that comes to mind?
Having to tell a talented student that really wanted to learn that I couldn't teach her anymore until her divorced parents figured out who was going to pay the $355 that they already owed me. Especially in cases like this, I wish I could teach for free, but then how would I pay my bills?
18. Funniest experience?
We laugh and have a good time in lessons, but for some reason, I can't think of any really funny experiences.
19. What is most rewarding to you about teaching?
Watching students grow. Even the little steps forward are exciting to me. Sometimes the most rewarding lessons are not the ones of the star students, but the ones where the kid finally sings a phrases matching all of the pitches correctly. I love teaching the kids that frustrate other teachers.
20. What is most challenging?
The most challenging aspect of teaching is dealing with the students and the parents that want instant miracles, that don't understand that learning to sing well takes time, effort, and patience.
21. Have you ever felt burnt out at any time, and if so, what did you do about it?
I lived in burnout mode for several years. For me, burnout was a result of overworking. Even if you love what you do, too much of it can kill you. Over the past 5 years or so, I voluntarily cut back giving up about $13,000 of income per year. Financially, life is a little trickier, but I feel better, and I am a better teacher. I've also invested my time and money in things that feed me, like conventions, continuing education classes, and Tai Chi classes.
22. Are you a member of a professional organization?
I am a member of NATS, ACDA, MTNA and MMTA.
23. Do you attend conferences, workshops, lessons or classes for your own professional development?
Absolutely! This year I attended 3 conferences/conventions. Yes, it's expensive, but it is so worth it.
24. When teaching, do you use published materials, your own materials, or both?
I use many of the same voice anthologies that most voice teachers use. I have a huge personal music library plus a lending library for students who cannot afford to purchase music. On my studio website, students can access numerous handouts that I have prepared on voice related topics.
25. Do you use recordings in teaching?
Yes, I have students listen to professional recordings and I also record students singing at their lessons and have them listen to it.
26. Do you advertise?
My advertising is minimal. At the beginning of the school year, I attend Open House and Orientation, and go to the choir classes to talk to students and their parents about lessons. I also let the teachers at our school plus the middle schools know when I have openings in case they have students that ask about lessons. My website might serve as advertising, but I haven't paid any fees to make sure that it comes up at the top of searches.
-- Posted from my iPhone
Thursday, August 19, 2010
Accompanists
I've been asked to speak to a group of music teachers in a couple of months about accompanying. I can go any direction I want, but it was suggested that I might want to include training young accompanists. As I considered what I want to talk about, I decided that it might be best to structure my comments using my own musical history.
As I started making a list of people, events, and experiences that helped me to learn to accompany, I made a somewhat unsettling discovery: I received the training and nurturing that I needed as a young accompanist because I went to schools that couldn't afford to hire professional accompanists and coaches, and the church I attended does not hire professional musicians. I was given opportunities as an accompanist because there was no one else to do it.
I now live in an area where schools and churches hire professional musicians. In many ways, this is a good thing. The quality of the performances is better, and musicians are able to make money doing what we have invested a great deal of time and money in learning to do. I believe musicians should be paid, but what opportunities for training the next generation are missed when we hire professionals? Is there a way to hire professionals, maintain a high level of artistry, AND give young people the opportunities they need to learn?
Then the question becomes why should we teach young people to be accompanists? If that is truly the profession they want, there are many wonderful collaborative piano programs at the University level. Do students need collaborative experience prior to college? What about those that won't be pursuing this as a career, those students whose adult musical experiences will be avocational at best? Should we teach them to accompany and if so, why? What purpose will it serve?
Although I do occassionally take an accompanying gig, this is not my main source of income. However, the experiences I have had as an accompanist have shaped who I am as a musician, teacher, and human being.
Here is one small example from my accompanying "career" that changed me in more ways than just making me a better accompanist. Weston Noble is a big name in the choral world, especially here in the Midwest. When I was a student, and the choir accompanist, at Idaho State University, he came for a festival or clinic, or some similar event. I don't really remember the details, but I remember how he changed my life. I've always been really good at "following", but he encouraged me to do more. He taught me to be open to the music and how to work with him collaboratively, not merely follow his beat pattern. I don't really even remember what he said, but it changed the way I viewed the music, the way I viewed the performance experience, and the way I viewed myself. For a big event like that, perhaps they should have brought in someone with better technique and more experience, but I am very glad they didn't. And because they didn't I learned about trust.
