Teaching Music in Rural, Urban, and Suburban Areas

Rachel A. Pennington

James Madison University

 Teaching Music in Rural, Urban, and Suburban Areas
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Rachel Pennington

MUED 380: Music in the Elementary School

December 6, 2018

Teaching Music in Rural, Urban, and Suburban Areas

RATIONALE:

Students come from varying backgrounds and locations. Not all teachers stay in one area

for their whole life. It is important that we as music educators know in what ways teaching in

different geographic areas (e.g., urban, suburban, and rural) impact teaching and learning.​ ​I

have chosen to look at the differences in rural and urban teachings, and how one could change

their teachings to meet the needs of the students in each area.

When teachers go into their new school for the very first time to teach, they may have a

preconceived idea of what the school or the students may be like based on the location. While

this is sometimes true, it does not always account for the background or varying ethnicities

and diversities of their students. Depending on the area one is teaching in, they can have

varying funds that will also affect their teaching. I also chose this topic, because I want to

know how one might go about teaching the same lesson in schools with limited funds/

resources versus an area where that may not be a problem.

I came from a very small town and school, where resources were very limited. While

being at James Madison University in the school of music, a lot of my friends and the people I

have talked to have come from suburban, more populated areas, and, often times, better
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funded music programs. I have also noticed a lot of incoming freshmen with each new school

year that are coming from my high school, but not in any other parts of my county. This has

made me question what teaching styles and resources are needed in either area for students to

continue music after their general music courses, and what was so different in the music and

teachings from my high school than other surrounding schools in the same county. When

teaching, you never know where you may get placed, or if your plans change and you decide

to move to a different area than what you had originally planned. For this reason, it is

important to have knowledge of how to teach in both of these areas, and how to differentiate

your teaching to the needs of the individual students in these areas. Even if you stay in one

area your whole time teaching and never move, you could still have students transfer to your

school from a completely different location. I want to make sure to understand some of the

factors that contribute to students continuing music, in both rural and urban areas. I want to be

mindful how to teach in both areas so all of my students feel included, and are able to get the

most out of their music education, no matter of their location or background.

RESEARCH QUESTION(s):

1. How do contexts (rural, urban, suburban) impact teaching and learning, and how do you

meet the needs of each student in the different locations?

2. How do you go about teaching in different areas with varying funds and resources?

3. Does location play a role in a students desire to continue music?

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REVIEW OF LITERATURE:

In relation to my first question, I am examining the idea of how to teach music in these

varying geographic locations, and how they affect learning. This specific article discusses

teaching music in urban areas, as well as the advantages and disadvantages. My first article

discusses the perceptions of issues and problems in urban elementary schools. This author

suggests that part of the reason for the preconception of urban schools, is because it is difficult

for the teachers in these areas to relate to their students, because the majority of them did not

have similar backgrounds as of their students. (Doyle, 2009) She emphasizes the importance of

music in urban schools, because it often times gives “at-risk” students an opportunity to express

themselves, and it gives them other activities to do outside of school that otherwise would have

led to negative social behaviors. Students in urban schools often do not see a purpose in their

education, but music gives them a reason to look forward to the school day. (Doyle, 2009) The

problem with this being that budget constraints are causing the arts programs to downsize,

relating to my question about limited resources.

The main suggestion of teaching music in urban areas that are still being funded is to

reflect modern diversity, and being prepared to enter urban environments. Most undergraduate

degrees are teaching with the focus on Western classical and American folk music. (Doyle,

2009) It is important that students in urban areas are familiarized with culturally relevant musical

representations. She suggests that the best way to teach music in urban schools is to also be

trained with an equal importance lying on non-Western music. This in return, will give the

students the most authentic music experience that they can relate to and connect with.
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The second article I chose to further research includes successful ways of teaching urban

music education. The authors of this article, Anderson and Denson, offer their guidance through

their own personal experience and knowledge in the urban schooling system. Within the first

paragraph, they emphasize the importance of being able to relate to their students, even if they

had not experienced the same things in their life or education. Similar to some of the other

articles, they reference the best way to teach in an urban district is for you as the teacher to

receive training in your degree program to prepare you for this type of setting. (Anderson &

Denson, 2015)

This third article also talks about teaching music in an urban school, and the bets ways of

doing so. According to (Martignetti, Talbot, Clauhs, Hawkins, and Niknafs, 2013) both urban

schools and teachers have been associated with negative connotations. The educators face

challenges such as: limited resources, poverty, chaotic school climates, and administration who

focus on tested material. However, they suggest that only viewing these areas with these

connotations in mind gives an incomplete view. They suggest that part of the reason these

negative implications exist is because the teachers that have taught in urban areas before had not

had previous experience to this type of setting in their education. (Martignetti et al. 2013)

They give their own suggestions of questions they ask themselves in order to be the best

teacher they can be. These include: “Who am I? Who are my students? What might they

become? What might we become together?” (Martignetti et al. 2013) Although these questions

are fairly broad, and each teacher will have a different answer, these are important to keep in

mind when considering the beneficial aspect they will have on ones students and their learning.

