STATUS REPORT: MUSIC IN OLENTANGY PUBLIC SCHOOLS April 20, 2010 For the Olentangy Music Coalition by: Dr. John Benham P.O. Box 1063 Forest Lake, MN 55025-1063 OLENTANGY | LOCAL SCHOOL DISTRICT "Our mission is to facilitate maximum learning for every student" Olentangy's Vision Our students will perform at a level that surpasses or is equal to their anticipated level of achievement based on measured ability. We will promote high expectations for students in all areas: academic, artistic, physical, health, citizenship, and service. In a fiscally responsible manner, we will commit the resources necessary to establish and maintain: A respectful, caring, and safe environment Research-based, student focused instruction Information-driven decision making A focused and challenging curriculum Collaboration focused on improving student learning An active partnership with parents and community EXECUTIVE SUMMARY The Administrative Proposal for Restructuring With growing concern and lack of clarity over the impending restructuring of the elementary string curriculum, and confusion as to potential reductions in other areas of the music curriculum, the community contracted an independent consulting firm to examine levels of participation in the music curriculum, provide direction for collaborating with the administration, board, and teachers, and develop a status report reflecting the health of the music curriculum. It is noted that the community desires to maintain a collaborative and not adversarial relationship with the various constituents in the district. It is the distinct opinion of the music professionals and the community that the restructuring of the string program under consideration will result in the probable collapse of the program. Further, the community speculates that there are significant other reductions in the music program under consideration. They base these concerns on statements made by members of the school board and administration. Faculty Issues The status report delineates music staff FTE based on actual teaching loads. Primary concerns are the amount of educational and economic waste expended with the allocation of 4.126 FTE to non-music assignments as part of the normal assignment of teaching minutes per week. This FTE could be put to more productive use in improving the music curriculum. Of equal concern is the development of the restructuring plan without input from research-based best practices, significant input from either the professional music education staff or the community, and the assignment of music staff to instructional responsibilities outside their primary area(s) of specialization. This is a failure to take the best advantage of their expertise while at the same time not providing the student with the most excellent learning opportunity. Curricular Issues In addition to those items presented under faculty issues the community is concerned with the lack of recognition of the (core) academic nature of the music curriculum as identified by (non-music) professional associations and No Child Left Behind. The community and music professionals are in agreement with the concept that the music program needs a complete overhaul, and desire to work together with the administration to implement program improvements. This must include the development of a comprehensive music curriculum with specific, achievable, and measurable goals that are aligned with appropriate assessment processes as exists in other academic areas of the curriculum. This would assist all constituents of the district in comprehending the academic nature of the music curriculum. This curriculum should include the integration of general music knowledge with the making of music. Student Participation Issues Student interest in starting to play a music instrument reaches its peak in grade 5, coincident with the same "windows of learning" experienced in other academic areas of the curriculum. By grade 6, student interest in beginning a new instrument significantly declines. Extensive national case studies indicate that delaying the first year of participation in instrumental music until grade 6 will result in a minimum decline of 65% in participation at the secondary levels. Student interest in starting a music instrument in grades 4 and 5 in the Olentangy Local School District is on a quantitative equivalent with national programs identified as qualitatively excellent. However, attrition rates in the OLSD are significantly higher than the norm. Among other issues, the district needs to perform exit interviews of students who discontinue participation in band, orchestra, or choir to provide for overall program improvement. Economic Issues The average 1.0 FTE secondary music performance (band, orchestra, choir) position in OLSD carries a load equivalent to 1.5 FTE classroom teachers. This excess student load value covers the entire cost of the elementary instrumental music curriculum. Failure to maintain strong enrollments in band, orchestra, and choir provided by an excellent feeder system will result in negative impacts on the music program, the district budget, and overall class sizes in the non-music classroom. Summary The community recognizes that the district is in a difficult financial position that is only made more complex with projected growth in the student population. The community also recognizes that a strong music program is important to the district image, and its financial viability within the district budget. Therefore the community has two requests: the district rescind its current restructuring proposal; and, the district appoint a Task Force to study the issues outlined in this report to resolve issues related to the health of its music program for the best of the student. PREFACE Although the district is experiencing extraordinary financial challenges, it was determined that the community would serve as a proactive influence, working cooperatively for the implementation of music at all levels within the curriculum. It is the desire of the community to provide a positive environment for student-centered decision-making and positively influence the inclusion of music in the curriculum. Therefore, an independent consulting firm was contracted to study the status of the current music program, determine the advantages of its continuation to the benefit of the student and district, and make recommendations concerning the strengthening of the curriculum and/or its delivery. The process included meetings with music teachers* and members of the community at large (parents). Content of these meetings included the following items: The collection of data related to current levels of student participation; "Brainstorming" sessions designed to provide... ...an overview of the recent history of the music program in the district; ...information related to configuration of the current music curriculum, including factors which may provide positive and negative influence on program health; and, ...suggestions for improvement in the delivery of the current music curriculum. While it must be recognized that a quantitative analysis may provide information related to how "good" or "bad" a music program (or any of its parts) is, it is not the purpose of this study to provide for the qualitative evaluation of music teachers, or the curriculum. It should be emphasized that there has been no intent to circumvent any process that may have been established by the administration and school board. Rather, in commissioning this research-based study it is the intent of the community to be respectful, information-driven, and collaborative in establishing an active parent-community partnership for the maintenance and expansion of a focused and challenging music curriculum that is available to all students in the district. [Note: Several music teachers have reported both verbally and in writing that they were threatened with "unspecified" repercussions if they participated in this study or interfered in any way with the administrative decisions. This is in obvious conflict with administrative statements that the staff was involved in the decision-making process.] INTRODUCTION As the crisis in public school funding has spread across the United States and Canada, public school administrators and school boards have been faced with massive cuts in budgets. Coupled with a continuing panic for raising test scores in math and science and the concern for technology awareness and literacy, funding shortfalls have stimulated a seemingly voracious appetite for devouring arts curricula. This panic has been so severe and irrational as to cause the discounting of significant studies indicating the importance of the arts in a balanced curriculum. Research by Regelski, Milley, Horne, Kaufman, Rees, Wilson, Gardner, Wilson, Levitin, et al, indicate that music is one of the basic intelligences and participation is vital to the intellectual development and academic success of the student. This evidence is corroborated by the SAT scores of music students (See Figure 1). Figure 1: Mean SAT Scores, 2001-2004 Course Title Verbal Mean Scores Math Mean Scores   2001 2002 2004 2001 2002 2004 Acting/Play Production 541 539 539 531 530 527 Art History-Appreciation 518 515 516 518 517 516 Dance 512 509 503 510 508 501 Drama: Study/Appreciation 