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Everyone Can Sing

[vc_row][vc_column][vc_column_text]A recent article, written by Northwestern music education professor, Steven M. Demorest, over at The Conversation, an “independent source of news and views from the academic and research community, delivered direct to the public,” explored the idea of musical talent.

The most telling fact, one that I have been aware of for most of my career as a choral conductor, is that adults who consider themselves unmusical were often told that they couldn’t sing as children. Prof. Demorest relates part of the story of Sing, an Oscar-winning short film from Hungary about a girl named Zsófi.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Sing tells the story of young Zsófi, who joins a renowned children’s choir at her elementary school where “everyone is welcome.”

Soon after joining, Zsófi is told by her teacher Erika not to sing, but only mouth the words. On the face of it, she accepts her teacher’s request stoically. But later in the movie, her anguish and pain become obvious, when she reluctantly tells her best friend what happened.

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Dr. Steven Demorest
Dr. Steven Demorest

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Our culture has become obsessed with the idea of “talent.” The concept that making music is reserved for the revered few is promoted by shows like America’s Got Talent and The Voice. I don’t want to take away from the entertainment value of these shows – the people that perform on them are certainly gifted. But the reality is this: every child is born a natural musician. They sing and dance and make music from the very beginning. They are surrounded by music – so – they respond by mimicking what they hear. If this inherent ability is fostered the benefits are life-changing.[/vc_column_text][blockquote cite=”Dr. Steven Demorest, Northwestern University”]”…indeed every child has musical ability that can be developed into a satisfying and lifelong relationship with music.”[/blockquote][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Negative feedback can come from many different places, especially peers. Sadly, it can also come from music educators and even parents. This has a lasting effect on self-esteem and the desire to make music, especially singing. Singing is an intensely personal activity. It’s just you – no external instrument. You can’t put the instrument down and ignore it. You carry it with you. When the singing voice is disparaged, it is very difficult to not allowed that disparagement have an impact on the entire self.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Combating the “Talent Mindset” with the “Growth Mindset”

Carol Dweck, psychologist, author, and professor, researches why and how people succeed. Here’s the main point of “Growth Mindset”:

Students who view their success as a result of hard work will persevere through challenges, while students who believe their success lies with some innate ability – like “talent” – are more likely to give up.

Watch Dr. Dweck’s TEDTalk below.[/vc_column_text][vc_video link=”https://vimeo.com/226460812″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]sing[/vc_column_text][vc_column_text]

Encourage, Encourage, Encourage

So what can we do to get kids on board the train destined for a lifelong connection with music? The most important thing we can do is getting them started early. This is one of the reasons Kindermusik classes are open to newborn infants. To be surrounded by music from birth helps set the tone for that lifelong connection. As the child grows, immersed in musical experiences coupled with positive support of their musical activity from parents and educators, their confidence in music making will grow as well – and the host of social, emotional, and cognitive benefits music provides will be part of their life’s journey.

Dr. Demorest tells us that perhaps the most important impact on a child’s desire to continue to make music is having an example of music making in the home.

…if you are a parent, you could sing the music you loved growing up and not worry about how good you sound. Having an adult in the home committed to music and singing without shame may be the most powerful influence on a child. You could sing with your kids from the time they are little, sing with the radio, sing in the car or sing at the dinner table.

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]sing[/vc_column_text][vc_column_text]Along with Dr. Demorest, I find the Hungarian title of Sing very telling. It’s Mindenki, which is Hungarian for…Everybody. It’s perfect, isn’t it? I firmly believe that music is for everybody, especially singing. And when you sing with others you are more likely to have empathy for them, to listen to them when they share their ideas. You become part of a community.

I always tell my students that the main reason we have a singing voice is to give it away to others. That’s certainly true, but for young children, the singing voice allows them to express their joy in a way words alone cannot. It can heal the spirit and free the mind.

Start ’em young and keep ’em singing. They’ll thank you for it later.[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][class_finder_form css=”.vc_custom_1500653314338{padding-top: 20px !important;padding-right: 20px !important;padding-bottom: 20px !important;padding-left: 20px !important;}”][/vc_column][/vc_row]

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Children’s Book Review: The Wonderful Things You Will Be

Children's Book Review

[vc_row][vc_column][vc_column_text]The Wonderful Things You Will Be is a stunningly gorgeous picture book, both in its sentiment and in its illustrations.  Full of expectant promise and embodying the beauty of the unique potential that is in all of us, the author poignantly voices in lilting rhyme what is in every parent’s heart as they look at their child, whether it’s looking into that sweet tiny newborn face or the eyes of your child grown up too fast and about to graduate.

Written and illustrated by Emily Winfield Martin, The Wonderful Things You Will Be is one of those books that is a delight for both parents and children to read, and one of those beloved books you don’t mind reading over and over and over again.  The story is full of hope, acceptance, and limitless possibility, but is written in such a way that its message deeply resonates in the hearts of young and old alike.
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Beautiful artwork accompanies the touching sentiments.
Beautiful artwork accompanies the touching sentiments.

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“This is the first time
There’s ever been you,
So I wonder what wonderful things
You will do.”

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]With gentle humor and questions throughout the book, the author cleverly creates opportunities for lots of discussion about each person’s special gifts and the unique contribution he or she is meant to make to this world.  But the author also states the loveliest of assumptions and timeless truths such as:[/vc_column_text][vc_column_text]

“I know you’ll be kind…
And clever…
and bold.
And the bigger your heart,
The more it will hold.”

