By Shelby R. Chipman, Ph.D.
Developing a strong desire for at-risk has always been a passion for my innermost drive as a music educator. Part of my approach stems from my education at Miami Northwestern high school, a inner city title-one school with a large population of students who deal with challenging environmental shirts in the community. My public school teaching experience expanded ten years at Miami Central high school, where the program grew from 75 students to 265 students, and performances in the Macy’s Thanksgiving Day Parade in New York City and Bands of America Concert Festival in Indianapolis, Indiana. Most importantly are the opportunities to learn from classroom teachers and study student behaviors during student teaching environments. “There is good in all students. It is our responsibility as educators to bring out the best in all.”
When proper strategies and approaches to learning are well conceptualized, students labeled “at-risk” of failing academically or committing delinquent acts may have positive experiences in the classroom. As society has developed and become complex, the academic and behavioral demands on children have become more challenging. For the purposes of this article, an “at-risk student” is defined as one who exhibits the lowest level of academic success and attainment, and the highest incidence of academic failure. As a whole, at-risk students represent those who are less likely to achieve success in school and life in general. According to Scott, Nelson, & Liaupsin (2002), when effective academic practices are included in the classroom, the likely-hood of student success is improved. While educating at-risk students can be challenging, band directors report that students acknowledge that they made a difference in their lives. This article provides valuable perceptions of Florida Secondary Band Directors in teaching at-risk students.
Scholars’ Thoughts About At-risk Students
On April 26, 1983, the Blue-Ribbon National Commission on Excellence in Education issued an open letter to the American people on the state of our nation’s schools. Gordon & Graham (2003) suggests A Nation AT-RISK: The Imperative for Educational Reform was one of many such reports that year, but its title and incendiary language set it apart almost immediately. We were warned of “a rising tide of mediocrity” in our schools that imperiled the nation’s future. The purpose of this 18-month report focused primarily on secondary’ education and the importance of unifying all subjects. Moreover, school programs were given resources and challenges to include strategies that would provide all students with an equal opportunity to reach higher levels of academic achievement, reduce drop out rates, increase graduation rates, and help students prepare for lifelong learning experiences.
Reimer (1997) states that there is both good and bad news in continuing to focus on music education —despite the radical changes that have taken place in cultures outside of music education —including the change from being a performing culture by necessity to being a performing culture only by the choice of a minority of people. The good news is that the experience for all children of being a performer in general music and the experience of performing in school-sponsored ensembles has been kept alive.
In a study concerning at-risk music students, Barry, Taylor, Walls, & Wood (1990) suggest participation in music activities generates enthusiasm while satisfying a need for creative expression within at-risk students who may be in inferior positions due to low self-esteem. Lacking confidence, students may give up on school, the system, and themselves. The authors further suggest that participation in the arts may break the cycle of failure by providing students with opportunities that will are rewarding. Interests and talents that might otherwise remain untapped are awakened by arts experiences (Taylor, Barry, & Walls, 1997). The Music Educators National Conference (National Executive Board, 1991, p. 26) reports that K-12 music programs should be designed to produce individuals who:
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are able to perform music alone and with others;
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are able to improvise and compose music;
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are able to use the vocabulary and notation of music;
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are able to respond to music aesthetically, intellectually and emotionally;
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are acquainted with a wide variety of music, including diverse musical styles, and genres, representing cultures throughout the world;
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understand the uses and influences of music in the lives of human beings;
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are able to make aesthetic judgments based on critical listening and analysis;
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have developed a commitment to music;
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support the musical life of the community and encourage others to do so; and
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are able to continue their musical learning independently.