534 531 528 523 522 517 Music: Study/Appreciation 539 537 536 538 537 533 Music Performance 533 530 530 535 535 532 Photography/Film 527 524 523 526 526 522 Studio Art/Design 525 522 524 528 528 527 No Art Coursework 476 473 473 494 494 492 Honors Courses 565 563 565 564 564 563               Years of Study Verbal Mean Scores Math Mean Scores   2001 2002 2004 2001 2002 2004 More than 4 years 544 538 533 545 541 536 4 or More Years 535 536 539 530 534 535 3 Years 518 513 512 518 516 512 2 Years 506 504 505 513 514 512 1 Year 497 495 497 510 510 510 0.5 Year or Less 485 484 483 500 502 498 Sources: The College Board, Profile of College-Bound Seniors National Report for 2001,2002, and 2004. Students of the arts continue to outperform their non-arts peers on the SAT, according to reports by the College Entrance Examination Board. In 2004, SAT takers with coursework or experience in music performance scored 57 points higher on the verbal portion of the test and 40 points higher on the math portion than students with no coursework or experience in the arts. Scores for those with coursework in music appreciation were 63 points higher on the verbal and 41 points higher on the math portion. The College Board recognized that while no causality could be established at this point, results indicate, "students' scores tend to increase with more years of arts study." And, "Students who take arts courses have generally higher SAT scores than those who do not take arts courses. The more arts work a high school student takes, generally speaking, the higher his or her SAT scores. This is especially evident in students' verbal mean scores. This information suggests that students cannot justifiably be counseled to cease taking arts courses (emphasis added) because other courses can better prepare them for college and the SAT." Research by Dr. Frank Wilson, a neurologist from the University of San Francisco School of Medicine, indicates that 80-90% of the brain's motor-control capabilities is devoted to the hands, mouth, and throat. He proposes that with the development of highly refined control in those areas, a child is stimulating a large portion of the brain, and that increased intelligence is therefore helped by participation in music performance. (Wilson 1986) Dr. Daniel Levitin, a neuropsychologist at the same institution, suggests that the preponderance of research indicates music is such a strong component of human constitution that it may be even more important than to the formation of our personal identity than the spoken language. He indicates that it is evident that acquisition of the music language begins during the fetal stage and that a child has learned the aural rules of music by the age of five. (Levitin 2006) A project funded by the Florida Department of Education indicates that At-Risk Students who became involved in arts courses improved academically and were influenced to continue in school and graduate. When asked what specific aspects of their arts courses were most effective in retaining At-Risk students, teachers most frequently mentioned the importance of performance and the social interaction and camaraderie that come from being part of an arts group or performing ensemble. ("Arts Education Improves At-Risk Students' Overall Performance, Study Finds." Music Educators Journal. November, 1992.) [Note: For additional documentation on the importance of arts study for at-risk students see http://www.menc.org/documents/temp/benefits_of_music.pdf .] In THE GEORGIA PROJECT: A Status Report on Arts Education in the State of Georgia, a state endorsed study involving over 641,000 students and 33 school districts, regression analysis was used to examine relationships between levels of school district funding of arts programs and student achievement. A summary of major findings is listed in Figure 2. Figure 2: The Georgia Project Relationship Descriptor p-value confidence Districts that make staffing and funding of their arts programs a priority tend to have higher overall rates of student participation in the arts and higher rates of arts student retention (lower rates of attrition). .08 92% Such districts tend to have lower dropout rates in grades 9-12 and thus keep their students in school longer and graduate more of them. .08 92% Their students tend to score higher on achievement and performance tests, such as the SAT, the Iowa Test of Basic Skills (Grade 8) and the Georgia High School Graduation Test (Grade 12). .03-.08 92%-97% They tend to graduate more of their students with college prep diplomas, percentages increasing with diversity of arts curricula and percent of students participating. .007 99+% The above relationships may not apply equally across socio-economic and ethnic groups. Specifically, the study found that arts student retention rates are negatively correlated with both ethnic minority percent of enrollment and percent of enrollment eligible for subsidized lunch (a measure of district affluence). .003-.01 99+% (NOTE: An Executive Summary of the Georgia Project is Available in Appendix D.) While the above findings do not establish a cause and effect relationship, they do indicate that  ...strong arts programs need not come at the expense of academic achievement. Rather, the arts are an important factor in achieving academic excellence. (Benham/Helmberger 1997) Excerpts from the report of ongoing research at the Center for the Neurobiology of Learning and Memory indicate the importance of including music training at the earliest possible time in the intellectual development of the child. "Our...program with three-year-olds (including children enrolled in an inner-city daycare center) indicates that music training significantly enhanced performance on specific non-verbal age-appropriate spatial reasoning tasks! "We suggest that music can be used not only as a 'window' into examining higher brain functions but as a means to enhance them. That music is universally appreciated, even at birth, gives it an enormous advantage as a means of developing higher brain function. "Children were issued the Performance subtest of the Wechsler Preschool and Primary Scale of Intelligence-Revised (WPPSI-R) upon admittance to the school. "Students' performance on the Object Assembly task was substantially better after receiving music training than before training...(and) scaled scores of the children in the (inner-city) daycare center increased dramatically over the three testing periods, from 6.4 prior to receiving music training to 12.2 six months after training began." ("Pilot Study Indicates Music Training of Three-Year-Olds Enhances Specific Spatial Reasoning Skills". Frances H. Rausher, Gordon L. Shaw, Linda J. Levine, and Eric L. Wright. University of California, Irvine. August, 1993.) [Note: Subsequent reports indicate that "spatial reasoning skills increased 46% for those taking music, and only 6% for those who did not. [MENC Today. November, 1994.] And yet administrators have often been so involved with the adult issues of balancing the budget and manipulating class schedules that focus on the overall intellectual, personal and social development of the student has been lost in the shuffle. Examples in California are most notable, where cuts in public school instrumental music programs caused a 57% statewide reduction in student participation from 1981-1989 (See Figure 3). Figure 3: Instrumental Music Decline (california 1981-1989) Year Instrumental Music Students 1981 1989 124,000 53,000 Lost Enrollment 71,000 [The Californie Basic Educational Data System] Several observations may be made concerning this drop in student participation. 1. Although the example above specifically relates to instrumental music, similar patterns have occurred with student participation in vocal music as a result of the elimination of elementary vocal/general music curriculums. 2. Approximately 355 music teachers provided the 71,000 students eliminated from participation in instrumental music instruction. 3. To teach the same 71,000 students in the regular classroom requires approximately 473 classroom teachers. 4. Assuming the average salary of a teacher, excluding benefits, to be $50,000, it becomes evident that the cost savings actually results in a significant additional expense (See Figure 4). Figure 4: Instrumental Music Decline Annual Financial Loss Anticipated Savings (355 teachers x $0,000) $17,750,000 Actual Cost (473 Teachers x $50,000) ($23,650,000) Total Annual Loss ($5,900,000) Further observations: 1. The cost of replacing large music performance classes that disappeared because of the elimination of feeder programs is obvious. 2. While the elimination of music performance programs was done in part to help balance the educational budget, a secondary issue was the desire to put more money into increasing test scores in reading, mathematics and the sciences. 