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]The illustrations are absolutely gorgeous, lending to the heart-tugging effect of the book, and with a very creative and surprise gatefold at the end, this is a delightful book to read, share, and gift.  We’re sure it will become one of your favorites, just as it has quickly become one of ours!

The Wonderful Things You Will Be, written and illustrated by Emily Winfield Martin, is available at your local book shop and online at Amazon in both Kindle and hardcover formats.

[/vc_column_text][vc_column_text]Review contributed by Theresa Case who has had the joy of helping children and families begin to discover all of the wonderful things they can be through her award-winning Kindermusik program at Piano Central Studios in Greenville, South Carolina, for over 20 years now.[/vc_column_text][/vc_column][/vc_row]

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The Neurosciences and Music VI: Music, Sound, and Health

Neurosciences and Music

[vc_row][vc_column][vc_video link=”https://youtu.be/loX3AH3Rstc”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Since 2001, the Mariani Foundation for Child Neurology in Milan, Italy has been promoting conferences focused on neuroscience and music. This past month, the sixth conference took place in Boston, Massachusetts. This year, the Keynote Speaker was Dr. Josef Rauschecker of Georgetown University’s Laboratory of Integrative Neuroscience and Cognition. His keynote dealt with the auditory cortex in primates and how music is processed in the brain.

Neuroscience and Music
Dr. Josef Rauschecker

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Selected Presentations

Musical function modification through the use of noninvasive Brain Stimulation
Gottfried Schlaug
Beth Israel Deaconess Medical Center, Harvard Medical School, Boston, USA

Effects of a music therapy intervention for individuals with dementia and their family caregivers
Suzanne B. Hanser
Berklee College of Music, Boston, USA

Developmental trajectories for musical rhythm perception
Erin Hannon
University of Nevada, Las Vegas, USA

Rhythm, synchronization and early social development
Laura Cirelli
University of Toronto Mississauga, Canada

Rhythm in social communication: Evidence from typically-developing infants and toddlers and implications for children with autism
Miriam D. Lense
Vanderbilt University Medical Center

SIMPHONY: Studying the impact music practice has on neurodevelopment in youth
John A. Iversen
University of California, San Diego[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Neurosciences and Music conferences attract some of the most prominent scientists, researchers, and thinkers in the world. John Iverson, an assistant researcher at University of California, San Diego’s Institute for Neural Computation and the last presenter listed above, regularly speaks about music and the brain. Here he is presenting at a TEDxSan Diego.[/vc_column_text][vc_video link=”https://youtu.be/M2sqXbwlaWw”][/vc_column][/vc_row]

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Alex and Music’s Magic: A Kindermusik Story

Kindermusik Story

[vc_row][vc_column][vc_column_text]Mark and Kim Elicker and their son Ethan were a wonderful family, but they all had so much more love to give. About six years ago they traveled to China to adopt two year old Alex. This is his story – a story of endless love and musical magic.

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Kindermusik for Ethan

Before Alex came home to his family, Kim, an early childhood educator herself, took her son Ethan to Kindermusik from the time he was a baby until he aged out. Lydia Klinger was their Kindermusik educator and really drew the family in. Kim shares why she choose Kindermusik:

Lydia was the reason we started and fell in love with the program. With Ethan I admit I valued the social benefits of being with other Mom’s and families. As an early childhood educator I connected with the developmental appropriateness of the curriculum. Years later when we adopted Alex, I once again became a stay at home mom and I wanted that connection to other families. I chose Kindermusik again with Alex because I loved it so much with Ethan, but I honestly, remember seeking activities that I believed would foster our bond and attachment.

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The day Alex legally became a member of the Elicker family!
The day Alex legally became a member of the Elicker family!

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Alex Comes Home

When Alex came home with the Elickers at age two he wasn’t very verbal. He was a child surrounded by sounds he had never heard. Occasionally, he’d speak a word or two of Mandarin, like mā-ma (mother), bà-ba (father), gē-ge (older brother), and siè-sie (thank you).

Dr. Boyle: When Alex came home with you, how would you describe him?

Kim Elicker: He was quiet and energetic, though when he first came home he didn’t have a lot of stamina. He was curious and resourceful! He could play with a bucket, a box of crayons, and a paper bag. That was just him – he didn’t need anything fancy.

DB: You mentioned he wasn’t very verbal.

KE: He wasn’t. And that’s a typical very typical of children who are adopted into a family who speaks a different language than he was born into.

DB: Right…so what he had been hearing for the first two years of his life, he’s wasn’t hearing that any more and was a completely different environment for him.

KE: Exactly. In our situation, everything changed – what he saw, what he heard, what he smelled, even what touched his skin. It was all very different.

DB: So…you shared with me that on days he was going to Kindermusik, Alex tended to be more verbal.

KE: Yes. In the beginning, receptively he picked up English rather quickly. He was following simple one step directions.

DB: Little kids are sponges.

KE: Yes! But his communication pretty much shut down verbally. We expected that from classes we took before the adoption. His brain was switching gears. We read to him, we talked to him, we engaged him all the time, but he didn’t attempt to speak a lot.