Furthermore, it is essential to provide rewarding and meaningful instruction for all students, especially those challenged with academic, social, emotional, abusive, or criminal environments. Academic problems contribute to high unemployment rates noted among at-risk students in and result in a host of societal problems associated with criminal delinquency. Schools retain power to screen and provide training for all those who attend them. Recent Florida Comprehensive Achievement Test (FCAT) scores indicate the need for stronger teaching strategies that encourage students to remain in school. While this test is arguably controversial in its ability to measure success, it is designed to identify a student’s knowledge of writing, reading, mathematics, and science, using benchmarks from the Sunshine State Standards (Assessment and Evaluation, 2002).
While research has focused upon intervention with at-risk students, empirical studies indicate that music education designed for at-risk students is limited in design, despite results that suggest integrated musical experiences provide a child with excitement in learning and, thereby, improves the student’s reading, writing, thinking, and analyzing skills and strategies (Collett, 1991). Music plays a prominent role in the daily lives of children. When music is connected to a student’s background and interests, it offers a positive and attractive alternative to participation in high-risk behaviors (Campbell, 2000). Programs that successfully involve disenfranchised students, take into account the cultural backgrounds of the students and provide opportunities to learn about the music of a culture through experiences such as marimba ensembles, gospel choirs, marching bands, chamber ensembles and show choirs. However, the first step in addressing a child’s low self-esteem is to provide a caring and uncritical learning environment.
In 1998, Florida received a $6.6 million grant to develop comprehensive school reform programs. This grant was made to expand the quality and scope of reform efforts that enable all children—particularly at-risk youths—to meet the challenging academic standards in an increasingly diversified population and to turn around low-performing schools (Malico, 1998). Music educators have considered how participation in music may have positive effects on at-risk students. One Florida band director (Pyfrom, 2004) suggests that, “much of what we do to influence at-risk student success is dependent on our attitude and willingness to provide meaning- ful experiences that can be related to life.” The educational experiences schools traditionally offer do not connect with at-risk students. Therefore, Shuler (1991) suggests the following:
Why At-risk Students Fail
At-risk students may be unable to learn because:
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teacher consistently presents instruction in ways that match his or her own preferred learning style, rather than the preferred learning style of the student.
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student has difficulty learning in one or more of the four basic learning styles, and therefore has trouble learning when the teacher teaches in those styles.
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teacher develops only a limited number of student’s intelligences, ignoring the musical intelligence.
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student lacks self-discipline.
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student suffers from low self-esteem.
At-risk students may lack desire to learn because:
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projects or tasks presented to student are trivial and/or fail to engage student’s problem-solving abilities.
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student perceives school as threatening place.
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student perceives school as dull and unappealing.
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student does not respond to traditional school rewards (grades, praise).
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student suffers from depression and emotional instability.
How Music Can Help Students Succeed
Music can enable students to learn because music can:
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provide instruction in student’s preferred learning style, esp. their weaker learning styles.
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utilize student’s musical intelligence to deliver instruction through music.
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provide a context for team effort toward shared goals.
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provide self-discipline through intrinsic rewards.
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foster concentration, attending skills and self-esteem by providing environment in which student can experience public success.
Music can motivate students to learn because music can:
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provide stimulating experiences that draw students to school and relieve stress.
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present projects or tasks that require student to solve engaging, inherently interesting problems.
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provide opportunity to produce own composition or performance.
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provide content that is inherently appealing, thereby providing a stimulus and reward both for music learning, and for learning other subjects.
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provide an effective outlet for emotion and communication, and a source of comfort (p.24).
Scripp and Meyaard (1991) suggest including objectives as strategies for a restructured curriculum through:
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Applying knowledge rather than information gathering. When educators stress working with what is known rather than fact-finding, productivity is encouraged.
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Presenting tasks that present multiple modes of response, rather than a single mode. Problems that have multiple solutions encourage divergent thinking and more creative responses.
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Working in groups, not in isolation. However, individual work should be assessed by classmates as well as the teacher.
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Using open-ended tasks rather than narrowly defined problems.
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Going beyond grades or contest awards as motivation for good work. Many students look to teachers and parents for approval, but at-risk students need learning tasks that are intrinsically motivating.
