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A Field Guide to Student

Teaching in Music

A Field Guide to Student Teaching in Music, Second Edition, serves as a practical guide for the
music education student, one that recognizes the importance of effective coursework while
addressing the unique field-based aspects of the music classroom. Student teaching in music is a
singular experience, presenting challenges beyond those encountered in general education
classroom settings: educators must plan for singing and movement, performances and
rehearsals, intensive parent involvement, uniforms, community outreach, and much more.
This guide explores such topics common to all music placements as well as those specific to
general, choral, and instrumental music classrooms, building on theoretical materials often
covered in music methods courses and yet not beholden to any one pedagogy, thus allowing for
a dynamic and flexible approach for various classroom settings.
New to the second edition:

• Companion website featuring downloadable worksheets, résumé support, a cooperating

teacher guide, and more: www.musicstudentteaching.com
• A new chapter on the transition from student to student teacher
• Expanded discussions on the interview process, including mock interviews, interviewing
techniques, and online interview prep
• Updated content throughout to reflect current practices in the field

Leading readers through the transition from student to teacher, A Field Guide to Student
Teaching in Music, Second Edition, represents a necessary update to the first edition text
published a decade ago, an indispensable resource that provides the insights and skill sets
students need to launch successful careers as music educators.

Ann C. Clements is Professor of Music Education and Director of the Center for Pedagogy in
Arts and Design at the Pennsylvania State University.

Sarah H. Watts is Assistant Professor of Music Education at the Pennsylvania State University.

Douglas C. McCall is a doctoral candidate at the Pennsylvania State University. He has spent
two decades as a public-school choral music educator, researcher, church musician, and teacher
mentor.

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A Field Guide to Student

Teaching in Music
Second Edition

Ann C. Clements
Pennsylvania State University

Sarah H. Watts
Pennsylvania State University

Douglas C. McCall
Pennsylvania State University

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First published 2021

by Routledge
605 Third Avenue, New York, NY 10158
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 Taylor & Francis
The rights of Ann C. Clements, Sarah H. Watts, and Douglas C. McCall to be
identified as authors of this work has been asserted by them in accordance with
sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now known
or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the
publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identification and explanation without intent to
infringe.
First edition published by Routledge 2015
Library of Congress Cataloging-in-Publication Data
Names: Clements, Ann Callistro, author. | Watts, Sarah H., author. | McCall,
Douglas C., author.
Title: A field guide to student teaching in music / Ann C. Clements, Sarah H.
Watts, and Douglas C. McCall.
Description: Second edition. | New York: Routledge, 2021. | Includes
bibliographical references and index.
Identifiers: LCCN 2020054943 (print) | LCCN 2020054944 (ebook) | ISBN
9780367428532 (hardback) | ISBN 9780367428518 (paperback) | ISBN
9780367855550 (ebook)
Subjects: LCSH: Music--Instruction and study. | Student teaching.
Classification: LCC MT1.C59 F54 2021 (print) | LCC MT1.C59 (ebook) | DDC
780.71--dc23
LC record available at https://lccn.loc.gov/2020054943
LC ebook record available at https://lccn.loc.gov/2020054944
ISBN: 978-0-367-42853-2 (hbk)
ISBN: 978-0-367-42851-8 (pbk)
ISBN: 978-0-367-85555-0 (ebk)
Typeset in Minion
by MPS Limited, Dehradun
Visit the companion website: www.musicstudentteaching.com

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The first edition of this book was published in 2009 and

represented the work of Ann Clements and Rita Klinger. Rita
passed away in 2012 from breast cancer, yet her ideas, creativity,
and practical knowledge of music teaching and learning remain
throughout this book.

Rita—your mentorship, friendship, and creativity continue to

guide us and spark imagination. We are forever grateful for
your expertise as represented in these pages and dedicate this
book to you.

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Contents

Preface xi
To the Student xi
Textbook Structure xii
New to this Edition xiii
To the University Supervisor or Instructor xiii

Acknowledgments xv

Introduction 1
Preparing to Student Teach in Music 1
Preparing for Your First Day and Communication
with Your Cooperating Teacher 2
Cooperating Teachers and the University Supervisor 4
Adjusting to New Environments 9
Professional Responsibilities 10

1 New Schools, New Environments 12

School Music Communities 15
School Communities 15
School Culture 17
Social and Interpersonal Characteristics 17
The Student-Centered Student Teacher 18
New Classrooms Equal New Ways of Teaching 21
Professional and Practical: Building Positive
Relationships 24

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viii CONTENTS

Transforming from Student to Student Teacher 24

Code of Ethics 27
Student Boundaries 30
Student Teaching Dispositions 31
Relocating 34
Conclusion 36
References 36

2 Observation 38
Why Observe? 39
Meaningful Observation 40
Approaches to Observation 47
Specific Elements to Watch in an Observation 49
Reflecting on Your Observations 50
Conclusion 51

3 Curriculum and Lesson Planning 53

Philosophy of Music Teaching 54
To Plan or Not to Plan: That Is the Question 57
Planning with (and without) Your Cooperating
Teacher 59
Teaching without a Plan 61
Long Term Planning 62
Assessment and Grading 62
Collaboration 64
Conclusion 64

4 Effective Teaching and Rehearsal Techniques 66

The Highly Effective Music Classroom 67
Gaining and Maintaining Attention and Interest 70
Personal Musicianship 72
Monitoring Student Progress and Providing Feedback 72
Pacing and Time Management 74
Conclusion 77
References 77

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CONTENTS ix

5 Creating a Positive Learning Environment 78

Organizing the Music Classroom 79
Building Positive Relationships 82
Knowing Your Students 84
Creating a Management Plan 87
Dangerous Behaviors 89
Conclusion 91

6 Program Organization 92
Budgeting 93
Inventory and Library 95
Performance Planning 97
Publicity, Advocacy, and Recruitment 98
Retention and Student Leadership 99
Parent Involvement 99
Field Trips 100
Conclusion 104
References 105

7 Ethics, Professionalism, and Legal Issues 106

Personal Ethics 107
Ethical Decision Making 109
Professional Responsibilities 109
Disability Legislation 118
Conclusion 121
Reference 122

8 Seeking Employment 123

Professionalism 124
Résumés 125
Professional Portfolio 126
Finding Employment Opportunities 128
Selecting References 129
Applications and Supporting Materials 130
Interviews 132
Conclusion 136

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x CONTENTS

9 Continued Professional Growth 137

Building Local Relationships 138
Building Professional Relationships 140
Maintaining Certification or Licensure 143
Conclusion 145

Index 146

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Preface

TO THE STUDENT
Congratulations on making it to your student teaching experience! As
you are well aware, it is not an easy feat to have made it this far in
preparation for becoming a music teacher. However, keep in mind that
all of the coursework you have taken in music, education, and music
education has well prepared you for the many challenges you will face
in your student teaching experience. As you enter this new phase in
your teaching career keep in mind the coursework you have taken thus
far and use those ideas, materials, and communications with faculty to
guide your continued learning.
Student teaching in music settings can be a daunting task. Often this
may be your first separation from the college or university setting in
which you have spent years preparing. Along with this separation from
coursework comes the separation from friends, faculty members, and
possibly even from the physical location of the university. You may find
yourself feeling alone in uncharted territory. The first thing you must
realize is that you are not alone. You have been assigned a cooperating
teacher or teachers to assist you daily and a university supervisor to
guide you. These two allies are of paramount importance throughout
your student teaching experience.
Along with the transition from the university setting, you are also
making the transition from student to teacher. This transition takes
time and practice. It is important for you to realize that from now on
you will be viewed as a teaching intern – an adult, a leader, and a
professional – in the school building and its surrounding community.
While some of your university colleagues and peers may remain in
‘student mode’ for semesters, if not years, you will automatically be

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xii PREFACE

addressed by your last name upon the start of these experiences and
have all the responsibilities that go along with this title. Regardless of
how young you feel or how close in age you may be to your students,
you are now the adult and from day one in your student teaching
placement you need to begin acting like one.
With all these difficult transitions you may find yourself questioning
what exactly you are doing in this situation. Please find comfort in
knowing that every single teacher in this country has been through this
experience! You are here for reasons, and those reasons are your love of
music, music teaching, and working with children and youth. As you
delve deeper into the experience you will have good days and bad days,
and in the end the good days will outweigh the bad. This text will assist
you in getting the most out of your student teaching experiences and
ensure that you are as well prepared as possible for a successful start to
your career as a music educator!

TEXTBOOK STRUCTURE
This textbook was designed to guide your music student teaching
experience. Each chapter of this text is focused on a specific topic and
each topic stands alone, allowing you to read about specific topics as
they become relevant to your student teaching experience. Within each
chapter there are several activities to expand your knowledge and
thinking. The activities include the following:

• Scenarios – The scenarios provide examples of situations you may

find yourself or classmates dealing with during the student teaching
experience. The scenarios often provide a perplexing situation that
will require you to determine the best possible outcomes to remedy
the presented problems.
• Discussions/Discussion Questions – The discussions ask you to
consider particular questions. These questions may be answered
individually as you read the text, or may be a point of large group
discussion in your student teaching seminar.
• Discussions with Your Cooperating Teacher – These discussions are
to involve your cooperating teacher. Often they ask you to seek the
advice of your cooperating teacher in comprehending difficult
situations or complex scenarios.
• Worksheets – This text has multiple worksheets that are available
online. These worksheets will guide your observation, thinking,

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PREFACE xiii

discussion with your cooperating teacher, and lead you through

activities relevant to student teaching. Most worksheets are specific
to topics within the chapters, and references to the appropriate
worksheets are listed within each chapter.
• Website – Visit www.musicstudentteaching.com for editable ver-
sions of worksheets as well as many other resources for student
teachers and student teaching coordinators.

