Careers with a Master of Arts in Music and Music Education
Leave a CommentThe transformative power of music education, especially on developing minds, has been a key area of research for decades. And, despite the long history of music education research, new discoveries continue to be made about how learning music affects our minds. One longitudinal study, published in March 2018, linked several cognitive benefits with structured music lessons, including improved language-based reasoning, enhanced short-term memory and better overall academic performance.
Pursuing a Master of Arts in Music and Music Education is also largely about transformation. By expanding your technical mastery and connecting with other educators, you can fine-tune your passion and talent, transforming them into engaging lessons and unforgettable experiences for students. In many cases, music educators also have the opportunity to enhance the communities in which they live and work.
Read more: Connecting Music to Kids’ Lives: Ayanda Dalamba, TC’s inaugural Milman Music Education Fellow
Careers in Music Education
There is no one-size-fits-all music education career, and the best educators are frequently those who can integrate their own passion and personal style with academic rigor to meet their students’ needs. The overall job market for music education is healthy, with the music teacher employment rate expected to grow 3 percent between 2022 and 2032. Music teachers and administrators can also step forward and create opportunities that would have been impossible without their drive and the care they give their students.
In addition to working with groups of different ages, from elementary to postsecondary students, music teachers are often the driving force for building programs from the ground up. In her recent article, elementary music teacher Chesley Talissé explores how she built a program from scratch for a small Title I charter school in Mansfield, Ohio. Her challenge was two-fold. First, her school had no previous general music, no band and no musical performance programs. Second, her community’s poverty rate was close to 90 percent, making it difficult to acquire sheet music and equipment.
Through her work, which included getting grants for funding and gaining the trust of her students, she was able to create a program that engaged students and allowed them to put on performances they could be proud of.
“I went from begging parents to come see performances five years ago to having 500 audience members cheering their children on this past year,” Talissé wrote. “Alumni returned to enjoy the show, and some performed with the students.”
Whether you are interested in teaching, founding your own school, an administrative role or some combination of various roles, building a successful career in music education is about leveraging your creativity and passion to take ownership over what you want to build with your students and your communities.
What Can You Do With a Master’s in Music Education?
A master’s in music education can allow musicians and music teachers more flexibility in their careers. Graduate education is a great option for those who wish to teach a different grade, move to a different state or expand their skills, and for musicians who’d like to transition into teaching.
| Music Education Career | How a Master’s in Music Education Helps |
|---|---|
| K-12 Music Teachers | An M.A. in music education may fulfill state-mandated degree requirements for music teachers in K-12 schools, and an advanced degree program can give teachers the knowledge and skills to be more effective in their classrooms. |
| Postsecondary Music Teachers | As with K-12 positions, a music education master’s degree can certify teachers to work at the college or university level, depending on the state. Additionally, a master’s degree can prepare teachers to serve on department committees or conduct research. |
| Music Director/Composer | Studying music education can help non-teaching professionals bring out the best in their musicians. A program that combines music and music education can be especially helpful in allowing directors and composers for expanding both their personal creativity and teaching skills. |
| Private teachers | A degree from a comprehensive master’s program helps private music teachers promote their services and differentiate themselves from competitors. Programs with a focus on diversity and technology prepare instructors to lead learners of varying backgrounds and to utilize the latest technology in teaching practices, increasing the likelihood of retaining students. |
-
Effective Ways to Engage Students Using Music Education
Leave a Comment
If you think back to the educational TV shows you watched as a kid, one aspect that probably stands out is the songs. There are good reasons why people remember “Yakko’s World” from “Animaniacs,” “There’s Science in Music” from “Bill Nye the Science Guy,” or “I’m Just a Bill” from “Schoolhouse Rock!” long after the shows that spawned them went off the air. Music can be enjoyable, emotional—and a powerful tool for communicating information. Teachers who engage students using music education can achieve better outcomes in their classes while making the day livelier and more fun. However, it takes careful planning of teaching techniques to involve students and ensure they get the most out of their experiences. Music teachers and other educators optimize engagement by developing effective music pedagogy methods for integrating musical elements into everyday learning and tailoring their lesson plans to the specific needs of their classes.
How Does Music Help Students Learn?
Every music teacher sees the impact of their teaching techniques firsthand when students master new skills and discover their passion for playing or singing. Mastering a complex passage in a piece or exploring a new style can be powerful, unforgettable experiences. However, there’s also academic research to show why building an understanding of music is such an important part of education: Studies have linked musical education to improvements in areas such as problem-solving, memory and reading.
Learning music can improve students’ cognitive performance and provide valuable motivation. A longitudinal study of 147 children, published in Frontiers in Neuroscience, found evidence that studying music in structured classes led to improvements in language-based reasoning, short-term memory, planning and the ability to focus over a period of 18 months. Earlier research, conducted on 117 fourth-graders in Montreal, showed that three years of piano instruction significantly enhanced young people’s self-esteem.
Outside of dedicated music education courses, adding some melodies throughout the school day is a means of bringing excitement to lessons and inspiring students of all ages to get involved in learning through music. In a recent book, researchers Chip and Dan Heath suggested that the key to making classes more memorable and meaningful to students lies in offering more “peak” moments of rich experience. Music may help to ensure that students take something away when they leave the classroom.
Benefits of Music in the Classroom
- Help students concentrate on, understand and remember lessons
- Offer an intriguing starting point for learning about topics like a historical period or piece of literature
- Signal the beginning and conclusion of activities, resulting in smoother transitions throughout the day
- Encourage students to express themselves and relate to class material on a personal level
- Build closer connections between teachers and students
- Provide opportunities for collaboration
What is Student Engagement?
Inspiring engagement for many teachers and schools today. That’s because engaged students don’t just complete assignments and memorize facts, doing the minimum to earn a passing grade. Rather, students who genuinely care about investigating a course’s subject matter will become actively involved in making their classes productive learning environments.
How Do You Engage Students?
The National Survey of Student Engagement offers a way of quantifying relevant metrics to determine how effectively schools are reaching their pupils. Conducted annually at colleges and universities, the survey asks questions based on four types of indicators:
- Academic challenge, including measurements of higher-order learning, reflective and integrative learning, learning strategies and quantitative reasoning
- Learning with peers, broken down into the categories of collaborative learning and discussions with diverse others
- Experiences with faculty, based on student-faculty interactions and signs of effective teaching practices
- Campus environment, determined by the quality of interactions and the presence of resources for support
Other signs of engagement may include participation in opportunities like service learning and internships. Engaged students are likely to believe that they are developing relevant skills for their future occupations and take advantage of career preparation resources.
Engaging Methods and Techniques for Teaching Music
Being a skilled musician is just one part of teaching music. To succeed in the classroom, educators must develop engaging approaches that help students reach their potential. According to the Maryland State Board of Education, some of the best practices for engaging music education in the classroom include:
- 1. Create a Welcoming Environment
Create a welcoming and comfortable environment by accounting for factors like lighting, noise level, seating arrangements and traffic patterns when entering and leaving a classroom.
- 2. Use a Variety of Methods
Use a variety of instructional methods so all students can participate fully in activities and have multiple chances to grasp the subject matter.
- 3. Let Students Experiment
After explaining a musical concept or technique, let students try it out for themselves. Then, provide supportive feedback before moving on.
- 4. Foster a Sense of Community
Clearly define and enforce behavioral guidelines that foster a sense of community and make it possible for everyone to focus on their work without distractions.
- 5. Incorporate Technology
Incorporate instructional technology, such as computer programs that help students learn musical notation or compose their own pieces.
- 6. Use a Multisensory Approach
When teaching younger children, it is often especially important to incorporate a multisensory approach to learning. Kids may become more invested in musical ideas when they have a tangible experience, like pounding out a rhythm on a bucket or completing a color-by-note worksheet.
