Petition for Equal Access to Music Education

I was recently trading emails with Sue Rarus, a family friend and the Research Director of MENC, the National Association for Music Education. We were discussing details of MENC’s Music Education Week in Washington, DC, as I am making an effort to convince some members of UMiami’s collegiate chapter of MENC to attend this festival. Sue brought up an additional MENC initiative in our discussion, though, that I would like to share with you today.

MENC has recently begun an initiative to petition the U.S. Department of Education to require the reauthorization of the Elementary and Secondary Education Act (now known as No Child Left Behind) to include music education as a required component of each public education curriculum in the United States. What does all that mean? In short, they are petitioning the government to require music education be a requirement for all public school students. MENC aims to have at least 1 million signatures on their petition by the time they come before the legislators on June 18.

This petition is just getting started, but I would urge each and every one of you who has been touched by music in any way to sign this petition, and help MENC make a statement in Washington.

“The Conference Effect”

I just recently was talking to a close friend, who is a graduate student in the Frost School of Music at UM, pursuing a DMA in Instrumental Conducting. She is also a graduate assistant with the marching band, and a TA for the Frost Symphonic Winds and Wind Ensemble. As a future band director, she recently went to the College Band Directors National Association (CBDNA) convention in Austin, Texas. She came back with a new found inspiration, and attributed it to the experiences she had at CBDNA, which made me think abut my experiences after returning from conferences. I’ve realized that what my friend is experiencing is similar to what we all tend to experience after an event such as CBDNA-something I have come to call “the conference effect.”

On the most basic level, “the conference effect” is the sense of inspiration and excitement for the profession that many people (in this case music educators) tend to feel after spending a day/weekend/week immersing themselves in what they love at a conference. I know the feeling myself, and I know that many of the music educators reading this know it as well. When you return from a conference, you feel revitalized-almost like a new person, and ready to take on whatever challenges may approach you. In my case as a student, conferences are the times when I find myself wishing I could actually be out in the field, teaching, right away. However you react specifically, this heightened level of inspiration motivates us all to be our best in the days and weeks following the conference.

It is important, though, to keep in mind the effect that timing has on this inspiration. I have only ever been to two different music education conferences: the Midwest clinic in Chicago in mid-December, and the FMEA conference in Tampa in early-January. Midwest, while extremely enjoyable, comes just at the end of the semester and the beginning of the holidays, so when the conference is over, I tend to find myself extremely inspired, but with nothing to do but twiddle my thumbs for the rest of December. FMEA, on the other hand, occurs just before the spring semester begins, and I find myself beginning each spring semester with a renewed excitement for what I am doing, in part because of the lasting effects of this inspiration I get from the conference. This was even more obvious this past January, when I had the opportunity to spend the week in between FMEA and the beginning of classes working with a high school band in LaBelle, FL at a school where a close friend (and recent UM alum) teaches. By the time the conference was over and my week of working in a real-life situation was through, I was prepared to do whatever it took to get myself teaching right away.

I’m sure any person who has been to a conference in their field has had experiences like mine, where they have felt a renewed excitement for their profession in the days and weeks following the conference. In fact, I would go so far as to say that it’s likely that we are more productive in this period than we are in any other, as a result of this excitement. So the real question is-how do we artificially create this “conference effect,” and the productivity that comes with it, when there is not a conference to inspire us? If we can somehow trigger this motivation without actually going to a conference, we can increase the caliber of the work we do throughout the entire year, instead of just for a few select weeks after conferences.

Let’s examine what types of activities take place at these conferences. For music education, specifically, we can narrow it into three main activities: learning, networking, and concert-going. Generally, any music education conference will include each of these three aspects. Attendees go to sessions where they learn about a specific subject, they speak to other professionals in their field and network with them, and they attend concerts put on by performing ensembles over the course of the conference.

So, how can we recreate each of these in our daily lives to artificially create the “concert effect”?