Perspectives from Florida Middle and High School Band Directors of At-risk Students
In a recent study of at-risk students, five middle school and five high school Florida band directors were randomly surveyed and agreed to provide addition- al information through a follow-up inter- view (Chipman, 2004). The purpose of the interview was to gather data related to at-risk music students. The responses pro- vided a detailed picture of how Florida band directors work with at-risk students, summarized as follows:
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How do you know when you have an at-risk student in your class? (i.e., How do you identify an at-risk student?)
Directors are aware of at-risk students and the symptoms that are associated with these students’ identities. They identify with at-risk students through guidance counselors, school departmental reports, teacher/parent conferences, observing behavioral patterns, or realizing students are suffering from low self- esteem.
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In your opinion, have you been able to help at-risk students do better in school, and perhaps even stay in school?
Band directors have been able to help at-risk students through encouragement, providing opportunities for them to become successful, having a structured program, relating band experiences to life, mentorship, and reminding students the significance of commitment to graduating. Overall, band directors indicated they have been able to help at-risk students through eligibility in band, encouragement, and promoting musical independence.
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Have you had students who were identified as at-risk go on to graduate from your school, and later come back and share some of their successes with you? Can you think of one and describe his/her case?
Several respondents shared personal experiences regarding students who were resilient in their programs despite adversity and overwhelming obstacles. In general, former students acknowledged that band directors made a difference in their lives, helped them maintain focus towards graduation, encouraged them to actively participate in music, and sup- ported the notion of developing their musicianship as a vehicle to attaining a scholarship. Several band directors mentioned success stories shared by former at-risk students, (e.g., a student who was abusive to others joined the military and is currently serving our country).
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What have been some of the most effective training courses, articles, clinics, or workshops that have improved your understanding of at-risk students?
One of the most shared responses mentioned by several band directors was learning from those who are knowledge- able, experienced and have worked with at-risk students. Some band directors revealed they learned training methods through workshops/clinics in their districts.
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In your opinion, in what ways does participation in band assist disadvantaged or at-risk youths?
All of the respondents agreed that band participation does assist at-risk students in developing discipline. Band gives them a sense of family, provides a positive atmosphere for achieving common goals, challenges their cognitive skills, promotes academic responsibility and takes them away from outside distractions. Band participation appears to assist at-risk students with overcoming discipline problems, motivates them to achieve goals, develops self-esteem, provides a place where they can bond and utilizes the band program as a place where they build character.
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What types of individual or group activities in your band program have proven to be effective for reaching at-risk students?
Exposure to new experiences helps give them options to consider later in life. Some band directors indicated they have established early-morning and after-school tutoring programs. Students are taught not to accept mediocrity and that failure as an option. Students are challenged with class standards that are worthwhile and rewarded through “win-win” experiences daily.
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What is the greatest challenge you face in working with at-risk students?
Band directors noted that gaining parental involvement, dealing with students who are surrounded with adverse conditions and are afraid to let go, were two primary negative challenges that they are confronted with during school. Students and parents tend to give up easily on themselves and the opportunity to become successful. Directors indicated some students are not appreciative of the role teachers play in their lives. The most disappointing challenge is when a student is not allowed to perform in band because he did not pass the FCAT test. Most educators agree that students know when the teacher has their best interests at heart. Working through adversity tests a student’s desire and will to succeed in life. They find their biggest challenges stem from: dealing with students who have no desire to excel; providing musical experiences without funding, equipment or resources; teaching in inadequate facilities; creating a program within a school that has poor scheduling or low band enrollment; The Florida Music Director working with students who have limited self- esteem; and other obstacles that dis- tract from a positive learning environment.
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What is the greatest reward you receive from working with at-risk students?
Band directors revealed their greatest rewards come from knowing that their students are better people because of the various learning experiences associated with band. They reported that at-risk students seem to understand that the lessons and values learned in band will carry them throughout life.