- 7. Play Music Education Games
Instructors can add fun to tasks like memorizing the notes of treble clef or introducing the basics of theory by playing music education games. For example, they can lead a round of a rhythm-based activity or allow time for students to play with musical creation apps on tablet computers
About Teachers College MA in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist.
-
How to Secure Funding for Music Education for Public Schools
Leave a CommentLearning to play an instrument or sing is a priceless experience, but high-quality instruction does come with costs. Cuts to music education funding leave departments operating with tight budgets and make it harder for students to get involved. However, teachers can play a vital role in obtaining funding for music education for public schools, and their efforts have the potential to transform students’ lives.
Instructors start or grow exceptional music programs by setting clear objectives and dedicating themselves to find the necessary resources. For example, one teacher introduced music classes to a small charter school in Mansfield, Ohio by applying for grants for the music program and prioritizing community involvement. The music department at a Chicago high school teamed with administrators, parents, alumni and local businesses to turn unused warehouse space into a home for one of the city’s finest music programs.
By seeking out funding sources, teachers can lay the foundation for delivering a cutting-edge curriculum to the next generation of musicians.
Funding for Music Programs: Budget Cuts
Career opportunities for music instructors are growing nationwide: As of 2022, the U.S. Bureau of Labor Statistics projected an 8% increase in positions for art, drama and music teachers over the next 10 years. Yet, times are lean for music programs in many school districts across the U.S. Public schools commonly determine their budgets and funding for instruction and extracurricular activities on a combination of local property taxes and federal funds, which are often tied to standardized testing outcomes. As a result, low-income and rural schools may struggle to develop robust music programs.
In Oklahoma, for example, state budget cuts between 2014 and 2018 resulted in the loss of 1,100 classes in subjects like visual arts, theater, music and band. As of 2018, 18,597 students across the state had no access to fine arts classes at all. When budget reductions result in schools cutting music programs, teachers must be prepared to advocate for the value of music in the curriculum and take action so kids have plenty of chances to participate.
Why Should Schools Have Music Programs?
An investment in music education delivers academic advantages as well as outlets for creativity and chances for peers to work together. Research suggests that studying music may lead to improved engagement in schoolwork, greater cognitive performance and increased motivation. One study found that students who took four years of art and music classes in high school scored an average of over 90 points higher on their SATs than those who took a single semester or less.
How Much Do Music Programs in Schools Cost?
Sustaining a quality music program means hiring dedicated and knowledgeable instructors and investing in equipment and resources. Music education funding statistics reveal that costs can run into hundreds per student each year, especially as young musicians advance into high school. When conducting a survey of school districts across the country, the NAMM Foundation found that the cost of running a high-quality music program averages around $251 of funding per student, 85% of which is spent on teachers’ salaries.
Significant expenses involved in running a music program include:
- Teacher salaries
- Professional development
- Purchasing new instruments
- Maintaining and repairing instruments
- Setting up a classroom for optimal acoustics and secure instrument storage
- Providing uniforms and concert attire
- Transportation to competitions and performances
As outlined by the VH1 Save the Music Foundation, making the investment in facilities, equipment and personnel can drive a music department’s long-term success. To nurture a growing program that will benefit as many students as possible, leaders in schools must devote appropriate space for rehearsals, keep all equipment in good shape and encourage teachers to pursue opportunities for their own growth as educators and musicians.
How To Get Funding for Your Music Education Program
1. Fundraising
Even in schools that receive generous budgets for music education, fundraising can be a crucial supplement. And in many cases, especially at the high school level, teachers consider fundraising among their major responsibilities. A survey conducted by the Give a Note Music Foundation found that nearly 60% of music educators in urban settings consider raising money a necessity to provide adequate instruction.
Establishing a music booster group is a way to get parents involved in fundraising efforts and encourage them to make donations.
Teachers and parents can collaborate to bring in money for music programs by:
- Organizing a benefit concert or play-a-thon
- Selling items like candy, fruit or candles
- Holding a raffle
- Hosting a carnival or silent auction
- Arranging sponsorships from local businesses
2. Instrument Donations
One of the biggest and most vital expenses involved music education is purchasing instruments. The cost of buying or renting instruments may hold many students back from getting involved in band or orchestra. Fortunately, educators can expand access by participating in regional or national programs designed to connect students with the equipment they need.
These are some of the organizations dedicated to providing donated instruments:
3. Grants for Music Education
Applying for grants for music programs can be a long, complicated process, but these funding opportunities open new possibilities for high-quality music education. Teachers and administrators can optimize their chances of being awarded funding by carefully researching the requirements for each grant and customizing proposals accordingly. Granting organizations look for thoughtful, well-written explanations of how their money will be used to benefit individuals and communities.
Private and Public Grants for Music Education
There is a wide variety of private and public grants available to help grow music programs.
Grants From Government Agencies Grants From Charitable Foundations Grants From Corporate Giving Programs A career as a music educator is a rewarding way to contribute to students’ development. Pursuing a master’s degree in music education could be a vital step toward delivering instruction that inspires creativity and collaboration. Teachers are able to make the greatest impact when they explore both the latest pedagogical approaches and the policies that create educational opportunities.
About Teachers College MA in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist. -
A Place for Difficult Conversations: The Foundations of Music Education Classroom
Comments Off on A Place for Difficult Conversations: The Foundations of Music Education Classroom
The following article was written by Drew X Coles, the Director of the Hybrid Music and Music Education program. He is also a multi-instrumentalist, composer, arranger, producer, serial entrepreneur, and educator. Drew’s scholarly interests include the construct of success as it applies to post-secondary music students, culturally responsive pedagogy in the music classroom, the use of technology in the applied studio, mentorship in music higher education, Jazz pedagogy, improvisation pedagogy, comprehensive musicianship coursework and curricula, artistic entrepreneurship, and quantitative research methods in music education.
* * * Heading into each semester that I teach Foundations of Music Education at Teachers College (TC), I pause to take stock of where music education is now, from whence we’ve come from as a field, and the origins and guiding principles of our institution. It’s my belief that Foundations of Music Education (FME) classes can provide a safe and inclusive space for students to explore difficult discussions about a range of topics, including but not limited to race, school and community politics, and culturally responsive teaching. At the end of the day, I want TC graduates to create safe and supportive teaching and learning environments of their own that encourage critical thinking and dialogue, and promote cultural understanding and awareness.
Firstly, FME classes should create a safe and supportive learning environment where students can feel comfortable expressing their opinions and sharing their experiences. The FME classroom can be a place where all voices are heard, and diversity is celebrated. This environment is created through various methods, including setting class norms and expectations, establishing clear guidelines for respectful communication, and creating a culture of mutual respect and trust.
The FME curriculum should encourage students to critically analyze music education practices and their relationship to broader societal issues. For example, discussions about the historical context of music education in the United States, including the role of race and ethnicity in shaping music curricula, provide students with an understanding of the complex dynamics that impact music education today. These discussions also encourage students to consider how these dynamics play out in their own classrooms and to reflect on their own teaching practices.
Secondly, FME classes should promote critical thinking and dialogue by challenging students to examine their beliefs and assumptions about music education. Optimally the curriculum encourages students to engage with different perspectives, including those that may challenge their own beliefs. By exploring diverse perspectives, students learn to think critically and gain a deeper understanding of the complexities of music education.
Discussions about race, for example, provide an opportunity for students to critically examine the ways in which race intersects with music education. This may include discussions about how race influences students’ experiences in music classes, the representation of diverse cultures in music curricula, and the role of music education in promoting cultural understanding and awareness. The curriculum should emphasize the importance of culturally responsive teaching, which recognizes the unique cultural backgrounds of students and seeks to incorporate these backgrounds into music instruction.
Additionally, FME classes can provide opportunities for students to engage in culturally responsive teaching practices. For example, students may learn how to incorporate culturally relevant music into their lessons, or how to create a classroom environment that is inclusive and welcoming to students from diverse backgrounds.