3. The continuing downward trend of test scores in the state of California has been well documented, further substantiating the research that demonstrates the importance of arts study for the academic and intellectual development of the student. The attack on arts curricula has been so fierce that in March 1989, the 126,000-member Association for Supervision and Curriculum Development (ASCD) adopted the following resolution supporting the inclusion of the visual and performing arts in a balanced curriculum. "Integration of Visual and Performing Arts in Curriculum" "With recent focus on specific subject matter, academic achievement, and a series of reform efforts/movements that emphasize raising test scores and graduation requirements, a balance of curriculum offerings is not being maintained. Dance, drama, music, and the visual and performing arts are disciplines with aesthetic, perceptual, creative, and intellectual dimensions. They foster students' abilities to create, experience, analyze, and reorganize, thereby encouraging intuitive and emotional responses. The arts can increase self-discipline and motivation, contribute to a positive self-image, provide an acceptable outlet for emotions, and help to develop creative and intuitive thinking processes not always inherent in other academic disciplines. "ASCD supports the concept that arts education is essential in a balanced curriculum and urges educators to include the visual and performing arts at all appropriate levels of education. The Association encourages educators to explore opportunities to integrate the arts in an interdisciplinary approach to education and seek a variety of techniques to assess such an approach." [Emphasis added.] Reinforcing the position of the importance of arts education for every child, ASCD subsequently published a book on the subject by Eric Jensen. In Arts With the Brain in Mind, ASCD provides credibility to the publication on the copyright page by clearly stating that "there was no financial support or any other potential conflict of interest from any of the many fine organizations that commonly support the arts." In stating his biases the author indicates that he is in no traditional sense an artist, but above all an "advocate for improving education." The thesis of this book is that "arts are not only fundamental to success in our demanding, highly technical, fast-moving world, but they are what makes us most human, most complete as people." Further, from all the research the "facts are in: You can make as good a case, or better, for arts than you can make for any other discipline." Jensen states, "The fact is, humans are unique; and educators need different approaches and strategies to reach a wide range of learners. Believe it or not, many schools, districts, and states have been using a powerful solution (for improving student achievement) for decades. It's called the arts." (Jensen, 2001) Providing further emphasis on the importance of the arts in education, the Council for Basic Education released its report "Academic Atrophy  The Condition of the Liberal Arts in America's Public Schools" in March 2004. Recognizing the great opportunity and substantial task at hand, the report affirms the positive aspects of the growing national interest in improving education stimulated by the No Child Left Behind Act. At the same time, it substantiates a coincident imbalance in curricular emphasis that is "evidence of waning commitment to the arts& ," leading to a disintegration of  educational excellence, and reducing equal educational opportunities for a liberal arts education. The combined impact of budget cuts and recent educational reforms are "narrowing the academic curriculum in our nation's public elementary and secondary schools." Research over the last several decades consistently indicates that children who make music perform better in all areas of academic endeavor. Whether research results are associative or causal, the fact is that music-making is an important academic endeavor for all students simply for its intrinsic intellectual, emotional and social values. Based on this and other research, the national educational goals established in America 2000, as enacted by the United States Congress in 1993-94, recognize and include the arts as CORE curriculum. The National Standards for Music Education developed in cooperation with the Music Educators National Conference served as the measurement device for music programs related to America 2000. With the implementation of No Child Left Behind music education continues to be classified both as academic and core curriculum. Music in the Olentangy Local School District Long-term residents in the Olentangy Local School District (OLSD) will recognize the tremendous growth that has occurred. Since the early 1990s district enrollment has increased ten-fold, and more than doubled just since the 2006-2007 school year. Coincident with that growth has come a community value system that has the expectation of a music program of quantitative and qualitative excellence equal to, and consistent with other core academic areas of the curriculum. Such a curriculum includes foundational and continued studies in general music in grades K-12, and music performance opportunities in band, orchestra and choir for all children. However, in recent years the music program has become a target for reform by those who would deny the significance of research, and recommendations by their own professional associations, which indicate the importance of a strong arts curriculum in the social, academic and intellectual development of the child. Some decisions that have directly affected the delivery of the music program are listed below. Restructuring of elementary and middle schedules without regard as to how such decisions might impact a student's ability to continue participation in music performance (band, orchestra, choir). Arbitrary assignment of music teachers to areas of the music curriculum without regard to the area of specialization. Arbitrary assignment of music teachers to schools without regard for consistency of instruction or coordination within the school cluster (feeder system). Scheduling of classes, e.g., elementary band during recess times, that appears to deny the identification of the music curriculum as core curriculum by No Child Left Behind and professional associations such as the Association for Supervision and Curriculum Development. The adoption of curriculum or scheduling changes without consultation or collaboration with music faculty or the community. While most of these factors may not have been directed with the intent to attack the music program, they have caused increasing stress upon the health of the music curriculum. The fact that participation in music (orchestra, choir and band) has continued to grow is a credit to a strong faculty and partly due to increased enrollment in district. The Administrative Proposal As indicated on the district website, the district anticipates making significant changes to the delivery of the music curriculum. "Beginning with the 2010-11 school year, the Olentangy Local School District will adjust the way it provides elementary strings instruction. The adjustments will increase the overall music instruction at the elementary level and will save the district $842,689 in salary and benefit costs over the next four years of the five-year financial forecast. "Next school year, students who are interested in strings will receive 60 minutes of instruction after school every week." "The strings program for the 2010-11 school year will actually begin this spring with a recruitment process. This will enable students to start working with string instruments earlier in the school year and allow parents more time to coordinate details such as car pool and childcare needs. "The more than $842,600 in cost savings comes from the six music teacher positions that had previously been allocated in the five-year financial forecast. "Restructuring the program now, while our student enrollment is still growing, allows the district to realize cost savings by not hiring any new positions. This also allows the district to create a more fiscally sustainable model that will ensure strings opportunities for students when we have more than 20 elementary schools rather than eliminating the program all together." Conspicuous by their absence are other "hidden cuts" or "reforms" not specifically identifying music personnel, but which may be (actually or "rumored") under consideration, or left to the discretion of central and/or local (site) administrators including the following cuts as noted in the document "Olentangy Local Schools Staffing Pattern Reductions." (Eliminate) 3 Middle School Elective/Unified Arts Teachers (Eliminate) 4.5 High School Elective/Unified Arts Teachers (Eliminate) 4 Elementary School Classroom Teachers (student/teacher ratio: 21-1 to 24-1) (Eliminate) 4 Secondary Classroom Teachers (student/teacher ratio: 24-1 to 25-1) (Eliminate) 6 Elementary School Music Teachers (Strings restructure) It should be noted that the string curriculum is the only academic area specifically targeted for reduction by the central administration. However, the elimination of elective/unified arts teachers and changes in the staffing ratio will result in the elimination of teaching positions (or classes). Exactly which teachers or classes are to be eliminated are left to the discretion of each site administration (principal). Classes or positions that appear to be on the list for elimination include the following. Smaller music performance classes that are below an enrollment number that has not yet been publicized, such as jazz ensemble, vocal ensembles, string chamber ensembles General music courses, such as AP music theory, music appreciation, and guitar or piano classes Indeed, principals have informed some teachers that at least a portion of these classes have already been identified for reduction or elimination. Assumptions In times of budget crisis it is important to establish principles that provide for integrity of administrative function and management (fiscal responsibility). However, it is of primary importance to provide a process in which every decision is evaluated on the basis of its long-term impact on the student. With these factors in mind the following limited study provides for saving: Money Curricular Integrity Student Opportunities in Music Teaching Positions Further, the following "Assumptions" have been applied. 