When we started Kindermusik, in the beginning much of it was listening in that particular first program he was in. I noticed his concentration level – his focus – was very intent. He would be very tired those afternoons after Kindermusik in the morning!

By his second set of classes, I started noticing a change. We’d go to Kindermusik, we’d have lunch, and the rest of the day he’d be much more talkative. He’d attempt new words. Anytime he tried new words, it seemed to be on Kindermusik days. Once I noticed the pattern, I really started paying attention to it. It followed this trend for about a year.

DB: And did you take part in the classes with him?

KE: Yes.

DB: That’s great. There’s all this research out there that tells us that because of the way music impacts the brain, when you make music with another person, it builds empathy between you and the other person, it builds trust between you and that other person. You can become more comfortable with that person when you share a musical experience.

KE: That’s an interesting take on my situation. When you are first adopting you need to build trust. That’s part of the attachment process. It’s an interesting thing for me to hear you say – it makes total sense![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Alex and Ethan
Ethan and Alex having fun in the band room.

[/vc_column_text][vc_column_text]DB: Sounds like Kindermusik was an important part of Alex’s process.

KE: Yes! I remember sharing the news of Alex’s increased verbal activity with Lydia, our Kindermusik educator. She said it just gave her chills! She was excited to get that feedback.

DB: I would imagine! Kindermusik is certainly fun with music and movement, but the mission is really to help kids develop socially and emotionally…getting them to interface with other kids and have positive interactions with adults. It helps them move through those developmental domains.

KE: Certainly. And in our case, it was quite obvious because he wasn’t really verbal at all…it was very easy to pick up on when was happening.

DB: It’s just so cool to hear about this – a very specific situation in which music helped a child affected by a rather involved transition find his voice. That’s music reaching parts of the brain that everyday speech or conversation does not. I would imagine that music coupled with music was helpful.

KE: Yes! That was his other area. According to the typical US standard, he would have been lacking in gross motor. Within six months he had caught up. The movement in the class was beneficial.

DB: That’s great. So how long did Alex do Kindermusik?

KE: He was five, almost six when we stopped. When we love something we stick with it![/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Kindermusik Educator
Lydia Klinger, the Elicker’s Kindermusik Educator, with Ethan, and guest trumpet player Allen Vizzuti.

[/vc_column_text][vc_column_text]Kindermusik was a very important part of the Elickers lives. Ethan, now 15, lives for the trumpet and plays as often as he can. And Alex? He’s going into third grade this fall. He’s taking piano lessons and singing in church. His ultimate goal is to play organ!

Lydia, their Kindermusik Educator, retired after 20 years of serving musical smiles to her community. She now plays with the Harrisburg Symphony. The Elickers still keep in touch with her. Recently, she arranged a meeting with the Symphony’s guest trumpeter, Allen Vizzuti and Ethan.

For the Elickers, participating in Kindermusik classes helped smooth the complex process of an international adoption, helping Alex open up and explore his verbal possibilities in his new language. As an educator, Kim knew exactly what was happening. As a mom, she got to see music work its magic in her son’s young life. Friends, that’s why Kindermusik Educators do what they do. They are in it to change lives.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Ethan prepares to play a duet with a friend.
Alex prepares to play a duet with a friend.

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Independence Day and the Music of the USA

Independence Day

[vc_row][vc_column][vc_column_text]Happy Independence Day to those celebrating in the United States! Music has been with us from the beginning. Native peoples had their own music, used for ceremony and celebration. Settlers from Western Europe, mainly from the British Isles, the Netherlands, France, and Spain, brought with them a rich musical tapestry. Folk songs, tavern songs, and religious music from these cultures provided part of basis of an American musical sound. The music of the fields – songs of the slaves – were the bedrock of gospel, jazz, blues, and rock and roll, which were some of the first truly American original musical genres. Let’s learn a bit about American musical heritage!

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Folk Songs

Folk music of just about any culture is the musical language of its people. Often times, the rhythms and melodies are related to how people speak – the cadence of their speech patterns. What songs were popular in the late 1700s, right around the date of American independence? Here’s an example…Early One Morning, an English folk song that tells the tale of a young maiden forsaken by a young man.[/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=ZGYdD3M6BH8″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Here’s an early video recording of a Scottish folk song, The Four Marys, that found its way to Appalachia. It dates back to the middle of the 1700s. This recording is from 1966.[/vc_column_text][vc_video link=”https://youtu.be/mrPTrkpO6EQ?list=PL7C924A91D47257E1″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Tavern Songs

Our National Anthem actually uses the tune of an English drinking song, To Anacreon in Heaven, a tune written in the mid 1770s by John Stafford Smith for the Anacreon Society in London. Here is an ensemble at the University of Michigan performing the original work.[/vc_column_text][vc_video link=”https://youtu.be/3l-n64NWHS4″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Songs of the Fields

Africans from a tremendously wide variety of ethnic groups were brought to the colonies against their will and were forced into slavery. They brought music with them, rich in polyrhythms (multiple rhythms at once) and syncopated rhythms (think Satisfaction by the Rolling Stones – lots of syncopation there). The percussive nature of this music, coupled with syncopation and call and response formats, would find its way into many popular forms of the late 1800s and the 1900s such as blues, jazz, gospel, and rock. Listen to Roll Jordan, Roll, taken from the movie, 12 Years a Slave. Clapping on the back beat (beats 2 and 4), the syncopation on the word “Jordan,” and the contrast between the solo voice and the full group are all typical of the genre. Most slave songs related stories from the Bible, especially those that dealt with freedom.[/vc_column_text][vc_video link=”https://youtu.be/7oFcFzJT7Tw”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Early American Hymns and the Sacred Harp