With every new semester, I’m working to dig deeper into what an FME class can be; for our students, for their students, for our field, and for our world. By engaging in these discussions and practices, we’ve found that our students develop a deeper understanding of music education and its role in promoting social justice, cultural awareness, and equity for all.
About Teachers College MA in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students, and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist. -
Finding Spaces for Collaborative Pedagogy in Music Education
Comments Off on Finding Spaces for Collaborative Pedagogy in Music EducationThe following article was written by Drew X Coles, the director of the Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) program at Teachers College, Columbia University. He is also a multi-instrumentalist, composer, arranger, producer, serial entrepreneur, and educator. Drew’s scholarly interests include the construct of success as it applies to post-secondary music students, culturally responsive pedagogy in the music classroom, the use of technology in the applied studio, mentorship in music higher education, Jazz pedagogy, improvisation pedagogy, comprehensive musicianship coursework and curricula, artistic entrepreneurship, and quantitative research methods in music education.
* * * Our field of Music Education is a realm that offers a unique opportunity for collaborative learning. This is because music is a social art form that requires individuals to work together to create and perform. Therefore, music education is an inherently collaborative pedagogical process, where teachers and students can work together to create an environment that encourages creative expression, musical exploration, and ultimately further collaboration.
Collaboration in music education involves a process where students and teachers work together to develop and achieve shared goals. This approach to teaching and learning is particularly important in music education because it allows students to develop a deeper understanding of widely used pedagogical standard measures of student learning outcomes while building important social and emotional skills such as communication, empathy, and leadership.
One way that music education can be collaborative is through ensemble-based learning. Collaborative approaches in the ensemble space involve students working together in groups to create and perform music. Ensemble-based learning requires students to develop their listening and communication skills as they learn to work together to create a cohesive musical performance. Through this process, students learn to collaborate, negotiate, and problem-solve as they work to create a shared musical vision.
Another way that music education can be collaborative is through composition-based learning. This approach involves students working together to compose their own music. Through this process, students learn to listen to one another, offer feedback, and work together to develop a shared musical vision from the ground up. Composition-based learning encourages students to take risks, experiment, and explore their creativity while learning to work collaboratively with others.
In addition to ensemble and composition-based learning, technology-based learning can also be a collaborative pedagogical process. Technology provides an opportunity for students and teachers to work together to create and manipulate music using digital tools. This approach to music education encourages students to develop their digital literacy skills while also learning to collaborate with others to achieve their musical goals.
In order to create a collaborative pedagogical process in music education, teachers must be willing to embrace a student-centered approach to teaching. This means providing opportunities for students to take ownership of their learning, work collaboratively with others, and develop their own musical identities. Teachers can facilitate this process by creating a safe and supportive learning environment, providing opportunities for students to work together, and offering feedback that encourages growth and development.
In conclusion, music education can be a collaborative pedagogical process that encourages students to develop important social and emotional skills while also learning to create and perform music. Collaboration in music education requires teachers and students to work together to develop a shared musical vision, to develop a shared pedagogical vision, to communicate effectively, and to support one another in achieving their musical goals.
At Teachers College, we’re working very hard to create spaces that foster pedagogical collaboration. We believe that by embracing a student-centered approach to teaching, music educators can create an environment that encourages creative expression, musical exploration, and open collaboration, ultimately leading to a deeper and more meaningful musical learning experience.
About Teachers College MA in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students, and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist. -
What Can You Do With a Master’s Degree in Music Education?
Leave a Comment
As the world shifts rapidly towards becoming more inclusive and advanced, today’s educators should consider how to celebrate diversity and utilize increasingly innovative technology in their teaching practices. In addition to technological challenges, equity and racial justice rose to prominence in the zeitgeist of 2020, calling for us to rethink our role as educators in helping to create a smarter and more equitable society. Addressing these concepts head-on allows teachers to better engage their students and can have the added benefit of improved learning outcomes. Similarly, a focus on promoting equity and celebrating diversity within classrooms helps rectify some of the systemic issues facing low-income students and students of color.For music teachers, a Master of Arts in Music and Music Education can help them face these challenges while benefiting their careers, their intellectual curiosities, and their classrooms.
Reasons to Earn an M.A. in Music Education
The best music education graduate programs are built on a strong foundation of musical and educational theory. Throughout their post-graduate experiences, music teachers critically observe how music is taught, explore innovative approaches to engaging and inspiring their students, review music education research and research methodology, and have opportunities to conduct their own research firsthand.
Music education programs with fieldwork opportunities also allow teachers to put all they’ve learned into practice and receive real-time support and feedback. By developing these skills in a supportive, educational environment, teachers can confidently utilize them back in their own classrooms.
An M.A. in music education can enhance one’s teaching practice by:
- Advancing pedagogical knowledge and skills: Classes that focus on foundational music education theory and practice, creative problem-solving in the classroom, philosophy of music and music education, and using new technologies to teach music broaden one’s teaching abilities. Graduate students complete the program with a more comprehensive understanding of the pedagogical theories and practices that will best benefit music students.
- Providing opportunities to learn new skills: Graduate students can improve their existing musical talents and learn new genres and instruments, which allow them to explore new interests, pursue other career opportunities, or help them support a wider range of learners.
- Allowing music education professionals to connect, collaborate, and support each other: Students in the program find a community of like-minded, resource-sharing peers who may become life-long colleagues and friends. Enrolling in a master’s program allows teachers to study and share ideas with others who share their passion for music education.
- Improving computer literacy: Online and hybrid programs help master’s students build their knowledge of digital education tools like Zoom, Logic Pro X and Canvas. They may even discover or design creative ways to instruct virtually – for example, by using video conferencing to hold auditions.
- Expanding teaching possibilities: A master’s in music education is a great option for those who want to switch to a different professional setting, such as transitioning from a private practice to teaching at a college or university. Additionally, a graduate degree can open opportunities to work in new locations, possibly allowing graduates to teach in states that require post-graduate education to become certified.
Possible Careers for M.A. in Music Education Graduates
A master’s in music education can allow musicians and music teachers more flexibility in their careers. Graduate education is a great option for those who wish to teach a different grade, move to a different state or expand their skills, and for musicians who’d like to transition into teaching.
- K-12 Music Teachers: An M.A. in music education may fulfill state-mandated degree requirements for music teachers in K-12 schools, and an advanced degree program can give teachers the knowledge and skills to be more effective in their classrooms.
- Postsecondary Music Teachers: As with K-12 positions, a music education master’s degree can certify teachers to work at the college or university level, depending on the state. Additionally, a master’s degree can prepare teachers to serve on department committees or conduct research.
- Music Director/Composer: Studying music education can help non-teaching professionals bring out the best in their musicians. A program that combines music and music education can be especially helpful in allowing directors and composers for expanding both their personal creativity and teaching skills.
- Private teachers: A degree from a comprehensive master’s program helps private music teachers promote their services and differentiate themselves from competitors. Programs with a focus on diversity and technology prepare instructors to lead learners of varying backgrounds and to utilize the latest technology in teaching practices, increasing the likelihood of retaining students.
What To Look For in A Music Education Master’s Program
Whether the goal is to discover better ways of instilling a love of music in the next generation or simply to find new career opportunities, a master’s in music education program with a comprehensive, multifaceted approach makes graduates more capable of addressing the diverse needs of their students.
Some opportunities to look for in a music education graduate program include:
- Fieldwork and classroom training: Such programs provide an invaluable experience that can’t be obtained any other way. Participating teachers can improve their skills in a safe, supportive environment without worry of administrative complications. Additionally, these teachers can rely on helpful, real-time feedback from their peers and instructors, ultimately improving their teaching abilities.
- Ensemble experiences: Music teachers who are interested in gaining experience with live performances and ensembles can narrow their searches down to programs that have residency or fieldwork components. These master’s programs are also excellent for networking and connecting educators together who can then inspire each other to grow as teachers.