NEW TO THIS EDITION

In order to provide the most comprehensive foundation for successful
student teaching, this second edition contains many new and improved
elements including the updating of content and the development of a
comprehensive online companion site at www.musicstudentteaching.com.
All of the worksheets originally found within the first edition are now
housed within the companion website. The companion website has been
linked throughout the book to guide readers to specific content that may
enhance and enrich their understanding of materials, ideas, and concepts.
Throughout the book the content has been updated and modernized to
reflect current practices in music education. Of particular interest, is the
addition of a new Chapter 1 entitled “New Schools, New Environments”.
Within this chapter readers will learn about the transition from student to
student teacher, including topics such as school communities and cultures,
the student-center student teacher, teaching dispositions and ethics, and
relocating to a new community. Special attention has been given to
supporting and encouraging teaching of all students regardless of race,
ethnicity, gender, sexual orientation, and other forms of individuality.

TO THE UNIVERSITY SUPERVISOR OR INSTRUCTOR

This textbook is designed to be used as a companion to your university
student teaching seminar or the course that student teachers take while
completing their field experience. The Introduction serves as a
reminder of the preliminary activities that will facilitate easing into a
new student teaching placement. This section also helps to explain the
relationship between the student teacher, cooperating teacher, and
university supervisor, while encouraging students to maintain open
lines of communication with all involved in the process.

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xiv PREFACE

Although the chapters following the Introduction are logically

ordered, individual chapters may be used in any order you find most
relevant to your music student teachers’ experiences. We realize that
music student teachers within the same cohort may be simultaneously
teaching in very different settings. Some may be teaching elementary
general music while others are teaching high school band programs, yet
all students typically meet together for a seminar or class meeting that
corresponds to the music student teaching experience. The content of
each chapter is specific to student teaching in music, yet flexible enough
to be applied to any level and area of music. Worksheets are available
on the companion website and cover a breadth of topics that may
prompt differing responses from each student’s experiences. They are
broad enough to be reused for student teachers as they transition from
one field placement to another.

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Acknowledgments

F rom Ann: I would like to thank the many wonderful music educators
who have served or currently serve as cooperating teachers. It takes a
passion, dedication, and courage to open your classrooms up to the next
generation of teachers. It is the university in partnership with practicing
teachers that makes the music education degree so meaningful. I would also
like to thank each of you who have decided to read a copy, as I believe
doing so will create new ways to reflect and act upon your growing kno-
wledge in this field. A sincere thank you to my co-authors for this edition,
Sarah Watts and Douglas McCall. Your energy, enthusiasm, and expertise
have contributed greatly and made this project very enjoyable. Lastly,
I would like to thank my mother Alice Callistro and my husband Chaz and
son Charles Wall for your understanding of my deep commitment to this
profession.
From Sarah: I extend my sincerest thanks to Dr. Ann Clements, my
teacher, mentor, and friend, for this exciting opportunity to learn, grow,
and impact the future of student teaching in music. I would also like to
thank co-author, Douglas McCall, for his diligence and commitment to
making this Field Guide come to fruition. Special thanks to my family, as
well, my husband, Jonathan Watts, my mother, Vicki Seel, and my
favorite feline, Frodo Baggins, for supporting me in all of my professional
endeavors.
From Douglas: I want to offer my profound thanks to Dr. Ann
Clements and Dr. Sarah Watts for providing me with the opportunity to
share my years of classroom teaching experience during which I learned
valuable lessons about how to transmit that knowledge to others. Your
patience and guidance have been meaningful beyond words. I would also
like to thank all the students, colleagues, and pre-service teachers I have
had the pleasure of working with over the years. The wisdom shared in

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xvi ACKNOWLEDGMENTS

this book was in part learned from you. I also want to thank my mother,
Phyllis Brown. Your courage to go back to school and earn your
bachelor’s and master’s degrees taught me the importance of education.
Finally, to my wife, Stephanie and my daughters, Vienna and Ellone, you
are the reason I work so hard at everything I do, and you have supported
my every endeavor. Nothing I have accomplished has been done without
your tireless support.
It is our hope that the real-world scenarios, the discussion questions
found within each chapter, and the online worksheets will motivate
music student teachers to reflect on their daily experiences at their
student teaching sites, facilitate a positive relationship with their
cooperating teachers, and stimulate lively class discussion.

Ann C. Clements
Sarah H. Watts
Douglas C. McCall
September 2020

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Introduction

Figure 0.1 Courtesy of David Schott

PREPARING TO STUDENT TEACH IN MUSIC

This introduction will guide you as you make the transition from music
student to music teacher and will focus on four main topics, including:
1) preparation for your first day and communication with your

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2 INTRODUCTION

cooperating teacher or teachers, 2) understanding the relationships

between you and your cooperating teacher or teachers and you and
your university supervisor, 3) adjusting to new environments, and
4) professional responsibilities.

PREPARING FOR YOUR FIRST DAY AND

COMMUNICATION WITH YOUR COOPERATING
TEACHER
Most likely you have been assigned to a particular student teaching place­
ment or placements based upon your needs as a student teacher. You may
have received a written or verbal communication about your placement
previously, and maybe had an opportunity to visit the school building. This
section of the introduction will focus on introductions, building relation­
ships, scheduling, and becoming aware of basic school rules and protocols. If
you have already experienced some of these issues, please continue reading
for additional tips and advice for the next time they are encountered.
If you haven’t made contact with your cooperating teacher yet, you
need to do so now. Your university supervisor can connect you with them
via a phone number or school email address. The first thing you will need to
do is to introduce yourself. While they have most likely received information
about you from your university, it is important that they begin to know you
as a person and their future student teacher. Whether you choose to initiate
conversation via telephone or email, it is imperative that you meet with your
cooperating teacher face-to-face prior to your arrival, if possible. You may
ask them to coffee on a weekend or after the school day, or invite them to
dinner during the week. If you have recently moved into the community
and are feeling overwhelmed, ask if you may visit them in their classroom at
the end of a school day. You may wish to address your cooperating teacher
by their formal professional name until they invite you to do otherwise.
In this conversation it is important to keep a balance between being
professional and yourself. During this experience you will be working very
closely with your cooperating teacher or teachers and you need to begin to
foster a comfortable working relationship with them. In this relationship
you need to be able to ask for help, seek advice, and bounce ideas around.
You will want to share your previous experiences and also allow them to
share their experiences as they pertain to this teaching environment. Keep
in mind that they too have gone through a student teaching experience
previously. It is a careful balance between speaking and listening. If you are
feeling nervous, prepare a few questions for them to respond to. Some
questions you may want to ask are listed below.

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INTRODUCTION 3

DISCUSSION WITH YOUR COOPERATING TEACHER

(1) What is your typical teaching schedule and how does this correspond
to the overall school schedule?
(2) When am I expected to arrive at school each morning and when does a
typical day end?
(3) Where do I park and how should I check in once I arrive at the school building?
(4) What are my responsibilities beyond your classroom?
(a) Should I be prepared to assist with meal or bus duties?
(b) Are there important before school or after school meetings that
I should participate in?
(c) Are there any evening or weekend rehearsals, concerts, or events during
my time at this placement that I should schedule into my calendar?
(5) What materials should I bring with me daily to assist in this experience?
(6) How does lunch work? Should I be prepared to bring my own lunch daily or
are there other options?
(7) Is there a school dress code or are there dress expectations for faculty members?
(8) Are there any particular rules on campus that I should know from the
first day, such as no cell phones, no chewing gum, etc.?

You may feel much more prepared, and possibly even relieved, after
having an initial conversation with your cooperating teacher.
Throughout student teaching, the less hesitant you are to ask questions
the more comfortable you will become. Be sure to ask if you may have
a way to contact them after school hours in case of emergency. Your
cooperating teacher may have a preference for a particular vehicle of
communication, such as a preference for text messages rather than
emails or phone calls. Be sure to ask if they are comfortable receiving
calls from you at home, and what kinds of calls they are willing to
accept. Remember that if the issue should arise that you need to contact
a cooperating teacher outside the school day you must follow basic
phone etiquette rules such as not calling after 8:00 pm unless it is an
emergency and to be respectful of their need for a personal, non-school
related home environment.
Ensure that your written communications are professional in nature,
including appropriate salutations, and correct grammar, punctuation,
and spelling. Be prompt in returning any form of communication from
your cooperating teacher. You may have multiple email addresses or
social media contacts – be sure to be consistent and comprehensive in

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4 INTRODUCTION

your usage of your communication outlets, ensuring that you do not

miss any important notices or information.
Prior to your first day of student teaching you should gather
materials that will assist you with common tasks. These might include:
paper and a writing utensil, money for lunch or a sack lunch, parking
permit if one is required for your first day, any worksheets that you
need from this book’s website, and a laptop computer or tablet
(if desired). Be sure to dress professionally for your first day of student
teaching, following the guidelines suggested by your cooperating
teacher. The general rules are as follows:

(1) Dress appropriately for the kinds of activities you expect to encounter.
(2) Avoid revealing tops that will show your stomach or chest and if
you choose to wear a skirt, ensure it is longer than your fingertips.
Be careful with overly high heels, especially if you anticipate
movement or sitting on the floor with students.
(3) Slacks (no jeans) and a button down shirt, collared shirt, or nice
blouse is another option. You may wish to wear a tie and/or
jacket.