In the late 1700s and into the 1800s, early shape note singing was used in New England, and worked its way down to the south and out to the west. In 1844, a collection of tunes called The Sacred Harp was published. Groups would gather together, without instruments, sit in sections in what is called the hollow square, with a leader in the center who calls the number of the tune to be sung. In recent years, Sacred Harp singing has experienced a resurgence. The tunes are characterized by even rhythms and are often based on the five note pentatonic scale (our normal scale has seven notes). Take a look at this mini-documentary on Sacred Harp singing.

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Blues, Gospel, Jazz, Country, and Rock and Roll

Without the American genres of Rhythm and Blues and Country of the first half of the 20th Century, the American genre of Rock and Roll wouldn’t exist today. The music of African slaves found its way into churches and the folk songs of Europeans morphed into songs of Appalachia and influenced Country music. The melting pot of the United States does more than mix cultures, it also mixes the music of those cultures. We can trace the uniquely American musical genres of today back to the music of those that brought their music here. Here’s an early bluesman, Big Joe Williams, singing and playing Baby Please Don’t Go from 1935.[/vc_column_text][vc_video link=”https://youtu.be/g22l1hnAnlA”][vc_column_text]Now…fast forward 70 years or so and you can hear Aerosmith’s rendition of that original blues tune. Take a listen. Sounds a bit different…but you can hear its roots in Big Joe Williams’ music.[/vc_column_text][vc_video link=”https://youtu.be/9r25eLFBAc4″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]In the grand scheme of things, we are a young country. England’s been around in one form or another for over 1000 years. China, depending on who you talk to, is over 4000 years old. We’ll hit 250 in just under 10 years. But music…music is timeless. And once that music finds its way into our bones, it becomes part of who we are. You can’t tell the American story without Rock and Roll and R & B, without Country and Hip Hop. So while you’re watching fireworks this year, be sure to listen to some American music! There’s lots to choose from. I’m old fashioned – I’ll settle in with some booming Sousa marches. In fact, that’s what I’ll leave you with – Captain John Philip Sousa’s immortal march, The Invincible Eagle March. Happy 4th of July![/vc_column_text][vc_video link=”https://youtu.be/1hXGZwHsTcM”][/vc_column][/vc_row]

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Music’s Effect on the Developmental Domains

[vc_row][vc_column][vc_column_text]When we say that music is a powerful tool for learning, one of the biggest reasons is because music positively affects every area of a child’s development.  And for over 30 years, one of the strongest advocates for early childhood development through music and movement has been Kindermusik International.

With a music and movement curriculum entrenched in research and infused with joyful activities that make learning effortlessly fun, it’s no wonder that parents, experts, therapists, and doctors have recommended Kindermusik over and over again for an experience that inspires giggles, bonding, and learning in every critical area of a young child’s development.

But don’t just take our word for it.  For some enlightening and fascinating resources, here are the links to some of that incredible research that is at the core of all that Kindermusik was founded, created, and built upon – research that continues to be affirmed over and over by further research and advances in technology.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Cognitive Development

Graphic-Learning-Domain-Icons-single-cognition-144x144[/vc_column_text][vc_video link=”https://vimeo.com/222523817″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Language & Literacy Development

Graphic-Learning-Domain-Icons-single-language-literacy-144x144[/vc_column_text][vc_video link=”https://vimeo.com/222523998″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Math & Logic Development

Graphic-Learning-Domain-Icon-Math-Logic-144x144[/vc_column_text][vc_video link=”https://vimeo.com/222524206″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Social-Emotional Development

Graphic-Learning-Domain-Icons-single-social-emotional-144x144[/vc_column_text][vc_video link=”https://vimeo.com/222524484″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Physical Development

Graphic-Learning-Domain-Icons-single-physical-144x144[/vc_column_text][vc_video link=”https://vimeo.com/222524639″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Creative Development

Graphic-Learning-Domain-Icons-single-creative-144x144[/vc_column_text][vc_video link=”https://vimeo.com/222524801″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Musical Development

Graphic-Learning-Domain-Icons-single-music-144x144[/vc_column_text][vc_video link=”https://vimeo.com/222525015″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]It doesn’t take an expert to see how every part of a child’s heart, soul, and mind can be powerfully impacted for a lifetime by early childhood music and movement classes.  That’s why so many of us believe in the power of music, and because of that, believe in everything that is completely delightful and utterly magical about Kindermusik.

Want to learn more? Download these research studies from Kindermusik International.

[/vc_column_text][vc_column_text]Shared by Theresa Case, who’s been making a difference in the lives of children and families through her award-winning Kindermusik program at Piano Central Studios in Greenville, South Carolina, for over 20 years now.[/vc_column_text][/vc_column][/vc_row]

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Kindermusik Reviews: What Do You Do With A Problem?