- Non-music classes: By expanding one’s individual perspective, courses in art, psychology, philosophy, computer science, or other departments can lead to improved strategies in the music classroom. For example, a basic understanding of psychology can help teachers better connect with their students, creating a sense of safety and trust that allows them to truly flourish.
- Research: Music education programs with a research component keep teachers abreast of the latest evidence-based teaching strategies. Educators enrolled in these programs may also have the option to participate in related research problems if they wish.
About Teachers College MA in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students, and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist. -
3 Tips for Teaching Music Online, From Teachers College, Columbia University
Leave a CommentThe COVID-19 pandemic has changed the face of education for all disciplines, but it has presented unique challenges for music teachers. In addition to dealing with increased stress, we have had to navigate unique logistical challenges, like figuring out how to teach, rehearse and perform in a virtual environment.
Faculty and alumni from Teachers College, Columbia University recently discussed how they came together to create an entirely virtual ensemble, and they shared some highlights from their experience, as well as advice for how to overcome some of the challenges presented by teaching music online.
1. Prepare to Adapt Your Pedagogy
Jeanne Goffi-Fynn, ED.D., oversees performances at Teachers College. She explained that when TC first tried to create its virtual ensemble, they faced some challenges. Initially, the plan was to have students submit individual video performances to one compilation person, so the individual clips could be put all together.
However, this quickly overloaded the compiler’s computer. According to Dr. Goffi-Fynn, this experience helped to drive home the importance of adaptability. Teachers may not be able to replicate the exact same lessons that they would teach in person, but they can make adjustments to achieve the same results.
“When looking at material versus pedagogy and comparing online to in-person classes, the pedagogy is truly what’s changing,” Goffi-Fynn said. “We can’t have 25 people singing at the same time. But the content is still the same. We can still do warm-ups, we still want to understand how the voice works, and we still want to have good teaching strategies that promote engagement and a community mindset.”
2. Try Your Own Lessons First
For Professor Drew Coles, who teaches digital arranging, keyboard and music entrepreneurship at Teachers College, the best way to iron out the flaws when your lessons need to change is to put yourself in your students’ shoes.
“Try everything yourself,” Coles said. “Anything that you make your students do, you should do first. Get a group of friends together and walk through the process. By bringing the project from beginning to end, you’ll learn a lot about how to run it in the classroom. If you don’t work through things on your own, you’ll have no idea what hurdles your students face or how to address them.”
3. Use Music to Connect With Each Other
Although you’ll no doubt face challenges as you create virtual learning experiences, the end result can be transformative for both you and your students. For Natalie Fabian, who recently graduated from TC’s music education master’s program, practicing together and collaborating on performance provided a sense of normalcy and offered a way to connect with other musicians when it wasn’t feasible to meet in person.
“The most rewarding part of this was watching the finished product and finally seeing the work come together,” Fabian said. “Music is a great way for people to heal, especially in challenging times. In this respect, the rehearsals became very grounding. For myself and for others who I’ve spoken with, the rehearsals were often a highlight of the week. And then, at the end of the semester, we were presented with beautiful videos of everyone singing simultaneously, a symbol of the hard work coming to fruition.”
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist. -
The Value of a Summer Master’s Program for Music Teachers
Leave a CommentThe most effective educators are informed practitioners who learn from their students, stay up to date with relevant issues, and continue to expand their knowledge. That’s a conclusion supported by studies in which students were more successful in achieving district benchmarks when their teachers participated in professional development activities. For music teachers who strive to inspire their pupils with a passion for instrumental performance or singing, it’s especially important to welcome new perspectives and try innovative techniques.Current teachers and other musicians interested in teaching can update their skills and advance their careers by earning a graduate degree. However, it’s especially challenging to fit the demands of cutting-edge, immersive learning into an already busy schedule that may involve leading classes, extracurricular music activities and fundraising efforts. A hybrid summer master’s program for music teachers offers a way to get the best of both worlds: convenient online classes to expand your knowledge and on-campus components that connect you with peers and professionals leading the field of music education.
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) from Teachers College, Columbia University combines a four-week summer residency in New York City with online coursework during the school year. This online summer master’s program for teachers benefits early career educators in their professional development, classroom practice, and individual growth as musicians.
Enhance Teaching Skills in a Master’s in Music Education Summer Program
Music instructors have taught many of the same fundamental skills for centuries, but Teachers College has forged ahead at the vanguard of education since the late 19th century. The pioneering work of educational reformer, philosopher and psychologist John Dewey during his tenure from 1904 to 1930 placed the school at the cutting edge of pedagogical theory and practice. Education philosopher Maxine Greene, who arrived at Teachers College in 1965 and remained nearly 50 years, carried on that tradition as a highly influential proponent of expanding access to art and music education.
Best practices continue to evolve along with the latest research and technological leaps, and Teachers College’s hybrid summer master of music education online degree program equips teachers with both sophisticated theoretical principles and practical ideas they can apply right away. This cohort-driven curriculum is structured around the needs of professionals working full time, split between live online interactions with peers and instructors, asynchronous activities for students to complete on their own time and in-person class meetings.
The M.A. M&ME program features courses that are designed and taught by some of the leading thinkers and researchers in the field. Educators and musicians who enter the program can enhance their knowledge in some of music education’s most important issues. Their classes may delve into topics such as how to promote an inclusive environment, tailor lessons for different age groups and successfully incorporate technology in their classrooms.
Indeed, making digital media a productive part of the learning process may be one of the most crucial aspects of teaching today. Software and mobile apps have emerged as powerful ways to engage digital native student-musicians who are already accustomed to using connected devices for just about everything in their lives.
Still there are many barriers that can get in the way of digital pedagogy. A survey of nearly 3,000 educators around the world found that some of the most common issues they faced were time constraints in the school day, a lack of enough devices for students and insufficient technological infrastructure. In addition, 32 percent of respondents cited ineffective professional development as one of their greatest concerns.
In the music education master’s program, teachers may discover how to achieve improved results by adopting digital tools to:
- Track at-home practice time
- Share recordings of relevant examples, backing tracks and student performances
- Practice sight-reading
- Refer to specific sections of a piece and listen to professional recordings
- Complete ear training exercises
- Introduce composition with programs that allow students to hear what they’ve written
Music instructors can benefit from technology in their own learning as well, using online platforms, teleconferencing and discussion boards to interact with faculty and peers. The flexibility of a hybrid program allows graduate students to customize their path to degree, focusing on the concepts that are most relevant to their interests and professional objectives. The TC M.A. M&ME emphasizes the value of individualized projects and a selection of electives.
“The courses in the summer program can be tailored to each student’s interests, balancing performance, pedagogy, and literacy, and research,” explained Program Director Harold Abeles.
Live in One of the World’s Greatest Cities During a Summer Music Master’s Program for Teachers
Teachers College is the oldest and largest graduate school for education, consistently ranked among the nation’s 10 best by U.S. News & World Report. But TC also stands out because of its location in Manhattan’s Morningside Heights neighborhood, famous for both the historical character of the area’s 19th-century Gothic architecture and its current vibrancy as a destination for culture and dining. M.A. M&E students can attend classes and, if they choose to take advantage of on-campus housing options, live in close proximity to both the Upper West Side and Harlem.
“I really look forward to this month that I’m out here every summer,” said Juan Carlos, a student from Miami. “I love my classes and obviously spending a month in New York City—you can’t beat it.”
On-campus residencies deepen and enrich what students learn in the online components of the TC hybrid summer master’s degree in music education. Each session consists of four weeks in New York City, during which students meet their peers and TC faculty in person to take classes, collaborate on projects, and build their professional networks.
“During the summer sessions, I look forward to getting to know each student’s musical and academic personalities,” Abeles said. “Working with students three days a week gives me the opportunity to get to know students in a way that’s different if the program was only in an online format.”
Residencies also provide ample opportunities for students to form bonds within their M.A. M&ME cohorts. Ensemble courses bring musicians together for rehearsal and performance while expanding their horizons with chances to play different instruments and styles. Weekly pizza lunches offer a way for students to get to know one another and faculty members outside of the classroom.