  1. Learning-Now that the Internet has improved the way we share information, there have been tons of blogs set up in which educators share their thoughts and ideas on the field. By subscribing to these blogs and reading the new entries, we can stay informed and continue to learn even when we’re not at a conference. For a great place to start looking for music education blogs to subscribe to, check out the 100 ME Bloggers, organized by Dr. Joseph Pisano.
  2. Networking-You don’t need to read any more about my support of social networking… read my posts on Social Networking and Twitter specifically, where I discuss the merits of networking online and meeting other like-minded people!
  3. Attending Concerts-There’s really not a great techie-answer to this one, but my only suggestion is: go see concerts! Whether it’s a school band in your area, the local community band, or the symphony orchestra in your closest city, continue to expose yourself to music performances, and listen to them critically!

Hopefully these tips will help everyone be able to re-create “the conference effect” in their every day lives. Do you have an experience with this effect? Do you have a great story from a conference you’ve been to? Thoughts on my ideas? Leave a comment!

Like this post? Please consider becoming a subscriber by subscribing to my feed or by signing up for email updates!

Two Incredible Speeches

I’ve been searching for an inspiration/motivation to write another blog post for the past week or so. I have plenty of topics to write about (coming this week perhaps: recap of the end of basketball season, update on my NCAA Tourney Bracket, other more “meaningful” posts that only come when the moment hits), but I couldn’t seem to find enough motivation to sit down and write. I had the time-don’t get me wrong, I sat around and did nothing all of last week-but those of you who write in any way know the feeling of just not being motivated enough to sit down and do it.

I’ve been making an effort over the past few days to do more reading, though. Reading of anything-blog posts, articles in journals or magazines, books or chapters of books. One of the more interesting forms of communication I have read lately has been two speeches that I came across, and it is these speeches that have finally motivated me to write once again. I won’t say much in the way of analysis or synopsis of these speeches, except to note the circumstances under which the speech was given, and the basic message that each speech sends. I have linked to each speech, which I have posted in it’s own post here on my site. So, without further adieu:

Speech Given by Ron Zell-“A Pink Slip Acceptance” – This speech was given by music educator Ron Zell after receiving his pink slip (“Notice of Recommendation Not to Re-Employ”) in California (Thanks to Kyle Gardner-@kgard on Twitter-for bringing this to my attention)

Speech Given by Karl Paulnack-This speech was given to freshman parents at Boston Conservatory, a day before Paulnack was to address the freshman class as a whole

The speeches differ in tone, but the message is simlar, and I think they sum up the message I hope this blog as a whole can convey to you. I’ll let you read them for yourself to see. If you have any thoughts on the speeches, please feel free to leave them either in a comment to this post, or a comment on an individual speech.


Speech by Karl Paulnack to Freshman Parents at Boston Conservatory

Welcome address to freshman parents at Boston Conservatory, given by Karl Paulnack, pianist and director of music division at Boston Conservatory:

“One of my parents’ deepest fears, I suspect, is that society would not properly value me as a musician, that I wouldn’t be appreciated. I had very good grades in high school, I was good in science and math, and they imagined that as a doctor or a research chemist or an engineer, I might be more appreciated than I would be as a musician. I still remember my mother’s remark when I announced my decision to apply to music school—she said, “you’re WASTING your SAT scores.” On some level, I think, my parents were not sure themselves what the value of music was, what its purpose was. And they LOVED music, they listened to classical music all the time. They just weren’t really clear about its function. So let me talk about that a little bit, because we live in a society that puts music in the “arts and entertainment” section of the newspaper, and serious music, the kind your kids are about to engage in, has absolutely nothing whatsoever to do with entertainment, in fact it’s the opposite of entertainment. Let me tak a little bit about music, and how it works.

The first people to understand how music really works were the ancient Greeks. And this is going to fascinate you; the Greeks said that music and astronomy were two sides of the same coin. Astronomy was seen as the study of relationships between observable, permanent, external objects, and music was seen as the study of relationships between invisible, internal, hidden objects. Music has a way of finding the big, invisible moving pieces inside our hearts and souls and helping us figure out the position of things inside us. Let me give you some examples of how this works.