COOPERATING TEACHERS AND

THE UNIVERSITY SUPERVISOR
Throughout your student teaching, your cooperating teacher or teachers
and your university supervisor will be your main sources of information,
communication, and feedback. Your cooperating teacher or teachers and
your university supervisor have been selected for specific reasons. These
reasons include their expertise in music teaching, their years of experi­
ences, their willingness to mentor a student teacher, and their belief that
the student teacher process is important. Creating positive relationships
with each of these people will make for a successful experience. It is
extremely important that you realize, right from the start, that your
cooperating teacher or teachers and university supervisor are part of a
larger team there to assist you through this process. Each member of this
team has a different, yet complimentary role to play.

The Cooperating Teacher or Teachers

A productive relationship with your cooperating teacher or teachers puts
you in a strong position to learn and become a successful teacher.
In addition, it builds the foundations needed for a positive letter of

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INTRODUCTION 5

recommendation at the completion of your experience. The relationship

you build is dependent upon the way in which you view your overall
experience. Are you truly prepared to learn from this relationship? Are
you willing to adjust your teaching to fit this new environment? Are you
able to trust the guidance your cooperating teachers can offer based on
their years of professional experience? It is important to keep in mind
that your cooperating teacher or teachers play two roles; they serve as
both your employer, and your instructor. This relationship begins with
your very first contact, as described above.
It is important to refrain from making judgments about your co­
operating teacher prior to knowing them in their unique school en­
vironment. It is not uncommon that before and after student teaching
placements are announced some of your classmates may make com­
ments about the strengths or weaknesses of a particular teacher, music
program, or school. If you hear such comments about your placements,
you are advised to ignore them or be cautious about accepting such
comments as fact. You will make better strides at building a successful
teaching team if you approach a placement with an open mind. It
is truly impossible to judge a teacher or program unless you have
in-depth, first-hand knowledge of the daily teaching environment.
It is likely that you will know little about your cooperating teacher or
teachers prior to your arrival at the placement. This may add to your general
nervousness about how to begin building a positive relationship. One way to
reduce your nervousness is to imagine that the roles are reversed.

• If you were a cooperating teacher preparing to meet your new

student teacher what would you want that encounter to look and
feel like?
• What characteristics would you want your student teacher to
possess?
• How would you like them to interact in your classroom?
• How would you like them to interact with you?

Most likely the boss or employer part of you would be interested in

someone who is professional, timely, dedicated, hard-working, and
trustworthy. The instructor side may be looking for someone who is eager
to learn, willing to take criticism, and dedicated to self-improvement. The
answers to the questions listed above describe how you should act when
you meet your new cooperating teacher or teachers.
It is likely that your relationship with your cooperating teacher or
teachers will go through various stages during the student teaching pro­
cess. It is common that when you first begin a placement, you may spend

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6 INTRODUCTION

a considerable amount of your time absorbing information quickly.

During this stage it is likely that you will be doing a lot of observation
of your cooperating teacher or teachers and their classroom routines.
Through this stage you will become more comfortable with your sur­
roundings and the daily procedures of the music classroom. You may also
spend time assisting your cooperating teacher with tasks such as class­
room preparation, becoming acquainted with students and learning their
names, and adapting to the pace and atmosphere of the classroom and
school building. You are encouraged to make the most of your presence
by volunteering to assist with projects. It is a good idea to begin a student
teaching journal at this time to document your progress and learning.
The second stage of your relationship with your cooperating teacher
is becoming a teaching team. In this stage you may begin doing some
team teaching with your cooperating teacher or teachers. You may also be
asked to contribute ideas to general lesson planning or be asked to select a
few musical scores that you will work on with the ensemble. Sometimes
during this second stage in your relationship, differences between you and
your cooperating teacher or teachers may become more apparent. They
may teach differently from the way you experienced in your methods
classes or they may have different philosophical ideas about teaching from
those you hold. While it may be easy to voice your concerns about these
differences, it is important to keep in mind that no matter how different
the cooperating teacher may be from what you currently view as
ideal, they are the experts in this classroom. Additionally, you must
remember that there are lessons to be learned in all situations. You and
your cooperating teacher have different experiences, different roles, and
different responsibilities in the classroom, and different personalities.
These differences should not stand in the way of learning.
As you gain more time in front of the classroom during this second
stage, you may find that your cooperating teacher has feedback and cri­
ticism for you regarding your teaching. It is important to keep in mind
that they are looking out for your best interests and the best interests
of the students and their program. Unlike in most university classes, this
feedback will be individual and somewhat personal, as it is directly related
to what you are doing. Despite the feedback being personal, you must not
take it personally. You must resist the temptation to become defensive.
Avoid being judgmental or assuming that your way is right and the co­
operating teacher is wrong. If you would like to discuss their comments,
you must keep an open mind and ask questions that begin with “why”
along with sharing your perspective. If there is a significant difference
between your approach and theirs, you must follow their approach, after
all you are a guest in their classroom and they will remain there long after

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INTRODUCTION 7

your student teaching placement is over. The key to maintaining a

positive relationship with your cooperating teacher or teachers is to
openly communicate about all issues. If you are feeling there has been a
breakdown in communication, speak to your university supervisor for
specific ideas as to how to remedy the situation.
The third stage of your relationship with your cooperating teacher or
teachers begins when you take sole responsibility for a teaching segment.
During this stage you may be running a portion of or leading an entire
lesson or rehearsal by yourself, using either your cooperating teacher’s
lesson plans or your own. Similar to stage two this stage may include
a large amount of criticism. The three main issues that can arise during
this stage are: 1) receiving no feedback, 2) receiving what appears to be
all negative feedback, or 3) receiving feedback while you are in front of
the students. All of these issues can be resolved by open communication
with your cooperating teacher regarding what styles or forms of feedback
or criticism work best with your personal learning style and fulfill the
requirements of your university.

SCENARIO I.1 – KATE’S REHEARSAL EXPERIENCE

Kate began the seventh-grade choral rehearsal with the same routine that is
typically included when they are led by her cooperating teacher Ms. Wall. These
included warm-ups of familiar descending patterns, ascending patterns, and a
mixture of whole and half steps. Toward the end of warm-ups, Kate purposefully
planned to include a warm-up pattern in minor, as the first song the choir was
going to sing after warm-ups was in the minor mode. When she sang the first
minor pattern, the students echoed back but responded in major. She repeated
the pattern and the students continued to struggle but got a little better. Her
cooperating teacher, Ms. Wall, who was sitting in the back of the classroom spoke
out over the choir saying “The students don’t know these patterns, have you ever
heard us sing them before? Go on to something else.” Some of the students
repeated what Ms. Wall had said and giggled aloud. Kate instantly became
frustrated but did her best to finish the warm-ups and move on to the first song.
At the end of the lesson, Ms. Wall reprimanded Kate again for straying from
the typical warm-up routine. Kate just listened to Ms. Wall and accepted the
feedback, even though she really wanted to explain her rationale for trying
something new. For the rest of the day Kate was upset, but did not know how to
approach the subject with her cooperating teacher.

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DISCUSSION
(1) How would you have felt in Kate’s position?
(2) Did Kate do the correct thing in not voicing her rationale in front of the students?
(3) Should Kate have voiced her frustrations to her cooperating teacher away from
the students?
(a) If so, what would be the best way to approach this conversation?
(b) If not, what will be the effect on the student-teacher–cooperating teacher
relationship as the student teaching experience continues?