I will never play as well as my accompanist/coach. She is amazing. But does that mean that I shouldn't call myself an accompanist or that I shouldn't play for groups or soloist when I am needed? Absolutely not! Yes, we need amazing accompanists and coaches, but there are places in the world where those of us that are just pretty good can do just fine. There are even times when those who doubt their skills can be great.
Watch for future posts as I explore who we should teach to accompany and why.
-- Posted from my iPhone
As I started making a list of people, events, and experiences that helped me to learn to accompany, I made a somewhat unsettling discovery: I received the training and nurturing that I needed as a young accompanist because I went to schools that couldn't afford to hire professional accompanists and coaches, and the church I attended does not hire professional musicians. I was given opportunities as an accompanist because there was no one else to do it.
I now live in an area where schools and churches hire professional musicians. In many ways, this is a good thing. The quality of the performances is better, and musicians are able to make money doing what we have invested a great deal of time and money in learning to do. I believe musicians should be paid, but what opportunities for training the next generation are missed when we hire professionals? Is there a way to hire professionals, maintain a high level of artistry, AND give young people the opportunities they need to learn?
Then the question becomes why should we teach young people to be accompanists? If that is truly the profession they want, there are many wonderful collaborative piano programs at the University level. Do students need collaborative experience prior to college? What about those that won't be pursuing this as a career, those students whose adult musical experiences will be avocational at best? Should we teach them to accompany and if so, why? What purpose will it serve?
Although I do occassionally take an accompanying gig, this is not my main source of income. However, the experiences I have had as an accompanist have shaped who I am as a musician, teacher, and human being.
Here is one small example from my accompanying "career" that changed me in more ways than just making me a better accompanist. Weston Noble is a big name in the choral world, especially here in the Midwest. When I was a student, and the choir accompanist, at Idaho State University, he came for a festival or clinic, or some similar event. I don't really remember the details, but I remember how he changed my life. I've always been really good at "following", but he encouraged me to do more. He taught me to be open to the music and how to work with him collaboratively, not merely follow his beat pattern. I don't really even remember what he said, but it changed the way I viewed the music, the way I viewed the performance experience, and the way I viewed myself. For a big event like that, perhaps they should have brought in someone with better technique and more experience, but I am very glad they didn't. And because they didn't I learned about trust.
I will never play as well as my accompanist/coach. She is amazing. But does that mean that I shouldn't call myself an accompanist or that I shouldn't play for groups or soloist when I am needed? Absolutely not! Yes, we need amazing accompanists and coaches, but there are places in the world where those of us that are just pretty good can do just fine. There are even times when those who doubt their skills can be great.
Watch for future posts as I explore who we should teach to accompany and why.
-- Posted from my iPhone
Thursday, August 12, 2010
Making a Difference
The August 2010 issue of Minnesota Women's Press (see www.womenspress.com) celebrates the 90th anniversary of women's right to vote. When I learned that it took over 70 years to get the 19th Amendment passed and the work that generations of women did to bring this about, it made me think once again about what I am doing to make a difference in the world. Is it enough? How much longer might it have taken if fewer women had spoken up? How much sooner might we have been given this right if more women had taken a stand?
With a few minor exceptions, I am healthier than I have been in over 20 years. The last several years have been about me focusing on the things that will bring peace and health to my life. I know I can't return to the overcommitted and stressful life I used to live, but is there room in my life to do something more to make a difference?
I love my current job, and don't see myself leaving it in the near future, but it was never my intent to spend my life here. This was a temporary job to pay the bills and help me gain valuable experience. The real dream, and the one that I still see at some point in my future is running my own non-profit arts school where all students, regardless of ability or financial situation, can have a life changing experience with the arts. I've seen a lot of kids miss out on these opportunities simply because there was no money to pay for them. I know teachers that only want to teach the best and the brightest because the are the most fun to teach and they make the teacher look good.