In this article, as they share their experiences in urban music classrooms, they came to the
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realization that if they accepted the students for who they were, most of the students were

accepting of who they were. A major point in this article is the concept of getting to know each

of your students and their backgrounds very well, so you are therefore able to attend to each of

their varying needs, as well as their musical ideas and expressions. The main suggestion of how

to teach in urban areas, according to this article and their prior experience, is to get to know your

students personally, and take away the idea that you are the only teacher in the room. “As urban

music educators, we diligently sought to provide them with a classroom environment that valued

students’ needs, desires, views, and expectations. This was a learning process for us, one that

eventually helped us realize that our students had much to teach us. We had to realize that we

were not the only educators in the room—a realization that went against much of our

professional preparation as teachers. In the end, we each found that embracing this reality

allowed us to establish music classroom environments devoid of the inequalities that students

would otherwise expect. We took the time to get to know them and found that this was often

reciprocated. Through this relationship, we began to visualize our students differently.”

(Martignetti et al. 2013, pg 9) They felt that this approach was crucial for their success, because

the students would not adhere to basic instructions or procedures if they felt the teacher did not

understand them or their values.

Considering the other half of my first question, we now look at the suggested ways of

teaching in a rural area. This author gives an introduction of how to teach music in a rural area

based on his experience as a student, teacher, and music educator. It identifies the possible

problems of teaching in a rural area, and suggests solutions to those problems. Although giving

ways of teaching students in rural areas, he states that he often feels secluded in the lens of music
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education being at a small rural school. Because of this, he also gives support and validation to

rural music educators.

Due to the large nature of suburban schools and metropolitan areas, he states that

suburban areas have better music programs and ensembles, because they are larger, and have the

ability to pick their members. (Bates, 2011) He shares from experience that students from a rural

area are always in comparison with the larger schools, in belief that the suburban schools are

more qualified, intelligent, and capable than those of rural areas. He suggests that the best thing

we as educators can do is to treat them like they are of equal intelligence, capability, and

diligence. (Bates, 2011) The students in rural schools often seem inferior, because they are under

unfair comparisons to those of the larger, more funded areas. He also suggests to not sell them

short. Instead of lowering their standards in comparison to those of the suburban areas, we

should alter the standards to reflect a diversity of rural musical values and interests. (Bates,

2011) These are different standards and goals, not lower ones. He suggests through this, to

include diversity and current relevance in the music classroom.

The second article, by Daniel Isbell, also gives important proposals and approaches of

teaching music in rural schools. ​He discusses how one might teach music in a rural area, and tips

of how to be successful in doing so. He also some gives interesting facts about the realities of

teaching music in a small, rural area. He shares that rural music teachers often teach more than

just their area of focus, as opposed to those in suburban areas; and they do after school activities

outside of the music classroom, such as driving a school bus, coaching sports teams, or advising

student clubs, and are even sometimes required to travel between schools to teach at more than

one location. (Isbell, 2005) He states that the “opportunity to get to know your students over
 Teaching Music in Rural, Urban, and Suburban Areas
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many years, coupled with the often quiet and scenic surroundings, can make a rural community a

special place to guide and influence the lives of students.” (Isbell, 2005, pg 1)

Although he does not give specific examples of how one might teach in a rural music

classroom, he does give helpful tips of how to overcome some of the challenges of teaching in a

small, rural school. Some of the key takeaways from this article include: combining ensembles to

combat low enrollment, have some student led rehearsals/ mentor other students, suggest

students try different voice parts/ instruments, performing both tradition and non-traditional

music, asking parents to help with fundraising/ donations, and having a good relationship with

the administration. (Isbell, 2005) All of these propositions are very helpful and important to keep

in mind when teaching music in a rural community. They are essential for building (and keeping)

a strong music program regardless of limited resources, low enrollment/ involvement, and lack

of funding. It is important to continue increasing expectations to ensure your students are

receiving the most out of their education, even in these smaller, developing areas. (Isbell, 2005)

My next article gives a look at the perceptions of both rural and urban music education

based on surveys of these educators in their respective locations. In one of the surveys of a music

teacher in a rural school stated that the community has these set expectations for the choir or

band to perform at local community events. (Hunt, 2009) In order to get local support, they felt

they had to keep doing these community concerts/ events. This changes from rural to urban,

because in the urban areas, they felt more of a need to understand the culture, diversity, and

community, rather than perform in it. (Hunt, 2009)

One of the advantages of teaching in rural schools, according to two participants in the

survey, is that you are able to see your students all the way through their education. Through this,
 Teaching Music in Rural, Urban, and Suburban Areas
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you are able to have a stronger bond and connection with them, because you are seeing them

from start to finish. (Hunt, 2009) An advantage of teaching in urban schools, as stated also by

participants in the survey, in rural schools you had to do a lot of fundraising to be able to buy

new things for the music department. At urban schools you are given a lot more financial

stability. As for teachers, there is an emphasis on cultural diversity training in urban areas, and as

for rural areas, there is more of an emphasis on the engagement in the community itself.