One of the most profound musical compositions of all time is the Quartet for the End of Time written by French composer Olivier Messiaen in 1940. Messiaen was 31 years old when France entered the war against Nazi Germany. He was captured by the Germans in June of 1940, sent across Germany in a cattle car and imprisoned in a concentration camp.

He was fortunate to find a sympathetic prison guard who gave him paper and a place to compose. There were three other musicians in the camp, a cellist, a violinist, and a clarinetist, and Messiaen wrote his quartet with these specific players in mind. It was performed in January 1941 for four thousand prisoners and guards in the prison camp. Today it is one of the most famous masterworks in the repertoire.

Given what we have since learned about life in the concentration camps, why would anyone in his right mind waste time and energy writing or playing music? There was barely enough energy on a good day to find food and water, to avoid a beating, to stay warm, to escape torture—why would anyone bother with music? And yet—from the camps, we have poetry, we have music, we have visual art; it wasn’t just this one fanatic Messiaen; many, many people created art. Why? Well, in a place where people are only focused on survival, on the bare necessities, the obvious conclusion is that art must be, somehow, essential for life. The camps were without money, without hope, without commerce, without recreation, without basic respect, but they were not without art. Art is part of survival; art is part of the human spirit, an unquenchable expression of who we are. Art is one of the ways in which we say, “I am alive, and my life has meaning.”

In September 2001 I was a resident of Manhattan. That morning I reached a new understanding of my art and its relationship to the world. I sat down at the piano that morning at 10 AM to practice as was my daily routine; I did it by force of habit, without thinking about it. I lifted the cover on the keyboard, and opened my music, and put my hands on the keys and took my hands off the keys. And I sat there and thought, does this even matter? Isn’t this completely irrelevant? Playing the piano right now, given what happened in this city yesterday, seems silly, absurd, irreverent, pointless. Why am I here? What place has a musician in this moment in time? Who needs a piano player right now? I was completely lost.

And then I, along with the rest of New York, went through the journey of getting through that week. I did not play the piano that day, and in fact I contemplated briefly whether I would ever want to play the piano again. And then I observed how we got through the day.

At least in my neighborhood, we didn’t shoot hoops or play Scrabble. We didn’t play cards to pass the time, we didn’t watch TV, we didn’t shop, we most certainly did not go to the mall. The first organized activity that I saw in New York, that same day, was singing. People sang. People sang around fire houses, people sang “We Shall Overcome”. Lots of people sang America the Beautiful. The first organized public event that I remember was the Brahms Requiem, later that week, at Lincoln Center, with the New York Philharmonic. The first organized public expression of grief, our first communal response to that historic event, was a concert. That was the beginning of a sense that life might go on. The US Military secured the airspace, but recovery was led by the arts, and by music in particular, that very night.

From these two experiences, I have come to understand that music is not part of “arts and entertainment” as the newspaper section would have us believe. It’s not a luxury, a lavish thing that we fund from leftovers of our budgets, not a plaything or an amusement or a pass time. Music is a basic need of human survival. Music is one of the ways we make sense of our lives, one of the ways in which we express feelings when we have no words, a way for us to understand things with our hearts when we can’t with our minds.

Some of you may know Samuel Barber’s heartwrenchingly beautiful piece Adagio for Strings. If you don’t know it by that name, then some of you may know it as the background music which accompanied the Oliver Stone movie Platoon, a film about the Vietnam War. If you know that piece of music either way, you know it has the ability to crack your heart open like a walnut; it can make you cry over sadness you didn’t know you had. Music can slip beneath our conscious reality to get at what’s really going on inside us the way a good therapist does.

I bet that you have never been to a wedding where there was absolutely no music. There might have been only a little music, there might have been some really bad music, but I bet you there was some music. And something very predictable happens at weddings—people get all pent up with all kinds of emotions, and then there’s some musical moment where the action of the wedding stops and someone sings or plays the flute or something. And even if the music is lame, even if the quality isn’t good, predictably 30 or 40 percent of the people who are going to cry at a wedding cry a couple of moments after the music starts. Why? The Greeks. Music allows us to move around those big invisible pieces of ourselves and rearrange our insides so that we can express what we feel even when we can’t talk about it. Can you imagine watching Indiana Jones or Superman or Star Wars with the dialogue but no music? What is it about the music swelling up at just the right moment in ET so that all the softies in the audience start crying at exactly the same moment? I guarantee you if you showed the movie with the music stripped out, it wouldn’t happen that way. The Greeks: Music is the understanding of the relationship between invisible internal objects.

