principal themes
Communicate and Collaborate:
Music Specialists and the General
I 'M BEING A BIT OF A HYPOCRITE. LAST
year, while researching elementary
classroom teachers' experiences with
music teaching, I concluded that music
specialists should involve classriX)m teach-
ers in rhcir music programs. I finisht-d my
Master's project hy stating that, as a music
specialist, 1 tixi would work ttiwards music
teaching collaboration with my colleagues.
My students are performing at a school
music concert in three weeks . . . I'm run-
ning the show and I'll take a how with the
students behind me. The classroom teach-
ers wilt sit in their chairs on either side of
the gym. As, typically, I pride myself (m
heing true to my word, 1 hope that hy writ-
ing this article I will not only share my
research results with you hut inspire all of
us to reconsider how classroom teachers
can etihance music teaching and learning.
Allow me to introduce myself. My name is
Katberine Fraser and 1 am a strings and ele-
mentary music specialist in Victoria, B.C.
Last year I completed my Masters of Music
Education at the University of Victoria.
The Narrative Inquiry I wrote as my proj-
ect voices new understandings of elemen-
tary classroom teachers' experiences with
music teaching. Essentially, I interviewed
four elementary classroom teachers from
Victoria and focused on cheir personal sto-
ries alxtut music and music teaching. I
wrote narratively a.s I listened to, analyzed,
and rctnld my participants' stories. After
writing their four stories 1 linked my new
understandings to my own experiences and
previous research on the topic.
Tbe stories of Susanna, Jeanne, Kim, and
Goldle allowed me to better understand
that: I) Since past music experiences
affect present music teaching situations,
pre-service teachers' personal music stories
need to he addressed in music methods
courses. 2) Typically, classroom teachers
d».) not have enough music knowledge or
42 CANADIAN MUSIC EDUCATOR
By Katherine Fraser
skills to confidently teach all of tbe music
curriculum objectives. 3) Music teaching
collaboration between music specialists
and classroom teachers is ideal for elemen-
tary students' music education. 4) The
benefits of classroom teachers' music
teaching must be recognized and celebrat-
ed if tbey are to continue and grow.
My third and fourth conclusions are what
interest me today. How will supporting
and collahorating with classroom teachers
change music specialists' music programs?
How should music specialists and class-
room teachers go about this undetemiined
collaboration? Do classroom teachers
know how specialists can support them?
Classroom teachers enjoy
teaching music but only
when they do not feel the
pressure of being held
solely responsible for their
students' music education.
Do specialists know? How will collabora-
tion change our students' music educa-
tion.' Music specialists and classroom
teachers relate to music and music teach-
ing In very different ways. My participants'
experiences may give us a deeper under-
standing of their side of the story.
When re-reading my participants' stories
with this article in mind, 1 lound four main
threads in these classroom teachers' music
teaching patterns and attitudes towards
collaboration with music specialists. First,
when the classroom teachers I interviewed
did include music in their teaching, they
stuck to what was familiar and, .second.
their main teaching ohjective was the stu-
dents' enjoyment of music. The third
theme that I found in three of the four sto-
ries I wrote was that classroom teachers
strongly believe in the need for music spe-
cialists. Finally, and most impnriandy.
classroom teachers enjoy teaching music
hut only when they do not feel the pres-
sure of being held solely responsible for
their students' music education.
Collahoration, then, is key.
Other researchers have written ahout
music teaching collaboration from tbe
viewpoint of the music specialist but I
want, instead, to focus on wbat I came tcj
understand aKiut the classroom teachers'
voices on this topic. I will share excerpts
from the stories I wrote in my research to
illustrate the four points listed ahove: 1 will
start with the importance of familiarity in
classroom teachers' music teaching.
In the stories I wrote for my Masters, italics
are used to indicate the words of Susanna,
Goldie, Kim, and Jeanne that are taken
directly from my interview transcripts. In
\W\s article, tbese narratives will he in nor-
n\al tont so ihat you know when it is a par-
ticipant's story or my own.
