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The career path for a graduate with a Master’s in Music Education can vary from public schools and private schools, postsecondary schools, choir or ensemble directors to private instruction. Salary ranges vary depending not only on region, but also on the chosen area of instruction.
The salary range for different positions can vary:
What Is the Salary for Master’s in Music Education Graduates?
The Bureau of Labor Statistics’ (BLS) Occupational Employment and Wages, indicates the median annual wage for postsecondary art, drama and music teachers is $77,280 per year. Regionally, the report shows that with a few exceptions, the highest annual wage for postsecondary music teachers occurs in the northeast and California, with annual mean wages reaching $132,490 per year. Areas of the Midwest and Northwest generally have lower salaries than the rest of the nation.
This report also indicates that the highest saturation of employment opportunities is available in the states of Massachusetts, New York, Pennsylvania, Rhode Island, and Illinois. These states have annual mean wages of $77,720 to $105,420. For postsecondary music education professors, the BLS reports median wages of $69,010 per year.
The Bureau of Labor Statistics estimates that the postsecondary teaching job outlook to be “good to excellent” until at least 2033 for teachers in general in both primary and secondary schools. In general, the BLS predicts that teaching professionals can expect a 8% job growth rate, outpacing other professions and industries in the same time frame, well above the less than 1% growth expected across all occupations in the same time frame.
What Is the Salary for Private Music Instructors?
As more and more adults turn to musical instruction to reignite their passion and creativity, private instruction rates will continue to rise. With recent studies showing playing an instrument or singing can significantly reduce stress; adults are choosing to take private lessons. Private musical instructors — depending on background, instrument and location — have a median advertised salary of $73,100, according to labor analytics platform Lightcast.
Whether master’s in music education graduates want to pursue teaching music to children, adults, or seniors, these reports indicate that there are a wide variety of positions and salaries that could be available. With the predicted increase in job growth for teachers nationally and with the increasing opportunities for private instruction, job opportunities in music should continue to rise over the next decade.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s Online Master of Music in Music Education program is designed with the evolution of music education in mind. In addition to covering a broad array of music genres, the program’s curriculum explores advanced concepts in music education psychology, instructional design, and technology in the music classroom. The faculty include instructors from a diverse range of professional backgrounds— from professional musicians to internationally recognized music education researchers and authors.
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Music teachers have the unique opportunity to use their creativity both for their own music and to fan the flames of others’ talent. However, it can be difficult to find out how to become a music teacher and develop the skills that are essential for inspiring and motivating your students. This article will examine some of the core requirements for entering and advancing in the field as well as the more specific subject areas that serve as important music teacher qualifications.
In addition to music and education subject area knowledge, music teachers must meet the standard qualifications for teachers in their states. These requirements vary, but there are some common ones to keep in mind:
What Certifications Are Required To Become a Teacher?
Earn a bachelor’s degree. Some states also require teachers to earn a master’s degree within several years of starting to teach.
Pass the state’s assessment exam.
Complete an approved teacher preparation program.
The states that require a master’s degree — including Connecticut, New York and Massachusetts — use a tiered licensing system that allows education professionals to start with a temporary initial license. To obtain advanced licensing, teachers in these states must complete an approved master’s in education program within several years of gaining their initial license.
How to become a music teacher
In addition to the general teacher certification requirements summarized above, most states will require educators to have specific subject area knowledge. In Florida, for example, core music teacher qualifications include having taken coursework in these areas:
Applied music at the upper-division level
Music theory
Conducting
Survey of music history
Group performance such as band, orchestra or chorus
Aspiring music educators should start by ensuring they have a strong foundation in the skills required by their states before they take their teacher certification exam.
Do I need a master’s degree to become a music teacher?
While not all states require teachers to have master’s degrees, graduate-level education is an excellent way for teachers to meet subject area knowledge requirements and other music teacher qualifications. For those who feel they need to develop skills in a key area, a master’s program can help to bridge the gap while allowing them to continue building on their strengths.
Additionally, master’s programs offer opportunities to share your passion and creativity, network with other teachers and expand both your technical mastery of music and knowledge of teaching and assessment strategies.
Music brings a unique means of expression and understanding into the lives of students, while also delivering something less tangible but just as important: a sense of connection to other people and cultures. Music teachers have the opportunity to transport people around the world to different cultures.
While the direct benefits of learning about music are significant, the indirect benefits can also play a remarkable role in learning. According to the National Association for Music Education (NAfME), learning about music can help students develop language and reasoning skills, improve memory, increase coordination, engage their school lessons, develop empathy, and so much more.