1. The primary emphasis in determining what reductions to make should be placed on maintaining the quality of instruction in the classroom. 2. Programs with fewer pupils impacted adversely should be reduced or eliminated before programs with lower cost/benefit ratios. 3. Long term financial savings are not guaranteed by program reductions, but may be realized by investing in those programs that have the potential for the greatest student-faculty ratios. The degree to which an institution succeeds is in direct relation to its ability to focus the various constituent bodies on the achievement of its mission. The focal point of the educational mission is the student, i.e., student outcome. In other words, what is best for the student is best for the institution. The primary constituent of the OLSD is the community. The community elects a School Board to establish policy, which in turn employs a body of administrators and teachers to fulfill the educational mission. The tradition of academic excellence within the OLSD is a reflection of a community in which high standards are a result of cultural expectation. The demand for academic excellence has historically included a strong music program. The strength of the OLSD music program been affirmed through wide recognition of the high level of individual and group performance. With that understanding and appreciation for the opportunity, this document provides an examination of the short and long-term impacts of cuts targeted in the OLSD music program. Further, recommendations will be made as to program reinstatement or adjustment for the purpose of providing curricular stability and fiscal effectiveness. [Note: All statistical data contained in this report has been acquired from the district website, administrative offices or specific individuals. Members of the community music coalition have been responsible for the collection of this information, which by its nature is public.] SHORT AND LONG TERM IMPACTS Faculty Impacts There are currently 43 members of the music faculty in the OLSD comprising a total of 42 FTE (full time equivalent) teachers. Assignments of FTE are allocated to positions as follows: Elementary General Music 18.441 Elementary Band 1.023 Elementary Orchestra 4.906 Middle School General Music .225 Middle School Band 2.334 Middle School Orchestra 2.667 Middle School Choir 1.833 High School General 1.500 High School Band 1.249 High School Orchestra 1.166 High School Choir 2.500 Non-Music Assignments 4.126 Travel Time --- Music Administration --- Total 42.000 Observations: 1. The allocation of travel time is not determined at the time of this study for all teachers. 2. Without the allocation of FTE for a Music Coordinator, scheduling, budgetary decisions and the evaluation (professional growth assistance) of music faculty is at best significantly complicated or worse, absent. 3. The movement toward decentralization of the decision making process tends to place the itinerant music teacher outside the participatory (site-based) decision making process, if for no other reason than by default. This may be in part because the music teacher is perceived as part time at any given site, or required to be at another site during the decision making process, that the administrator and/or music teacher is unsure who "owns" a given music teacher. 4. Elementary General Music teachers are primarily allocated through teacher preparation time ratio points, and therefore are not and should not be considered at part of the music budget FTE allocations. 5. Of particular note is the assignment of the equivalent of 4.126 FTE to non-music functions, including study hall, lunch supervision, teaching testing, and other similar non-music duties. This equates to nearly 10% of the music faculty or an annual expenditure of over $200,000, not including benefits or additional stipends. 6. FTE allocations based on actual teaching loads are listed in Appendix A. Average current staffing ratios available by school based on current FTE assignments are indicated in Figure 5 below, based upon thirteen (13) elementary schools, four (4) middle schools, and three (3) high schools. Figure 5: Music Faculty - Average FTE Available per School and Area of Instruction Music Teacher Category Total FTE Available Average FTE per School Elementary General Music 18.441 1.42 Elementary Band 1.023 .08 Elementary Orchestra 4.906 .38 Middle School General Music .255 .06 Middle School Band 2.334 .58 Middle School Orchestra 2.667 .67 Middle School Choir 1.833 .46 High School General Music 1.500 .50 High School Band 1.249 .42 High School Orchestra 1.166 .39 High School Choir 2.500 1.25 The administrative recommendation to eliminate 6 FTE string teachers will not have an immediate impact on staffing. The reduction appears to be the elimination of positions anticipated with the continued growth of student population over the next five years. This is stated in the superintendent's FAQs data on the district website, and quoted below. "The more than $842,600 in cost savings comes from the six music teacher positions that had previously been allocated in the five-year financial forecast. These positions have previously been included in this budget, but will not be filled, saving the district the salary and benefit costs associated with those positions." Curriculum Impacts The district website states that its focus is: "The districtwide area of concentration is on curriculum. To clearly articulate quality learning targets that directly align curriculum to assessment and instruction." It has often been said that "good students take music," and while that is certainly the case, research indicates that children who take music become better students. Several observations may be made concerning the music curriculum in the Olentangy Local School District. 1. There is disparity in the perception of music as curricular, co-curricular and/or extra-curricular. The severity of the situation is increased by the movement toward site-based management and the lack of a music coordinator or other administrator to serve as advocate for the program. Generally, "curricular" refers to music classes and performing organizations (band, choir, orchestra) that are held during the school day and apply music as a tool in the intellectual, emotional and social development of the student. Music is the primary language that establishes cultural identity (Levitin). "Co-curricular" refers to those outcomes of curricular music instruction that result in the performance or application of materials learned in the music classroom outside the school day, e.g., the performance of a Brahms Symphony by the orchestra at an evening concert. This performance may equate to the "final exam" for a music organization. "Extra-curricular" is a term applied to those events of a musical organization which are or may be related to curricular involvement in music, but which are primarily public service or public relations in nature, e.g., the orchestra performing at a function for the local Kiwanis or Lions Club. The district needs to adopt these standards and definitions, or develop its own to assist in the decision-making process and the development of curricular policy. 2. The music program should be considered as a single curriculum having individually distinctive but equally important tracks, not as individual programs. In this way a music curriculum bears resemblance to a mathematics curricula in which algebra, trigonometry or calculus may be perceived as different subjects but a part of the same discipline. 3. It is evident that several issues exist in the current structure that prevent advancement in skill development leading to program mediocrity, low participation and program attrition. The current structure of the elementary instrumental music curriculum. For example, the implementation of band instruction during recess. The failure of the district to assign music teachers to their specific area of specialization. The lack of a structured vocal performance program in the elementary school as a feeder program for the secondary vocal music program. The failure to integrate general music instruction and music performance at all grade levels in the elementary; i.e., implementation of a holistic approach to music education in which there is music performance in the general music classroom, and the performance curriculum includes general music content as a part of music performance. There is no functional written music curriculum with age-appropriate scope and sequence that is currently in use by district. When a district lacks a sequential written curriculum with specific, achievable and measurable goals there can be no assessment of student success, and there can be no evaluation of faculty. 