Familiarity
When my participants told stories ahout
their music teaching, these classroom
teachers only spoke of sharing songs they
knew from their pasts. The following
excerpt from Susanna's story is about the
beginning of her career when she discov-
ered her most effective and favourite
teaching tool:
After teacher's college, I found myself in
my first classroom of grade twos where the
children were excitable and extremely
rambunctious. I was ahlc to win their love
and classroom contni! with one small pur-
chase...a used guitar. I also K)ught simple
 principal themes
communicate and collaborate

songbooks from a music store atvi found one dents need to love music and therefore learned so fast and easily, I got away from
wnh 5O7igs J really kneu! so I didn't have to enjoyment is these classroom teachers' using music and it was more just sing-a-
worry about reading the notes. In prepara- main objective in teaching music. longs. Generally it's for fun, for /un and
tion for my music teaching, I practiced Susanna decides to aim for enjoyment in enjoyment. My music teaching objectives
songs from my childhood, like "Jamaica music teaching and not worry about the are, well, ceruiinly just the enjoyment of
Farewell" and "Tinga Layo." technical details: music and being able to use music to express
themselves musically. I like my siudeiits lofeel
My participant, Goldie, did not realize The first time I looked closely at music empowered that they can prtxluce music. Not
she would enjoy sharing songs from her curriculum ohjectives I realized that a lot of 7\ecessarily creating original music, but to be
past until she met a fahulous colleague the goah had to do with enjoyment and they able to share music with other people.
who taught music: were way more general than teaching notes
and things. I didn't have to teach my students Here, my Masters supervisor. Dr. Betty
J WHS really. reoRy lucky aitd met a womanto read rwtes or rhythmic i-wtation; there Hanley, would ask "So what.'" Is enjtjy-
named Crystd. I imigfii mth i^er out in Colwaxi were lots of other things around the instruc- ment enough? Is that all students can
ivhen she first came lo Vancouver hlar\d. Crystaltion that were more important. So J thought learn ahout music? Obviously, no. Music
4ms so much fun arid she sang uith the kids amito myself. "I can do this!" At times, when I enjoyment is available to all but the tools
she .scuig CAMP sonf>s! Anybody am sing axmpwas getting the kids into line by singing a to understand the detailed elements
scnigs. and kids hve camp songs'. / actm^y made-up little tune, that I felt like I was underlying music composition, improvi-
remember ^b^ U> camp and singjn^ a lot 0/in a one-woman opera but I sang and sation, history, theory, and performance
camp SfVTigs so it's kind qf/anii/wr. Cr;ysjaJ mjuid played for the enjoyment music brought can enticb and expand students' enjoy-
do our classes' music aiui / unndd do their artto my students and myself. I was not ment. Personally, 1 am thankful that
BUT the music UKU very compelUng so 1 would teaching to any musical goals; quite often it when I listen, for example, to
always be there ai music tinw and pnretty scxm wasI that I just needed to relax. Shostakovich's Cello Concerto No. I, my
was domg the music too—but (^ / was doing musical training allows me to recognize
t/ien ivas camp S(;ngs. that the octaves in the second movement
This term I taught my grade are what make me shiver. Classroom
Susanna and Goldie's experiences of one to five students about teachers inspire and mode! enjoyment of
sinjjing familiar songs with their students music but specialists help students devel-
are not uncommon. We do what we know the "blues" even though op musical knowledge and experience;
best, right? The differenct,' between class- students' music learning benefits from
room teachers and specialists is that class- I am not a blues musician. both approaches.
room teachers may (or may not) know I am, in fact, a classically
that there is more music to be taught than My participants recognized the impor-
camp songs but do not have the knowl- trained violinist... tance of music teachers' experti.se even
edge or skills or confidence to move past more than 1 did and I am a music spe-
them. Specialists do (or should). cialist! When 1 started my Master's pro-
Even though the music education courses gram I did not realize how much musical
This term I taught my grade one to five I took one summer gave me practical knowledge it takes to teach music - mostly
students about the "blues" even though 1 music teaching tools and reaffirmed my because I ttxik my own musicality for
am not a blues musician. I am, in fact, a practice of teaching music for enjoyment, granted. It's just something I do. The class-
cla.ssically trained violinist but, with the they did not give me the confidence to room teachers I interviewed knew better.
help of a wonderful children's btxjk called continue teaching music as a specialist.