I’ll give you one more example, the story of the most important concert of my life. I must tell you I have played a little less than a thousand concerts in my life so far. I have played in places that I thought were important. I like playing in Carnegie Hall; I enjoyed playing in Paris; it made me very happy to please the critics in St. Petersburg. I have played for people I thought were important; music critics of major newspapers, foreign heads of state. The most important concert of my entire life took place in a nursing home in Fargo, ND, about 4 years ago.

I was playing with a very dear friend of mine who is a violinist. We began, as we often do, with Aaron Copland’s Sonata, which was written during World War II and dedicated to a young friend of Copland’s, a young pilot who was shot down during the war. Now we often talk to our audiences about the pieces we are going to play rather than providing them with written program notes. But in this case, because we began the concert with this piece, we decided to talk about the piece later in the program and to just come out and play the music without explanation.

Midway through the piece, an elderly man seated in a wheelchair near the front of the concert hall began to weep. This man, whom I later met, was clearly a soldier—even in his 70’s, it was clear from his buzz-cut hair, square jaw and general demeanor that he had spent a good deal of his life in the military. I thought it a little bit odd that someone would be moved to tears by that particular movement of that particular piece, but it wasn’t the first time I’ve heard crying in a concert and we went on with the concert and finished the piece.

When we came out to play the next piece on the program, we decided to talk about both the first and second pieces, and we described the circumstances in which the Copland was written and mentioned its dedication to a downed pilot. The man in the front of the audience became so disturbed that he had to leave the auditorium. I honestly figured that we would not see him again, but he did come backstage afterwards, tears and all, to explain himself.

What he told us was this: “During World War II, I was a pilot, and I was in an aerial combat situation where one of my team’s planes was hit. I watched my friend bail out, and watched his parachute open, but the Japanese planes which had engaged us returned and machine gunned across the parachute chords so as to separate the parachute from the pilot, and I watched my friend drop away into the ocean, realizing that he was lost. I have not thought about this for many years, but during that first piece of music you played, this memory returned to me so vividly that it was as though I was reliving it. I didn’t understand why this was happening, why now, but then when you came out to explain that this piece of music was written to commemorate a lost pilot, it was a little more than I could handle. How does the music do that? How did it find those feelings and those memories in me?”

Remember the Greeks: music is the study of invisible relationships between internal objects. This concert in Fargo was the most important work I have ever done. For me to play for this old soldier and help him connect, somehow, with Aaron Copland, and to connect their memories of their lost friends, to help him remember and mourn his friend, this is my work. This is why music matters.

What follows is part of the talk I will give to this year’s freshman class when I welcome them a few days from now. The responsibility I will charge your sons and daughters with is this:

“If we were a medical school, and you were here as a med student practicing appendectomies, you’d take your work very seriously because you would imagine that some night at two AM someone is going to waltz into your emergency room and you’re going to have to save their life. Well, my friends, someday at 8 PM someone is going to walk into your concert hall and bring you a mind that is confused, a heart that is overwhelmed, a soul that is weary. Whether they go out whole again will depend partly on how well you do your craft.

You’re not here to become an entertainer, and you don’t have to sell yourself. The truth is you don’t have anything to sell; being a musician isn’t about dispensing a product, like selling used Chevies. I’m not an entertainer; I’m a lot closer to a paramedic, a firefighter, a rescue worker. You’re here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.

Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don’t expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that’s what we do. As in the concentration camp and the evening of 9/11, the artists are the ones who might be able to help us with our internal, invisible lives.”

Speech Given by Ron Zell – “A Pink Slip Acceptance”

Thank you students, parents, teachers, and involved citizens. Thank-you for being here, for turning out to support teachers and students in this statewide Day of Awareness and support for our schools, Pink Day.

