Philosophical Statement
For me, music education is a calling, and I want to use my talents, knowledge, and experience to help enrich the lives my students and my community. Music provides endless opportunities for self-expression and learning, and some of the most influential people in my life have been introduced to me through music. I hope to inspire others to keep learning and growing as well, and I strive to leave a positive impact on my students, peers, and colleagues. As a teacher, I wish to instill a life-long appreciation for music and the arts in my students. I provide a positive environment that promotes learning in and outside of the classroom. Furthermore, I believe music is one of the few disciplines that is absolutely accessible for anyone, providing an environment that breeds success, fosters self-discovery, and allows students to apply knowledge and experiences from both in and outside the classroom. Music is a universal form of communication that transcends time and provides a means for people to truly experience and appreciate culture from around the world, and I hope to create a positive atmosphere in my classroom that encourages others to explore music.
I believe that a student-centered learning environment is one of the most important opportunities a teacher can provide. While lecture-style learning formats may be effective in certain disciplines, music is most effective when the teacher facilitates learning in a way that is focused on the students and fosters conversation, community, and camaraderie. Traditional instrumental and choral ensembles can sometimes become too stale and impersonal, so I believe that a mixture of rehearsal strategies will be necessary to keep content relevant and engaging for my students. Peer evaluations of performances, encouraging musical decision-making in both performance and practice, and alternative rehearsal strategies (such as mixed seating, pod rehearsals, and rotating parts) are just a few ways I hope to keep my classroom rehearsals educational and exciting. Additionally, I believe that a sound-before-sight approach is the best way to teach music, especially at the earlier stages of learning. Note-before-rote approaches produce musicians who struggle with aspects of music such as intonation, tuning, musicianship, balance and blend, etc. On the other hand, teaching with a sound-before-sight approach promotes good intonation, appropriate and characteristic timbres, mature and creative musical decisions, consistent inner pulse, balance and blend with other musicians, healthy practice habits, more focused learning, better retention of information and much more.
I also believe that comprehensive musicianship should be at the core of my teaching. By consistently maintaining my skills on my instruments through performance, I can help set a strong example of professional musicianship for my students. Furthermore, guiding my students' learning and scaffolding content will allow them to develop their own personal musicianship as they work towards mastery. Professional development is equally as important as comprehensive musicianship for the music educator. In order to stay relevant as a teaching professional and continue developing my skills, I am a member of and participate regularly in professional organizations such as the National Association for Music Education (NAfME), the National Band Association (NBA), and the International Trumpet Guild (ITG). I vow to never stop searching for opportunities to learn, perform, and grow, and I hope that my endeavors will inspire my students to become fantastic musicians and make a positive impact on the world.
I believe that a student-centered learning environment is one of the most important opportunities a teacher can provide. While lecture-style learning formats may be effective in certain disciplines, music is most effective when the teacher facilitates learning in a way that is focused on the students and fosters conversation, community, and camaraderie. Traditional instrumental and choral ensembles can sometimes become too stale and impersonal, so I believe that a mixture of rehearsal strategies will be necessary to keep content relevant and engaging for my students. Peer evaluations of performances, encouraging musical decision-making in both performance and practice, and alternative rehearsal strategies (such as mixed seating, pod rehearsals, and rotating parts) are just a few ways I hope to keep my classroom rehearsals educational and exciting. Additionally, I believe that a sound-before-sight approach is the best way to teach music, especially at the earlier stages of learning. Note-before-rote approaches produce musicians who struggle with aspects of music such as intonation, tuning, musicianship, balance and blend, etc. On the other hand, teaching with a sound-before-sight approach promotes good intonation, appropriate and characteristic timbres, mature and creative musical decisions, consistent inner pulse, balance and blend with other musicians, healthy practice habits, more focused learning, better retention of information and much more.
I also believe that comprehensive musicianship should be at the core of my teaching. By consistently maintaining my skills on my instruments through performance, I can help set a strong example of professional musicianship for my students. Furthermore, guiding my students' learning and scaffolding content will allow them to develop their own personal musicianship as they work towards mastery. Professional development is equally as important as comprehensive musicianship for the music educator. In order to stay relevant as a teaching professional and continue developing my skills, I am a member of and participate regularly in professional organizations such as the National Association for Music Education (NAfME), the National Band Association (NBA), and the International Trumpet Guild (ITG). I vow to never stop searching for opportunities to learn, perform, and grow, and I hope that my endeavors will inspire my students to become fantastic musicians and make a positive impact on the world.
