The Curse Of The Easy A
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Chad Criswell
Mar 12, 2013, 4:46:36 PM3/12/13
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Please consider this free-reprint article written by:
Chad Criswell
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Article Title: The Curse Of The Easy A
Author: Chad Criswell
Word Count: 578
Article URL: http://www.isnare.com/?aid=27757&ca=Entertainment
Format: 64cpl
Contact The Author: http://www.isnare.com/eta.php?aid=27757
Easy Publish Tool: http://www.isnare.com/html.php?aid=27757
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Many current music educators grew up in a time when being in an ensemble was solely about playing the music for the next concert. I personally cannot recall ever doing a worksheet or any real music theory work while in high school. It seemed that all I had to do to get an "A" was come to my lessons, play at the concerts, and otherwise stay out of trouble. Outside practice was expected but not enforced. I did not realize until many years later that this method of teaching had set me up for years of mediocrity and frustration.
The primary effect of giving a student an A for doing very little work produces much the same effect that we see in society where people become dependent on entitlement programs. Being given something for nothing slowly undermines a person's motivation and softens their personal initiative. In the music classroom this translates into producing a stagnant musician that has no driving force to improve his or her musical abilities. For many years I suffered with wondering why the members of my ensemble wasn't improving the way I felt they should. Finally I concluded that it was my fault for not pushing them hard enough. I had fallen back into my mentor's footsteps and had been cranking out the easy A's to my students regardless of what they truly deserved.
The grading rule of thumb that is used in other classes should also be used in the music classroom. This rule of thumb states that an A is to be reserved for excellent work while a C is given for work that is simply average. If you were to take this rule and apply it to your students, would they get the same grade that you gave them on their last report card? How did they come to earn the A that they received? Was it simply for showing up to class or was there real, verifiable learning going on?
The day that I realized my mistake and started requiring more work from my students the ensemble seemed to blossom almost overnight. I began requiring two hours of home practice each week, weekly theory worksheets, and mandatory private lessons or group sectionals. By the next concert I was already seeing a difference. By the end of the third quarter the new scale memorization requirements I threw in had turned my jazz and pep bands into the best groups that I had ever conducted. The attitudes of my students also changed. They realized that they were improving and that their hard work was indeed paying off. This in turn made them more interested in performing and made them want to practice even more.
Perhaps most important of all, requiring more of my students also required more of myself as a teacher. I started reading educational journals again, determined to improve myself as a conductor and as a teacher. I started writing about my experiences to help other people improve and learn from my mistakes. These simple things breathed new life into a career that was on the verge of being consumed by apathy. I love teaching again, and it is all because I finally broke free from the bonds of being a mediocre band director. If you care for your students and want them to come to love and appreciate music as much as you do, never again give away an easy A.
About The Author: Chad Criswell hosts a web site dedicated specifically to music education topics of interest to students, parents, and teachers located at http://www.musicedmagic.com. He is also the staff music technology writer for NAfME Teaching Music Magazine.
Please use the HTML version of this article at:
http://www.isnare.com/html.php?aid=27757
*********************** ARTICLE END ***********************
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Message delivered directly to members of the group:
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*****************************************************************
Please consider this free-reprint article written by:
Chad Criswell
*****************************
IMPORTANT - Publication/Reprint Terms
- You have permission to publish this article electronically in free-only publications such as a website or an ezine as long as the bylines are included.
- You are not allowed to use this article for commercial purposes. The article should only be reprinted in a publicly accessible website and not in a members-only commercial site.
- You are not allowed to post/reprint this article in any sites/publications that contains or supports hate, violence, porn and warez or any indecent and illegal sites/publications.
- You are not allowed to use this article in UCE (Unsolicited Commercial Email) or SPAM. This article MUST be distributed in an opt-in email list only.
- If you distribute this article in an ezine or newsletter, we ask that you send a copy of the newsletter or ezine that contains the article to http://www.isnare.com/eta.php?aid=27757
- If you post this article in a website/forum/blog, ALL links MUST be set to hyperlinks and we ask that you send a copy of the URL where the article is posted to http://www.isnare.com/eta.php?aid=27757
- We request that you ask permission from the author if you want to publish this article in print.
The role of iSnare.com is only to distribute this article as part of its Article Distribution feature ( http://www.isnare.com/distribution.php ). iSnare.com does NOT own this article, please respect the author's copyright and this publication/reprint terms. If you do not agree to any of these terms, please do not reprint or publish this article.
*****************************
Article Title: The Curse Of The Easy A
Author: Chad Criswell
Word Count: 578
Article URL: http://www.isnare.com/?aid=27757&ca=Entertainment
Format: 64cpl
Contact The Author: http://www.isnare.com/eta.php?aid=27757
Easy Publish Tool: http://www.isnare.com/html.php?aid=27757
*********************** ARTICLE START ***********************
Many current music educators grew up in a time when being in an ensemble was solely about playing the music for the next concert. I personally cannot recall ever doing a worksheet or any real music theory work while in high school. It seemed that all I had to do to get an "A" was come to my lessons, play at the concerts, and otherwise stay out of trouble. Outside practice was expected but not enforced. I did not realize until many years later that this method of teaching had set me up for years of mediocrity and frustration.
The primary effect of giving a student an A for doing very little work produces much the same effect that we see in society where people become dependent on entitlement programs. Being given something for nothing slowly undermines a person's motivation and softens their personal initiative. In the music classroom this translates into producing a stagnant musician that has no driving force to improve his or her musical abilities. For many years I suffered with wondering why the members of my ensemble wasn't improving the way I felt they should. Finally I concluded that it was my fault for not pushing them hard enough. I had fallen back into my mentor's footsteps and had been cranking out the easy A's to my students regardless of what they truly deserved.
The grading rule of thumb that is used in other classes should also be used in the music classroom. This rule of thumb states that an A is to be reserved for excellent work while a C is given for work that is simply average. If you were to take this rule and apply it to your students, would they get the same grade that you gave them on their last report card? How did they come to earn the A that they received? Was it simply for showing up to class or was there real, verifiable learning going on?
The day that I realized my mistake and started requiring more work from my students the ensemble seemed to blossom almost overnight. I began requiring two hours of home practice each week, weekly theory worksheets, and mandatory private lessons or group sectionals. By the next concert I was already seeing a difference. By the end of the third quarter the new scale memorization requirements I threw in had turned my jazz and pep bands into the best groups that I had ever conducted. The attitudes of my students also changed. They realized that they were improving and that their hard work was indeed paying off. This in turn made them more interested in performing and made them want to practice even more.
Perhaps most important of all, requiring more of my students also required more of myself as a teacher. I started reading educational journals again, determined to improve myself as a conductor and as a teacher. I started writing about my experiences to help other people improve and learn from my mistakes. These simple things breathed new life into a career that was on the verge of being consumed by apathy. I love teaching again, and it is all because I finally broke free from the bonds of being a mediocre band director. If you care for your students and want them to come to love and appreciate music as much as you do, never again give away an easy A.
About The Author: Chad Criswell hosts a web site dedicated specifically to music education topics of interest to students, parents, and teachers located at http://www.musicedmagic.com. He is also the staff music technology writer for NAfME Teaching Music Magazine.
Please use the HTML version of this article at:
http://www.isnare.com/html.php?aid=27757
*********************** ARTICLE END ***********************
- To distribute your articles go to http://www.isnare.com/distribution.php
- For more free-reprint articles go to http://www.isnare.com
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