Managing the Classroom

by Skylar Aichinger

ManagingtheClassroom
by Skylar Aichinger Four years of method courses, four years of observation, four years reflection, and yet Music Education students at Ball State University (BSU) never set foot in a course specifically designed to teach the subject of classroom management. With that said, it is important to note that the topic of classroom management has not been ignored in the Music Education Department at BSU. Management techniques have been woven into the fabric of all method courses within the curriculum. The focus of this essay will be to provide a discussion regarding the techniques that have been covered in these classes and to provide my conclusions that I have developed through years of conversation, in field experience, and the observation of trained professionals. Walking into a classroom the first day of school can be a knee-shaking experience. The new faces, egos, and demands that come with the new year can seem like a Goliath-sized challenge. Having a set of tools to manage the class not only provides the teacher with security, but also lays a stable foundation for student to build knowledge upon.

Day Number One

Field teaching through Ball State University has provided many experiences working with teachers and students across the Delaware County area. At these schools, I have seen a variety of different teaching styles and class conditions that have positively and negatively affected classroom behavior and learning. While observing I always make a point to identify the good and bad traits I see when I first enter the classroom (see figure 1). This leads me to my first point. Take a moment and imagine walking into classroom on the left, the bad classroom. You step through the door and along the the top of the walls are shelves stacked with dusty trophies. You, nor anyone else, knows where they came from or who won them, but there are plenty to look at and admire! You walk across the front of the room, passing piles of scores, old music, forms, fundraising magazines, and assumedly a syllabus or two among the crowd. As you get closer to your seat you begin to realize that there are five more seats in your row today in comparison to yesterday. You begin cypher where you are suppose to sit, but by the time discovered your chair

you realize that there are not enough stands in your row to use. After spending some time hunting down a stand, putting your horn together, and finding your music folder, class has been going for five minutes and your focus is in another dimension. This classroom is conducive to the fostering of behavioral problems, focus issues, and instructional trouble. Walking into such a plight of information and material will give students the impression that they are not working with a professional. They would assume that since the room is not worth taking care of, neither are their instruments or other resources found within its domain. The classroom on the right, the good classroom, exudes professionalism and appreciation for the resources provided to the music program. Orderly walls that are maintained with relevant information, the classs essential paperwork is organized neatly, there is a thoughtful seating arrangement, and overall of cleanliness create a setting that puts students in the mind to focus, listen, and learn. After establishing a professional and organized learning environment, it is of utmost importance to establish a tone for the rest of the school year. For instance, Dr. Kevin Gerrity, of Ball State University, is an expert in the field of General Music Education. While attending his classes I became familiar with the importance of singing and moving while teaching students General Music. While taking Dr. Gerritys course, I was told that their are two ways to start the first day of the school year. The first is by reading through a syllabus, explaining your rules, expectations, and grading policy. The second is by getting the students up for moving and singing. Both of these methods are effective ways to lay down the rules, but there is a stark difference separating the two. A teacher who comes into the room with energy and immediately starts the class in an performance activity is not only establishing rules, content, and tone, but they are creating rapport and identifying the expectation level for the class. A teacher who begins class in this style would be a supporter of the second example I have presented. After establishing the rules, expectations, and tone of the class it is important to remain consistent throughout the year. A teacher who does not hold the reigns steady throughout the year is only waiting for behavior problems to surface.

In-Class Strategies for Everyday Teaching

Teachers are in a constant battle for their students attention. Television, video games, magazines, text messaging, social media, and cell phones are only fraction of the things teachers have to compete with on a daily basis. The courses I attended while at Ball State, have taught me several basic principles to live by when teaching in the classroom. The first being Preparation. Preparation is possibly the most vitally important aspect of classroom management. It is easy to ignore the importance of proper preparation because it is an act that takes place outside of the class period. A band director walks into a room of 45 adolescent students. Each student is holding