Yes, I do love it when one of my "stars" succeeds, but I know that some of my most rewarding moments as a teacher have been in seeing the growth in those students that some other teachers might label hopeless. And the growth I'm talking about is not just vocal. In my early years as a voice teacher, I had an adult student that was going through some major struggles and life changes. As we worked on a hymn we talked about what those words meant to her, especially with the situations she was dealing with. She chose to sing this song at the recital. Afterwards, an audience member (who is also a voice teacher) told me how touched she had been by this student's performance. Technically, it wasn't the best performance on the program, but because this woman sang from her heart and let us know what she knew, it was the most beautiful performance on the program. That is why I teach--to help students find the beauty and to help them know how to share it.
Last month I had a great talk with a friend, fellow voice teacher, and one of my teachers and mentors about my dream. At that point, I was really in the "I need to do more" mode. She reminded me of how important what I'm doing right now is. The students that I'm teaching now will take the things they learn (whether it is technique, discipline, music appreciation, or any number of things) and use them and share them throughout their lives. She made a difference in my life, and because she did, I am now making a difference in the lives of my students. OK, I will admit that some will leave my studio having changed very little if at all, but whatever influence I do have will continue to echo through generations.
In the past two weeks, I've heard from two different people (that didn't really stand out in my memory) that I had made a difference. They were still using tools that I taught them. Even more than the talk with my friend, these incidents reminded me of the difference I can make, that I do make, every single day.
But the question still remains--Is there more that I can do? Are there bigger issues that I can and should be taking a stand on? When is the right time, both in my life and in the history of the cause for me to become actively involved? Can I simply share what I feel and believe, or do my actions and how I choose to spend my time need to say something about what is important to me? Are rallies, marches, and hunger strikes in my future? How far am I willing to go, what am I willing to risk to make a difference?
-- Posted from my iPhone
With a few minor exceptions, I am healthier than I have been in over 20 years. The last several years have been about me focusing on the things that will bring peace and health to my life. I know I can't return to the overcommitted and stressful life I used to live, but is there room in my life to do something more to make a difference?
I love my current job, and don't see myself leaving it in the near future, but it was never my intent to spend my life here. This was a temporary job to pay the bills and help me gain valuable experience. The real dream, and the one that I still see at some point in my future is running my own non-profit arts school where all students, regardless of ability or financial situation, can have a life changing experience with the arts. I've seen a lot of kids miss out on these opportunities simply because there was no money to pay for them. I know teachers that only want to teach the best and the brightest because the are the most fun to teach and they make the teacher look good.
Yes, I do love it when one of my "stars" succeeds, but I know that some of my most rewarding moments as a teacher have been in seeing the growth in those students that some other teachers might label hopeless. And the growth I'm talking about is not just vocal. In my early years as a voice teacher, I had an adult student that was going through some major struggles and life changes. As we worked on a hymn we talked about what those words meant to her, especially with the situations she was dealing with. She chose to sing this song at the recital. Afterwards, an audience member (who is also a voice teacher) told me how touched she had been by this student's performance. Technically, it wasn't the best performance on the program, but because this woman sang from her heart and let us know what she knew, it was the most beautiful performance on the program. That is why I teach--to help students find the beauty and to help them know how to share it.
Last month I had a great talk with a friend, fellow voice teacher, and one of my teachers and mentors about my dream. At that point, I was really in the "I need to do more" mode. She reminded me of how important what I'm doing right now is. The students that I'm teaching now will take the things they learn (whether it is technique, discipline, music appreciation, or any number of things) and use them and share them throughout their lives. She made a difference in my life, and because she did, I am now making a difference in the lives of my students. OK, I will admit that some will leave my studio having changed very little if at all, but whatever influence I do have will continue to echo through generations.
In the past two weeks, I've heard from two different people (that didn't really stand out in my memory) that I had made a difference. They were still using tools that I taught them. Even more than the talk with my friend, these incidents reminded me of the difference I can make, that I do make, every single day.
But the question still remains--Is there more that I can do? Are there bigger issues that I can and should be taking a stand on? When is the right time, both in my life and in the history of the cause for me to become actively involved? Can I simply share what I feel and believe, or do my actions and how I choose to spend my time need to say something about what is important to me? Are rallies, marches, and hunger strikes in my future? How far am I willing to go, what am I willing to risk to make a difference?
-- Posted from my iPhone
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