How to revise your curriculum when you’re doing “too much”

Throughout much of any given year, I wonder to myself, are we just trying to do too much? What I mean by that, is are we trying to do it all in the classroom at our own peril? Cover all the bases? Get to all the content? I mean, we have our standards. There’s so many of them. We have state standards, the national core arts standards, school standards, district standards. We have initiatives galore. If we are teaching music at the elementary or middle school level, we have expectations from our colleagues that once your students get to them, that your students would know how to X, Y or Z. On top of that, we have the constant need to center students’ social and emotional and academic needs. We need to be adaptable, be flexible.

Yes. Teachers are trying to do too much.

The symptoms of trying to do it all are clear: the constant need to re-teach concepts and skills taught before (more than you would expect), the frustration of not getting to everything, the stress of not being able to “check off all the boxes”.

But really, we might not have to. Of course this is not true for everyone, but many teachers I work with in various schools wind up having more flexibility with this than they originally thought. I’ve found that one of the greatest factors of being able to give yourself a “pass” on having to teach everything is when all teachers in a school or district can come together and do the work (in real time) of deciding what really is important and when those important things should occur in the curriculum. This is usually when I come in and help schools who are really craving the structured collaboration and the necessary conversations to get this accomplished.

When working with teachers, I find myself saying, “When it’s all important, then nothing is important”. What I mean by that, is wouldn’t you rather teach students about a few things well over the course of any given school year instead of trying to cover and cram in all the things? I know I would.

One year, I did this. I created a diagram where I really dug deep and made some difficult decisions about what was really worth including in my classes. I started broad, where I threw everything but the kitchen sink into the mix, and narrowed it down (see my diagram below for the visual I created for myself to do this). I wound up throwing away some of my cherished content and picked four main content topics and embedded them what I deemed as the most important skills throughout for each grade level.

The result: Students actually doing better, progressing faster, digging deeper and demonstrating their understanding and skills at deeper levels. Because I was teaching less content, I was also promoting equity, because students were engaged in the same content and skills in so many ways. With the extra time, I was able to really adapt to meet their needs. I was also less stressed. I could breathe. It did challenge my creativity as a teacher (how many different ways can we experience and apply the ideas of musical form?!?). But that was kind of fun because I enjoy those types of challenges.

I was curious about whether this was just a fluke, so I did it a second year. It wasn’t a fluke. Students came back the second year having recalled most of what we did the previous year (less re-teaching, yay!). They were also able to apply those things from year #1 as we continued on with year #2 content and skills. Wow. My mind was blown. I did it again for a third year. Still with the same results.

Was it risky? Yes.

Was it always perfect? Nope.

Was it worth it? Absolutely.

Perhaps you are reading this and thinking that there is no way this would be possible in your school or district. That might be true. We all operate under different contexts, different circumstances. But I encourage you to take advantage of some moments when you really can choose to teach less so that your students can do more. Start with one grade, one class, or even one class meeting. But whatever you do, decide what’s most important. Narrow your focus. Because if it’s all important, then nothing is important.

Five things to consider before you revise your curriculum

Context is Key

It’s curriculum revision season (also known as my favorite time of year)! For me, nothing is quite as exciting as the feeling of renewal and possibility for the next school year. What cool things can I do with my students that I haven’t tried before? How can I make that one lesson plan just a little better? How can I re-work my performances to be a little more student-centered? The list can go on and on. It’s an exciting time, to be sure, but if we’re not careful, it’s also a sure-fire way to take up more time and mental headspace than you might want over the summer months.

When considering time commitment, personal mental well-being, and impact on student learning, the most effective and efficient curricular revision occurs when teachers take into account the context of their specific teaching position. In fact, context drives (or should drive) everything when it comes to curriculum and assessment.

Simply put—your own context is yours and no one else’s. There are never two contexts that are exactly alike, so what might be effective for one teacher (even if they work in the same school as you!) might not have the same positive impact in your own classroom. Here are some things to consider before you dive deep into curriculum revision!