equipment that is designed to make loud sounds. The band director has been busy of over the semester and has refrained from score study, lesson planning, or much other pre-class preparation. This situation is not entirely uncommon. Many band teachers spend hours outside of the school day teaching pep, marching, jazz, and show choir back-up band. The workload demand of music teachers is extreme. However, this does not mean that the director gets a free pass when it comes to studying their score selection or composing a lesson plan. So why are score study and lesson planning such an instrumental part of managing a classroom? In Shelley Jagows book Developing the Complete Band Program, she talks at length about the importance of preparation. When a music teacher stands in front of their class, they may be the only adult in the room. This means that the teacher has no flexibility when it comes to having their nose deep into their score while they are conducting. If the teacher is staring down the entire time they are teaching, they become unaware of the environment around them. A teacher who masters their score can leave the podium and visit different instrument sections across the band room. They have the knowledge to properly identify what sections will provide challenges and can tend to them as needed. They can place a thoughtful 8-week concert preparation schedule together that incorporates lessons regarding all aspects of comprehensive musicianship. The second important aspect of managing the classroom on a daily basis is Activation. From my experience in band programs, directors depend almost entirely on the skill and drill style of rehearsing. Skill meaning, If the melody needs students to double tongue I will teach them how to double tongue this specific melody. Drill meaning, Once the students can double tongue this specific melody, I will make them play it over and over until they it is internalized. I take issue with this teaching style. I take issue because skill and drill does not teach music. Band directors who subscribe to this philosophy take the easy way out of teaching their students. They tell the students what a rhythm sounds like and then drill it into them until it is memorized. This does not challenge the student to participate or think during class. It also leaves the other instrument sections sitting in their chairs waiting to be called on. A better way to teach would be through striving for constant activation. The professional educator should always be finding ways to get all students participating in class. This can come through singing, questioning, clapping, patching, or composing. Students can only learn when they are focused and paying attention. A teacher who does not activate, does not teach, and students do not learn. The final aspect of daily management is Clarity. If the teacher is not clear with expectations, questions, or instruction, students will respond negatively. When establishing the tone and rules of a classroom the teacher

must be clear and consistent throughout the school year. If there is to be no gum in the classroom, that means no gum anytime and any day. If the teacher establishes a homework policy at the beginning of the year, they should not bend or change the expectations that were set at the beginning of the year. Beginning musicians need structure and stability in order to thrive in a musical environment. Clarity of instruction. When teaching, has the teacher thought about the process of instruction before class started? Is there a pedagogically sound approach to that they follow? If the teacher does not come into class with specific goals and instructions, students will resist the progress of the lesson. If they do not feel that the task is relevant they will not participate. If they do not feel secure about what is requested of them they will not participate. If they do not feel that the teacher is providing constructive activities they will not participate. Clear, meaningful, relevant instruction is a key component to achieving desirable student behavior. Clarity of questioning. Are the questions being asked with detail and direction? Do the questions provoke critical thinking and problem solving skills? Figure 3 provides examples of two different types of questions. Question #1.) is vague. It does not target any aspect of musical performance or truly assess what the students know about the style of the piece or if they were listening. Question #2.), is a much better example of an appropriate question for the classroom. It targets a specific section of music, a specific group of instruments, and assess whether students were listening and if they understand the march style. To question with specificity and meaning is a tremendous way to improve classroom participation and behavior.

In Conclusion
An educator with proper classroom management skills does not have to be 6'2, 275 lbs, with a deep voice. They do not have to be mean and loud or strict and punishing. A true manager of the classroom, can control their classroom with elegance and poise. Instead of yelling, a teacher can have their students begin performing music. Students should be moving, dancing, singing, playing, and composing on a daily basis. Activating students in a variety of exercises is an exceptional teaching technique, but it is also an ideal way to keep students from getting bored and causing problems during class. A teacher who captivates their students with meaningful lessons does not need to yell or scream, because students will want to behave and participate in class. When I go into a classroom to teach I make sure that I have done my due diligence. Studying my scores, writing detailed lesson plans, and reflecting on past lessons. I will strive to provide activities that inspire my students and make them want to remain an active participant every class session. Lastly, I will be clear in all aspects of my direction. My assignments will have a defined purpose, my questions will help shape learning, and my modeling will aid students in their efforts to attain new information. As I begin my career I will keep the principles and strategies described in this essay in the front of my mind. I will always give an authentic effort to manage my classroom in a manner that is healthy for the environment in which my students will learn, as well as healthy for the longevity of my teaching career.