Problem

[vc_row][vc_column][vc_column_text]I’ve said it before and I’ll say it again: I love books that ask questions. A question immediately engages a child before you even start reading a book. Their minds spin…they want to know the answer. And in the case of Yamada and Besom’s beautiful book, What Do You Do With A Problem, finding the answer to that question is a journey of what-ifs that just about every child and adult can relate to. Let’s dig a little deeper. 

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]probelm_1[/vc_column_text][vc_column_text]Meet our nameless main character. The choice to represent the protagonist without a name easily allows a child to subconsciously slip their own name into the story. It’s told in the first person – again, all of these I statements will connect your little ones to the plot. From the first page, we see the also-unnamed problem manifested as a dark cloud above our young friend’s head. Who can’t relate to this imagery?…the shadowy, floating void that follows you no matter where you turn. The opening lines set the tone:[/vc_column_text][blockquote cite=”What Do You Do With A Problem?”]”I don’t know how it happened,
but one day I had a problem.
I really didn’t want it. I didn’t ask for it.
I really didn’t like it having a problem,
but there it was.”[/blockquote][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Like any of us might do in a similar situation, our new friend tries to ask the problem questions. Nothing works. As the story progresses, the problem grows and starts to make its target worry. Some questions any child might ask are proffered:

“What if it swallows me up?”
“What if my problem  sneaks up and gets me?
“What if it takes away all my things?”

The apparent lesson grows along side the growing problem. The more you worry about the problem, the bigger and bigger it gets.

Mae Besom perfectly illustrates the increasingly large problem, filled with wayward compass points, curious woodland creatures, rain clouds, and jagged tree branches.

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Hiding doesn’t work. Avoiding it doesn’t work. Senselessly dwelling on it doesn’t work

What is our friend to do?

A ha! Face the problem and plan how do deal with it. And what is found inside is the revelation of the book. Inside the problem is an opportunity. The dark drawings of the previous pages are filled with the beautiful light of opportunity. The lesson of the book is revealed with our friend now dressed as an explorer, looking for more opportunities.[/vc_column_text][vc_column_text]

problem_2
Our young protagonist sets sail, searching for the next opportunity.

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Kobi Yamada tells a wonderful story in a way that draws a child in. They’ll be able to see themselves in the book. Yamada cleverly leaves gender out of the picture, as does Besom, making it easy for any child to instantly relate to the main character.

The illustrations transition magically from dark and shadowy to bright and airy. Children will go on the journey and realize that self-regulation can be its own reward.

What Do You Do With A Problem? answers its own question with ease. Part of a whole series of books for young kids that ask questions, this transformational tale will quickly become a favorite! The book is currently available in hardcover from your favorite local bookseller or online.[/vc_column_text][/vc_column][/vc_row]

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Barry White: Life Changer

[vc_row][vc_column][vc_column_text]Public School Educator Barry White, Jr. grew up in the New York City Borough of Queens – Cambria Heights, Queens to be precise. It’s about as far out as you can go before leaving New York City and venturing out to Long Island, proper. White’s alma mater, Claflin University, is located in Orangeburg, South Carolina. There are about 14,000 people living there in an area three and a half times larger than where he grew up. The contrast is striking. He fell in love with the south and wound up staying to start his teaching career. His experiences, both as a student and a young teacher would impact his teaching style and how he interacts with his young scholars. 

[/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=4JueNr1e0H4″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Dr. B: So…a New York City resident in the South. Did you get teased about the accent?

BW: All the time! Down here in the South they can hear it…”I can tell where you’re from!” But then I go back home and they say “Man, you’re Southern now…you lost your New York accent!” I’ve been one to adapt to those around me and take on their language and vernacular.

Dr. B: Sure – it helps with acceptance and becoming part of the group.

BW: Definitely!

Dr. B: Are you saying “ya’ll” yet?

BW: Ha! No, I haven’t got that deep yet.

Dr. B: So when you decided to leave Queens, you left to go to college, yes?

BW: Yes. I went to Claflin University in Orangeburg, South Carolina.

Dr. B: Do you think your educational experience as a kid while growing up in Queens has impacted how you interact with your students?

BW: I would definitely say so. I grew up in an urban neighborhood – an urban school where we had to go through metal detectors entering the building. When it comes to interacting with kids from that background, how to speak with with them, how to relate to them; I’m not a fish out of water. We can have great conversations because of that shared experience, because of what I was accustomed to growing up. I can say to my students “I understand how you’re feeling. I experienced this, too.” And the kids can relate. It definitely makes a big difference in our relationships.

Dr. B: When you were at Claflin, where did you do your student teaching?

BW: I did my student teaching at Whitacker Elementary. My phenomenal mentor teacher was Miss Kennedy. That was probably one of the most amazing times I’ve had. I was able to see how she handled her classroom. Her management was so spot on. I learned a lot from her.

Dr. B: What about your first year teaching? What did that first year teach you that you didn’t learn in college?

BW: My first year I taught in a small town here in South Carolina – Jefferson Elementary in Jefferson. There I had a a phenomenal coach as well in Miss Garrison. The atmosphere was so inviting. The staff itself was a family. You could tell right away. They took me in, being from New York. I didn’t have any family around in Jefferson, South Carolina. They taught me the value of relationships with other adults. It would have been rough for me as a new teacher just coming in there if everybody was just doing their own thing.

Dr.B: They showed concern for a new teacher.