The Blues of Flats Brown by Walter Dean During these summer classes 1 felt intimi- Music specialist advocates
Myers, the internet, my friend's CD col- dated by the othet teachers' music skills Susanna explained to me both the merits
lection, and my music background, my and knowledge and this self-douht fol- of my profession as a music specialist and
classes and I grooved while playing the lowed me back to my music classroom. I the limitations of her music teaching
12-har hlues on ORFF instruments, ukule- tried to teach specific miLsic skills hut abilities as a classroom teacher. 1 found
les, and string instruments. We even got found that the kids hated it. I tried to do it myself rooting for the music teaching
some solos going with the blues scales. So with grade seven kids, thinking that they real- classroom teachers can offet students and
1 taught a good unit but I missed an oppor- ly needed W know that, but reaUzed: I could-her rooting for the music teaching spe-
tunity for collahtitation. What 1 should n't; I had to back off and find a vehicle that cialist teachers can offer. Communicating
have done was talk to my colleagues about would catch them because otherwise they'd this exchange of support in our elemen-
the hlues. Who knows, maybe one of hate this. They'd hate Tnusic! I decided that tary schools might greatly henefit music
them has background or personal knowl- when it came to music, "you have to love education; both classroom teachers and
edge that I was missing in my unit. What it. If you don't like it, if you can't feel pas- music specialists appreciate inspiration
if the librarian plays blues guitar.' My pro- siimate ahout it then you can't leam." and encouragement from colleagues.
gram could be enriched by classroom Susanna spoke openly to me ahout her
teachers' enjoyment of the music that My participant, Kim, also enjoys singing and emotional reactions to music teaching:
they know well. Such musical enjoyment playing her guitar with her class and, there-
is the objective that both music specialists fore, her students enjoy singing with hen I've never felt confident teaching music.
and classroom teachers share. I guess one of the main t/iings I've dor\e in mji Never ever when I teach music, school
classroom is sing and play guitar. So i just playmusic, have I ever felt, 1 really bekmg here.
Enjoyment Objective chords and... .we sing. I used to provide the It's always like, well I'm only here just
My particip;mts strongly believe that stu- students with song sheets hut 1 found they by.. .by accident. It's because I don't have the

VOLUME 48 - NUMBER 3 SPRING 2007 MUSICIEN EOUCATEUR AU CANADA 43

principal themes
communicate and collaborate
hack^ound. Kids need the expertise and they
need the true knowledge and the back^ound.
I think that's really important. You 7\eed to
have fidly [rained peopie in those jobs. And /
know that I have enthusiasm and / have pas-
siun for music aiid aho Vm jnepared to teach
Fine Arts because I want to teach ail of the
aspects of Fine Ans aixd not just music.,.I
never felt as though I was trained or capable
of doing it. h was just smneihin^ I feh I hiid
to do and I had to pull it
Year ago when 1 was teaching as a music
specialist 1 realized that 1 was tired of run-
ning up against a wall of not knowing. 1 feir
chiit there needed to be an expert in the
music room and decided: / can't do this. 1
don't have enough to teach these kids what
they need. Being a selt-reflective teacher, I
also know that J have a ^ft because I iove
music so much and I have the ability to
share this passion. 1 finally decided: OK.
1 am trained U) teaih in tl\e ciassroom, I'm
going back U'> the ciassroom." N o w in my
elementary classroom, I feel free to share
my music with my students.