Although this article does not give specific instruction of how to teach students in either area, it

does give useful strategies for understanding the layout of each area, and what one might expect

when going to teach there. (Hunt, 2009)

Another one of my questions and reasons for research, was how to teach in these varying

areas with limited resources and funds. Each area, whether that be rural, urban, or suburban, they

all have a range of how much or how little their music programs are funded. The article I found

to help with answering this question explains that most people think that when incorporating

music in the classroom, every student needs their own computer. It explains that only one

computer is needed for the classroom, and thousands of dollars are not needed to be spent in able

to add technology in to an experience. This way of teaching is not only less expensive, it is also

more engaging. (Kassner, 2000) This way is cheaper due to the fact that you are only having to

buy one computer, but also because you are only having to buy one notation software on the

computer. This is more engaging as well, because it would be similar to the teacher giving a

lesson and calling on the students to participate. There could also be a time where the students

are taking turns on an application, and they are engaging with each other and eagerly awaiting

their turn on the computer. (Kassner, 2000)

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RECOMMENDATIONS FOR PRACTICE:

Through reading all of these articles, I have learned a plethora of different ways of

teaching in both rural, urban, and even suburban areas. There have been certain skills and

attributes that could be used, as suggested in some articles, for each area. However, my

recommendation for teaching in these varying locations as an overarching theme found in all of

my articles: to engage and have a strong bond and connection with each of your students. No

matter where they are from, or where you are teaching, if you show them you care about them

and make an effort to be in their lives, they will reciprocate this feeling. A quote from one of my

article that explains both urban and rural areas state: “be a good listener, project enthusiasm and

a positive self-image, do not let challenges overwhelm, share experiences with other teachers,

attend workshops, and communicate with parents and teachers.” (Hunt, 2009, pg 10) Another

article states: “for students and teachers, music became more important than festivals, chair

placements, and college scholarships; music was now about telling our new collective stories and

changing the way people see the world.” (Martignetti et al. 2013, pg 16)

RECOMMENDATIONS FOR FUTURE RESEARCH:

While I was looking for research articles for my final question of the location of a student

affecting their desire to continue music, I could not find exactly what I was looking for. In

relation to this, I found external reasons for students wanting to continue music, such as the

music environment being a non-threatening place where the student feels they are able to

improvise, and create music freely. As well as frequent lesson times with a teacher and feeling
 Teaching Music in Rural, Urban, and Suburban Areas
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approval from the parent, and also external reasons, such as wanting to keep up with a friend,

become internal desires of wanting to actively engage in music. (Davidson, 1999) However, I

was not able to find in these reasons where location had anything to do with a child’s desire to

continue music. As implications for future research, I would want to know if location did play a

role in this, and if so, what are the reasons, as well as what are the percentages of students in

either area who choose to do so.

In conclusion, I have learned many different approaches, perspectives, and ideas of

teaching in both rural and urban areas, and I have found many connections between the two.

While these areas may have varying obligations, limitations, and suggested ways of teaching and

learning, I have found that the common factor in all of these is to just be able to connect and

engage with your students, no matter your location, or their background. We must understand the

students pre existing background in music and instead of belittling this, we should celebrate first

where they are coming from, but more importantly, where they are going.
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REFERENCES:

Doyle, Jennifer Lee, "Music Teacher Perceptions of Issues and Problems in Urban Elementary

Schools" (2009).Open Access Theses. 185.

https://scholarlyrepository.miami.edu/oa_theses/185

Anderson, S., & Denson, G. (2015, June 01). Preparing the Successful Urban Music Educator,

Music Educators Journal. Retrieved from

https://www.deepdyve.com/lp/sage/preparing-the-successful-urban-music-educator-jj8s6

41z5h?articleList=/search?author=Anderson, Steven Armon

Martignetti, F., Talbot, B., Clauhs, M., Hawkins, T., & Niknafs, N. (2013). “You got to know

us”: A hopeful model for music education in schools. Visions of Research in Music

Education, 23. Retrieved from http://www.rider.edu/~vrme

Bates, V. C. (2011). Preparing rural music teachers: reflecting on “shared visions”. ​Journal of

Music Teacher Education, 20(​ 2), 89-98.

Isbell, D. (2005). Music education in rural areas: A few keys to success. ​Music Educators

Journal, 92​(2), 30-34.

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Hunt, C. (2009). Perspectives on rural and urban music teaching: Developing contextual

awareness in music education. ​Journal of Music Teacher Education,​ ​18(​ 2), 34-47.

Kassner, & Kirk. (2000, May 01). One Computer Can Deliver Whole-Class Instruction, Music

Educators Journal. Retrieved from

https://www.deepdyve.com/lp/sage/one-computer-can-deliver-whole-class-instruction-C2

23LS1L4Z?key=sage

Davidson, J. W. (1999). Self and desire: A preliminary exploration of why students start and

continue with music learning. Research Studies in Music Education, 12(1), 30-37.