4. The restructuring of the elementary string curriculum as proposed by the administration will only exacerbate the problem. If the district wishes to merit the approval of the profession and the community it must provide evidence of models that have been successfully implemented by other districts without detriment to numerical growth and student achievement in music. The students in the district will be better served if the district works with the music teachers, classroom teachers and the community to develop a plan for restructuring the program. This would take the greatest advantage of current staffing and facilitate successful participation of the greatest number of students, without destroying its academic identity as core curriculum while meeting during the regular school day. It should be clear that there is a reduction in string instruction time from 70 to 60 minutes per week. This is a reduction of 14% of instructional time, or approximately 6 hours per year. There is no sound academic or financial reason for the current administrative proposal to restructure the string curriculum. The primary reason for the administrative decision is evident in the district statement that "by moving the strings program to after school hours, this provides greater flexibility in the elementary master schedule allowing for more consistent and larger blocks of time for core instructional areas." Music is core; and it is music students that nationally continue to score the highest on achievement tests. The administrative recommendation to move music outside the school day conveys an underlying philosophy relegating music to the extra-curricular classification. This decision further demonstrates a lack of understanding of the importance of music participation in the overall academic development of the student, ignoring all the studies and recommendations of informed educators, researchers and/or associations. 1. Any student with transportation difficulties, or where there is the smallest parental perception of transportation difficulties, may be denied the opportunity of participation. As noted by the district: "The strings program for the 2010-11 school year will actually begin this spring with a recruitment process. This will enable students to start working with strings (sic) instruments earlier in the school year and allow parents more time to coordinate details such as car pool and childcare needs." 2. With string classes reduced to once per week, the negative impact of absenteeism is increased and student retention becomes an issue from week to week. Maintenance of program excellence becomes a major factor at this point. Such decisions are often based upon the incorrect assumption that "pull out" programs (removing music students from the regular classroom) are academically disruptive. Such assumptions are incorrect. 1. Although the "pull out" system of instruction is a normal practice (nationally) at the elementary level, music students continue to demonstrate the highest SAT/ACT scores. 2. While the classroom teacher is required to make schedule adjustments in the presentation of materials, the best teachers understand the academic (and social) advantages to the student. 3. Classroom teachers understand the importance of small group instruction (class size), and have come to see the advantages of using that time when the music students are "pulled out" of class to work with smaller groups on review, remediation, or other special projects that may need more individualized attention. 4. Participation in the arts has been widely recognized as having significant positive effects on student development. The negative restructuring of the string program as recommended can only have the opposite effect, leading to mediocrity in student achievement in all areas of the curriculum. The district cannot afford to ignore the research. Curricular stress has been accompanied by the perception of a decrease in administrative and non-music faculty support, leading at times to interdepartmental conflict at the expense of student opportunities in music. These include the following: 1. Implementation of "exploratory" programs and block scheduling can lead to restrictive and arbitrary placement of beginning, intermediate and advanced students within a single music group regardless of the wide diversity of skill levels present. Consequently, attrition rates increase because of the frustration and boredom that results when circumstances require instructors to cover a scope which is too broad in any given class period. This is further complicated by the fact that larger numbers of students are placed in music performance classes. 2. Arbitrary assignment of students to music classes can prevent balanced instrumentation or voicing, leading to a poor musical experience for students. 3. Removing the option to provide grouping of students in music performance classes by skill level makes it more difficult for teachers to effectively deal with the needs of "At-Risk" and "Gifted-and-Talented" students. 4. The elimination of student participation opportunities, inadequate instructional time and failure to deal with the issue of diversity in skill levels leads to an overall decline in program excellence, further discouraging students who might otherwise participate. Student Participation Impacts Current enrollments in music performance (band, orchestra, choir) are listed in Figure 6a, 6b, and 6c. Specific observations related to the status of individual programs are included following the enrollment figures for each area. General observations related to each area are listed below. 1. Student participation in music performance is high at the beginning levels; but enrollment disparities, which to some extent relate to attrition, are extreme. Contributing factors include but are not limited to the following: Scheduling difficulties, including not enough elementary "pull outs", number of periods per day, itinerant teachers, blocks. Changing and/or increasing graduation requirements. The absence of a unified staff, curriculum and community support organization. The absence of a music coordinator to unify and supervise staff and curriculum, and provide leadership for unified constituent support. 2. In observing enrollment trends, any attrition rate in excess of 15% from one year to the next should be examined for causality. 3. Attrition will tend to be increased under the following configurations: When beginning instrumental music is delayed until grade 6. hen the instrumental or choral performance organization is configured as a "pull out" program after grade 5. When instruction from grades 6-12 is other than daily. When the elementary general music curriculum is absent, or minimal. When the elementary general music curriculum does not include early participation in choir, pre-band, or pre-orchestra instruments. When music teacher loads are so large that attention to individual student needs is minimal or absent. 4. In general, research indicates that the earlier a student starts making music the greater it will effect overall academic growth. Figure 6a: Student Participation - Band (2009-2010) School Gr 5 Gr 6 Gr 7 Gr 8 Gr 9 Gr 10 Gr 11 Gr 12 Total Alum Creek El 47 47 Arrowhead El 45 45 Freedom Trail El 35 35 Glen Oak El 16 16 Indian Springs El 20 20 Johnnycake Comers El 33 33 Liberty Tree El 31 31 Oak Creek El 18 18 Olentangy Meadows El 30 30 Scioto Ridge El 20 20 Tyler Run El 31 31 Walnut Creek El 40 40 Wyandot Run El 14 14 Hyatt MS 48 28 27 103 Liberty MS 44 31 21 96 Orange MS 112 71 46 229 Shanahan MS 78 63 39 180 Liberty HS 23 28 18 24 93 Olentangy HS 21 25 19 24 89 Orange HS 25 24 17 11 77 Band Totals 380 282 193 133 69 77 54 59 1247 District Enrollment 1177 1200 1089 999 1015 955 868 888 15083 % of Dist Enrollment 32% 24% 18% 13% 7% 8% 6% 7% Enroll Disparity -26% -32% -31% -48% 12% -30% 9% Disparity at 15% Max 380 323 275 233 198 169 143 122 1843 Observations: 1. The total number of students participating in band is 1247, plus another 58 students in jazz bands at the three high schools. 2. Enrollment disparities between all grades should be examined for causality. 3. Individual school enrollment trends should be examined to determine causality where excessive disparities in enrollment rates are evident. 4. A total of 380 grade 5 students participate in the band program. This is 32% of the eligible grade 5 population. This is below the average for an exemplary district. 5. A total of 867 secondary students participate in the band program. The lack of greater (normal) enrollments in band gives evidence of significant inhibitors to student recruitment and retention. Undoubtedly, the scheduling of grade 5 band during recess and the failure to assign music teachers to their area of specialization are primary contributing factors. 