Like Susanna, my participant, Jeanne,
started her career as a music teacher until
she came to an important realization; she
didn't feel qualified and she wasti't enjoy-
ing herself!
As the Kindergarten class stampeded out,
Jeanne sat dtnvn, threw her head hack,
and .sighed. "I've dijne the education pro-
gram, I'm quahfied as a teacher. I've studied
a ii)t of music, I qualify as a musician, weii,
an ainatcur musician. Why is this sd diffi-
cult.'" she thought to herself. When she
applied for this music specialist joh she
thought that her Grade Eight Royal
Conservatory piano and many years of
studying voice and singing in choirs
would he enough, hut when she thought
about acluaily doing the job, she didn't feel
('£77 qualified at all. Even though .^he had a
very good music education class, the music
teaching concepts weren't at }^r fingertips.
Overwhelmed fj;y her job—ami her 1.5
music teaching was oniy one part of being
overwhelmed with her joh—a iot of times
Jeanne wanted to quit...
Jeanne did not quit. She finished her first
year as a music teacher and then found a
classroom teaching job that she loves. My
participant, Goldie, lacks any formal
music or music teaching education and
she spoke with great respect ahout the role
o{ music specialists in elementary schools.
When it came to my music teaching, my
students antl I went for iun and for posi-
44 CANADIAN MUSIC EDUCATOR
tive experiences. 1 was greatly relieved teaching coUahoration is that most peo-
that I was not responsible for any official ple, even same professional musicians, are
assessment of musical learning. The insecure aK>ut their musical talents, espe-
BEST situation would have heen the cially when it comes to their own singing
opportunity to collaborate with a music voice. Elementary classroom teachers are
specialist. We need musiccdly trained iKOple often stressed with student, parent, board,
in our schoois. curriculum, and administration expecta-
tions. How can we approach these husy
i am a professional painter, and so I have individuals ahout this possibly delicate
figured out the value of teaching art suhject? My participants explain what
because it has been of such vaiue in my iife. they, personally, can and cannot do in
It satisfies something in me that nothing ehe music education; with awareness about
does. I compare teaching art to what I colleagues' musical pasts, music specialists
believe some people must experience may be able to answer questions, address
when teaching music. When you have a concerns, and gently coax collahorative
really strong interest in it and a good hack- music teaching and learning.
ground, you have his of things to do with it,
hecause they're there! You don't realiy have My participant, Kim, aims to supplement
to think ahout it or plan it, if you go to plan the music teacher's program with cross-
a lesson you've got tu^ent^ ideas and you've ciirricular music teaching but does not
got to pare it down to two. Instead of one always have the time or energy:
idea that you've got to stretch out for imif an
hour! When something is part of you. it's just So I've been teaching far ahout seventeen
tomlly pan of you arui you just do it! years as a classroom teacher; one loses track
after awhile. M)! students have always had
one prep block of music a week hut that real-
Being a self-reflective ly isn't enough music to meet the criteria of
the curriculum, so I generaiiy supplement
teacher, I also know that I with some of my own classroom music. And
have a gift because I love it kind of varies. ..it goes in cycles where for
a couple ofmcmths I do some music and then
music so much and I have I might not have time for a couple of months.
And it might happen more than once a week
the ability to share this during that period of ume. With recorders, I
passion. u'ouid do it twice a week usuaily BUT it is
hard to find time to di) it on a regular hasis
and often music, when I'm husy and tired, is
I agree with my participants (as I assume the thing that gets cut. As a teacher, when
you all do) that music specialists are I'm tired, if I don't have the voice, I think, "I
needed in the schotils. But what ahout can'i drt that right now, I don't have the ener-
the classroom teachers? Do they need to gy to sing to use my voice and lie on and lead-
get out of their chairs and up on stage to ing." Then it'll get cut and I'll do something
do music? Of course not; they should just ehe that is, umm, easier.