Let me introduce myself, – My name is Ron Zell. I am the music teacher for the Buellton Union School district. I teach over 500 students per week in classes from Kindergarten to 8th grade. I am the 2006 Jonata School Teacher of the Year. I am the 2007 Santa Barbara County Teacher of the Year and a nominee for California State Teacher of the year. In 2008, I was selected  to speak at State Education Conferences in Sacramento, San Francisco, and the Central Coast. My topics were “Quality in the arts and in Education”, “Technology in the arts and in education”, and the importance of Community in the Arts and in Education.

In  2009, I have a new distinction. I have received this years token of appreciation from the State of California for my years of service to my students and my community. I have received my pink slip. This is the way that California shows its gratitude and also its farsightedness in planning  for education   I have been laid  off,  pink-slipped in Buellton. Myself, and nearly 30,000 or so of my colleagues services are no longer required, says the state. Colleagues who like myself, give of themselves daily, are over-worked, underpaid, and directly influence the future of millions of young people in this state. Thank-you very much says California. You’ve done a great job, but we have mismanaged the finances of this state so badly that we need your help. Would you just walk away from a career where you are desperately needed, and we’ll ignore the sacrifices that you, and every teacher like you have made daily to bring quality and excellence in education to the students you teach.

We get paid, says the state of California, to govern, and to plan and prepare for the future. We just never thought that there would be an economic downturn. We thought we could keep spending, and  borrowing, raising taxes and selling lottery tickets, and everything would be okay. We didn’t think that we would ever be called to account for the billions of dollars we waste each year. We just kind of forgot about planning ahead for education. After all, – its only kids, and they can’t vote. Now we HAVE to cut the education budget. How else do you expect us to pay for our mismanagement. And you teachers, – You know all of those years of schooling, and training, and experience, and sacrifice and caring and giving, that everyone of you do. – Sorry about that. Maybe students won’t notice the over-crowded classrooms that they’ll be forced to be in next year. Maybe parents won’t notice the wider achievement gaps, the loss of programs, the lower test scores, or the unsafe campuses that will result from overcrowding, and too-few teachers.

I can’t conceive of what this state will be like with the undervalued, underfunded and understaffed education system that will result from these budget cuts. I do however fear that the state will need more money in the very near future for new projects, like the new prisons that it will need to hold these kids who will be dropping out of our failed educational system. Hey, – Maybe we can even afford to put arts programs in the prisons, because the arts are one of the few interventions that has been proven to mediate violent behavior in abused children. Too bad  we can’t afford the Arts in our schools now, but then, that’s another part of our state’s not planning ahead.

I am furious that billions of tax dollars go to investors and banks, and insurance companies because they are “too important to our economy to let fail”. Yet our state can justify taking billions of dollars away from children to pay for their irresponsible handling  of our state finances. I am not at all politically correct on any of this. I’m a teacher, and I believe that the only investment that we can’t afford to let fail is the investment in our kids. Only that investment will  result in positive change for our country, growth in science, space exploration, technology, energy conservation, creativity, the arts, culture and a better future for the next generation. Without quality education, we are looking at a spiraling  decline in our culture, and in our way of life.

Did you hear my Band earlier. They’re pretty good, They’re not real good yet of course, because they’re young, they’re learning. They haven’t had the time necessary to fully learn or develop their skills, but they’re working on it. Some of them have only been playing their instruments a few months, some for 3 years. Oh they’re getting better, but in this current budget crises, they may never get the opportunity to develop their full potential in music or the arts, or in their creativity. It takes years of dedication and instruction and practice to become proficient on an instrument, or at writing, or to become a great artist, actor, or dancer. Of course, now there will be no music program next year, because the state and my district have determined that “my services are no longer required”.