BW: Exactly. It would have been a rough experience without that. I had amazing kids that year. It wasn’t curriculum based. It was paced and guided. I was able to express my own creativity. I was able to say “Ok, I want to try this…” They allowed that in the classroom. I was basically given the keys to the classroom and told “whatever you think is a great idea, go for it – let’s see how it works. We’ll check in on you and help you with whatever you need.”

That kind of environment really dictated where I am now as an educator. That experience the first year let’s you figure out whether you really want to stay in the classroom. Being in that type of environment and having those types of people around me – big on family and building relationships – really made it comfortable for me. It was a great first experience because of them.

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][blockquote cite=”Barry White speaking about his mentor at his first job, Ms. Garrison”] “She played a big part in showing me how someone can extend their hand to somebody they just met and change their world. It definitely did mine.”[/blockquote][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Barry White
Mr. White takes a selfie with some of his students.

[/vc_column_text][vc_column_text]Dr. B: Sounds like they made you feel like a teacher right away.

BW: Absolutely. There were no training wheels. They wanted to make sure I knew “Hey – we are equal. You are a teacher just like us and we are going to do everything we possibly can to make you feel that way.”

Dr. B: You mentioned Miss Garrison…

BW: Yes – she was our literacy coach. She coached all the grades – K-5. For me, she was more than a coach. She became my school mom. Fresh out of college – young guy – the only African American male in the building, period – and the only male teacher…

Dr. B: Oh, wow!

Yes…exactly. You could feel isolated. She was almost like my mom. She invited me to Thanksgiving, to church, to play ball with her kids. She took me in and made sure I knew…”This is our family and you are part of our family now.” She played a big part in showing me how someone can extend their hand to somebody they just met and change their world. It definitely did mine.

Dr. B: Sounds like you were in the right place at the right time.

BW: You hit the nail on the head. The timing couldn’t have been more right. I was coming in to a small town – everybody knew each other and I’m the first male teacher in the school. There are a lot of things that come with that. The people there made me love my job and what I do. Of course the students played a big part but to have that type of family environment really set the tone for my career path.

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Barry White
Mr. White having some costumed fun with his students.

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The Beginning of the Handshakes

DR. B: That’s really fantastic. How long have you been teaching in Charlotte, North Carolina… at your current post?

BW: This is my second year at Ashley Park.

DR. B: How long have you been doing the handshakes with the students?

BW: Last year, I started doing a handshake with one student; that’s really what kind of sparked this. She was a 4th grader and I was teaching 5th grade. She’d wait outside my classroom every morning to do a handshake…something that seemed so simple to anybody on the outside looking in. It meant so much to her. She knew she was important to somebody, and that set the tone for her entire day. It was so powerful for me to see that.

This year, I pulled out to my entire 5th grade class. At the beginning of the year at recess I’d say to a student, “Hey, you want to do a handshake with me?” As I was already looked as the “cool teacher” everybody jumped on it. It was so amazing to see the joy and excitement – it was contagious. It spread down the line and increased the level of engagement. It speaks to how I feel – everybody should feel important to somebody…to know they matter. This shows them that I care about them, that I respect them, and I respect you enough to take the time to remember it.

I’d be remiss if I didn’t mention that LeBron James inspired me a little bit. His team has that trust and that bond with each other with their handshakes, I wanted to take that concept and make sure I applied that to all my 5th grade class this year.

DR. B: It’s that safe physical contact, too – the idea that another human being wants to connect with you in a safe way – I think it’s really positive. Speaking of positive – negativity and positivity are similar in that they are both contagious.

BW: Absolutely.

DR. B: If you are a negative person that can spread like wildfire, but if you’re a positive person, I think that can spread at an even faster rate because it feeds the soul. Do you think that if that young 4th grader hadn’t started this last year that you would never have done this with your whole class?

BW: She definitely sparked it…accelerated it. I probably would have gotten there eventually, but seeing how much that meant to her certainly impacted me.

DR. B: Once you initiated this with all of your students, did you see a change in the classroom atmosphere?

BW: Absolutely. Like I tell my colleagues, before I can ask a cild to invest in the the content I’m teaching them, they have to invest in me. We’re constantly told, make your content culturally relevant. Make the content relevant to their lives. But we have to step back and ask ourselves, “Am I relevant to their lives?” It won’t matter if the content is relevant if they don’t see me as relevant.

As a result of the handshakes and other relationship building techniques, I’ve seen an increase in engagement in class – and that’s probably the number one thing you can ask for as a teacher. Everybody’s paying attention…they’re listening to what you’re saying. They’re able to grasp the content better than they would if they were distracted. The culture in the classroom is more positive.

DR. B: There’s that word. Positive.

BW: Exactly. When a scholar gets a question right, their clapping for him; they’re cheering for him. I’m not even cueing this. The other day, one of my scholars was taking a bit of time to answer a question, and one of his colleagues turned around and said, “You got this!” She sparked it and everyone else joined in. “Let’s go Donald! Let’s go D!” Once he got it, everybody started clapping. The amount of positivity is amazing.

DR. B.: I love the fact that you call them scholars.

BW: It’s standard at Ashley Park – we refer to our students as scholars because they are scholars. Sometimes I might throw in Mr. or Miss, to give them that proper respect.[/vc_column_text][vc_video link=”https://www.youtube.com/watch?v=zuBcWPXqHGI”][/vc_column][vc_column][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]DR. B.: It almost sets a standard without setting the standard. If you call them something and they have a choice to live into that standard because of the trust that you are building with them.