continue what they are doing, whatever
It is that they do best in music teaching, ! found that playing guitar and singing
and we need to support their efforts! As mcorjjorated quite weii into other subjects, I
music specialists we should make our- try U) integrate it into the day and choose
selves aware of what music is happening pieces to match the themes in other suh-
in our school's classrooms and what music jects. This fail we studied pirates and I
could he taking place if the classnxjm taught the ciass the sung by Stan Rogers,
teachers were encouraged to share what "Barrettes, Privateer." You know, "For
they know. Collaboration is a two-way iu'ent;v'one days we're sailed the sea how I
street and music specialists need to put wish I were in Sherhrooke now..." 1 didn't
down the almighty baton to discover use the words fro^n Stan Roger's recording
what music teaching can be shared and because they're not appropriate but I think
enhanced; music learning should be we did sing "Gosh dam it all. I was bom to
taken out of the music room and into all saii the sea..." The kids really enjoyed it
of the classrooms, the halls, and right out and it tied in well with our curriculum.
the school's front door (cliche, I know,
hut worth a thought). One music collaboration solution will not
work for all. Kim is ahle to offer music,
Music Teaching Enjoyment without and even support tbe music specialist's
Music Teaching Responsibilities program, when she has the energy or
An important consideration for this music when it fits in with other subject teach-
 principal themes
communicate and collaborate

ing, Jeanne, on the other hand, relies on development sessions I attended seemed friendlier thing; it's hard to sing in an angry
the music specialist to teach specific fantastic In principle but the> never redly voice. Try it! It can't be done.'
music concepts and instead uses music as stuck. The marimba people came in and
a vehicle to inspire her students; she gives taugjit the teacher marimba, and that was All of a sudden, things that were tiresome,
her students a gift when she shares her great, but it wasn't an experience that I was like having kids quiet down, were not tire-
beautiful singing voice and love of music: cd)le to reproduce. Two teachers in my some anymore because I would start to sing
school were able to use the scluxil's Orff a song,,.."Ob'La'Di. Ob-La-Da" ar\d two
Singing relaxes Jeanne and with her instruments after the musicians left. I also kids beside me would sing "Life goes on" and
grade one kids, music is sort of a break in tcxik a Kodaly course with a teaching col- then five "Yal La ia la" arui pretty soon
the day, a time to enjoy being together. Her league and found that having a buddy with everyone would be sitting where I wanted
goal as a teacher is that she'U be ent/iu-sias- whom I could experience the foreign them and they'd finish the song aivi I would
tic about everything in her teachirvg so that music learning was really beneficial. The say, "Nice! That felt good" and go on with
her students will be like, "Wow, Mrs. only problem was that I needed this other whatever I was going to do. 1 am a very loud
Dawes really likes to he here...I like being teacher any time I tried to teach one of the and outgoing character and never minded
heie too!" Jeanne's class sings together songs. It was a liicle ridiculous. I'd run across acting silly in front of my students so I
four out of five days a week, and Jeanne is the hall, "OK. what's the sourui?" arui then was able to laugh my way down my musi-
sure that her students enjoy music for singing it. "la la la," c^ the way home to my cal path with a growing sense of clarity.
their own reasons and not just because room. I did not train to he an elementary
she is clearly enjoying herself singing. teacher so I did not take any music meth- Music education is a magic little toolhux
When Jeanne reflects on how she may ods courses and, sadly, I can honestly say and more than one person can use its
use music teaching in her future classes, that I've never retained any of what I learned tools. It is reasonable to conclude that
she thinks of working in collaboration in my music teaching workshops. It's iiice Susanna, Kim, Jeanne, and Goldie's stu-
with the music specialist, maybe borrow- the beginTung underpinnings are not there. dents benefit from all of the music teach-
ing some percussion instruments, search- ing that is offered in their classrooms.