Of all the damage that this new budget will do to education, it is in the arts that it has delivered a mortal blow. My pink slip is one testimony to that, but right now, around the state as I speak, hundreds of arts programs are being eliminated. The director of the High School Program here in the Valley has also been given his pink slip. Building a program takes years. It has taken me 10 years to develop the program in Buellton to be as effective as it is. But the state and my district have determined that my “services are no longer required”. Without  some sort of miracle, the arts in Buellton, or Solvang, or College school district, or the High school or any of the other districts in this Valley will not survive.

I don’t believe that everything is hopeless however. I’m an optimist like my dad. I believe in miracles, and miracles was even my topic at one of those state conferences that I spoke at last year. I entitled it. – “Community, the heart of the Arts”. If you look around, and walk around the park today, you will find tables, and volunteers already in the business of making miracles. They’re called volunteers, and donors, and concerned parents and citizens. They support the arts education that occurs in many of the schools in this valley already.

Fourteen years ago I started a non-profit organization called “The Joyful Note Music Education Foundation”. Its purpose was to provide music in schools in Santa Barbara county that had none. Joyful Note brought the only music that there was  to hundreds of kids in dozens of schools around this county for several years. After moving to Buellton, I relaxed my efforts with Joyful Note, partly because the importance of the arts was again being discovered by our educational system, and partly because of the strong support for the arts Buellton. Little did I know that one day, Joyful Note Music would be again be needed to save the music, only this time it would be at my own school. I never thought that it would be necessary to do the same thing in Buellton that Arts Outreach, and the Solvang Education Foundation, and the High School supporters, and the Valley foundation and dozens of other organizations in this valley have so wisely done for theirs. That is to keep the arts alive by private funding, and to save yet another generation of children from being impoverished in the visual and performing arts. Stop by the table over there with material from Joyful Note, and the other organizations that are represented. Take some information, give them your name, volunteer, donate. Find out how you can help out. Next year, Joyful Note Music may be the only music program in Buellton, because “my services are not required” by this state

This is ‘Pink Day’, and you are all wearing Pink to protest the idiocy of this annual ritualistic sacrifice of teachers. I thought it might be good to conclude my talk today by letting you all hear what a pink slip actually sounds like. This is mine.

“Notice of Recommendation Not to Re-Employ – March 12, 2009.
Dear Mr. Zell, – “Please take note that I have recommend(ed) to the Board of Trustees of Buellton Union School district that notice be given to you that your services will not be required by this school district for the ensuing 2009-2010 school year. At the regularly scheduled board meeting held on March 11, 2009 the Board of Trustees voted in favor of this decision.
I regret that I am constrained to give you this notice. My reason for such action is as follows;
The following particular kinds of service will be discontinued or reduced for the 2009-2010 school year: 1. Elementary Teaching – 2.0 FTE,  2. Music – 1.0 FTE.

Because of the foregoing reasons, it is necessary to decrease the number of certificated employees of the District. You are further notified that there is no probationary or permanent certificated employee with less seniority retained who is rendering service which you are credentialed and competent to render.

Enclosed is a copy of Sections 44949 and 44955 of the California Education Code for your information. Please take notice that I am recommending that you not be re-employed in this school district…..Very truly yours. – Tom Cooper, Superintendent.”

I can’t tell you how devastating the emotional effects of a note like this are. Anger, frustration, humiliation, helplessness, hopelessness. When I received this letter, it was like someone reaching inside and taking my heart out, because my heart is in the music program. My heart, my passion is teaching these kids, but my State and my district say that “my services are no longer required”.

You know something people, That is a lie. My services are required, desperately, and so are the services of every teacher in this state who got one of these  pink slips this month. Stop this madness. Fund education and invest in our children.

Oh, – and one other thing. This Pink-Slip. I intend to send it to  Governor Schwarzenegger, and a copy to my state Representatives, and the Senate and Assembly Education Committees. What if all 30,000 teachers in the state that got pink-slipped did that. Maybe that would help them to see the irreparable damage they are doing to our kids. You can help too, write your state representatives and the governor. Let them know that you think that education is too important to let fail. Thank-you.

(Ron Zell is also the President of the Buellton Education Association. You may contact Ron at or through Joyful Note Music at

(Thanks to Kyle Gardner-@kgard on Twitter-for bringing this to my attention)