6. Significant growth may be anticipated when inhibitors to student participation are reduced or removed. a. If the district assumed the current grade 5 enrollment as "normal" and reduced the enrollment disparities to a maximum of 15%, student participation in band would be 1843. Of these students, 1463 would be in grades 6-12. b. Current enrollment indicates the possibility of achieving the full potential of student participation levels of an exemplary district. The achievement of this potential would provide significant financial advantage to the district (See Economic Impacts). Figure 6b: Student Participation - Orchestra (2009-2010) School Gr 4 Gr 5 Gr 6 Gr 7 Gr 8 Gr 9 Gr 10 Gr 11 Gr 12 Total Alum Creek El 72 43 115 Arrowhead El 68 28 96 Freedom Trail El 76 35 111 Glen Oak El 96 26 95 Indian Springs El 70 45 115 Johnnycake Comers El 46 25 71 Liberty Tree El 54 53 121 Oak Creek El 45 47 92 Olentangy Meadows El 56 20 76 Scioto Ridge El 78 51 129 Tyler Run El 48 44 92 Walnut Creek El 81 40 121 Wyandot Run El 83 57 140 Hyatt MS 50 24 14 88 Liberty MS 50 29 20 99 Orange MS 74 46 38 158 Shanahan MS 65 45 31 141 Liberty HS 24 39 19 16 98 Olentangy HS 27 19 13 6 65 Orange HS 24 24 11 3 62 Orchestra Totals 846 494 239 144 103 75 82 43 25 2051 District Enrollment 1370 1177 1200 1089 999 1015 955 868 888 15083 % of Dist Enrollment 62% 42% 20% 13% 10% 7% 9% 5% 3% Enroll Disparity -42% -51% -40% -28% -27% 9% -48% -42% Disparity at 15% Max 846 719 611 520 442 375 319 271 231 4334 Observations: 1. The total number of students participating in orchestra is 2051. It is highly unusual that orchestra enrollments exceed those of band. This is another probable indication of inhibitors to student participation the current structure of the beginning band curriculum. 2. Enrollment disparities between all grades should be examined for causality. 3. Individual school enrollment trends should be examined to determine causality where excessive disparities in enrollment rates are evident. 4. A total of 846 grade 4 students participate in the orchestra program. This is 62% of the eligible grade 4 population. The 42% participation level at grade five is characteristic of a quantitative profile of those districts that have been identified as qualitatively excellent (Culver). 5. A total of 711 secondary students participate in the orchestra program. The lack of greater (normal) enrollments in orchestra gives evidence of significant inhibitors to student retention. 6. Significant growth may be anticipated when inhibitors to student participation are reduced or removed. a. If the district assumed the current grade 4 enrollment as "normal" and reduced the enrollment disparity to a maximum of 15%, student participation in orchestra would be 4334. Of these students, 2769 would be in grades 6-12. b. Current enrollment indicates the possibility of achieving the full potential of student participation levels of an exemplary district. The achievement of this potential would provide significant financial advantage to the district (See Economic Impacts). Figure 6c: Student Participation - Choir (2009-2010) School Gr 6 Gr 7 Gr 8 Gr 9 Gr 10 Gr 11 Gr 12 Total Alum Creek El 0 Arrowhead El 0 Freedom Trail El 0 Glen Oak El 0 Indian Springs El 0 Johnnycake Comers El 0 Liberty Tree El 0 Oak Creek El 0 Olentangy Meadows El 0 Scioto Ridge El 0 Tyler Run El 0 Walnut Creek El 0 Wyandot Run El 0 Hyatt MS 50 25 15 90 Liberty MS 53 32 32 117 Orange MS 126 83 32 241 Shanahan MS 56 43 14 113 Liberty HS 47 36 43 57 183 Olentangy HS 20 29 37 35 121 Orange HS 56 54 34 38 182 Choir Totals 285 183 93 123 119 114 130 1047 District Enrollment 1200 1089 999 1015 955 868 888 15083 % of Dist Enrollment 24% 17% 9% 12% 12% 13% 15% Enroll Disparity -36% -49% 32% -3% -4% 14% Disparity at 15% Max 285 242 206 175 149 126 107 1291 Observations: 1. The total number of students participating in choir is 1047. 2. Enrollment disparities between all grades should be examined for causality. 3. Individual school enrollment trends should be examined to determine causality where excessive disparities in enrollment rates are evident. 4. A total of 285 grade 6 students participate in the choir program. This is 24% of the eligible grade 6 population. 5. A total of 1047 secondary students participate in the choir program. The lack of greater (normal) enrollments in choir demonstrates the lack of an intentional choir feeder program at the elementary level. 6. Significant growth may be anticipated when inhibitors to student participation are reduced or removed. a. If the district assumed the current grade 6 enrollment as "normal" and reduced the enrollment disparity to a maximum of 15%, student participation in orchestra would be 1291. b. Current enrollment indicates the possibility of achieving the full potential of student participation levels of an exemplary district. The achievement of this potential would provide significant financial advantage to the district (See Economic Impacts). Extensive case studies indicate that when the elementary instrumental or choral feeder system is eliminated, the subsequent decline in student participation at the secondary level will be a minimum of 65%. The normal result of such cuts is the collapse of the middle school program in two years; and the collapse of the high school program in four years. There is no known research of the long-term qualitative impact on music programs where the elementary feeder system has been moved outside the school day. This consultant has observed several districts that have attempted such restructure, but in each case the system was abandoned because of the loss of student participation. In some cases the district has taken years to recover historical participation levels, even after reinstating those programs to an in-the-school-day status. If the district expects the community to accept its plan it must provide successful examples and specific details as to what it will do to ensure that all students who desire to participate in strings will be provided with that opportunity. The community is also aware, whether by rumor or direct conversation with district employees, that consideration has also been given to restructuring the band curriculum in a similar manner. The district needs to have these matters clarified to maintain confidence in district leadership at both the board and administrative levels. Economic Impacts The concept of Reverse Economics lies in the principle that the long-term effects of the elimination or reduction of a program are more costly than the initial savings anticipated. The economic ramifications of low enrollment or the loss of student participation in the music performance program are significant. The primary cost factor in education is personnel. The most cost-efficient personnel are those who provide instruction to the largest number of students in a given class period, or who carry the largest student loads. Several observations may be made regarding the cost effectiveness of maintaining and strengthening the music performance program in the Olentangy Local School District. There are 4393 students in band, choir, and orchestra. There are 2683 secondary band, choir, and orchestra students. There are 11.75 FTE secondary band, choir and orchestra teachers. The average student load of the secondary band, choir and orchestra teachers is 228.4: [2683 students/11.75 FTE teachers]. The average student load of the secondary classroom teacher is 150: [6 classes x 25 students]. A comparison of the financial effect of the disparity of student loads between music performance and non-music classroom teachers may be seen in Figure 7. Figure 6c: AVERAGE STUDENT LOADS (Secondary Education) FTE Classification Classes x Students Student Load 1.0 1.0 --- 2.0 Non-Music Classroom Teacher Band, Choir, Orchestra Teacher Teachers 6 x 25 6 x 38 150 228 ---- 378 1.0 1.0 0.5 --- 2.5 Classroom Teacher Classroom Teacher Classroom Teacher 6 x 25 6 x 25 3 x 26 150 150 78 ---- 378 Observations: 1. The student load of the average secondary band, choir and orchestra teacher equates to 1.5 FTE non-music classroom teachers. 2. The average secondary music performance teacher bears a 1.5 FTE financial value to the district. Any circumstance that causes a decline in student enrollment or prevents students from participation in music performance at the secondary level will have a negative cost effect on the district budget. 3. Therefore, it may be demonstrated that the 11.75 FTE secondary music performance teachers carry student equivalent to 17.63 FTE, an excess student load equivalent to 5.88 FTE. In some cases it is actually these same individuals who are teaching the elementary instrumental or general music classes in addition to their secondary music performance load. Further, it may be demonstrated that this overload: Pays for any small group or individual lessons provided to secondary students by the music teachers. Justifies the inclusion of any music classes in the curriculum that may be under the normal minimum number, such as music theory. Pays for the equivalent number (5.88 FTE) of elementary music performance personnel at no additional cost to the district. There are only 5.929 FTE assigned to the grades 4 and 5 beginning instrumental program. Assists the district is maintaining smaller class sizes in other academic areas of the curriculum. 4. Any circumstance that causes a decline in student enrollment or prevents students from participation in band, orchestra, and choir will increase districts costs. 