MANAGING THE STAGES OF PHYSICAL AND PSYCHOLOGICAL CHANGE

Solving the vocal problem is only half the challenge with middle school students. Their hormonal changes are making everything else change too, from physical size to emotions, while their cognitive under-standing of these changes lags behind. This stage is often accompanied by clumsiness, aggressiveness, independence, self-consciousness, and tears. Emotions often run high, and sometimes in reaction to the music and the music teacher. The sensitive teacher must learn to refrain from taking their negative comments personally and try to understand the frustrations of adolescence. Many tense situations can be resolved

through positive reinforcement, humor, and reference to some of their non-musical pursuits, such as sports and trips, to show sincere interest in them as human beings. A teacher needs a very business-like manner to ensure an orderly environment conducive for learning, but also needs to show the students their humorous and caring side at appropriate times.

One of the best things a choral music teacher can do to harness the energies of this age group is to make the rehearsal an active and challenging one. By keeping adolescents singing choral music that is expressive of their emotions, it is possible to provide an extremely positive environment that can keep them involved in music for a life-time. Fortunately, the choral teacher who provides structure through rehearsal expectations and routines, and enforces them consistently, fairly and with appropriate consequences, can enjoy a well-managed choral rehearsal and program. This type of environment is needed for teaching and learning, and we owe it to ourselves and our students to be prepared for middle school behavior management.

The first day of class matters, and the behavior of the students on that first day will be indicative of their behavior throughout the school year. The first day and week of rehearsal should be carefully planned to provide clear organization and structure to the students. As soon as they enter your classroom:

• greet the students individually and by name, if possible;

• address the group as “Singers,” “Ladies and Gentlemen,” or other respectful term, but not “Boys and Girls,” nor simply

“Guys” for both sexes combined;

• assign each student a seat and a numbered slot in the music folder cabinet;

• instruct them to be in their seats with music folders and pencils when the bell rings.

When the bell rings at the start of the period, clear expectations should be communicated to the students in the following ways:

• Begin class on time.

• Begin promptly with a physical and vocal warm-up.

• Keep the pace quick.

• Use good eye contact.

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• Keep “teacher talk” to a minimum.

• Work gradually to calm the body through stretches and breath-ing, and to train the ears to listen.

• Direct the students to note the rehearsal order on the board.

• Move quickly to the first piece of music, one that engages their minds, bodies, voices and imaginations.

• Sing small sections of diverse works and make every effort to keep all students engaged in the music in some way.

• When students achieve something musical as a group, congrat-ulate them or thank them for their hard work.

• Ask them to sit quietly.

• After having a focusing musical experience, take a few moments for announcements.

Procedures and Rules

Set high standards for behavior. During the first week of class, explain these three management issues:

• Procedures

• Rules

• Consequences.

For example, students need to know the procedures of what to do in the following situations:

• If they feel sick

• If they need to use the restroom

• If they have a question

• If a visitor enters the classroom

• If there is a fire drill

• When another person is speaking

• When to be absolutely quiet and when talking is allowed

• When they are dismissed at the end of class, and more.

While procedures illustrate the manner in which the rehearsal will run smoothly, there must also be rules which clarify unacceptable behaviors.

Five unacceptable behaviors are:

• Aggressiveness

• Dishonesty

• Defiance

• Disruptiveness

• Uncooperativeness (Collins, 1999).

The expectations that singers will abide by the rehearsal room pro-cedures and rules need to be organized by the teacher in advance of the beginning of the school year, and may be printed in a choir handbook given to all students, may be written into a contract signed by the students and parents, and/or may be posted in the choir room.

Consequences

When expectations are clearly communicated, as well the consequences for failing to meet those expectations, the stage is set for productivity.

The consequences should be carefully planned, and might include several of the following levels, depending upon the seriousness of the infraction:

1. Warning to the individual (everyone deserves a second chance).

2. Penalty such as demerits toward the class grade.

3. Detention.

4. One-on-one talk with the student outside of class.

5. Phone call to the student’s parents (the teacher should assume a non-threatening tone in order to find support from the parents).

6. Dismissal to the principal’s office.

It should be mentioned that even with a carefully executed manage-ment plan, some students will act out for reasons that are beyond the teacher’s control. At the early signs of this, it would be to the teacher’s advantage to speak with the school counselor to see if there is a history of problems with the student. It may be that there are challenges that have nothing to do with you or your class, and may include family, medical, or psychological problems. The school counselor can inform you of effective strategies for working with these individuals. Teachers are as different from one another as students are, and they have dif-ferent tolerances for acceptable behaviors. Some want absolute quiet and others tolerate a low level of noise.

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Your Tolerances:

Think about your own tolerances and preferences, and list here five specific procedures (“Do . . .”) and rules (“Don’t . . .”) that you would expect in your middle school choral rehearsal.

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The middle school choir rehearsal is by its very nature alive with boundless energy that the music teacher is expected to harness into disciplined singing. Engaging the students in the music and in their roles as members of a fine ensemble is key to good classroom manage-ment. For brand new teachers, it is often not easy to achieve the desired attentiveness until they have the opportunity to explore what works for their own personalities with the students in a particular school and ensemble. But if the teacher finds music that the students enjoy, involves them in the classroom rules and procedures, provides a balance of focused singing with short “wiggle” or humor breaks, and lets them experience success in performance, the students will want to cooperate.

While it is human nature to focus on the misbehaving students, it does wonders for the teacher to keep the focus on the music and to express enthusiasm and praise for the behaving ones! These suggestions are easier said than done, but are important keys to a well-run and enjoy-able rehearsal. Other effective rehearsal strategies are detailed in a later chapter.

BRAINTEASER 2-1: OBSERVING THE MIDDLE SCHOOL CHOIR