nafmeadmin.
nafmeadminI have a 6th grade drummer that plays with a lot of heart and is a great kid, except he can’t play in time. I rotate the kids around the instruments so that they all get a chance–That said, this kid can’t play one measure of straight 8th notes or straight quarter notes when its doubled with half the band (African Portrait, Curnow) on his snare drum part. He tries hard, but just can’t get it. I hate to burst his bubble, but today I decided to switch him out with another player as we have a festival next week. Its a tough call. He’s trying his best. What are your thoughts? When do you balance the needs of the student to the needs of the group? We always hear, “Its the process”, but is really all about the process? Thanks for your input.
jg
nafmeadminI’m with you! It seems like the worst musicians in my band are the percussionists. I have one student in particular who struggles deeply with academics but he’s fairly successful reading music-when he has someone pointing to each beat as it passes. Of course that can’t happen all the time. I teach elementary school so for me its really ALL about the process and most times I rehearse the band without percussion so the winds can listen to themselves and be more comfortable with their part. It’s a shame (to my ears), but as much as I wish I could remove one or two players from the band, I firmly believe every kid should get the opportunity to play in the band. There are plenty of advanced/competition bands for advanced players.
nafmeadminWith sixth grade, a festival really shouldn’t be about a rating or even a particular performance. It should be about the process of preparing for a performance and the feedback the band will receive. As long as the students are all trying hard (like you say he is), who the heck cares if he’s not playing everything perfectly. He’s a sixth grader. There is plenty of time for perfection.
A solution I would probably consider for this situation is rewriting the snare part so the student could be successful at playing it correctly, simplifying and repeating parts that are more accessible. If the student plays with a lot of heart, pulling him off the part could be pretty crushing. Giving him an opportunity to be successful with the skills he has right now will pave the way for more confidence and learning in the future.
Christopher M. Johnson, Professor of Music Education and Music Therapy, is currently the Chair of the Music Education and Music Therapy Department and Director of the Music Research Institute at the University of Kansas. Johnson earned his Ph.D. from the Florida State University.
Since his arrival at The University of Kansas, Johnson has taught courses in Instrumental Conducting, Teaching Instrumental Music, Managing Behaviors in the Music Environment, Psychology and Acoustics of Music, and Research Methods in Music Education and Music Therapy. Johnson served two terms as the editor of the International Journal of Music Education: Research, the research publication of the International Society for Music Education. He is currently serving his second term on the National Association for Music Educations Executive Committee of the Society for Research in Music Education. He also served on the editorial board of the Journal of Research in Music Education, and one earlier term as the Chair for the MENC Executive Committee of the Society for Research in Music Education. Johnson also served as the Chair for the Research Commission of the International Society for Music Education.
Johnson’s research interests include applied research in music education, and basic research in all aspects of the psychology of music. He has published articles in many journals including the Journal of Research in Music Education, the International Journal of Music Education, the Journal of Music Therapy, Journal of Band Research, Contributions to Music Education, and the Bulletin of the Council for Research in Music Education, among others. Johnson has also been an active member and contributor to the Research Seminar of the International Society for Music Education and World Alliance for Arts Education.
Johnson received a university teaching award – the Ned N. Fleming Award for Excellence in Teaching and received the recognition for Graduate Teaching Achievement from the Center for Teaching Excellence. Johnson was also awarded a lecturing & research award as a J. William Fulbright Scholar and recently received the Ella Scoble Opperman Citation for Distinguished Achievement from the Florida State University College of Music.
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