5. It is financially advantageous to the school district to increase enrollment in the music program through the facilitation of student participation. The following observations should be noted. Maximum student load averages of 200 are a viable option for music performance teachers. When this level is exceeded research indicates that attrition rates increase, probably due to a lack of ability to provide adequate attention to individual student need. It is anticipated that average student loads for choir teachers may be greater than other music teachers, and that average student loads for orchestra teachers may be less. The positive financial advantage of large music classes is minimized when they are offered for no credit, are placed outside the school day as an extra-curricular activity, or do not meet daily. 6. If the district would work to develop creative solutions to preserve the music program, attrition would be reduced and enrollments raised to the point that the cost benefit would further extend the advantage of the larger student-faculty ratios in music. Since the class sizes of music performance teachers in the district are larger than other classes, the wisest use of district funds is to accommodate those classes to the maximum extent in order to hold non-music class sizes down, and provide for the most efficient use of budgetary funds. Summary, Conclusions and Recommendations While the wisdom of the administrative restructuring proposal is at best questionable from the aspect of its financial validity, the resulting devastation to the music curriculum, and the lifetime loss of opportunity to the students is without justification. It will not succeed. It is difficult to understand why or how the Administration or the School Board would make such wide sweeping curricular recommendations without consulting with the music staff or parents with children involved in the music performance program as to the ramifications of the impending decisions. Collaboration would have undoubtedly resulted in more effective program structures and broader acceptance among the district constituency. The community recognizes the need for fiscal responsibility within the school district in a time of difficult funding. The community recognizes that a strong music program is important to the image and economy of the school district and the community. The community recognizes the importance of maintaining a strong music program for the social, academic and intellectual development of the student. The community recognizes that parents of music students make significant financial investments in the school district with the rental/purchase and maintenance of their own music instruments, and the raising of funds to assist in the operation of the music program. The community recognizes that there will be a significant decline in student participation should the district finally adopt its current restructuring plan. The community recognizes the potential for the collapse of the entire music program. The community recognizes that the 4.126 FTE music staff assigned to non-music duties could be more economically and educationally effective if assigned to actual music instruction. The community recognizes the potential for increasing student participation in band, orchestra, and choir, and its financial advantage to the district. Therefore, it is with careful consideration that we request the formation of a Task Force to study and make recommendations regarding the structure of the music curriculum. We recommend that the constituency of that Task Force include balanced representation of the following constituencies. Administrative Representation: Central Administration (1) High School Administration (1) Middle School Administration (1) Elementary School Administration (1) Instructional Staff: Elementary General Music (1) Elementary Band (1) Elementary Orchestra (1) Secondary General Music (1) Secondary Vocal Music (1) Secondary Band (1) Secondary Orchestra (1) Elementary Classroom Teacher (1) Secondary Classroom Teacher (1) Community Representation: *Elementary Music Parents (1) *Middle School Music Parents (1) *High School Music Parents (1) Community Member-At-Large (1) [*NOTE: Provision should be made to ensure balanced representation for General music, Band, Choir and Orchestra] Further, we request that the administration rescind its current restructuring plan and examine the following issues related to the strengthening of the music curriculum to the advantage of the student, the district, the community and the budget. 1. The establishment of the music program as a regular part of the curriculum within the school day at all levels. 2. That all music classes meet daily during regular school hours from grades 6-12, including general music. 3. The organization and offering of beginning elementary instrumental instruction in small groups to improve instruction and foster better social interaction between students, thereby assisting in the reduction of the attrition rate. 4. Revisit the restructuring of the entire music curriculum, including staffing at all levels of the curriculum, including the integration of the elementary general and instrumental music curricula within the school day. Consideration should be given to the reduction or elimination of "pull out" scheduling and the adoption of these areas into an expanded elementary "prep" time cycle, thereby reducing the number of instructional minutes of the elementary classroom teacher to be equal to those of secondary classroom teachers. 5. Cooperative decision-making in which parents and music teachers work together with administrators and guidance counselors to facilitate a scheduling process that will accommodate student participation in all music classes, provide for student-centered decision making, and enhance administrator-teacher-parent communication. 6. The establishment of maximum average loads of music performance class teachers (grades 6-12) at 200 students. Further, such student overloads should be considered in part as paying for the elementary music performance and secondary small group lesson programs and be recognized as assisting in maintaining lower class sizes in non-music classes. 7. The scheduling of music classes to minimize teacher travel time, thereby reducing class room interruptions and increasing student contact time, including consideration of horizontal time blocking. 8. Perform exit interviews of all students who discontinue participation in music performance, in order to provide accurate statistical data for program improvement. 9. The reduction of factors that contribute to attrition in the music program, including scheduling, conflict with classes in which only one section is offered and other factors that may surface during the study. 10. Examine options for students to fulfill requirements for physical education credits, including extra-curricular sports and adoption of marching band as "PE Band" at the high school level. 11. Advising students of the possibility of fulfilling requirements for grade 9 and/or grade 10 physical education in the junior or senior years. 12. Adequate dedicated facility space and equipment to assist in providing for the participation of the greatest number of students and efficiency of teacher preparation. 13. Development and adoption of a district-wide policy statement regarding the philosophical purpose and curricular content of the music program and its role in the total social, academic and intellectual development of all students. 14. Study ways in which the adoption of district-wide music curriculum may serve to provide a positive environment for other changes that may occur in the district, including restructuring of grade levels and school boundaries. 15. Allocation of adequate Music Supervisor FTE to facilitate coordination, cooperative decision making and communication within the department, other departments, the district and the community at large. This position could be an administrative or teacher level position, but should include evaluation of music faculty. (See Appendix B) 16. Centralized management of the music curriculum, including staffing and budget allocations, scheduling, a central Music Resource Center, thereby providing for equal opportunity for all students in the district to participate in music. 17. The effect of a strong music program on keeping people from withdrawing their children from the district to attend private schools, particularly at the elementary level. 