BW: Definitely. It silently influences them without them knowing it. Just hearing that name, you start to buy into that.

DR. B: I teach at a university outside of Pittsburgh and we are constantly placing students with co-op teachers for their student teaching experiences. I wish I could send a student down to you! They’d learn so much.

How would you say this process that has unfolded over the last year has changed you as an educator?

BW: Well, I really think I’m starting to see the bigger picture. Fresh out of college…teaching…you can get caught up in test results…data…the logistics…professional development. That can become stressful and make a lot of educators resent their jobs. It’s really a 24 hour job.

You can let that affect you – or – you can really see the bigger picture, and for me, is the idea of really impacting these students, and nit just academically, but as people, by building their character. For me, I make sure my classroom management is tight and we’re getting the job done scholastically, but the thing I want them to really remember is how I treated them. That can become contagious. “When I was in 5th grade I had a teacher who showed me the utmost respect…who really cared about me.” I want that positivity to spread to someone else. They might remember 65% of what I teach them but they will always remember 100% of how I treated them.

We’re building the next generation, the next president, doctors, professors…I want them to have that same attitude – to treat other people fairly and with respect.

DR. B.: It’s really clear that you are taking the time to build empathic, compassionate people that realize they are part of something bigger.

BW: 100%. Really focusing on their emotional intelligence. Self-awareness…self-regulation…really driving that in. That’s a really huge part of who we are.

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One Last Question

DR. B.: I can tell from talking to you that the handshakes are just a very small part of who you are as an educator. It’s been an honor talking to you! Outside of the handshake, from where do you draw your inspiration, both in life and in the classroom?

BW: One – my faith; keeping God in my life. And really from my parents. Watching how they treated me, my siblings,  and even other people – especially my Dad – everywhere we went he had a smile and a complement for people. “Hey, your hair looks nice!” It didn’t matter. He was always kind. I watched the people’s reactions and how it made them smile and how it made their day. I’ve been inspired by Mrs. Garrison and my people here. I constantly see how much other people value relationships and how much effort they put in to build something positive. The biggest thing – my scholars. They are so full of positivity. I think about the impact I can have on so many children – and you never know what they are going through. To be that positive beacon of light drives me.

DR. B: Well…it’s obvious to me that you live for your scholars. I’m grateful for you and for your time, Barry. Thanks so much!

BW: Thank you for reaching out!

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Barry White is exactly who you’d expect him to be: a kind, generous, intelligent man who would do anything to make sure his scholars know they are cared for. The world needs more educators like him![/vc_column_text][/vc_column][/vc_row]

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Music and the Bridges it Builds

[vc_row][vc_column][vc_column_text]My earliest memories involve music. My mother would sing I’ve Got a Crush on You to me as a very young child. Most of my closest friends came to me through music. I met my wife because of music. When our children came into the world, music was playing in the delivery room. Music has been the master builder in my life, building bridges and strengthening relationships. I knew from a young age that my career would involve bringing music to others. The relationships with those with whom I make music are some of the strongest in my life. How does music do that? How does it wrap itself around the invisible connections between people and reenforce them?[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

Trust and Empathy

As a kid, I was acutely aware that kids I sang with in choir or played with in band were closer friends than those friends with whom I didn’t make music. In fact, as a 40-something year old man today, the school age friends I remain connected to today are all friends who shared music making with me. While one could argue that this was simply because of the amount of time we spent together, science tells us there’s a bit more to it.

When you make music with someone, it has an impact in the part of the brain (the supramarginal gyrus in the cerebral cortex for those who really want to know) that deals with empathy, trust, and compassion. This area lights up when one makes music. If you’re making music with others, you will be more likely to empathize with them, to feel compassion toward them. Perhaps this is the secret behind the documentary Playing for Change: Peace through Music. If you feel empathy and compassion for a fellow human. you are more likely to relate to them. It’s hard to call someone you relate to an enemy.[/vc_column_text][vc_column_text]

Bridges
The supramarginal gyrus (G. supramarginalis) of the cerebral cortex – found in the red area.

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Teamwork and Cooperation

Think about what it takes to make music with other people – you must coordinate entrances, tuning, rhythm, pitch, breathing, dynamics, phrasing…the list goes on and on. Much like team sports, making music with others requires giving up a little of yourself to be part of the whole. All of this cooperative work can result in something called biological entrainment. As groups breath together, heartbeats can become synchronized. This biological coordination happens pretty quickly. Pretty amazing, isn’t it? Psychologist Jill Suttie puts it this way:

Performing music involves coordinating of our efforts, too…at least if we want to produce a pleasing sound. According to researchers, when we try to synch with others musically—keeping the beat or harmonizing, for example—we tend to feel positive social feelings towards those with whom we’re synchronizing, even if that person is not visible to us or not in the same room. Though it’s unclear exactly why that happens, coordinating movement with another person is linked to the release of pleasure chemicals (endorphins) in the brain, which may explain why we get those positive, warm feelings when we make music together.

