Sigma Alpha Iota

Spring 2021 18 18 P A N P I P E S MUSIC EDUCATION By Taylor M. Vogel I remember, very clearly, my art teacher teammate asking me to include a specific music curriculum from the Oklahoma City Philharmonic in my classroom to go along with an art program she uses. I was overwhelmed because it was my first year as an elementary general music teacher of 600 students and I had just recovered from strep throat. With tremendous respect for my colleague, I set that information in a drawer, closed it, and forgot that it existed until a group of volunteers showed up at our school a few months later for an instrument petting zoo. Some of them were SAI sisters, which was a treat, especially as they were gracious about how underprepared my students were for that experience. It was not until several years into teaching, in Denver, CO, that I successfully and fully tapped into the resources of my area performance organizations, primarily because our school had someone on site to manage community experiences. It was also my best year of teaching, and that is not a coincidence. I now have the pleasure of currently serving as the Director of Education & Community Programs for the Fort Worth Symphony Orchestra, and was previously the Education Coordinator for the Oklahoma City Philharmonic — where I worked to connect educators to the very programs I was too overwhelmed to bring to my students. And while this past season has brought about tremendous challenges to the world of music education, your local non-profit performance organizations are eager to connect to you and your students again. If you are an educator and have not yet connected to your most local symphony, choir, or opera, I would strongly recommend compiling a list of your area music resources and the education contacts at each. For larger districts, connect to your Fine Arts Director and ask specifically what programs the district has participated in. I, personally, loved visiting with teachers at their back-to-school in-service gatherings to inform them of our orchestral education program offerings. When you are able, invite Education Directors from orchestras, operas, and choirs into your school and district! Nothing beats the opportunity to have representatives for each organization available to answer your questions in one fell swoop. Additionally, please inquire directly about costs — and keep an open mind. I always assumed as an educator that I did not have the budget available to pursue any programs, therefore seeking out programs was not worth my time. What I now know from the administrative side is that individual and organizational donors love bringing music to students. It is entirely worth your time to find out if you can get concert experiences or classroom visits fully or partially funded. Be straightforward without hesitancy—ask directly what the cost of the program is and if there are any paths toward funding. ese concert experiences are truly life-changing for students, and if you truly need help, there is always a way to fund it. I strongly recommend building concert- going experiences directly into your curriculum. You should be able to access a list of program repertoire before, so have students accompany recordings of an excerpt from a piece on the concert on xylophone or create movement in response to the dynamics. ey'll light up when they hear a piece of music they've previously connected to in their classroom. Additionally, knowing which academic standards you can deeply connect to the experience beyond concert going etiquette (which is critically important, too!) can help you advocate for program funding from your district or community while also enriching your students' experiences. Incorporating connective community experiences at every grade level also helps deepen students' comfort in attending concerts throughout their education and helps them know that the concert hall is a place for them. Getting students of diverse backgrounds into halls and experiencing music directly impacts the equity of your community. I have watched handshakes and business deals happen at concerts — if we get students into these halls as children, we are setting them up for those networking connections into their later careers, as well. Excellent music has been stitched into the fabric of personal and career success since the great philosophers encouraged arts education, and there is no escaping the truth that a music education leverages a person toward success in all areas of life. Let students know the concert hall is for them by taking them there. While many organizations are open for field trips to see a performance, I also strongly suggest taking advantage of any programs that bring working musicians into your classroom. ese come most oen in the form of small ensemble performances, master classes, and sectionals. Some organizations, like the Fort Worth Symphony, will bring the entire symphony or ensemble to your school for performance within a certain mile radius. Rural school districts can foster a sense of community and connectedness by bringing neighboring organizations to your students and inviting parents to attend as well, if space permits. For in-school options, get creative with your space and means, and reach out to the nearest music education director or coordinator to see what can be done. If you are not a music educator — and this is a big ask — volunteer to coordinate these connections for a music teacher or district program in your community. e first go- around can be more time involved, but once the connection is made, it becomes simpler and more valuable year aer year. I have worked with amazing community leaders who do just this by coordinating the expenses, travel, and communication for a school they simply volunteer at. If you are an educator and are overwhelmed, ask your principal or teammates if there are volunteers who can help you do just that. By naming what you want from these organizations and fostering connections with the administrative team behind them, you can truly enrich the music education experience of your students. rough outgoing field trips or in- school performances, you can connect students to music making and enjoyment outside of the classroom for life. Taylor Vogel is past president of Alpha Zeta Chapter at Oklahoma City University and a recipient of the Sword of Honor, Ruby Sword of Honor, and the 2011 National Collegiate Leadership Award. She is currently the Director of Education & Community Programs for the Fort Worth Symphony Orchestra in Fort Worth, Texas. Classroom to Concert Hall

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