Students learn in a traditional classroom environment, but they also participate in a variety of unique activities in one of the world’s greatest cultural hubs. Instructors commonly encourage students to take full advantage of their time in NYC by leading classes on field trips, and the program provides access to a range of organized activities. Cohort members may:
- Attend concerts and musical theater performances
- Take a dance class
- Catch a Yankees game
- Take advantage of free admission to most of the city’s major museum by displaying their student ID
- Hear insights from local artists who frequently visit campus for guest presentations or workshops
Current and future education professionals can develop valuable skills in a hybrid summer master’s program for music teachers. But the Teachers College M.A. M&ME goes even further, delivering one-of-a-kind experiences and laying the foundation for lasting connections with fellow musicians and educators. Summer residencies in New York City bring the concepts in the online curriculum to life, revealing the score for the next movement in a music teacher’s career.
About Teachers College MA in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist. -
Teaching Music Online: Insight from TC Faculty and Alumni
Leave a CommentFor years, Teachers College, Columbia University has been mastering the art of teaching music online. Although we designed the hybrid Master of Arts in Music and Music Education program to achieve the best of both online and in-person learning, we transitioned to a fully online program for 2020 as a result of the COVID-19 pandemic. One of the factors that made this transition possible is the foundation we’ve built for creating immersive and engaging online education — in addition to the virtual experiences already designed for the hybrid program, we’ve drawn a lot on what we’ve learned from offering online master’s degrees since 2007.
One of the biggest lessons we’ve taken to heart throughout our history is that we never stop learning. Change is difficult, and there will be hiccups along the way in any large transition. However, we’re incredibly fortunate to have a community of passionate educators — projects like the TC Virtual Choir and Ensemble wouldn’t be possible without both faculty and students’ commitment to working together and creating remarkable music and other experiences.
We wanted to share some of the insight we’ve gained this year and highlight not just our successes, but how we overcame some of the challenges we encountered in transforming our hybrid program to being fully online for the duration of the pandemic. Three members of the Teachers College faculty, Jeanne Goffi-Fynn, Ed.D., Drew Coles, Ed.D. and Natalie Fabian recently sat down to discuss their experience.
Read their full interviews below for information about how they approach teaching online, what technology platforms they use and their experiences with virtual performances. You can also click the links below to navigate directly to a specific section of this article.
To learn more about the Hybrid Summer Online Master of Arts in Music and Music Education at Teachers College, Columbia University, download a free brochure.
Jeanne Goffi-Fynn, Ed.D.
Professor Goffi-Fynn discusses what aspects of teaching had to change to create enriched learning experiences in an online space. She offers insight into how music educators can approach online learning and how they can support their students as they face unique challenges.
Click here to read her full Q&A.
Drew Coles, Ed.D.
Professor Coles discusses how his background as both an entrepreneur and music educator helped him enrich the online learning experience, as well as how music educators can apply business skills to make their lessons adaptable, engaging and impactful for their students.
Click here to read his full Q&A.
Natalie Fabian, TC M.A. in Music and Music Education alumna
Natalie Fabian is a vocalist, pianist, composer/arranger, teaching artist, and recent graduate of the TC M.A. in Music and Music Education program. She discusses her experience with virtual performances at TC from a performer’s, organizer’s and composer’s perspective, and offers insight into how others can create music for virtual environments.
Click here to read her full Q&A.
Jeanne Goffi-Fynn, Ed.D.
Professor Jeanne Goffi-Fynn is part of the vocal performance faculty at Teachers College with a prestigious background in music and the arts. Her areas of interest include applied studio music instruction, voice development and instruction, Contemporary Commercial Music (CCM), and choral singing. Goffi-Fynn has presented workshops, masterclasses and pedagogical presentations for numerous organizations, including the National Association of Teachers of Singing, New York Singing Teachers Association, College Music Society, and International Society for Music Education. She is a member of the American Academy of Teachers of Singing and Opera America’s Singers Training Forum, as well as President of NATS NYC and Chair of the Nats National Mentoring Initiative.
Currently, she oversees performance at Teachers College including recitals, ensembles, and college-wide events. She is also the Director of Singers’ Workshops, a teen ensemble, working with graduate students to give voice to young singers.
Q: I’d love to hear more about your background and your role at Teachers College.
A: I’m part of the performance faculty and am in charge of singing, ensembles and all the studio lessons. Those are my big three areas of focus. For twenty years, I’ve also taught a course called Studio Music, a course that many take, no matter their instrument. It was originally designed only for college students, but we have expanded the age range for independent, private studio teachers as well. I teach both online and in-person, so the transition to online ensembles has been very smooth. Additionally, I teach Vocal and Choral Pedagogy and Vocal Literature.In my online courses, we use Zoom and other online platforms, but the class is pretty much asynchronous, which allows for a lot of flexibility for our students in different time zones and with busy schedules.
One of my favorite parts of my online curriculum is the utilization of an interface called Acclaim, where students can upload their teaching videos and peers can respond in real-time with the video. If students find something they like, they can comment, “Oh, great moment,” or “Did you notice what your student was doing right there?” Because you can respond throughout the video, students get a much more interactive experience than watching the entire thing and giving only reflective statements afterward.
As for performance and studio lessons, the easiest to do online are songs that can be performed either with an accompanying track or as a solo. However, we also do an end of the year project, Musical Serenades, which is for anyone in the music program. For these, we have people send in their performance videos, and then we edit them together and create a Youtube Premiere release party with a live chat.
Q: The virtual choir and ensemble are both incredibly intricate and well constructed. Can you walk me through the process that professors and students go through to create them?
There is definitely a good amount of work that goes into creating a virtual choir, but one thing that I love about teaching at TC is that we have so many great resources at our fingertips. I have technology professionals that I can call on for help, I have people who are up to date with the streaming. There’s always a huge learning curve, but part of the learning process is staying calm when things don’t go well.
For example, the way we tried to put the virtual choir together the first time was by having students send their videos to one specific person, and it crashed his whole computer, so we had to postpone for 24 hours. There’s always a learning curve, but with practice, everyone gets better. Sometimes, calls can drop and technology doesn’t cooperate, but learning how to handle not having control and having a sense of multimodality are huge lessons that teachers in this program learn through these unique experiences.
The actual process consists of rehearsals which we conduct in-person, warming up together and then breaking into groups for parts. We have even mastered improvisation in the online rehearsal, using a chord progression and allowing everyone to improvise over the pattern. Practice tracks are then created and everyone is sent away to record their parts. Then we work to edit the audio and video aspects of the performance and discuss what else can be done – is the sound balanced, are solos acknowledged, should we create introductions, background photos, etc.?
Q: What do you hope students get out of this online choir experience?
A: When looking at material versus pedagogy and comparing online to in-person classes, the pedagogy is truly what’s changing. We can’t have 25 people singing at the same time. But the content is still the same. We can still do warm-ups, we still want to understand how the voice works, and we still want to have good teaching strategies that promote engagement and a community mindset.It’s key to understand going in that the methodology may be different, but the content is modified only slightly. You can’t take the same lesson that you teach in the classroom and Zoom it, but the lessons can be just as effective if they’re taught in an adapted way. These are things that music educators can apply to their teaching. Many of my students will be teaching online, and having a glimpse behind the curtain at how to do that can be very beneficial.
Q: What’s one thing you would tell other teachers who are just starting to teach their courses online?
A: First, I would encourage them and say, fear not. There is great potential in the online space. I oversee the doctoral cohort program which is a hybrid program for doctoral students, and with the busy schedules that we all have, online courses allow students to get a great education without having to worry about the commute or constant scheduling conflicts that come with an in-person course. And it shows, many of the meetings we’ve had since going online, there’s been 100% attendance. We’ve never had that before, but the flexibility of the virtual space makes it easier for students to attend no matter where they are or what their schedule looks like.Stay optimistic, be as creative as you are in your in-person classes, and get to know your students’ strengths and weaknesses. For example, when I’m working with adult voice teachers who are a bit more nervous around technology, I may start with more group Zoom calls and slowly transition into breakout rooms, before I ask them to post their videos. We talk about scaffolding in learning, and we need to have scaffolding in online learning as well.