The University Supervisor

Your university supervisor has been selected to assist you in the student
teaching process by representing the university setting from which you
have come. Typically, such supervisors are familiar with your cooperating
teacher or teachers, the school district in which you are working, general
school policies and administration, and have years of teaching experience.
They can be a good external sounding board for the experiences you are
having within the programs to which you have been assigned. The uni­
versity supervisor is your link to the university setting and also serves as a
resource to your cooperating teacher or teachers.
Some universities employ graduate students to serve as supervisors,
who have returned to the university setting after years of teaching.
Other institutions employ retired teachers or current faculty members
to serve as supervisors. Regardless of whom you have been assigned to
as your university supervisor, they will have experience in the class­
room and can serve as an important resource during your student
teaching experiences and beyond, as you search for employment.
University supervisors often have diverse responsibilities and carry
a very heavy teaching and observation load. The usual responsibilities
of the university supervisor include:

• Scheduling and participating in observations of student teachers

• Writing reports on their observations
• Communicating with cooperating teachers regarding multiple
elements of student teacher placement
• Maintaining relationships with the cooperating teachers, adminis­
trators, and other school personnel
• Keeping records of student teacher progress for state teaching
certification offices

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INTRODUCTION 9

• Evaluating student teachers and assigning final letter grades, in­

cluding providing references
• Staying aware of current job openings and communicating these
with student teachers

As university supervisors are often very busy people, it will be primarily

your responsibility to foster a relationship with them. It is important to
have a positive relationship with your supervisor as you are most likely
to contact them when you are in need of immediate help or are pre­
paring for them to observe your teaching. One of the best ways to
develop a positive relationship is to first acknowledge that there should
be a relationship. It is not unusual for your supervisor to be located
some distance from your student teacher placement. As a result of this
distance they may not be fully aware of your daily or weekly experi­
ences. One way to remedy this situation is to include them in your
communications. You may even wish to send them copies of your daily
or weekly journals, should you be writing about your experiences. A
second way to build a strong relationship is to take a leadership role in
the planning and scheduling of your observations. You are encouraged
to contact them to arrange observations, as only you will know the best
possible times and dates for observations in your placement. A final
suggestion is to use their expertise. Do not be afraid to contact them
regarding any difficulties you may be having in your placement. Often
an outsider’s perspective will give new insights into any situation.
Additionally, you should not hesitate to contact your supervisor if
you will be absent from your placement or if there is an emergency
situation.

ADJUSTING TO NEW ENVIRONMENTS

Adjusting to the new environments of your student teaching placement
can be stressful. The sources of this stress include separation from
friends or family, departure from the university setting, adjustments to
the pace of the school building, and the creation of new professional
relationships. The key to adjusting well to new environments is finding
ways in which to relieve these stresses and reduce anxiety. Some ways in
which to do this are listed below.

• Maintain a positive self-image

• Ensure you are getting enough sleep and taking in appropriate
nutrition

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10 INTRODUCTION

• Schedule time outside of school to continue activities you enjoy

doing such as socializing with friends, exercising, watching televi­
sion or movies, or participating in music making
• Do your best to prepare your lessons well in advance of your
teaching
• Make to-do lists of all the activities you need to accomplish
• Plan ahead for larger events or projects
• Maintain strong communication with your cooperating teacher or
teachers
• If you are far away from friends and family, use electronic or other
means to stay in touch
• Break up large assignments into more manageable smaller chunks
• Do not procrastinate
• Try not to worry about things you cannot change
• Keep an open mind and a sense of humor
• Set realistic goals for yourself
• Allow yourself to put student teaching, and all that it requires, as
your number one priority right now

It is important to learn as much as possible about your new environ­

ment as quickly as possible. Your primary source of information will be
your cooperating teacher. While there may be multiple handbooks or
guides that explain the rules and procedures of a particular environ­
ment, there are also numerous guidelines that are not stated clearly in a
publication. This kind of insider knowledge is essential to understand
the environment and the sooner you know the environment the more
quickly you will become comfortable. Each school building’s environ­
ment is different. Any teacher who has been in the same location for a
period of time can identify these differences. Insider knowledge in­
cludes items such as knowing the various cliques or groupings among
the teachers, what to say and what not to say in the faculty room, and
how best to introduce yourself into that particular school’s culture.

PROFESSIONAL RESPONSIBILITIES
Many student teachers are surprised to find that the duties of a music
teacher extend far beyond daily classes and rehearsals. As a teacher
you are responsible for the majority of these responsibilities. Often
these responsibilities are either divided up between the teachers, al­
lowing each to have specific tasks to fulfill, or they are rotated among
the teachers, with specific teachers responsible for specific tasks on

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INTRODUCTION 11

particular days. As a student teacher you are responsible for taking part
in as many of these extra duties as possible. Your cooperating teacher
can give you guidance on which activities would be most appropriate.
Examples of these additional responsibilities include bus or meal duty,
open houses and parent–teacher conferences, faculty meetings, and
committee work. Many of the duties take place before and after school.
While many outside of education believe the length of the teaching day
is simply the hours that school is in session, all teachers realize that the
hours in which students are on campus is only a portion of a teacher’s
schedule. Also, keep in mind that the school schedule denotes days in
which students do not attend school, but frequently teachers do attend
school for in-service workshops or other school-wide events.
As a music student teacher, you are likely to have many additional
responsibilities beyond those of your non-music student teacher col­
leagues. For example, you may be responsible for leading school re­
hearsals, evening performances, weekend festivals, competitions, tours,
school musicals, evening rehearsals, marching band camps, and the list
goes on. Being a music teacher is a very time-consuming job and your
student teaching experience is your opportunity to learn as much about
these responsibilities as about daily in-class teaching. A good rule to
follow is to arrive in the morning at the same time as your cooperating
teacher and to stay each afternoon or evening until they depart the
campus.
In addition to the responsibilities listed above, you must also
recognize that you are still a college or university student and there will
be assignments and class meetings related to your student teaching
experiences. It is important that you communicate these responsibilities
to your cooperating teacher. In addition to college or university
responsibilities, you may also find it important to begin or maintain a
relationship with professional music organizations. These responsi­
bilities will probably involve you attending student events, such as
music festivals and performances, and professional development
conferences and workshops.
Onward, to start your journey!

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CHAPTER 1

New Schools,
New Environments

Figure 1.1 Courtesy of Penn State University

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NEW SCHOOLS, NEW ENVIRONMENTS 13

SCENARIO 1.1 – THOMAS’ STUDENT TEACHING

PLACEMENT
It was the day that Thomas had been waiting for all semester. The student
teaching coordinator called a meeting of all upcoming student teachers to
address pertinent student teaching information and distribute placements for the
next semester. He was both nervous and excited, wondering how his life over the
next several months might unfold.
At the close of the student teaching meeting, the coordinator distributed
envelopes with information regarding the town and school district in which
everyone would student teach, as well as the names and contact information of
cooperating teachers. Several of Thomas’ classmates gave shouts of delight as
they opened their envelopes, finding their much-desired, first choice placements.
Thomas tentatively opened his own envelope and found that he would be student
teaching in a town he had never visited before with teachers he had never met.
Thomas froze, wondering how he would be able to live and work far from home
in a completely new environment, surrounded by all new people. Many questions
flooded into his mind: What is this town like? What is this school like? What are the
students like? Are my cooperating teachers going to be knowledgeable and
supportive? How can I find an apartment? Where is the grocery store?
Thomas went on to have a great experience in his student teaching placement,
even though it took him to a new place. With the support of family, friends, teachers,
and mentors, he was able to find a place to live, immerse himself in a new community,
grow tremendously as a teacher and human being – and even find the grocery store.

DISCUSSION QUESTIONS
• What do you find exciting about student teaching?
• What makes you nervous about student teaching?
• How can you learn more about your student teaching placement?
• What support systems do you have in place as you enter your student teaching
experience?

M usic educators are unique in that they are specially educated in both
music and education. Earning an education certification requires
coursework in psychology, human development, and lesson planning and
assessment. Learning to be a music educator requires those courses plus

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14 NEW SCHOOLS, NEW ENVIRONMENTS

technical musical skills such as conducting, score preparation, and being

able to play instruments and sing, as well as having experiences in both
studio classes and ensembles. You are uniquely qualified, even among
other educators. Your program has provided you with many opportunities
to grow musically and to grow in your understanding of how to plan for
and practice music teaching. You will need all of this knowledge as you
start this new chapter in becoming a music educator.
While most teachers teach students several subjects at one grade
level, music teachers usually teach students of all ages in their school
a variety of classes. Elementary music teachers usually teach general
music classes, in addition to instructing students in singing, reading
music, playing instruments, or movement and dance. Older secondary
students often have courses in more specific areas, such as choral and
instrumental groups or general music courses geared towards specific
topic areas. You may have selected to become a music educator be­
cause of the amazing, or not so amazing, experiences you had as a
K-12 music student. It is likely you have chosen this path because you
value music and you want to share your love of this art form with
the next generation of learners.

DISCUSSION QUESTIONS
Take a few moments to reflect on why you have chosen to become a music
educator. Answer the following questions:

• Why do you want to be a music teacher?

• How confident do you feel in your ability to complete the following tasks:
◦ Assigning and evaluating lessons
◦ Preparing, administering, and grading tests
◦ Critiquing oral presentations and performances
◦ Preparing report cards
◦ Upholding classroom discipline
◦ Meeting with parents to discuss student progress
◦ Maintaining classroom instruments
◦ Organizing student musical performances
◦ Preparing students to participate in music competitions
◦ Communicating with parents and community members
• How do you feel about your personal musicianship?
◦ How will your musicianship inform and affect your music teaching?
• How do you feel about spending your days with children or youth?

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NEW SCHOOLS, NEW ENVIRONMENTS 15

Just as your experiences in school music differed throughout your musical

journey, as a student teacher you will be entering environments and
school cultures that may be very different from what you have experi­
enced as a student. They may even include different approaches
from what you learned about in your music teacher training program.
Colleges and universities do all that they can to provide you with quality
preparation to enable you to take this next big step into becoming a
student teacher, but this is where those years of practice and preparation
become reality. There is nothing a teacher preparation program can do to
completely prepare you for student teaching. This is why the experience
of student teaching is so valuable. This is an opportunity to work daily
with cooperating teachers who understand their students, their school
environment, and their communities’ expectations.

