(1) approaches recommendations for improvement receptively and responsively
(2) displays openness and comfort with visitors observing class
(3) seeks out diverse opinions of others for guidance
(4) manages and prioritizes professional tasks and responsibilities
(5) communicates and responds to students, parents, and colleagues in a timely and constructive manner
Being an elective teacher, I have would like to believe that my professionalism and executive functioning make it possible to have a program. In addition to providing an experience that students want to participate in, I have to build interest in the community for committing to before and after school rehearsals and events. In order to do that, I approach the work with care and organization, being mindful of the student experience as well as how we fit in to the larger community at school. At the heart of an ensemble based music program is community building, and because of this I value openness and feedback from the community, including students, teachers, administration and music education specialists from outside EPS. In order for us to do our work well, we need their investment.
Running a highly functioning classroom takes skill and practice. In my first year at EPS I remember being observed often and receiving helpful feedback from Sam about classroom management (1). His mentorship about effectively re-directing student behavior helped me to tighten my classroom experience (Prof-1), which allows for more learning to happen.
“You had an interesting moment with Adrian and Srinidhi. You said, “I’m confused about how you can do this without your music” (or something along those lines). I would encourage you to be more direct in this instance. Simply tell them what needs to happen…”Adrian, Srinidhi, you need to have your music now.” This falls under the category of precise language when making corrections or giving directions to students, something I pay a lot of attention to in my own practice.” Sam Uzwack, 1/13/15
In those pre-Dr.Castro years, I was running a one-room school house for music and often had very large classes of mixed instrumentation. It was challenging and I was happy to have the support of Sam and Bart as I slogged my way through. (And even happier when Ed was hired.) In the years since, my management skills have become well developed and although I am not observed as often I still love having visitors in the class (2). It gives the students a chance to practice their performance skills, and it also is a window in to what we do in class pre-performance. Cheryl Miller is a frequent visitor during admissions season and details a class visit here. .
“Ginger not only displays an openness and comfort with visitors observing class, she invites visitors in warmly, understanding the learning that can take place both in, as a result of, their presence. She understands that visitors can gain insights into students’ learning and her teaching, and she also sees that students can learn through the presence of visitors. I observed this mindset recently, happening upon students’ voices wafting from the TALI Theatre. It was concert prep time, but rather than maintaining a closed rehearsal to keep students focused, Ginger invited me to bring our tour of admitted students and families in to here the students perform. Ginger’s energy in these types of moments is infectious. The group had not yet performed on stage their mash up of “Dream On” by Aerosmith and “Sweet Dreams” by The Eurythmics, so Ginger asked “should we try it out for our visitors?” This technique of asking is encouraging for the students, and creates an opportunity for them to buy into the opportunity. Furthermore, it demonstrates how Ginger doesn’t lead student rehearsals and performances with her ego! She’s open to things not being perfect, not going as planned, and that in this, students have the opportunity to learn and grow. As a result of creating this atmosphere, things do go very well, because students are relaxed, feel free to be themselves, and they model her graciousness. I’m always grateful for Ginger’s attitude of warmth and curiosity, which set the tone for visitors’ understanding of what education looks like at EPS.” (Prof-2) Cheryl Miller, winter 2020
In additio
n to seeking input from the arts team and EPS community, I also find it very helpful to stay in communication and collaborate with other choral music specialists in our region and beyond (3). Being a specialist can be an isolating experience, and when I have the opportunity to discuss and brainstorm with other people who do exactly what I do, I am re-energized towards my work. I have stayed in touch with many of my colleagues from the UW School of Music as well as the semi-pro world of classical vocalists that I participate in during the evening hours of life. Several years ago I was chatting with the choral directors from Lakeside and Overlake and we decided it would be beneficial to our student music communities to organize a non-competitive festival for our students. Singfest would have been in its fourth year in the spring of 2020, but was sadly canceled due to the COVID-19 pandemic. It has been successful in fulfilling a need that we identified in our programs to expose our students to master teachers, large ensemble singing, and creating community off campus that was collaborative (Prof-3).
In coordinating experiences that extend outside of the classroom, it is essential that my communication to all constituents be timely and constructive (5) and that I am able to fulfill the requirements of the regular class preparation while organizing additional events (4). This year, 19-20, five years after its start, the Chamber Choir was ready for additional experiences off campus. In October we bused to UW together and sang the national anthem for a UW Women’s Basketball game. In December a select group of 24 singers (trebles only) from 7th-12th grade performed seven shows of the professional production of the Mark Morris Dance Group’s ballet The Hard Nut at The Paramount Theatre in Seattle. The administration and tight communication required to get students to downtown Seattle safely for multiple late nights in a row was extensive (Prof 4). I communicated between the Seattle Theater Group, which manages The Paramount and provided us with this opportunity, and EPS families for a smooth, positive, and exhausting week of performances (Prof-5, Prof-6). After those late nights down town, the 7am class start felt earlier than usual and while I allowed some flexibility for students participating in both, I was there and ready to forge ahead with class. I ran in to KK’s father, Lynn Kasel, in the coffee line one morning in the LPC who remarked, “You keep a remarkable schedule.” My reply was not so much “I KNOW, OMG” which was true, but more along the lines of, “this is what we do as performing teaching artists. It is what December is to me, and I love it.”