18. Study other issues that may arise during the operation of the Task Force. Appendix A Music Faculty FTE Elementary School Middle School High School Non- Total Teacher Gmus Band Orch Gmus Band Orch Choir Gmus Band Orch Choir Music FTE   1 0.915 0.085 1.000   2 0.476 0.524 1.000   3 0.997 0.003 1.000   4 0.190 0.500 0.310 1.000   5 1.000 1.000   6 0.619 0.381 1.000   7 0.571 0.429 1.000   8 0.333 0.416 0.251 1.000   9 0.009 0.500 0.491 1.000   10 0.005 0.667 0.328 1.000   11 0.037 0.667 0.296 1.000   12 0.500 1.000   13 0.915 0.085 1.000   14 0.500 0.333 0.167 1.000   15 0.486 0.085 0.429 1.000   16 0.333 0.085 0.429 0.153 1.000   17 0.028 0.500 0.472 1.000   18 0.167 0.667 0.166 1.000   19 0.500 0.333 0.167 1.000   20 1.000 1.000   21 0.500 1.000   22 0.915 0.085 1.000   23 0.915 0.085 1.000   24 0.333 0.500 0.167 1.000   25 0.667 0.333 1.000   26 0.486 0.085 0.429 1.000   27 1.000 1.000   28 0.333 0.167 0.333 0.167 1.000   29 0.381 0.619 1.000   30 1.000 1.000   31 1.000 1.000   32 0.833 0.167 1.000   33 0.296 0.085 0.619 1.000   34 1.000 1.000   35 0.952 0.048 1.000   36 1.000 1.000   37 1.000 1.000   38 0.009 0.500 0.491 1.000   39 0.915 0.085 1.000   40 0.810 0.190 1.000   41 0.915 0.085 1.000   42 0.544 0.170 0.286 1.000   43 1.500 0.500 1.000  Totals 18.441 1.023 4.906 0.255 2.334 2.667 1.833 1.500 1.249 1.166 2.500 4.126 42.000 APPENDIX B WHAT MAKES A STRONG PROGRAM Professor Robert Culver The University of Michigan Based upon findings of 1990 Research Project involving 50 districts, 113 instrumental music teachers from 27 states. I. TEACHING: A. Schedule 1. Frequency of teaching opportunities are in direct relationship with program quality. a. Elementary Instrumental Program Begin in 5th grade, sometimes in 4th for strings and 5th for the winds and percussion Have no fewer than 2 meetings per week, most preferably 3 to 5 per week All classes are in the regular school day b. Middle or Junior High Instrumental Program Daily instruction is the majority pattern Provisions for full orchestra with winds exist for at least two grading periods per year c. High School Instrumental Music Program Daily instruction offered Provisions for regular full orchestra with winds begins after marching band season ends. The finest instrumental music programs always had provisions for private instruction, provisions for sectional instructing of like instruments and a small ensemble program. 2. Routine a. Directed aspects Planning obvious: Anticipatory set Quality plans available Class outcomes are related to planning Time envelope is controlled with consideration of pacing, energy profile, and starting and ending times b. Self-directed aspects Students are aware and responsive to routine Students involve themselves in appropriate activity quickly and efficiently 3. Methodology a. Strategy choice Ear to hand beginning instruction Non-verbal teaching used extensively Experiential teaching devices Multiple strategies and teaching devices employed in every class session b. Modeling An instrument, voice, gesture, media or proxy is used to demonstrate as opposed to verbal description. 4. Delivery elements a. Ratio is maintained at a maximum of 15% verbiage to 85% activity. b. Teacher demonstrates awareness and use of proxemics Eye scan is used evenly to all parts of the room and is direct to the student Proximity to students spread evenly around the room Pedagogical or supportive touch is used appropriately Names of students are used c. Pacing elements Pace consistent and controlled between instruction and response Energy profile is controlled by teacher d. Prioritization Teaching interventions follow a sense of priorities 1. Posture 2. Format or mechanics of playing 3. Sound 4. Intonation 5. Rhythmic structure (Intonation and rhythm may be switched for older students) 6. Style/Speed e. Curriculum A printed curriculum is available There is common understanding among the staff There is skill-based grading in use II. ORGANIZATION OF SYSTEM A. Chain of command/decision making 1. Parents 2. School Board 3. Superintendent 4. Assistant Superintendents 5. Area Supervisors or Coordinators, including building principals 6. Teachers B. Meeting function and structure 1. Access to agenda 2. Meeting is run efficiently 3. Minutes are kept 4. Contentious problem solving process in place C. Paper work 1. Computer is used extensively 2. Curriculum/planning is an ongoing procedure 3. Grading is based on skill acquisition 4. Cumulative file for music program] 5. Memo process D. Data gathering/use 1. Cost per student 2. Percentage of student body in program 3. Drop out rate analyzed and kept to under 15% any year 4. Schedule disruption and cause 5. Skill acquisition over time 6. Course election patterns E. Budget 1. Predictable 2. Based on student count and activities 3. Managed by music department or building principal 4. Based upon an amortization rate of equipment replacement costs F. Inventory 1. Maintained on a schedule 2. Storage and access is adequate 3. Is renewed upon an amortized base G. Schedule 1. A central calendar is maintained district wide 2. Secondary music classes are scheduled before single section classes 3. Elementary music classes are scheduled by a music administrator 4. Annual performances by major ensembles High School - 8 to 11 Middle/Junior High School - 4 to 8 Elementary - 3 to 5 H. Library 1. Centralized library with staff 2. Computerized control and maintenance I. Support Structures 1. Parent Boosters are music department wide 2. By-laws clearly delineate functions of teacher and supporters 3. Community resources include service groups, media, etc. J. Interdepartmental politics 1. All areas of the music department are equally supported 2. Staff supports other areas than their own 3. Recruiting is a collective effort, especially between band and orchestra K. Community 1. Private teachers role a. Available as resource to school program, attitude development, sectionals, festival assistance, etc. b. Support school groups 2. Professional musicians role a. Positive performance model for student population b. Available as resource to school program, attitude development, sectionals, festival assistance, etc. 3. Commercial music stores a. Support school groups with maintenance visits, loaner program, economic support for special programs, tours, clinicians, etc. 4. Higher education a. Available as resource to school program, attitude development, sectionals, festival assistance, etc. b. Clinician and consultant availability c. Student teacher availability d. Demonstration resources to keep schools abreast of developments APPENDIX C THE MUSIC ADMINISTRATOR Roles and Responsibilities 1) Centralized supervision of music by musically qualified personnel, including: Search, interview and employment of new staff in cooperation with principals Coordination, assignment and scheduling of current staff Evaluation of staff by professionally trained music personnel Coordination of the mentor program Providing for professional growth Interstaff communication Allocation, coordination, and assignment of qualified substitute teachers Music teacher advocacy Providing administrative assistance for teachers, thereby relieving job stress and building morale 2) Centralized supervision of curriculum, including: Development and implementation Maintenance of curricular excellence Providing advocacy for equal opportunity in music for all students in all schools 3) Maintenance of a coordinated district music calendar 4) Supervision of district "honors" music performance programs, including: Festivals, contests District-wide honor (select) groups 5) Centralized budget development and control (accountability) 6) Centralized development, maintenance and control of music teaching resources, including: Audio and visual resources Miscellaneous teaching materials 7) Coordinated, informed purchase of music and music instruments 8) Control and assignment (to schools) of music instruments, including: Inventory control Assignment to schools Maintenance and repair Piano tuning and repair 9) Music leadership for community relations, including: Parent/teacher communications Public relations Documentation of religion in the school music program Multicultural issues in music BIBLIOGRAPHY Benham, John L., Jr. How To "Save Your School Music Program" - A Handbook for the Music Advocate. Music In World Cutures, Inc., St. Bonifacius, MN. Revised, October 1994. Benham, John L., and John M. Helmberger. The Georgia Project: A Status Report On Arts Education in Georgia Public School. St. Bonifacius, MN: Music In World Cultures, Inc., 1997) Brown, Joseph D. (1985) "Barriers To Student Participation in Beginning Band." Elkart: Gemeinhardt Co., Inc. Culver, Robert. What Makes a Strong Program - Revealing the Obvious. The University of Michigan, Ann Arbor. (Based upon 1990 Sabbatical Research involving 50 districts, 113 instrumental music teachers from 27 states.) Friedman, B. (1959) "An Evaluation of the Achievement in Reading and Arithmetic of Pupils in Elementary School Instrumental Music Classes," Dissertation Abstracts International, 20, pp. 3662-3663. Healy, Jane. Endangered Minds: Why Our Children Don t Think. New York: Simon and Schuster, 1990) Horne, C. (1983 February-March) "If You Don't Do It, Nobody Else Will," CMEA News, pp. 11-13, 26. Janzen, Elden. Band Director's Survival Guide, Planning and Conducting the Successful School Band Program, Parker Publishing. Kaufman, B. (1976 November-December) "Where Every Child Is Special." Today's Education, pp. 22-25. Lillemyr, O.F. (1983) "Achievement Motivation As A Factor In Self-Perception." Norwegian Research Council For Science And The Humanities, pp. 245-248. Maltester, J. (1986) "Music: The Social and Academic Edge," Thrust, pp. 25-27. Milley, J. Buchen, Oderlund, A. & Mortarotti, J. (1983) "The Arts: An Essential Ingredient In Education." Position Paper of the California Council of the Fine Arts Deans. (Available from the School of Fine Arts, California State University, Long Beach.) Rees, M.A. (1988 November) "An (Open Letter To The Parents Of Prospective Music Majors," The Instrumentalist, p. 40. Ward, A.E. (1941) Music Education for High Schools, New York, American Book Company.