SCHOOL MUSIC COMMUNITIES

Community is a fundamental aspect of experiencing music. Music pro­
grams are frequently different from other kinds of classes within the
larger school setting. Music in schools can unite people, forming bonds
that might not exist elsewhere in the school building. It can connect
cultures, promote diversity, and develop emotional and social growth. It
can encourage creative thinking, discipline, leadership, and problem-
solving. It is a medium for individual and group expression. The artistic
nature and self-expression fostered in these classes allow for unique bonds
between teachers and students and between the students themselves.
Making music requires students to demonstrate vulnerabilities. The
building of the community within music classrooms is purposeful.
Strong music teachers spend a lot of time getting to know their stu­
dents, including family and community hopes and expectations. This is
done by valuing their thoughts, opinions, and reasons for wanting to invest
in music learning and making. Strong music programs are built through a
shared vision between the music educator, the school administration, and
the local community. Your cooperating teacher can be your guide in
understanding the school music communities that you are entering.

SCHOOL COMMUNITIES
Schools are dynamic communities. They change and evolve based upon
the perceived needs of the students they serve. Just as in the larger
communities that surround them, schools are constructed by the

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16 NEW SCHOOLS, NEW ENVIRONMENTS

negotiation of the disparate views and values of the stakeholders. These

investors are national and local government agencies, policymakers,
school boards, administrators, teachers, and the families and students
that the schools serve. In a healthy school community, connections
among members are not assumed but are forged through purposeful
engagements. Boundaries are not imposed but negotiated and a
belief in inclusivity over conformity is the primary factor in decision-
making and daily functioning. It is a place where participants learn to
respect and listen to one another in order to collaboratively develop an
environment of shared learning.
School buildings are part of larger school structures including
school districts, state departments of education, and the national de­
partment of education. These structures help to define the policies by
which schools run and are governed. Understanding how your school
building or buildings fit into the overall structure of education at the
local, state, and national levels will assist you in understanding the
written rules and policies that shape and influence every aspect of how
schools function.

Visit www.musicstudentteaching.com to learn more about the structures of

American education.

As a student teacher entering an unfamiliar local school community,

one of the first things you should do is begin investigating school
culture in the building or buildings in which you will be student
teaching. Your guide for doing this is your cooperating teacher. Listen,
ask questions, and observe closely for a better understanding of what is
of value in this community. Look to understand traditional school
activities and become familiar with the community’s expectations for
the music program.
Getting to know the school community in which you will be
immersed during your student teaching experience is a crucial factor
in your success. A key aspect of getting to know this community is
getting to know the children and youth with whom you will be
working. They are full-on participants in the school and community
culture and tapping into their experiences can yield important in­
formation about how to most effectively engage with them. These
children and youth are not blank slates that will walk into your music
classroom ready to be filled up with knowledge; they come from

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NEW SCHOOLS, NEW ENVIRONMENTS 17

somewhere, shaped by values, beliefs, community traditions, school

policies, and myriad other influences. It may seem daunting to get to
know an entire student body in a short period of time. You may begin
by exploring a few key points.

SCHOOL CULTURE
Every school operates in its own unique ways. You may even find that
different schools within the same school district or system operate
differently based on the age groups served, location within the geo­
graphical area, or pockets of culture sharing groups in the community.
You may consider some questions in your exploration:

• What are the values, beliefs, behaviors, and traditions of this school
community?
• What are the important school policies that govern teacher and
student behavior?
• In what ways does the school culture mirror the surrounding
community culture?

Visit www.musicstudentteaching.com for more information about school culture.

SOCIAL AND INTERPERSONAL CHARACTERISTICS

Education is a process that is built on the foundation of interpersonal
engagement. As you step into your new school community, you may
observe how students interact with one another, how teachers, ad­
ministrators, and staff interact with one another, and how the adults in
the building interact with the students. Observing these social ex­
changes will yield important information about the expectations to
which you will be held.
Some questions for further thought might be:

• How would teacher-student interactions be characterized in this setting?

• How would teacher-teacher interactions be characterized in this
setting?
• Are there systems or policies in place that guide student behavior
and what is my role in facilitating these?

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18 NEW SCHOOLS, NEW ENVIRONMENTS

As you get to know your student teaching placement, the people, the
social structures, the local culture, you will learn more about the mu­
sical life of this community. Understand that the musical life of a school
community might include more than school music class and ensemble
offerings. You may enter into a setting where there is a lively local
music scene featuring expressions from all over the world.
Give some thought to the following questions:

• What are the musical opportunities offered in this setting during

the official school day?
• What are the extra-curricular musical offerings?
• What community music opportunities are available and influence
students in this setting?

THE STUDENT-CENTERED STUDENT TEACHER

You may have come across the term “student-centered” in your pre-
service teacher preparation program. As you step into your role as a
student teacher, you have the unique opportunity to explore the full
extent of the spirit of this term, developing into a teacher who facilitates
learning encounters with student needs, experiences, and characteristics
at the forefront of the process. Your students are multifaceted and
complicated human beings just like you are; getting to know the many
things that contribute to their individual and collective experiences is an
important step in being an effective teacher. (And you will probably get
to know yourself better along the way!)
At the heart of getting to know your students are the issues of care
and empathy. Noted education scholar, Nel Noddings, provides es­
sential insight into the nature of caring for others. In her many
decades of caring scholarship, Noddings has developed the concept of
the caring relationship in which teachers model the act of caring to
students, rather than simply directing students to care. Further, the
teacher develops caring approaches on a person-by-person basis,
meeting the individual needs of each student. In the music classroom,
we tend to spend a lot of time with our students, engaged in an ex­
pressive and vulnerable art form, so we are well suited to develop
these caring connections. Teachers at all levels of experience will be
interested in the work of Noddings, and her frameworks for building
caring cultures in schools. Some of her techniques include: Modeling
(demonstrating caring behaviors), Dialogue (engaging in open-ended
conversations), Practice (providing students with opportunities to

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NEW SCHOOLS, NEW ENVIRONMENTS 19

apply their caring skills), and Confirmation (building up the best in

each student) (Noddings, 2005).

Developmental Considerations
An easy entry point into knowing your students is to explore the devel­
opmental facets of their age and stage. You may be working with students
who represent a wide span of ages which will necessitate you understanding
how human development impacts what happens in educational settings.
There are many things to consider including physical and motor skill de­
velopment, cognitive development, social/emotional development, language
development, and musical development. As you get to know your students
better in this capacity, you will be better equipped to facilitate appropriate
instruction that meets students where they are. For example, understanding
physical and motor skill development will help you to select an appropriate
folk dance for varying skill levels, select classroom instruments that will
work in small children’s hands, or facilitate meaningful instruction on the
marching band field. Understanding cognitive development will help you
to not only select age-appropriate repertoire and teaching materials, but
also shape how you give directions and communicate verbally with stu­
dents. A working knowledge of social/emotional development will help you
to understand student experiences in relationship to one another and how
interactions with peers shape student engagement. Exploration of musical
development as a lifelong process will most certainly help you to target
your instruction to students’ needs with regard to both the technical and
expressive aspects of making music. Remember developmental character­
istics may vary from student to student.

Generational Considerations
You grew up within a particular time period with its own unique
characteristics. Perhaps technological developments were not as pre­
valent in your own upbringing as they might be in the lives of your
current students. Understand that your students are coming of age in
a different time period than you which might bring about differences
in technology use, educational processes, communication styles, and
musical preferences.

Cultural Considerations
While you are getting to know your school’s culture, keep in mind
that students are entering their educational experiences with

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20 NEW SCHOOLS, NEW ENVIRONMENTS

their own personal cultural points of view. Perhaps students are

immigrants or children of immigrants from another place in the
world, bringing their own language, customs, faith traditions,
foods, and styles of dress. There may be a wide variety of cultural
origins, ethnicities, languages, and religions represented in your
school community. Getting to know something about these varying
culture sharing groups will help you to create an inclusive com­
munity in your music program. For example, by doing a bit of
research and interacting with students and families, you will be
able to schedule after school musical events that do not interfere
with cultural celebrations or sacred observances or select concert
dress options that are inclusive of varying cultural customs related
to modesty or head coverings.

Life Outside of School

Many of your students will come into the classroom with unique
circumstances regarding their lives outside of school. Perhaps their
family structures at home are multigenerational, or divorced or
single parent configurations, or blended family situations. They may
commute between multiple homes. Perhaps students are living in
temporary fostering situations or in group living centers. Students
may not even have a home at all, which is certainly an issue that can
impact their engagement or attendance at school. Perhaps students’
lives outside of school are impacted by illness, natural disasters,
displacement, or other crisis situations. The empathetic teacher
understands that every student’s life has challenges that impact the
process of teaching and learning.