School Climate

Does your administration value process over product? What is your school’s mission? What does scheduling look like for your classes and ensembles? Do you have the resources you need to make a greater impact on student learning? It’s always a good idea to make sure that your curricular changes can be supported by your school climate! What can your school climate do to support your curricular changes? What are some things in your school climate that perhaps you haven’t taken advantage of but you might want to try? In what ways might your climate prevent you from successfully implementing some changes? One example I can think of is the use of informances in schools as a substitution for formal performances. If your administrator and community value polished performances, they might not be so apt to be on board with an informance model.

Students

Students are the main driving force behind our curricular choices. What do they need both academically and socially to be successful in and outside of school? What would success look like for each student? How can your repertoire choices, pacing, sequencing, activities and assessment practices be inclusive of student needs? Revising a curriculum can center what students need and how to get them to the destination that you (and them!) determine collaboratively. The great thing about this is that it gives us the freedom to pivot as needed, and flexibility is always a win-win for everyone.

Surrounding Community

Community expectations and values placed upon music education can certainly impact our curricular choices. Do you live in a community that is proud of its heritage and its connection to the arts? Invite that into the classroom! Teaching in a community that expects community engagement through performance? Consider making space for that in your curricular goals. The community can be a huge asset in how we teach and what teach. Community members are filled with expertise that we, ourselves, might lack. Seek out culture bearers, music enthusiasts and anyone with specific skills that can both broaden and deepen your students’ experiences in the classroom. Not only will this create stronger connections between your program and the community, it will also increase the relevance of what your are teaching about in the classroom.

Your Personal Development and Training as a Teacher

It’s no secret that music teachers often teach how they were taught themselves and frequently emphasize the skills and content that they feel most confident in. Consider adding something new (and perhaps out of your “element”) into the curriculum that your students have asked for. Want to include music technology more but don’t consider yourself an expert in this? No worries! Identify one curricular goal for music technology and take steps to learn more about it so you can add that into your lessons (now that’s just fun)!

Philosophy of Teaching and Learning

Our personal beliefs about music teaching and learning have been shaped by the years of experience we’ve had as students, ourselves, as well as the time we’ve spent as educators. They are ever-evolving and hold enormous influence when it comes to our curricular choices. Personally, it took me a few years to realize that although I believed in the ideals of inclusive music education, my lesson plans did not really reflect that. I had adopted a “one-size-fits-all” approach to teaching and learning. This is nothing to be ashamed about, but I am so glad that I discovered this when I did. Spend time checking in on your own philosophies and see if your current curricular choices align with them. You might be surprised at what you find!

Center Progress over Perfection

Curriculum revision can be overwhelming, but it doesn’t have to be. Start small. Pick one thing to revise and focus on doing that well. Forgive yourself for the mistakes you’ll make (we all do it!) and have fun!

Five Books that Connect to Social and Emotional Learning skills for K-8 Students

Since the pandemic, I think it is safe to say that social and emotional learning (SEL) is on the brains of most music educators. Not only are we trying to teach our students music, but we are also trying to embed the life skills they will need to be successful outside of our classroom in as many of our lessons as possible. That’s not a bad thing, and certainly has been a major shift (I think, in the right direction) of where music education can play a role in “whole child” development. I’m here for it - and if you are general music specialist who feels the same, this post is for you!

As someone who provides workshops and other useful professional development for music teachers, I always get asked about my favorite resources. I love this question, because I know that this is what teachers are really looking for—not just the “dictionary” presentations about what SEL is, but more along the lines of “how can I do this effectively and efficiently on top of everything else I have to do?”

As with everything I do, I write it with the teachers in mind. If I have some nuggets or resources that are not relevant and useful for teachers, I just don’t share it. That’s a time-waster, and who has time for that?!? In the SEL workshops that I provide, I love highlighting the following books as a wonderful way to connect literacy to music and SEL (which, in my opinion, is the ultimate win-win!). These books will not waste your time. You will reach for them time and time again. So…here they are! Let me know what you think. Of course, if there is something you’d like me to highlight that’s not here. Send it my way! 

