Practial Tips For Beginning Music Teacher Mentoring


Jennifer L. R. Greene, Fayetteville-Manius School, NY Christopher M. Baumgartner, University of Oklahoma Edward C. Hoffman III, University of Montevallo


novice music teachers also must focus on their own contin- ued learning and professional growth. Having a mentor who understands how beginning teachers think and develop can impact how new teachers strategize solutions to a variety of issues during their first years. The Supporting Beginning Mu- sic Teachers ASPA (Area of Strategic Planning and Action)—a workgroup of P-12 and higher education music teachers from the Society for Music Teacher Education (SMTE)—focuses their efforts on describing “effective models of mentoring, induction, professional development, and continued support programs for new music teachers” (http://smte. us/aspas/sup- porting-beginning-music-teachers/). As part of this mission, we offer a window into the developmental stages of beginning teachers so that experienced music educators can effectively mentor the next generation of music teachers. One of the most prominently-researched developmental theories in music education is the teacher concerns model proposed by Fuller and Bown (1975). As suggested by this model, teachers move through three concern-based stages (self, task, impact) as they experience teaching for the first time. Although these concerns appear in distinct stages, teach- ers may progress (and regress) at varying rates, especially when they encounter new situations. Additionally, it is important to understand that these developmental stages are not discrete, but may overlap, occur simultaneously, and/or flow back and forth throughout a beginning teacher’s initial years. Recogniz- ing these varying concerns will allow mentors to tailor their support to best assist mentees in progressing toward the final stage of teacher development. An awareness of the issues common among new teachers may allow mentors to assist their mentees in moving more


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eginning a teaching career as a music educator is an exciting endeavor. Despite an overwhelming enthusiasm to begin work in the school classroom,


quickly through the first stage of concerns (Holson & Heyse, 1990). “Do I belong here? Am I capable enough to teach these students?” Questions like these reflect this initial stage of self- concerns (Fuller & Bown, 1975). A certain empathy might be fostered if mentors reflected upon and revisited their own first years of teaching. By sharing stories of their own early experiences, mentors might better develop a sense of trust and understanding with their mentees, helping to ease men- tees concerns and opening a reciprocal dialogue. Isolation is a particular issue for many music educators—having someone who has “been there” and understands the problems and pit- falls often encountered in early-career teaching may provide unique and specialized support for beginning music teachers. We suggest meeting outside the school environment (e.g., cof- fee shop) to foster this type of non-judgmental relationship between mentor-mentee pairs in a more relaxed atmosphere. Once past the early concerns about themselves, new teach-


ers may have a tendency to focus on task-oriented concerns (Holson & Heyse, 1990). During this second stage of Fuller and Bown’s (1975) proposed development, beginning educa- tors ask questions such as “How do I teach this concept?” or “How can I maintain class control?” Considering the ever- changing landscape of education, day-to-day teaching may seem at times overwhelming for early-career music teachers. Some novices also may be teaching outside their concentration area (e.g., band directors teaching choir), adding to the level of task-oriented concerns. Music mentors might best assist these and all new teachers by helping mentees prioritize the issues at hand—in particular, helping mentees navigate between the curricular/peda-gogical goals (in the classroom) and adminis- trative/ procedural tasks (outside the classroom). The former would be best supported by a music-specific mentor, and the latter a building-specific mentor. If an in-house music men- tor is unavailable, it might be beneficial for a mentee to have


MARCH 2018


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