Socioeconomics
In many ways, music programs can be places of economic privilege – it
costs money to acquire and maintain personal instruments, fund en­
semble travel, or purchase concert attire. Getting to know your students
involves developing an understanding of socioeconomic issues and how
they impact your music programs. A school servicing an impoverished
area may need to use more creative means to secure appropriate
equipment or facilitate private lesson instruction outside of school.
Socioeconomic issues must be handled discreetly and sensitively; you
must be mindful of potential challenges so as to create an inclusive
musical environment for all students.

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NEW SCHOOLS, NEW ENVIRONMENTS 21

NEW CLASSROOMS EQUAL NEW WAYS OF

TEACHING
Your college and university has made every effort to provide you with
a strong background in content knowledge, pedagogical theory, and
teaching methods. They will likely also have provided you with early
field experiences, allowing you to practice at lesson planning and
instructional delivery in a variety of classrooms and with a variety
of students. Student teaching provides you with an opportunity to
experience daily life in classrooms and schools, including all the po­
sitives and challenges. One thing is certain, you will develop a growing
sense of accomplishment that comes from intensive engagement with
students over time.
Many practicing teachers believe that student teaching was the
most critical element in their professional preparation. It provided
them with a realistic opportunity to apply what they had learned
in college or university classrooms while receiving frequent, expert
support and feedback from their cooperating teacher. While you may
come to this experience with many ideas about how teaching and
learning should take place, it is of critical importance to remain open-
minded to all there is to learn about being an effective teacher. It is
during student teaching that you will begin to develop your own unique
personal teaching styles as well as your understanding of how schools
operate. Your cooperating teacher will help guide you to develop
professional efficacy, a commitment to high standards for all students,
and the practices of a good teacher, including the use of reflective
practice for continuous improvement and lifelong learning.
Your cooperating teacher will serve as your model and mentor.
They will have great influence over what you learn during this ex­
perience. It is important to recognize and value that you are still
learning and that you are a guest in their classroom. The goal is to
ensure you are as beneficial to your cooperating teacher as the co­
operating teacher is to you. Student teaching is not simply an oppor­
tunity for you to practice what you already know, but to think deeply
about the locations you are working in and the students with whom
you are working. This is a time to observe and practice the teaching
technique of your cooperating teacher. Many student teachers tend
to adopt the practices of their cooperating teachers, sometimes without
question, assuming that they have no choice. We encourage you to
engage with your cooperating teacher in ongoing conversations about
their practices. Through conversation and meaningful questioning,

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22 NEW SCHOOLS, NEW ENVIRONMENTS

your cooperating teacher will be able to explain why they do what

they do, and they will be able to share what they observe about your
teaching with you. You must be willing to follow their suggestions
and try strategies and methods that they use but which you might
be unfamiliar with. You are expected to work collaboratively and
productively with your cooperating teacher to benefit student
learning. At the end of your student teaching you will find some of
their ideas become foundational to your own approaches to
teaching. Some of their ideas may not have the same impact on you,
and that is alright. The point is, student teaching is all about trying
new ideas, approaches, and techniques to grow and develop your
own teaching style.
Over time, as you become familiar with the classrooms and stu­
dents, you may experience an increase in your instructional responsi­
bilities eventually becoming a partner with your cooperating teacher in
the classroom. The timeline in which you will experience increases in
teaching responsibilities will vary by setting. If you ever have concerns
about the amount of time you are or are not teaching, speak to your
cooperating teacher directly and seek advice from your university
supervisor.

You and your cooperating teacher are bringing unique attributes to the relation­
ship (Temple, 2020, para. 8).

What student teachers bring to the classroom:

• Latest research and best practices
• Exposure to technology-based resources
• Ability to work with small groups/individual students
• Individual content expertise
• Enthusiasm/eagerness to learn

What cooperating teachers provide for student teachers:

• Mentoring
• Sound advice about good practice, what works and what doesn’t and why
• Teaching tips
• Deep knowledge of students
• Deep knowledge of school as an institution

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NEW SCHOOLS, NEW ENVIRONMENTS 23

There are several ways in which you may foster this partnership
within the classroom. Some student teachers will be assigned to a
particular ensemble or grade level. Others will begin working with
individual students or small groups before being invited to teach the
whole class or ensemble. Some student teachers will feel excited to
be leading the whole class early in their student teaching, others will
be concerned as to why they are being placed in charge before they
are “ready.” There are many variables to effective collaboration
between you as the student teacher and your cooperating teacher.
This becomes very evident when you begin to discuss how and when
you begin taking over teaching responsibilities. Be sure to com­
municate your thoughts, concerns, and questions honestly about
this process and work hard to listen to and understand your co­
operating teacher’s beliefs and why they have chosen the approaches
they are using.
The following are some of the ways in which you may begin
to work collaboratively in the classroom setting (Temple, 2020,
para. 11):

• The student teacher works with small groups and individual

students in need of special attention, helping to differentiate
instruction in the classroom.
• The cooperating teacher and student teacher divide up
subjects, each taking primary responsibility for certain
content areas.
• The student teacher prepares special units or special content.
• The student teacher works with groups of students over time.
• The cooperating teacher and student teacher split up centers
to provide more oversight and direction.
• The cooperating teacher and student teacher split up class
and teach smaller groups the same or different content.
• The cooperating teacher and student teacher review as­
sessments and reflect together on effectiveness of lessons.
• The cooperating teacher and student teacher plan together.
• The cooperating teacher and student teacher both initiate
instruction and share ideas.
• The cooperating teacher and student teacher pool their
resources and think together about how to help individual
students.
• The cooperating teacher and student teacher observe each
other, ask questions, and offer feedback.

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PROFESSIONAL AND PRACTICAL:

BUILDING POSITIVE RELATIONSHIPS
Once you have completed your initial preparations, it is time to of­
ficially step into your student teaching placement. It is of the utmost
importance in these initial stages to make a good first impression and
build positive relationships with those around you. Doing so will
reflect positively on you, your teachers, and your institution. You will
most certainly encounter other professional adults in your placement,
such as support staff, school administrators, and other teachers. Be
mindful, kind, and professional in all interactions with school support
staff – they are truly the backbone that keeps our schools running
smoothly. You may find yourself working with other teachers in team
meetings, school duties (i.e. bus duty, lunch duty), or at the lunch
table in the teachers’ lounge. Extend your professional courtesy to
these teachers as well – they are colleagues of your cooperating tea­
cher and may share any observations of inappropriate interactions.
Similarly, you may encounter school principals, superintendents, or
school board members.
Your university supervisor has a unique role in supporting you
throughout your student teaching journey. Like your cooperating
teacher, you will need to inquire about their preferred methods of
communication and be able to reach them efficiently. For example,
you may have a site visit planned with your university supervisor, but
in the event of a weather-related school closure, you will need to be
able to reach them quickly to reschedule the visit before they depart
for your school. Your university supervisor is a great resource. Be sure
to respond to their feedback and correspondence in a prompt and
professional manner.

TRANSFORMING FROM STUDENT TO

STUDENT TEACHER
The disconnect between the university classroom and your student
teaching placement may represent something of a paradox. As a college
student you likely learned to be a teacher while behaving as if you had
already mastered the necessary skills and knowledge. A great example
of this is peer-teaching, where you taught your college-age classmates
music lessons and were simultaneously learning from their teaching.
Being a college student who is learning to teach places you in a difficult

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space, where you have a double identity as a student who is also a

teacher. Those roles are hard to navigate, because they subvert one
another. Now that you have arrived at student teaching you will con­
tinue to face both roles as you teach children and youth while learning
from and being mentored by your cooperating teacher. In many ways it
is the combination of these two roles that makes student teaching both
exciting and difficult.
The process of becoming a teacher can be frightening. Even after
years of training, you might wonder if you know enough, if you’re
ready, or if you really have what it takes to be a good teacher.
Cooperating teachers give you something to aspire to and yet it’s hard
not to constantly compare yourself to their abilities, despite their many
years of experience. The growth to becoming a professional music
educator is a process and the best thing you can do for your own well-
being is to honor where you are in your own journey. Below are a few
key practices to actively engage in as you progress from student to
student teacher (Thorp, 2015).

Believe in Yourself
The first and most important step in making the leap into the role of
student teacher is to believe in yourself completely. Everyone starts
somewhere and it will serve you best to trust that you know more than
those who you are teaching. When learning the craft of self-confidence,
you sometimes have to fake it until you make it. It’s not always the
easiest thing to do, but it’s your best starting point.

Prepare and Practice

Set yourself up for success by preparing the logistical aspects of what
you need to facilitate the classes you are working with. This includes
preparing lesson plans well in advance of your teaching and sharing
those with your cooperating teacher in time to receive feedback. Then
you should practice, practice, practice. The more you practice, the
easier it will be to articulate your lessons. The better you are at speaking
fluently about the lesson material, the more confident you will become.

Approach Everything with a Student’s Mind

Nobody likes a know-it-all and, let’s face it, nobody knows it all.
Humility, when balanced with confidence, is paramount for re­
flection and growth. It will also add positively to your relationship

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with your cooperating teacher. Remember you are a guest in their

classroom and your cooperating teacher is the host. They have
established routines and objectives to which you must conform. It
is impossible to know everything about a given topic, so get used to
being comfortable with not having all the answers. This is actually a
high-level quality of any accomplished teacher. When you find
yourself in doubt, own it and tell your students you will find the
answer and get back to them, or point them in the direction of
other educational resources. It is much more admirable when a
teacher openly expresses that they strive to approach all things
from the perspective of a student.