One quick thing about what I’ll share below: SEL is most effective in the music classroom when we directly “spell it out” for students. Many folks think it’s naturally-embedded, and this is true. But below, I will not focus on the musical aspects so much as the guiding questions that I would pose students to get them into the SEL mindset. These are just recommendations. As with everything, tweak to meet the needs of your students and context. Context should drive everything. Have fun with it!

                                               Jabari Jumps - by Gaia Cornwall 

Grade level: Kindergarten/1st grade

SEL topics: Self-efficacy, solving problems, goal setting, teamwork

Music learning topics: Vocal exploration, sounds exploration, found sounds, pitch

SEL questions to pose to students:

• Why do you think that Jabari waited so long to jump off the diving board?

• How do you think Jabari felt when he did jump off the diving board?

• What are some things that make you nervous or scared?

• Have you ever been afraid to do something? What did you decide to do? How did you feel afterwards?

                                               Jabari Tries - by Gaia Cornwall 

Grade level: Kindergarten/1st grade

SEL topics: Self-efficacy, solving problems, goal setting, teamwork

Music learning topics: Vocal exploration, sounds exploration, found sounds, pitch

SEL questions to pose to students:

• Was there ever a time where you had to keep trying to achieve something? How did you solve the problem?

• What things did Jabari try that did not work for him? What did he do at the end that finally worked?

• What would you do if you were Jabari in this situation?

                                     The Book of Mistakes - by Corianna Luyken

Grade level: 4th and 5th grade

SEL topic: Learning from mistakes, overcoming fears, self-efficacy, growth mindset

Music topics: Exploring improvisation, 12-bar blues, taking musical risks

Art topics: Mistakes through all art, revisit old work/old drafts – turn them into something great

SEL questions to pose to students:

• In what ways do you think the artist's picture changes were a mistake?

• How were they mistakes? In what ways were they not?

• Do you think a lot of people are scared of making mistakes? Are you? Why?

• Have you ever used a mistake that made to create something new? 

                                   Building an Orchestra of Hope - by Carmen Oliver

Grade level: 4th to 6th grade

SEL topic: Solving problems, analyzing situations, self-motivation, goal setting, social engagement

Music topics: instrument timbre, instrument classification (chordophones, idiophones, membranophones, aerophones), different types of ensembles

Art topics: Instrument building, classification of instruments, various materials

SEL questions to pose to students:

• Why do you think it was so important for Favio to create an orchestra?

• What challenges did Favio face, and what did he do to overcome those challenges?

• Have you ever wanted to accomplish something but thought it would be too hard to achieve it?

• Think of one thing that you really hope to achieve – what are some things that you can do to help you achieve it?

• How would you feel if you lived in a community that didn't have the things you needed to do what you enjoyed (instruments, sports equipment, books)? What could you do to help with this problem?

                                            I Want my Hat Back - by Gaia Cornwall 

Grade level: Kindergarten/1st grade

SEL topic: Consequences of actions, honesty

Music learning topics: Instrument timbre, echo rhythms

SEL Questions to pose to students:

• What do you think happened to the rabbit?

• How do you think the bear felt? Was there ever a time that you felt this way?

• Why do you think the rabbit stole the hat?

• Have you ever acted the like the bear in this story? The rabbit? What happened when you did? What would you do differently?

End-of-Year Student-Centered Activities for Performance-Based Ensembles (that would benefit them during the year, too!)

Ah….it’s the most wonderful time of the year!

Concerts are wrapping up, students have fulfilled their performance requirements, and many have even learned some new skills along the way.