ing for some authentic Quebecois or I had to rely on Grystal and other teachers These classroom teachers love teaching
French repertoire, or including pertbnn- for guidance since my school, St. music they know well and teach for their
ance and audience etiquette in her stu- Dorothy's, never had a music specialist. students' enjoyment but they are profes-
dents' behaviour assessments. Luckily, music was still one of the .school's sional enough to realize that they lack the
pedagogical focuses and was valued in the time, energy, skills, and/or knowledge to
Jeanne does add loud and soft dynamics to school community sci the school often provide a comprehensive music education
the assembly's choral reading performance used PAG (Parent Advisory Committee) program. They know it, and we know it,
but most of the time she is not really thinidng money to pay musical guests and work- so what are we going to do about it?
ahout specific elements of inusic when she shops. 1 believe that this valuable use of
uses music in the classroom. Her students go money benefited St. Dorothy's because, I'll tell you what I'm going to do ahout it.
twice a week to leam these kind oi musi- over the years, it became much more of a I'm going to get through this upcoming
cal concepts with the music specialist. It's singing and dancing school. It had been concert in one piece. Then, next month
more that Jeanne knows music is something quite a quiet schix>i and, weii, we iruuie it a when there are no concerts or report cards
chiidren hve, to keep their interest, and to iot noisier.' Crystal's musical presence real- in sight, I'm going to stop classroom teach-
keep them enjoying school ly helped the school. She broitght a lot of ers in the stafifroom and ask them if we can
music just because she was outrageous/ St. talk about music and music teaching. Who
Kim and Jeanne are examples of class- Dorothy's School had a schtml song and knows what will happen? Mayhe some will
room teachers who have some music they'd sing it every dme they got togeOier, andtell me they don't have time, even for tbe
background and confidence. I think it is efer^thing c/uinges in a school when you ixave talk. Maybe others will add some magic to
fascinating to hear how Goldie, the least a communit^i that sings together. It's amazing! my music teaching tooihox. Collahoration
musically educated of all of my partici- It's like a ma^cai little tooihox and if people starts with communication and communi-
pants, feels about music in her classroom. really knew the magic in music as a cornmii- cation leads to better understanding. 1
Goldie knows her music teaching limita- nit^ builder, they wouldn't he hoiiiing back. wish you ever deepening understanding in
tions but they don't stop her from loving your shared music teaching. <.\tt
to make music with children: Arui of course as I learned more aixjut music
teaching, I began to LOVE mu-sic and it Katherine Fraser is an elemen-
In my elementary classrooms, I came up was now my favourite thing. I started to use tary and strings music specialist
with a few of my own music teaching music to communicate classroom instruc- in Victoria, B.C. Last spring she
strategies because I am hasicaiiy miisicall^i tions to my students and it was realiy fun. completed her Masters of
iiliterate and have to make my oum life of it. At first 1 didn't have a CLUE what to sing Music Education at the
Teaching is very husy ar\d so it is hard to firidbut then / started to collect the little jingles University of Victoria with Dr.
time to get extra training or even have that other peopie seemed to Icnou'. I could Betty Hanley. Katherine is also a
enough musicai experiences to chajTge what iearn them if I repeated them often enough. I private Suzuki violin teaoher and a professionai
you don't have from when you're little. would sing "We're not waiting, we're not violinist with her ARCT in performance.
Other people did try to help me learn waiting, not for you, not for Carrie" (to the Previously, Katherine completed her B.A. and
new ways of teaching music and I learned tune of Frere Jacques) and / noticed that B.Ed, in the Concurrent Education program at
some things ^ut that basic feeling for what to Idds do things with music and rhythms that Queen's University and held two music specialist
do next...was really not there. they didn't do at any other times. You can positions in Montreal, Katherine may be reached
sing peopie to lots of different spaces becauseat katiwrine fraser@hotmaii.com
I found that all of the music professional they hear music in a different way. It's a

VOLUME 48 - NUMBER 3 SPRING 2O07 MUSICIEN EDUCATEUR AU CANADA 45