Be Open to Feedback
Feedback is essential for growth. Without it, you would never know
how best to serve the children and youth you teach. Everyone learns
differently and the ways in which you express yourself, or approach a
system of teaching will inevitably need some refining here and there.
Feedback, when received with an open heart and an open mind, can
make the difference between failure and success. When you teach, video
record yourself and ask your cooperating teacher for feedback. After
class review your recording to see where you can make improvements.
This can be a tough process, but your own feedback is invaluable and
the recording directly reflects back the things you say and do, some of
which you weren’t previously aware of.
There will be times when students or cooperating teachers simply
criticize you or project their own challenges onto you. This is by far the
most challenging part of teaching. Do not get overly inflated by positive
feedback and pay little attention to any cruel comments. Look at what
is right in the middle and there is where you will find the truth about
your teaching.

Just Do It
Many student teachers are nervous about teaching in their new pla­
cements for the first time and that is perfectly normal. Just remember
that you have prepared for years to do this and would not be here now
if you hadn’t passed the many layers of learning required to do so. Now
is the time to jump in while the water is still warm and your knowledge
from courses is close at hand. It is perfectly fine to pull out your old
books, lessons, and assignments and keep them nearby as you prepare
your teaching plans.

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Keep Learning
The biggest mistake a student teacher can make (or any educator, for
that matter) is to stop learning. Everything in music education is
constantly evolving and in today’s world some information becomes
obsolete seemingly overnight. If you stop learning, you stop growing.
Your teaching methods will become stale, and once that happens your
students will pass you by. As a teacher you have the responsibility to
apply both knowledge and experience in your daily life, and integrate
the two until they become one. At the end of the day, you are, and
always will be, a student and a teacher.
As you make the official transition to teacher, keep in mind
the reasons why you chose this path – they will keep you connected
to your passion. Have fun, be authentic, genuinely connect with people,
and from there it will all unfold beautifully and according to plan.

CODE OF ETHICS
The National Education Association (NEA) Code of Ethics of the
Education Profession (2019) provides guidelines for the engagement of
teachers with students. Based on the belief that each human is worthy
of dignity and equal educational opportunities, it recognizes the im­
portance of “the pursuit of truth, devotion to excellence, and the
nurture of democratic principles” (p. 439). It states that the educator
must recognize the magnitude of the responsibility inherent in the
teaching process and build a shared respect and confidence with col­
leagues of students, of parents, and of the members of the community.
The Code of Ethics of the Education Profession indicates the aspiration
of all educators and provides standards by which to judge conduct.
Below are the two principles of the code.

NEA CODE OF ETHICS OF THE EDUCATION

PROFESSION (2019)
Principle I Commitment to the Student
The educator strives to help each student realize his or her potential as a worthy
and effective member of society. The educator therefore works to stimulate the
spirit of inquiry, the acquisition of knowledge and understanding, and the
thoughtful formulation of worthy goals.

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In fulfillment of the obligation to the student, the educator—

(1) Shall not unreasonably restrain the student from independent action in the
pursuit of learning.
(2) Shall not unreasonably deny the student access to varying points of view.
(3) Shall not deliberately suppress or distort subject matter relevant to the
student’s progress.
(4) Shall make reasonable effort to protect the student from conditions harmful
to learning or to health and safety.
(5) Shall not intentionally expose the student to embarrassment or
disparagement.
(6) Shall not on the basis of race, color, creed, sex, national origin, marital status,
political or religious beliefs, family, social or cultural background, or sexual
orientation, unfairly—
(a) Exclude any student from participation in any program;
(b) Deny benefits to any student;
(c) Grant any advantage to any student.
(7) Shall not use professional relationships with students for private
advantage.
(8) Shall not disclose information about students obtained in the course of
professional service unless disclosure serves a compelling professional
purpose or is required by law.

Principle II Commitment to the Profession

The education profession is vested by the public with a trust and responsibility
requiring the highest ideals of professional service. In the belief that the quality of
the services of the education profession directly influences the nation and its
citizens, the educator shall exert every effort to raise professional standards, to
promote a climate that encourages the exercise of professional judgment, to
achieve conditions that attract persons worthy of the trust to careers in
education, and to assist in preventing the practice of the profession by
unqualified persons.
In fulfillment of the obligation to the profession, the educator—

(1) Shall not in an application for a professional position deliberately make a false
statement or fail to disclose a material fact related to competency and
qualifications.
(2) Shall not misrepresent his/her professional qualifications.
(3) Shall not assist any entry into the profession of a person known
to be unqualified in respect to character, education, or other relevant
attribute.

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(4) Shall not knowingly make a false statement concerning the qualifications of a
candidate for a professional position.
(5) Shall not assist a noneducator in the unauthorized practice of teaching.
(6) Shall not disclose information about colleagues obtained in the course of
professional service unless disclosure serves a compelling professional
purpose or is required by law.
(7) Shall not knowingly make false or malicious statements about a colleague.
(8) Shall not accept any gratuity, gift, or favor that might impair or appear to
influence professional decisions or actions.

A code of ethics, and there are many others to explore, provides

teachers with a foundation for appropriate conduct with students
and emphasizes the quality of commitment educators have to the
profession. As music educator, Paul Fox (2019) states,1

with serious allegations of professional misconduct, incidents

of sexual harassment or discrimination in the workplace, or
violations of trust involving CEOs, managers/supervisors,
celebrities, politicians, and even teachers in the news every
week, now might be a good time for a “refresher course” on
school ethics … that is, if you ever had one!

Most music teacher preparation programs have little time to provide

opportunities for in-depth discussion regarding the challenges of the
moral decision-making expected of educators. In the section below,
Fox (2019) provides some ethical “conundrums”, which he defines as
confusing, challenging, or perplexing ethical decisions that music
educators must make as part of their relationship with students.

ETHICAL “CONUNDRUMS”2
It’s time to put on your thinking caps! What are your initial impressions of a few
more “conundrums”? How could these incidents lead to violations of law, your
“moral professionalism,” and/or ethical code, or other state/district policies? In
each situation, what are some potential negative consequences for the teacher
and the student?

• Acceptance of congratulatory “musical hugs” versus the practice of avoiding

all physical contact with students?

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30 NEW SCHOOLS, NEW ENVIRONMENTS

• Refusal of gifts from music industry vendors versus acceptance of “free”

offers or dinner meetings?
• Publicly maligning a colleague’s questionable actions (character assassina­
tion) versus protecting your reputation and standing up for your students’
rights?
• Use of social media networks to support student learning versus the
risk of crossing the student/teacher boundary with inappropriate informal
communications?
• The sharing of anecdotes or details of an incident that occurred during a class
or school activity with family members or colleagues?
• Communications with parents versus resolving disputes with “stage mothers?”
• The exercise of a teacher’s “freedom of speech” rights versus maligning
school administrators or their decisions in public?
• The exercise of a teacher’s “freedom of expression” rights in having tattoos,
body piercings, or wearing certain fad or provocative clothing versus com­
pliance to school policies and norms?

STUDENT BOUNDARIES
A common attribute for many student teachers is the relatively small
age difference between you and the students you are teaching. This is
particularly true for student teachers who are in their early or mid-
twenties and are working at the high school level. It may be that you are
closer in age to the students you teach than you are to your cooperating
teacher. It is essential to recognize that you are there to serve as a
teacher to the students, not a friend, companion, and certainly not as a
love interest. While being friendly is appropriate, steps should be taken
to ensure that there is distance between yourself as a student teacher
and the students. You are encouraged to discuss local school rules and
accepted practices about social media, phone number distribution,
individual and small group contact with students, meetings students in
offices, transportation, and other topics related to professional en­
gagement with students to ensure appropriate relationships between
you and your students.

More information about this topic can be found in Chapter 7 and on our website at
www.musicstudentteaching.com.

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SCENARIO 1.2 – CARLOS’ STUDENT CONTACT

Carlos is a student teacher who is very popular with his new students. Eager to
engage in teaching, he frequently offers the music students extra help after
school. He has tutored one of his students, Megan, on the French horn over
the past few weeks. During that time, Carlos has emailed and texted Megan’s
cell phone using his personal number and email address. At first, the
exchanges were very general; sometimes unrelated to schoolwork, such as
asking Meghan about upcoming travel with family, or how she was getting
along with friends. Recently, the student began to text him about more
personal feelings.

DISCUSSION QUESTIONS
• What possible issues/concerns might this scenario raise?
• How could this situation become a violation of the law, the Code, or school/
district policies?
• In this situation, what are some potentially negative consequences for the
student teacher, for the student, and the school community?
• What responses/actions will result in a more positive outcome and/or what
proactive measures?

STUDENT TEACHING DISPOSITIONS

As a model for children and youth, music teachers are caring, sensitive
individuals who are willing and able to empathize with widely diverse
student populations. They exhibit a high sense of personal integrity and
demonstrate a concern for improving the quality of life in their im­
mediate as well as global communities. They establish and maintain
positive relations with people both like and unlike themselves and
demonstrate the ability to provide positive and constructive leadership.
They are in good mental, physical, and social health. They demonstrate
the ability to establish and achieve personal goals. They have a positive
outlook on life. As a student teacher you must exhibit these same
dispositional traits.