But, wait! You still have four or more weeks left of school, which means four or more weeks left of ensemble rehearsal time, but no concerts! As tempting as it may be to just put in a movie or review everything from the year for the next four weeks, consider doing something you might have not had the chance to do with your students during the height of all the concert preparation for the year.

It’s true, we might not have all the time in the world for getting to more student-centered, socially-driven activities in our ensembles, but the end of the school year is the perfect time to test things out to see if your students respond to these types of activities. Who knows? Maybe you can interject them throughout the next school after you have done a little trial and error with them over these next weeks. Here are some of my top recommendations for things to try with your performing ensembles at the end of the year:

Go on Tour

Arrange performances at local retirement homes, community centers, or charity events. Not only does this give students a chance to perform for a different audience, but it also serves the community. If you teach middle or high school band, this would also be a great time to recruit for next year’s ensembles by showcasing your groups at different schools in your district. Consider creating a program with short explanations or anecdotes about the music to engage the audience. You might even want to take the opportunities to make these mini-concerts an informance, where your students can truly take ownership and run the show!

Collaborative Projects

Consider a last-minute collaborative project with other teachers in your school for some cross-curricular benefits for your students. Meet with other arts department teachers to discuss collaboration opportunities. Choose a theme or concept that can be explored across different art forms. Work together to create a cohesive performance that integrates music, visual arts, and/or drama. Invite students from other schools to come see the wonderful collaboration in action.

Create!

I absolutely LOVE the idea of students composing music during ensemble rehearsals and then showcasing it at a future performance. I also love anything to do with MadLibs. Have your students compose music to match the story of a completed MadLibs. Tie in as many musical elements as you would like. Have students justify why they composed something a certain way. This type of activity is not only very engaging, it really requires a lot of knowledge application when it comes to musical content and skills. As a teacher, that’s a win-win!

Conductor of the Day

I don’t know about you, but I know that most students that I have taught would have loved to have been given the opportunity to be front-and-center on the podium. Teach students the basics of conducting, and let them try their hand at it with the pieces that your ensembles have already mastered and performed in concerts throughout the year. Challenge them to change tempo and dynamics within the piece through their gestures while challenging the rest of the students to do exactly what the “Conductor of the Day” is asking of them. Who knows? Perhaps you’ll identify a hidden talent that you can showcase in next year’s programming!

There is really no right or wrong way to end the school year with our ensembles. But there are lots of creative options that we can try. Whatever you do to wrap up this school year with ensembles, just go for it! Take the risks, involve your students, and see where these activities take you. Although these are not traditional, by any sense, these type of student-centered recommendations might just become a fun part of you ensemble instruction moving forward. Enjoy!

A Realistic Take on “Leveling-Up” your Music Lesson Plan

In the fast-paced world of education, where the focus is often on covering a curriculum quickly, it's crucial to take a step back and reflect on how we can make our music lessons more equitable, inclusive, and engaging for all students.

One of the biggest barriers to addressing the needs (and all the “asks” put upon teachers) is a lack of time and support needed to actually make some changes. I often find myself coaching and giving professional development to music teachers who are asked, time and time again, to do more with less time. What then, is the solution? Here are some strategies for making the most of the little time you might have so that you can better support the needs of your students (while saving your sanity!).

Start Small with Equity in Mind

I truly believe that any real change take time, and happens in small, incremental steps. Change doesn’t come for sweeping reform. It comes from the small things teachers can realistically commit to in their day-to-day. This is particularly truewhen it comes to tackling issues of diversity, equity, inclusion, and belonging in the classroom. By focusing on just one lesson at a time, teachers can begin the journey of creating more accessible and student-centered learning environments.

Questions to ask Yourself that can help you “Level Up” Your Lesson

When it comes to leveling up lessons, there are several key questions that revolve around the central theme of equity. When I work with teachers, questioning often leads to real reflection and subsequent meaningful change. One question I commonly pose to teachers is, “Who does this help, and who does this hurt?” If we can identify students who are not being included by something we are doing, strive to add one or two accommodations or modifications that might better fit their needs. Other questions teachers might ask themselves include: 

Who and I including with this activity? Who am I excluding?