Lastly, be sure to make resources known to students. Give them the ability to reach out in case they have questions. So all in all, think about a creative pedagogy, learn about the students, use scaffolding, and understand your goals and outcomes. The content may be modified in the online space, but the skills should still be learned.
Q: What specific software do you use when teaching music online?
A: For the audio recordings, students usually use something like GarageBand or Logic Pro. For the video, they use anything from iMovie to Adobe. Creating tracks can be the most time-consuming part, but even the iPhone has good sound for recording. Just use what you have. Adapt and use what is available to you, which is another skill that teachers in this program learn. People today are marketing themselves. You can upload your own videos, make your own website, show people who you are without the help of anyone else, and people who go through this program gain the skills necessary to use the online space for their benefit.Q: Having taught online for 15 years, have you found that Covid-19 has created any unexpected challenges, or did you feel prepared in the online space for this?
“As a teacher, you need to understand that people can’t learn until they feel heard and respected and valued. Some things are more important than the lesson at hand, and it’s vital to make sure everyone has the space to be heard.”
A: The biggest challenge has been the sickness, fear and anxiety that it’s raised in students. People have anxiety about their jobs, anxiety about going out, anxiety about their family. That’s been the piece that is hardest. It’s important for teachers to check in with everyone to make sure they are in the right headspace to be in class. And what I’ve learned is that people want and need to talk about this stuff.
As a teacher, you need to understand that people can’t learn until they feel heard and respected and valued. For example, in class at the start of June, we were supposed to have an online discussion involving scaffolding in the classroom, and instead, I posted a quote about the Black Lives Matter movement and said, ‘Share your thoughts here,’ and we discussed that. Some things are more important than the lesson at hand, and it’s vital to make sure everyone has the space to be heard.
Teachers College has given me the courage to do that. I have great resources here and our leaders have events available for students. TC is continually reaching out about COVID-19 and the ongoing Black Lives Matter movement, and it makes you feel supported. People don’t know what to do a lot of times in moments of distress, but doing something and acknowledging real issues is vital in any classroom. Conversations are just as important as the content that is learned in the classroom.
Q: Is there anything about the program that I haven’t asked, that you think students should know?
A. Here at TC we use a process of inquiry to consider new ideas in pedagogy and performance. Moving everyone online has heightened that necessity to reach our students in creative, engaging, and imaginative ways. Our pedagogy has evolved to meet these challenges. As educators, we never stop growing as we model lifelong learning for our students.
Drew Coles, Ed.D.
Dr. Drew X Coles is a multi-instrumentalist, composer, arranger, producer, serial entrepreneur, and educator, who teaches applied lessons, ensembles and music entrepreneurship at Teachers College. Coles holds a Bachelor of Music degree from the Crane School of Music at the State University of New York at Potsdam, a Master’s degree in Jazz Performance from Queens College of the City University of New York, and an M.B.A. from the Metropolitan College of New York. Coles also earned his Doctorate in Music Education at Teachers College, Columbia University.
Coles has also served as the Executive Director of the International Chamber Orchestra of America, co-founded Pro Arts Management and Consulting LLC and serves as the Musical Director to the Metropolitan Players, an award-winning New York City-based wedding entertainment collective.
Q: I’d love to hear more about your background and your role at Teachers College.
A: I teach three things at Teachers College: applied lessons (piano, jazz theory, trumpet), ensembles, and music entrepreneurship — as a pedagogical resource, I need to be able to adapt quickly and I teach my students how to adapt in the current environment).I graduated with my doctorate from TC about a year ago. The ensembles that I teach are incredibly diverse in musical content, from Lizzo to Shostakovich and everything in between. Before the degree at TC, I was in an MBA program. Before that, I was in a jazz master’s program. And before that, I studied classical music. I also own my own performance-based company with my wife. Because of this, I have a lot of experience navigating the challenges of owning a business in the COVID-19 landscape.
All of this informs the classes I teach. All aspects of my performance and business life help me understand what the students need in the classroom.
Q: What has it been like to teach online and create a virtual ensemble?
A: I’ve been teaching online for about a year and a half now. The virtual ensemble as it is now was created out of necessity. Things needed to switch to the online format, and so we adjusted.When it comes to applied lessons, the program has diversified because there are students that could be assets to the program that may live far away. For example, there may be someone in Seattle who works at a college and might want to involve themselves in the TC experience, and we need to make it feasible for them to actively participate in the community and courses. That’s why we’ve begun to offer these online experiences.
Even for someone who lives just outside New York City, it might take two or three hours just to commute to class each day, so the access to courses online is a gamechanger. It’s really about enabling students to understand the material more.
Can you walk me through the process that professors and students go through to create the virtual ensemble from concept to finished product?
A: If I were to break it down, there are a few steps to create the final piece. First, there is the rehearsal period. Then, all the students in the ensemble record their part. We review it to make sure there aren’t things that need to be changed. Finally, we mix it and take a look at the final product. A big part of the learning happens when we are combing through the audio of someone else playing. These may be big things, but it can also be as simple as learning what instruments you wouldn’t pair in the future.This isn’t necessarily unique to the online space, but reviewing performance work in this way does allow for a lot more introspection. While students may learn these things in-person, there is an enhanced way of thinking through problems when working remotely.
What would you say is the most challenging and rewarding aspect of teaching music online?
“The most rewarding part is the increased access. I love to see people thrive in their own space. Sometimes, when you take someone out of their own space and put them in the classroom, it’s very obvious that they’re uncomfortable. But when you’re at home and it’s just you and the microphone, you can get down to the brass tacks very easily.”
A: Another reward is that there’s an end product that we can see because it has been recorded. Also, the fluency that students gain in different music technologies is game-changing. It can completely evolve how educators interact with their job and what jobs are available to them in the future.
As for the challenges, there is a significant amount of energy that is lost when not in-person. However, one of the biggest pieces of advice I’d give is to not try to recreate the old experience. When students think virtual courses will be exactly the same as in-person classes, I work to change their mindset. Instead of getting stuck in the idea of in-person meetings, focus on the benefits of virtual learning and capitalize on the strengths of the online space.
What tech do you use to create music online?
A: Google Drive is the unsung hero. It’s imperative that I meet the students where they are, and Google Drive is an easy and free way for them to upload recordings and other material. Other things I use include Logic Pro X, GarageBand, Soundation, and Sibelius.Q: What is one thing you’d tell a teacher if they are just starting to teach music online?
A: Try everything yourself. Anything that you make your students do, you should do first. Get a group of friends together and walk through the process. By bringing the project from beginning to end, you’ll learn a lot about how to run it in the classroom. On the other hand, if you don’t work through things on your own, you’ll have no idea what hurdles your students face or how to address them.Anything we haven’t asked about?
Quite frankly, I came to Teachers College to figure out how to change people’s lives, so there’s no part of me that wants to phone it in on the online rehearsals, there’s no part of me that doesn’t want to have a life-changing experience at the end of every term and I really work hard to do that.
What can’t be overstated is that we never know when this current need to socially distance is going to end. Moreover, distance learning is going to be a significant part of our future even after quarantine ends. Because of this, you’d better get control of the online space now.
Faculty members are doing everything they can to make the online experience great, because we like what we do. We like to engage with students in a way that is going to be beneficial to them. Quite frankly, I came to Teachers College to figure out how to change people’s lives, so there’s no part of me that wants to phone it in on the online rehearsals, there’s no part of me that doesn’t want to have a life-changing experience at the end of every term and I really work hard to do that. It’s imperative for the students to know that every member of the faculty is trying as hard as they possibly can to give an impactful experience to their students.