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Dispositional attributes are based on professional attitudes,

values, and beliefs. They are demonstrated through your actions,
both verbally and non-verbally, and through the decisions you
make. Professional dispositions are key to success in all educational
fields.
Even though you are not being paid for student teaching, it is
very important to treat it like a job. It’s important to do your best
work, including the demonstration of professional habits such as
being on time to events, putting in the many hours outside of the
school day to prepare lessons, to organize content and materials,
and to be prepared to lead the lessons and experiences to enhance
student learning. Your students deserve a student teacher who is as
invested in the learning process as their regular music teacher.

Scholarly and Reflective

Being a scholarly educator is an ideal of professional excellence
grounded in theory and research, informed by experiential knowledge,
and motivated by personal values, political commitments, and ethical
conduct. Scholar educators are committed to the well-being of students
and colleagues, to learning new ways of being effective, and to con­
ceptualizing their work in relation to broader organizational, com­
munity, political, and cultural contexts. Ethical, reflective educators
think about their actions and their teaching to assess the impact of their
work. Their professional activities and the knowledge they develop are
based on collaborative and relational learning through active exchange
within communities of practice.

Value of Diversity
Teachers should value diversity and model this attitude to their stu­
dents. When teachers value diversity, they recognize and respect the
fact that people are different and that these differences are empow­
ering. Students must be provided with an environment that is con­
ducive to their own learning and their own value systems. Cultural
responsiveness is an integral component in creating a classroom en­
vironment that promotes equitable outcomes for every student. At
the heart of cultural responsiveness are the principles of trust, respect
for diversity, equity, fairness, and social justice. Educators who value
diversity take time and energy to show compassion, empathy, and
respect to those around them.

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Experienced in Practical Application of Knowledge

Applying practical knowledge often leads to a deeper understanding of
a concept through the act of personal experience, which is the heart of
student teaching. This moves educators beyond theoretical learning
towards knowledge that can be applied and implemented in real-life
music teaching experiences.

Positive Outlook
A positive outlook includes the belief that all children can learn.
Student teachers maintain a positive attitude through cheerfulness,
praise of others, finding the good in most situations, seeing chal­
lenges and possibilities rather than obstacles, and demonstrate
genuine enthusiasm and optimism for teaching and their students’
learning.

Intellectual Integrity
Truthfulness, trust, and a dedication to knowledge sharing are elements
of intellectual integrity. Maintaining an honest and sincere engagement
with students and colleagues will benefit all those who you engage with.
Educators with educational integrity are fair and just in all situations
with students.

Self-Awareness
Being self-aware means, you are able to identify your own strengths and
weaknesses. Self-aware educators can recognize their own beliefs,
thoughts, and values and they use these attributes to guide their actions
and decisions. They also have a “growth mindset,” accept criticism, and
continually seek opportunities to learn more about others’ perspectives,
including the myriad of new attitudes, beliefs, ideas, and opinions that
are encountered in the school environment.

Dedication
Dedicated educators do not become frustrated easily and, instead, stick
to tasks until they are complete. They are independent and continually
use, develop, and adopt a wide range of personal and professional re­
sources to accomplish jobs and solve problems. They dig in and don’t
give up on their students, their beliefs, their values, and what they feel is
true and right.

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Answer the following questions to explore the attributes of edu­

cational dispositions.

(1) What role do you believe professional dispositions will play in

students’ teaching?
(2) Which of these professional dispositions do you value the most?
(3) Of the professional dispositions listed above, which will be easier
and which will be more challenging for you personally?
(4) Think about moments in your experience as a student where tea­
chers have struggled with professional disposition attributes. What
was the effect and how was it resolved?

RELOCATING
Most of you will be entering new school communities but some of you
may also be relocating to new communities away from home and
university. Starting out in a new city is not an easy task and requires an
adventurous spirit. Making the big move takes planning, adjusting to
student teaching takes patience, and finding where you fit into your
new location takes some effort. Below are some tips to make moving
into a new community not just manageable, but exciting.

TIPS FOR RELOCATION

(1) Research the area. Find out what there is to do besides student teaching,
including restaurants to try, parks and museums to visit, and local perfor­
mances to explore.
(2) Start walking. You may be surprised by what your new surroundings look like
from street level. Getting outside and moving your body will also help to clear
your head for the excitement and challenges that lay ahead.
(3) Discover new places. Sometimes it can be hard to make a new place feel
immediately comfortable, but searching and eventually discovering places
that remind you of home can help kick-start a new appreciation for a new
place. If you have a favorite coffee shop back home or a beloved bookstore,
don’t replace them but, instead, find the new hidden gems in your new town!
(4) Interact with your community. Don’t be afraid to smile at strangers while
walking down the street or grocery shopping. You might even want to say
hello! A simple greeting can spark a conversation which will begin to help you
feel comfortable in your community.

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(5) Embrace doing something alone. Accept the fact that you will be going out
and exploring by yourself sometimes. It’s a new town, and in lots of cases, it’s
full of completely new people. Being self-conscious about exploring a new
town alone will only impede the discovery of your future “home away
from home.”
(6) Give yourself time. It takes time for the unfamiliar to become familiar. With
every new adventure out in your new location you will feel better and more
comfortable.

Remember you are not alone! Everyone in your cohort is also stu­
dent teaching. Student teachers who experience varying degrees of
struggle have few stories against which to compare their experi­
ences. This lack of knowledge about how you compare to other
student teachers can magnify a sense of dislocation from the very
profession you’re seeking to dedicate your working life to.
Communication with friends and colleagues can help raise aware­
ness about the stresses of the student teaching experience. Arrange
times to get to speak on the phone or meet on Zoom to share stories
and experiences. If you have other student teaching colleagues close
enough to drive to, consider visiting them on the weekend for a
coffee and a chat. If living away from home and school is very
challenging to you, remember that it is temporary! Share your
feelings and concerns with your cooperating teacher and university
supervisor both of whom will be happy to help you acclimatize to
your new environment.
Ask yourself the following questions to help understand your ex­
citement and apprehensions about living in a new community.

(1) Have you ever lived away from home before or stayed away from
home for an extended time (such as summer camps or traveling)? If
so, what was that experience like?
(a) What feelings did you encounter?
(b) How long did it take for any anxiety or nervousness to pass?
(c) What did you do to help it pass?
(2) What unique strengths do you possess that can help you make a
relocation as smooth as possible?

Write a short list of three new restaurants or activities you would like
to try in your new location and set a timeline for visiting them.

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CONCLUSION
Student teaching is a process of joining a new community of learners.
Each school has its own culture that is based on the communities
that surround it, including the school district in which it resides.
Understanding how the school operates and what the school commu­
nity values and believes, as well as its traditions, will inform all of your
engagements. Understanding the school culture will help you to situate
yourself in the existing music program, allowing you to better under­
stand the courses offered and the students who will take them. Take
advantage of this opportunity to grow by embracing new ways of
teaching music as demonstrated by your cooperating teacher. Invest
time and effort in your new relationships, including those with your
cooperating teacher and with others within the school building or
buildings. Be professional in every engagement as you transform from
student to student teacher. Reflect upon the kind of teacher you want to
become and work hard to display those attributes right from the be­
ginning of this experience. Bring a positive attitude and disposition that
demonstrates your understanding of ethics, including relationships
with students and professional interactions with other teachers, parents,
and the larger school community. Get to know the community in
which you live and value the diversity of people and experiences it has
to offer. Remember to keep in touch with those you know, especially
others who are student teaching, and balance these relationships with
the new ones you are making with your cooperating teacher and within
the school community. Student teaching affords you a tremendous
opportunity for personal growth and reflective practice, encouraging
you to become the music teacher you have always wanted to be.

Notes
1 https://nafme.org/ethical-issues-and-conundrums-in-music-education/
2 https://nafme.org/ethical-issues-and-conundrums-in-music-education/

REFERENCES
Fox, P. (2019). Got ethics? Ethical issues and conundrums in music
education. National Association for Music Education, Music in a
Minute. Retrieved, August 21, 2020 from https://nafme.org/ethical-
issues-and-conundrums-in-music-education/

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NEW SCHOOLS, NEW ENVIRONMENTS 37

National Education Association (NEA). (2019). Code of Ethics of the

Education Profession. Retrieved August 21, 2020 from https://www.
nea.org/assets/docs/Code_of_Ethics_Education_Profession_NEA_
HB_2019.pdf
Noddings, N. (2015). The Challenge to Care in Schools, 2nd Edition.
Teachers College Press.
Temple University Office of Field Placement Resources. (2020, August
21). Cooperating Teacher Roles and Responsibilities. https://sites.
temple.edu/edresources/ofp/student-teaching/cooperating-teachers/
ct-roles-responsibilities/
Thorp, T. (2015, January 29). Seven tips to transition from student
to teacher. Chopra. https://chopra.com/articles/7-tips-to-transition-
from-student-to-teacher

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