What do my students need right now, and how can I give that to them?

How else can I teach this? How many ways can I have students learn and experience the same information and skills?

How many ways can students demonstrate their learning? What does that look like?

Where can I give students choice in my lesson? How can I give them some control?

In what ways can I teach less so that students can engage with the content (and each other) more? What would that look like?

These are just some examples, but the idea here is that you don’t need to make all the changes, all the time. For many teachers, those expectations are unrealistic and often defeating. Rather, by gradually shifting the focus from teacher-centered instruction to more student-led activities, teachers can empower students to engage with the material, collaborate with their peers, and explore their creativity in meaningful ways.

Start small with this: Do this for one activity a day, then two activities the next week….and keep building upon it. Progress is progress. And your students (and you!) will be better for it!

A Practical Approach to Addressing Hidden Curriculum in Music Education

Music education is a powerful tool that can shape the minds and perspectives of our students in profound ways. As music teachers, we hold the responsibility to not only teach musical concepts and life skills but also to be mindful of the messages we are unintentionally sending to our students in our classrooms.

In education, we call this hidden curriculum—the messages, values, and behaviors that are implicitly conveyed through our actions and choices in the classroom. Hidden curriculum is tricky. All music teachers have it present in their classrooms and ensembles. It often flies under the radar within the good work that we are trying to do with our students. The hidden messages—what we are saying to our students without actually saying it out loud—quite often become the loudest messaging of all. We just don't realize it. For example, by choosing certain composers, emphasizing specific musical genres, or structuring music programs in particular ways, we are inadvertently shaping our students' beliefs about what is important in music and who holds authority in the musical world. From promoting certain composers as the "best" to unintentionally prioritizing traditional ensembles over modern musical expressions during the school day, we tell students what is important, and what is worthy for inclusion in our classrooms.

Uncovering our own hidden curriculum and taking action

The wonderful thing about hidden curriculum is that every music teacher has the power to uncover it and address it as best they can. By engaging in self-reflection, examining our teaching practices, and identifying the implicit messages we convey to students, we can begin to make intentional changes that align with our educational values and the needs of our students. A perfect first step to this is to take stock of what is happening in and out of the classroom. What ensembles are offered at school? How are we teaching music literacy? What music, skills and concepts are present within our curriculum? And, be centering those things we can identify, what then, are we excluding? More importantly, who are we excluding as a result of curricular choices? Our ways of teaching? It's a strategic way to broaden our inclusive practices in realistic and tangible ways.

By listing current practices and considering alternative approaches that promote inclusivity and diversity in music education, music educators can take tangible steps towards creating a more equitable and inclusive learning environment. One practical tool I developed to aid in this process is my "hidden curriculum inventory" (a portion of this is shown below). It is a document designed to help music educators assess their teaching practices and identify areas where hidden messages may exist. In fact, you'll likely uncover quite a bit of hidden curriculum. I encourage you to take one or two items from what you have uncovered and act on those. Remember, hidden curriculum will always be present. As a profession, the best we can do is be more mindful of it and make small shifts to address in along the way.

Portion of "Hidden Curriculum Inventory", ©ErinZaffini

As the school year draws to a close and plans for the future take shape, now is the ideal time to revisit our curriculum, reflect on our teaching philosophies, and strive to take actionable steps that will invite more participation, access, and inclusion in our music classrooms. Happy searching!

Embracing Equity in Music Education: An Ever-Evolving Journey Towards Inclusion and Diversity in Music Education

Music education is a vibrant and essential aspect of our society, enriching students' lives and fostering creativity. However, amidst the melodies and harmonies lies a crucial conversation about equity, inclusion, and diversity. Are we doing enough as a profession to “right the ship,” so-to-speak, in ways that can have real impact on music teachers’ practice in the classroom? Terms such as “diversity”, “equity” and “inclusion” are represented in the literature and during faculty and staff meetings more than ever. Our professional development conferences are (rightfully so) highlighting this all-important goal in music education. The goal of equity. Yet, a common frustration among many music educators I speak with is a lack of clear guidance on how to realistically apply this knowledge into the music classroom and ensemble setting.