Natalie Fabian, TC M.A. in Music and Music Education Alumna
Natalie Fabian is a recent graduate from the Masters in Music & Music Education program at Teachers College, Columbia University. Her many accolades include the Herbert A. Deutsch Award for Excellence in Music Education, the William Rosencrans Honors Recital Award, and co-founder of the Hofstra Vocal Jazz Quartet. Currently, Natalie is an Adjunct Instructor at Hofstra University, she serves as the Director of the Every Voice Youth Choir, part of the not-for-profit organization, Every Voice Choirs, and she teaches private Voice, Piano, and Songwriting lessons.
At Columbia, Natalie served as a Choir Manager and Composer/Arranger for the Teachers College Community Choir, a Graduate Voice Instructor for Columbia students, and the Composer-In-Residence and Graduate Instructor for the Singers’ Workshops @ TC. Natalie’s choral arrangements and original compositions premiered at Merkin Hall at Kaufman Music Center, Broadway Presbyterian Church, the Miller Theatre at Columbia University, and Milbank Chapel at Columbia University.
Q: I’d love to get an overview of your experience in the program and your role at Teachers College
A: I’m a recent graduate of the M.A. in Music and Music Education program. During my time at TC, I wore many hats. First, I was the Choir Manager for the TC Community Choir. I was also a member of the choir, the leader of the Soprano section, and a Composer/Arrange for the choir. Because of these various roles, I became very involved with the behind-the-scenes work for the TCC Choir.Currently, I’m the Director of the Every Voice Youth Choir, part of a non-profit organization hosted at TC called Every Voice Choirs. For this choir, I lead the weekly rehearsals, help with composing and arranging for the ensemble, and help to compile the virtual performance at the end of the semester.
In addition, I am a Graduate Voice Instructor at TC. I taught online voice lessons during the transition to remote learning during the Spring semester and continued these lessons throughout the Summer sessions.
I was involved with the Singer Workshops’ virtual choir project at TC. The Singers’ Workshops is a musical theatre audition prep ensemble for young adults. For this group, I acted as the Composer-In-Residence and was involved in teaching my original piece, Your World, to the students online.
As a performer at TC, I gave live, biweekly performances for TC’s Come Together… Right Now… Virtually online series and I was a musical soloist for TC’s 2020 Virtual Convocation.
Can you walk me through the process that professors and students go through to create the virtual choir from concept to finished product?
A: Eric Whitacre’s Virtual Choir was an initial source of inspiration for the concept of the choir. When first figuring out how to record, send, and edit tracks, this was a helpful starter reference. Upon the transition to remote learning, Dr. Becker, the Director of the TC Choir, wanted to jump into the project with enthusiasm. Any aspect that might have been overwhelming was replaced with clear rehearsal methods and clear instructions for the recording process.For example, for the weekly rehearsals, Warm-Ups would be pre-recorded. Then, during live Zoom rehearsals, ensemble members would mute their microphones and sing along with (or move along to) the Warm-Ups projected on the screen at that time. Then, we’d use breakout rooms to rehearse the Soprano, Alto, Tenor, and Bass sections. The section leaders used either pre-recorded videos/tracks (using lyrics, accompaniment, conducting, and/or animation) or live teaching to rehearse the repertoire.
As for creating the recordings for a Virtual Choir, the process requires a lot of organization because of the sheer amount of material being made. First, a reference track is needed to sing along to… For these reference tracks, I used Logic Pro X to record myself singing each part, along with a piano accompaniment track. At the beginning of these reference tracks, we used a glockenspiel sound to help the audio engineer line up the tracks. Then, conductor videos would be recorded with the director or a section leader conducting the piece, with the reference track playing in the background. The video and audio editing processes coming together help to create the final Virtual Choir video. Clearly, it takes a lot of work and organization. But the finished products are absolutely incredible and worth the time and energy.
Q: What have been the challenging and rewarding aspects of teaching it online?
“Music is a great way for people to heal and come together, especially in challenging times. In this respect, the rehearsals became very grounding. For myself and for others who I’ve spoken with, the rehearsals were often a highlight of the week. And then, at the end of the semester, we were presented with beautiful videos of everyone singing simultaneously, a symbol of the hard work coming to fruition.”
A: The most challenging aspect is that the ensemble cannot sing simultaneously during the Zoom rehearsals without feedback/delay/looping. Zoom’s latency clearly affects the ability for choir members to sing together in real-time. However, programs like JamKazam are beginning to fix these audio issues and challenges. However, our final Virtual Choir videos made up for the audio latency, because the magic of editing allows you to hear everyone as if they are performing in the same room together.
The most rewarding part of this was watching the finished product and finally seeing the work come together. Music is a great way for people to heal and come together, especially in challenging times. In this respect, the rehearsals became very grounding. For myself and for others who I’ve spoken with, the rehearsals were often a highlight of the week. And then, at the end of the semester, we were presented with beautiful videos of everyone singing simultaneously, a symbol of the hard work coming to fruition.
In addition, I wrote a piece about the pandemic called Make the Silence Loud with Love, which was performed by members of the TC Choir and members of the surrounding community in our Virtual Choir concert. When I heard everyone sing the lyrics about exactly what we were all going through, it was truly inspiring and rewarding. It was the highlight of my time at TC.
Q: What is one thing you’d tell a teacher if they are just starting to teach music online?
A: Organization is a vital piece of teaching online. And if possible, a team of helpers is advantageous. To make a Virtual Choir work, you ultimately need a Video and Audio/Mixing Engineer, or you need to take the time to learn these skills yourself. In addition, communication with your ensemble (i.e. setting clear deadlines for video submissions), is helpful.With over 50 singers submitting through e-mail, Canvas (TC Digital Media), or even text message, it is important to stay on top of the organizational aspects, which include setting a clear schedule that you continually keep your ensemble apprised of. In addition, having an archive of videos available (i.e. Conductor Videos, Sectional Videos, Rehearsal Videos, Warm-Ups), allows students to rehearse in their own time. They can re-watch these videos to see what they missed or continue to rehearse the repertoire and prepare for upcoming recordings. This specific aspect allows for international students in conflicting time zones to be a part of the ensemble and the Virtual Choir videos.
Q: What technology have you found useful to create a virtual choir?
Final Cut Pro and Davinci Resolve are great programs for editing video. iMovie can also be useful, but often challenging to work with when compiling videos for very large ensembles (i.e. 15+). Logic Pro X is an incredible tool for audio mixing. For myself, in creating the vocals for the reference tracks, I used Logic Pro X, a condenser microphone, and an audio interface. For students in the ensemble, they may use Zoom, iMovie, PhotoBooth, Smart Phone/Tablet or TC Digital Media to make recordings. To upload videos, they may use Zoom, Canvas/TC Digital Media, or Google Drive.Q: Can you talk a little bit about your experience in the program and then, what you hope students get out of this program?
“Because of the valuable takeaways and the new skills acquired, I feel as if I gained more from the virtual music experience than the in-person music experience. I grew as a “tech-ie”, a teacher, a composer, a performer– and the list goes on. Although a virtual musical concert takes more behind-the-scenes, detail-oriented work than an in-person concert might, it is so worth it. Our final virtual concert was a true representation of the camaraderie, community, and positivity that encompass the spirit of TC.”
A: My experience in the program has been incredible. I call myself a conglomerate rock, I like to do a little bit of everything: teaching, singing, composing, playing piano. TC gave me the opportunity to do all of these things and wear many hats as a teacher, composer/arranger, and multi-instrumentalist. In terms of remote teaching, TC has done everything possible to ensure that the online experience is efficient, enjoyable, and memorable. When I first learned that everything was moving online, I was concerned that I would not have a graduation ceremony or not be able to perform in concerts. But TC had a memorable Virtual Convocation ceremony and all concerts moved online. I remained continually connected and TC provided me with consistent opportunities to do so.
