Sigma Alpha Iota

MUSIC MEDLEY No Substitute for A Good Substitute Teacher S o the school year has started and you're substitute teaching… When I'm out of the building, a good substitute teacher is invaluable to me especially when I'm ill. I can focus on getting better instead of worrying about my classroom and students. The qualities I look for in a substitute teacher may seem like common sense, but I cannot tell you how many times I've come back to my room and found that the sub did not do one or more of these things. Qualities of a Good Sub: 1. Follows the plan I left for my students. 2. Leaves me detailed notes as to what happened during each class period (e.g. fire drill, Student A refused to follow directions, Student B did a great job of helping Student C, etc.) and how far they got through the material. 3. Takes attendance. 4. Keeps paperwork for each class neatly together (if applicable). 5. Leaves my room the way I left it (e.g. chairs/ desks in rows etc.). Most of my preferred subs are not actually certified in music but are ones who always do these five things. I know if their name is listed, that my plans will be followed and I won't come back to a disaster. Make yourself valuable to the teachers in your districts. Most teachers can request specific subs or they may have a preferred sub list. Even computerized substitute systems usually have a way to enter a specific person on a specific date. This usually goes through a local office or through a building administrative assistant. Let's be honest, many teachers substitute in hopes of getting a contracted position in the district. Unfortunately, being a good and valued substitute teacher does not mean you'll get the next contracted opening. While there are school districts that realize good substitute teachers make good contracted teachers, there are many that want a good substitute to remain just that — a good substitute teacher. This, of course, creates a quandary for new teachers. Do I sub (and get experience) while I try to get a contracted position or do I work elsewhere until I do get a contracted position? I suggest getting the experience (and get paid for it). It will be harder work than many other jobs, but you'll be able to transfer your experience to your own classroom (when you get one). Music Education Director Amanda Maldonado has Bachelor's Degrees in Music Education and Music from Lebanon Valley College in PA, where she was initiated by Delta Alpha, as well as a Master's in Music Education from Kansas State University.  She has experience teaching General Music (MS and HS), HS Band (Marching, Concert, and Jazz Bands) as well as Choral (6-8).  She is a charter member of the Northern Delaware Alumnae Chapter and has been on several panels for SAI National Convention workshops. The Music Education committee is looking for additional members to write articles and work on Music Education projects. Please contact Amanda Maldonado at clar_m2@hotmail.com if you are interested. Iota Phi Initiate Receives Music Education Honor I ota Phi initiate Marvelene Moore, a University of Tennessee professor who specializes in classroom music for students in kindergarten through eighth grade, received the Lowell Mason Fellow Award, the highest honor in the music education field. The National Association for Music Education (NAfME) presented Moore with the award this summer during its National Assembly dinner in Tysons Corner, VA. I am truly overwhelmed to receive this prestigious award," Moore said. "I've sat where you sit and never thought I would receive such an award myself." She talked about "teaching" music at a young age to other five-year-olds, urged on by her mother. She noted that her work with the association goes back to her student days at Vanderbilt University. The Lowell Mason Fellow Award was established in 2002 to recognize individuals who have made outstanding contributions in teaching and research in the field of music education. It is named for Lowell Mason, a musician and composer of more than 1,600 hymns. He is credited with introducing music instruction to American public schools in the nineteenth century, and establishing teacher training in music education. A UT faculty member for thirty-six years, Moore occasionally serves as a guest teacher in area elementary schools and guest conductor of middle school choruses. She has served as a clinician and guest conductor for music organizations in forty-four states and has presented at the International Society for Music Education conferences in South Korea, South Africa, Norway, Malaysia, the Canary Islands, Italy, and China, and at the Royal Melbourne Institute of Technology in Melbourne, Australia. Moore is James A. Cox Endowed Chair and a professor of music education. Moore is founder and chair of the biennial National Symposium on Multicultural Music, which is co-sponsored by the National Association for Music Education. She has written numerous books, including Critical Essays in Music Education, Kaleidoscope of Cultures: Proceedings of the National Symposium on Multicultural Music, School Music and Teacher Education: A Global Perspective in the New Century, and Making Music with Movement and Dance. Among the world's largest arts education organizations, NAfME advocates at the local, state, and national levels; provides resources for teachers, parents, and administrators; hosts professional development events; and offers a variety of opportunities for students and teachers. The association orchestrates success for millions of students nationwide and has supported music educators at all teaching levels for more than a century. sai-national.org Fall 2013 PAN PIPES 5

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