– “Four Ways Music Strengthens Social Bonds” – Greater Good in Action: Science-based Practices for a Meaningful Life

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Musical Bridges

There are so many instances in which music has been the bridge between cultures – as the art form exists in every culture on earth. Take the instance of Daniel Barenboim, a well-known Jewish conductor, and Edward Said, a Palestinian born American citizen. Their friendship resulted in some musical bridge building. From Culturesofresistance.org:

Their friendship led them to hold a series of public talks at New York’s Carnegie Hall, which were gathered in the book Parallels and Paradoxes. The reception was so positive that in 1998 the two launched an ambitious project together: the West-Eastern Divan, an annual summer workshop that brings together young musicians from Israel and the Arab world (Egypt, Syria, Lebanon, Jordan, Tunisia and Palestine) for musical training and cultural seminars on neutral ground. The first workshop took place in Weimar, Germany, in 1999. Since 2002, the workshop has made its permanent home in Seville, Spain. Each summer, following the workshop, the West-Eastern Divan Orchestra gives a series of public concerts. They have performed in Europe, North and South America, Cairo, Ramallah, and Istanbul.

This orchestra is still in existence and continues to build bridges between young musicians from these different cultures. The groups motto? Equal in music.[/vc_column_text][vc_column_text]

Barenboim rehearses the West-Eastern Divan Orchestra.
Barenboim rehearses the West-Eastern Divan Orchestra.

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A Life Well-lived in Music

I am eternally grateful to count among my close friends musical colleagues, former students, and fellow musicians from my childhood. Not all of those elementary friends went on to be professional musicians, but most still make music on a regular basis. They’ve encouraged their kids to get involved with musical activities, as have I. The gift of music creates ripples that move outward, impacting the musicians, their audiences, and how their audiences interact with the world.

It’s what we need – more and more music.

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Finding your Place in the Performing Arts

[vc_row][vc_column][vc_column_text]Some kids are naturals, born for the stage. You’ve seen them before. Little or no training and singing and dancing like pros. For some, performing does not come that easy, if they can do it all. I know a student that struggled to find his place not only in the music room, but in any room. His story can be an inspiration to us all.[/vc_column_text][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]I met Matthew 4 years ago when he was a 2nd grade student. Frequently during music class, he would hide behind the other kids, in the back of classroom, often too self-conscious to participate in the lesson. He once ran out of the room crying because he thought the other kids were looking at him and saying he wasn’t doing things right. When it was time to play recorder in 3rd grade, Matthew drew on his papers instead of playing. Even when I encouraged him to stay after class to play when no one else was watching, he declined saying he couldn’t do it. During 4th grade, which was a very difficult year for Matthew, he was diagnosed with Autism. This explained a lot of his behaviors, but did not solve them. Through a carefully thought out plan for behavior and academics, Matthew slowly began to show improvements. Although his work was steadily improving, Matthew struggled to find his place among his peers. Because of his frequent outbursts, name calling, and accusations of wrongdoing that are part of his disability, Matthew struggled to be recognized as a friend by his classmates.
This year, Matthew is in 5th grade. At the start of the year, he signed up for chorus. While I knew Matthew to be a good singer, I wondered how he would handle the large number of students in the group (62) in our small music room. More than half of the students he didn’t know at all because they were in 6th grade. Not only did he sit in the front row for every rehearsal, he seemed to thrive as we sang together. He was finding a place. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]In January, our school was mounting our first ever musical production. While Matthew didn’t audition, he was very interested in coming to see the show, Schoolhouse Rock LIVE! Jr. in February. While eating lunch one day, I mentioned to my fellow specialists that I needed some planet artwork for the song ‘Interplanet Janet’. The art teacher said she knew just who I should ask…Matthew! As often happens to children on the autism spectrum, they find one specific thing and focus on it. Matthew had an fascination with all things related to the solar system, and he was GREAT at drawing the planets! I bought some poster board and went to ask Matthew for a favor. When I told him I needed him to draw the planets so we could use them in our show, he started shaking and crying he was so excited. I then took him to the art teacher, who gave him some of her “special” markers and pencils to use for the project. She let him keep them when he was done. For the next few days, Matthew kept showing up at my door to deliver the most recently completed planet and to get the next poster board. He was beaming every time I saw him!

We performed our musical two nights for the public and in two assemblies for the students of our school. When Matthew attended his assembly, we were anxious to see his reaction to his planets. When we got to ‘Interplanet Janet’ and his planets were up for all to see, he could not contain his excitement. He was crying, smiling, shaking, and saying, ‘This is best day of my whole life. Everyone can see my planets. This is my dream come true’. Needless to say, we were all crying too.

The planets were then displayed in the hallway and when I recently took them down, I gave them to Matthew. I’m sure they are now hanging in his room as a reminder that he was ‘part of the show’. [/vc_column_text][vc_separator][vc_column_text]Jane Boyle is a 22 year veteran music educator who has taught in New York, Hawai’i, California, Indiana, New Jersey, and Pennsylvania. Countless students have passed through her classrooms of the years and have experienced her complete dedication to their musical growth. She resides in Western Pennsylvania with her husband, Dr. Mark A. Boyle, and their two boys, Nathan (a trombonist) and Patrick (a singer). Oh…there’s also two cats, Orpheus and Mimi, and a dog, Skylar. [/vc_column_text][vc_column_text]

Matthew, thrilled to be surrounded by his awesome artwork!
Matthew, thrilled to be surrounded by his awesome artwork!

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