Although a virtual musical concert takes more behind-the-scenes, detail-oriented work than an in-person concert might, it is so worth it. Our final Virtual Choir performance was a true representation of the camaraderie, community, and positivity that embodies the spirit of TC. Looking forward, if you are considering going virtual, I would say, jump in. Surround yourself with a community of learners, teachers, and technicians who make up your team. You do not have to aim for perfection. Remember to simply trust the process. Everything will come together with patience, devotion, and positivity.
Q: Is there anything about the program that I haven’t asked, that you think students should know?
A: My final semester of learning was almost completely remote. Because of this transition happening in real-time, TC gave me all the tools to not only teach but teach remotely. For prospective students, the courses are catered to the climate of today’s world. The courses and the professors of these courses take real-life circumstances into account, and apply them to lectures, discussions, and assignments. This also includes constant reflection and analysis of your own teaching, which are vital to advancing your skills as an educator. During these turbulent times, being part of a community of teachers at TC and having a sounding board for your ideas and experiences, is a true gift. It is also a reminder that you are not moving forward alone.
About Teachers College M.A. in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist. -
Student Story: Tanatchaya Chanphanitpornkit
Leave a CommentShe sat on the stage, in front of the building’s Renaissance Revival style auditorium. Grandeur, red seats—she probably leaned the large, low-pitched instrument close to her, sloping her shoulders as she turned inward toward the double bass.
It’s a stance all too familiar for bassist, educator and Music and Music Education student Tanatchaya (“Tanya”) Chanphanitpornkit. The double bass clinician for Region XI of the Texas Music Educators Association first fell in love with music when she was playing with the New Jersey Youth Symphony at Carnegie Hall. During that particular performance, Tanya was playing Dmitri Shostakovich’s “Symphony No. 5,” a piece originally written during Stalin’s reign of the former Soviet Union. The piece became one of his most famous and well-received: the composer received an ovation that lasted over an hour.
Tanya, who is now a teacher within the Klein Independent School District Fifth Grade Strings Program in Klein, Texas, recalled exactly how and why her love for the bass came about.
“I remember playing the final note and completely falling in love with the bass,” she says. “From that moment on, I wanted to help others be able to experience their own special moment of being in love.”
This love, or “moment of crystallization” as she calls it, is what eventually led her to Teachers College, Columbia University’s Summer Intensive Master of Arts in Music and Music Education program. But music wasn’t always at the forefront of Tanya’s educational journey. At a young age, she and her mother moved from the U.S. to the rural town of Trat in Thailand—a province that borders the Cardamom Mountains near Cambodia.
The move also made Tanya intimately familiar with the importance of educational equity: at one time, she was banned from attending school.
Opportunities in education can be very limited in the area: According to the World Bank, in 2015, 47% of 15-year-old students who attended village schools in rural Thailand, were classified as being functionally illiterate.
“I was three years old and only spoke English,” she says. “Because I did not speak Thai, I was banned from entering the only school in Trat.”
This was the first time she recalls seeing her mother cry.
Tanya and her mother subsequently moved to Thailand’s capital city, Bangkok, so that Tanya could receive an education. Her experience in Thailand schools provided a deep appreciation of educational excellence and how it cultivates success in growing children.
“I studied diligently to have a better fundamental knowledge with which to succeed later in life.”
For Tanya, “later in life” came quickly, and at the age of 10, she made the trek back to the U.S. It was then that the bassist was introduced to music and subsequently began on a path that would later lead to TC.
“I was impressed with the educational equity given to each and every student through access to free public education. This excellent public education introduced me to the double bass.”
The Eastman School of Music graduate, who is also the orchestra director of Klein High School in Texas, now helps other young musicians experience moments that may lead to a lifelong love of music.
“I absolutely love music, and I want to impart that gift onto young generations.”
Her love for sound is imparted through her teaching. Currently in her second year teaching, she holds a particular interest in music learning theories—especially in instrumental music. She plans to further her research on how students learn instrumental music so that she and other music educators can give students the best tools to be able to perform well.
So far, Teachers College has helped Tanya to do just that: further her research and progress in her pedagogical skills. The Music and Music Education program at TC allows Tanya to develop and strengthen music teaching tools—and gives her the ability to still teach in Texas. The flexibility of the Summer Intensive program’s structure will let Tanya finish her degree by taking four-week courses over several summers, while she takes online classes during the year.
“The one thing that I love about teaching is that in this profession, teachers are always growing,” she says. “Whether it’s ‘with the times,’ with the students, or simply new ways of teaching, there is always something fresh and new. I love the idea that as a professional, I will always grow and it will never get static.”
For Tanya, being at Teachers College has helped her cultivate those ideas—especially in regards to its professional learning community.
“TC has been an amazing resource for learning. As a relatively new teacher, seeing my colleagues consistently strive to be better has been an incredible inspiration for me.”
Request Information
To learn more about the Hybrid Summer Master of Arts in Music and Music Education, offered by Teachers College, Columbia University, fill out the fields below to download a free brochure. If you have additional questions, please call (646) 733-4006 to speak with an enrollment specialist.
Related Content: TC Student Story: Tanatchaya Chanphanitpornkit
What Skills Do I Need for a Career in Music Education?
The skills in demand for music teachers and directors are significantly varied. PayScale shows several key skills linked to higher earnings. For music directors, these include conducting, team leadership, singing, people management and administration. Music teachers who focus on a specific type of music, instrument or genre are more desireable. For example, Lightcast data shows that music teachers with the skill of ‘piano pedagogy’ or ‘guitar’ were more likely to earn a higher salary than their peers.
To go beyond higher earnings and hit the transformative notes of music education, though, it takes more than a quantitative set of skills. By tapping into creativity, entrepreneurship, your own personal style and softer skills, you can help to push your students to new heights and realize the full potential of their talent. For Jeanne Goffi-Fynn, this means making it a focus of all her work to help singers take ownership of their voices. Achieving this requires her to step into the dual role of teacher and life coach, to understand the unique needs of her students and help lead them to role models who can show them different paths toward finding fulfillment in music.
Salaries With a Master of Music Education
On average, music teachers earn a salary of $47,260 with some earning up to $75,000 per year. Compensation for music educators can be dependent on a number of factors like the district or region that you work in, your specific skill set, and amount of experience.
A crucial factor in determining music education salary is the type of environment you want to teach in. For example, self-employed private music teachers have more control over setting their rates as well as where they work than those who work for a school or other organization. As a result, they can have higher salary potential, but they also take on more of the risk, since they are responsible for marketing and promoting themselves as well as the administrative duties associated with running their own business.
How does a Masters in Music Education impact salary?
According to Lightcast, job listings for music teachers requiring a master’s degree offer an average salary of $60,300– 5% more than job listings not requiring a master’s degree.
As previously mentioned, geographic region and level of education can play a dramatic role in earning potential within the music education field. Additionally, the top five cities with demand for music educators holding music education master’s degrees are New York City, Phoenix, Chicago, Pittsburgh and Boston.
Music Education Salaries: Location Matters
| City | Average Salary |
|---|---|
| New York City | $56,298 |
| Phoenix | $38,024 |
| Chicago | $46,006 |
| Pittsburgh | $34,543 |
| Boston | $50,321 |
Source: Lightcast, 2024
For many, becoming a music teacher is about more than just earning a salary—it is a chance to enrich the lives of many young people, and to help them find new ways of expressing their creative selves. Innovative and driven music educators will be able to find these opportunities to make a difference regardless of the career path they choose. It may not be easy, but through dedication and an eye toward bringing out the absolute best in their students, music educators can go beyond the typical career path and truly transform the lives around them.
About Teachers College MA in Music and Music Education
The Hybrid Summer Master of Arts in Music and Music Education (M.A. M&ME) at Teachers College, Columbia University is designed for professionals who seek to transform themselves, their students and their communities. With an academically rigorous curriculum and on-campus experiences, our program equips graduates with a diverse and rich skillset they can use to tap into their passions and become a driving force in the transformation of music education.