Yes, repertoire selection is crucial. But that is only a small piece of the puzzle. Many colleges and universities fall short on taking action to create meaningful change to curricular offerings that help instill a strong equity-mindset among music educators (this is why my school has a master's degree that is entirely devoted to this very goal!). The same is true for professional development offerings at music education conferences.

To be sure, “diversity”, “equity” and “inclusion” are not merely buzzwords but pillars that uphold the foundation of a truly transformative music education system. We must do more than talk about their importance, we must act. Purposefully and with intention. As a profession that is still very much teaching the same way we taught 50+ years ago (at least!), we have made some strides. But there is more to be done. So, what next?

In this post, I'll try to delve into the heart of this conversation, urging music educators to go beyond words and into action. It is meant to serve as a guidepost for those seeking to navigate the complexities of equity in music education. It is meant to help answer the question, “what do I do now”? I hope it provides some clear answers for music educators who are looking for the next practical step that can further the mission of equity in their own classrooms.

Defining Equity in Music Education

Equity in music education transcends beyond an academic endeavor; it becomes a conscious pedagogical choice. It requires continual progress, practice, and patience from educators. The pursuit of equity is not a destination, but a journey filled with learning and growth. From acknowledging diverse student needs to creating inclusive classroom environments, equity in music education demands thoughtful and intentional actions. At the risk of over-simplifying, equity simply asks us to question what each student needs for success both in and out of the classroom. Not only this, but it challenges us to then take on those needs and ensure that we are giving students exactly that. It takes into account the whole child, and acknowledges that in the music classroom, music, and all of those standards that we find ourselves beholden to, are likely not the most important thing—it's our students.

Shifting Mindsets Towards Equity

One of the key ideas that I strive to impart on teachers I work with (and my very own grad students) is the importance of shifting mindsets towards equity in the music classroom. Equity-centered teachers prioritize individual student needs (academic and social and emotional), create space for student voice, and honor student identity and culture. By centering teaching practices around these values, educators can foster a more inclusive and supportive learning environment. What does each student need in my class? What do they want to learn? How can I teach them in a way that centers their own experiences? Their own backgrounds? How can I invite them to be key stakeholders in their own education? What can I learn from my students?

Tools for Equity-Centered Teaching

The idea of becoming an equity-centered music educator can be very daunting. Indeed, as I continue my work with my own students as well as veteran music educators, equity can feel like an “all or nothing” game. The pressure to do everything, all the time, is simply too much. My approach to helping everyone that I work with is to center the notion of “progress over perfection”. Focus on one thing, practice it for months in the context of your own position, and then gradually add something else into the mix. I provide resources to them that help them stay organized (such as the one below where teachers get to pick which element of equitable teaching to focus their energy on for 3-5 months) as they strive to learn what each student needs and what steps they will take to meet those needs. I give them space. I give them time. I let them learn at their own pace. I ask lots of questions and then carefully listen to the answers, without agenda and without judgement. That’s what teachers really need. An opportunity not only to define equity but supports along the way to help them course correct, reflect, and take meaningful and realistic action during their day-to-day work with students—the moments were centering equity matter most.

Moving Forward Towards a More Equitable Future

As music educators, embracing equity is not just a professional obligation but a moral imperative. By taking small but meaningful steps towards equity in the music classroom, educators can pave the way for a more inclusive and diverse future. Let us commit to teaching our students in ways that perhaps we never experienced ourselves as preK-12 students. Let’s continue to support that commitment with realistic action that can provide music educators with the necessary supports they need to put into motion the shifts that are needed in music education. The music education profession demands it. Our students deserve it.