“The study of music includes the study of the people, places, and cultures involved in its creation and performance,” NAfME states. “As our country becomes increasingly diverse, it is important for students in every school setting to study a wide variety of musical styles, cultures, and genres.”
What careers are available for music teachers with a master’s degree?
Those who pursue a career as a music teacher can choose jobs in traditional education settings (like teaching elementary students) as well as those in more flexible environments (like private piano teachers or vocal coaches).
Some music education career paths to consider include:
Early Childhood Arts Instructor
Working in nursery schools, pre-schools, community organizations, and other music-centric entities, early childhood arts instructors introduce children to music and encourage them to express themselves through song, dance, and movement at an early age.
Music Instructor
Teachers at elementary schools, junior high schools and high schools educate children on the basics of music and introduce them to different types of music and musical instruments. Many music teachers will also lead choirs and marching bands, and direct performances, such as musical theater productions.
Music Teacher at a College or University
While some two-year colleges may hire teachers with a master’s degree, many four-year colleges and universities will require a Ph.D., so earning a master’s degree in music education is an important step. College music education roles include positions as a lecturer, instructor, associate professor, adjunct professor, assistant professor, or professor. Topics to teach could include music history, music theory, the business of music, performance, composition, psychology of music, music and technology, and more.
Private Instructor
Independent music teachers benefit from a flexible schedule and being their own boss. Private music teachers may teach music lessons to students on how to play different instruments (i.e. piano teachers, violin teachers, etc.), how to compose, music theory, performance, and more. This role could also take the form of a private instructor working at a music school, non-profit organization, or governmental agency.
Higher Education Administrator
This role, which could involve acting as the chair of a music department, entails designing a college or university’s approach to music and music education. Many universities will require a Ph.D., so a master’s degree in music education is an important first step.
School Music Coordinator
This role assists music teachers and departments in a variety of ways, from managing the school’s inventory of musical instruments to coordinating live performances. They may also help in planning other events, such as fundraising.
Music Director
Community organizations, theatres, and churches need music directors to lead bands, choirs, and performances.
Music Librarian
Public and academic libraries hire music librarians to manage and catalogue music collections and communicate with the public, often answering music-related questions.
What Are the Benefits of the University of Florida Master of Music in Music Education Program?
The University of Florida’s online music education master’s program supports graduate students’ development through the design of its curriculum, expert faculty, and the graduate research award, which provides financial support for professional development activities.
The comprehensive music education curriculum at the University of Florida covers the core knowledge areas required for music teacher certification and gives students the opportunity to showcase their passions through the final capstone course.
“The curriculum is actually the best part of this program,” said Melody Kneezel, a graduate of the online Master of Music in Music Education program. “It was unbeatable. I can’t imagine having learned anything better than what I learned. I was immediately able to apply everything that I was learning because I was teaching at the same time that I was getting the degree. “
Another key way the University of Florida supports its students is through the graduate research award. This award offers financial reimbursement to help cover UF students’ travel and other expenses related to professional development. While the award can be used for a variety of activities, former music education students have used it to cover travel expenses when speaking at music education conferences.
Music Education Success Stories at UF
Alumni of the online Master of Music in Music Education program at the University of Florida have shared several of their success stories, showcasing how the skills we develop help them achieve success. For example, Michelle Lucia-Ingle, a music instructor and clarinetist, shares her research from the program on using software applications to learn, teach, and play clarinet with the Thompson Symposium at Penn State University. After earning her master’s degree from the University of Florida, she was hired as a music instructor at Northland Community and Technical College in Minnesota.
When Katherine Powell was a student in the online Master of Music in Music Education program and also teaching, she applied what she learned at school to her curriculum. As a result, she was honored with a Champion for the Arts Award, as well as a separate $2,000 grant to purchase music technology for her classroom.
Other successful students have gone on to present their capstone research projects at conferences, symposia, and more.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s Online Master of Music in Music Education program is designed with the evolution of music education in mind. In addition to covering a broad array of music genres, the program’s curriculum explores advanced concepts in music education psychology, instructional design, and technology in the music classroom. The faculty include instructors from a diverse range of professional backgrounds— from professional musicians to internationally recognized music education researchers and authors.
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The value of music education encompasses both the emotional and cultural impact of experiencing music and the way that learning music enhances our brains. Research suggests that learning to play an instrument can enhance someone’s mental acuity and ability to retain information. This research, as well as the experiences of music teachers across the country, has even put pressure on legislators to integrate arts education into traditionally STEM-focused classes.
The field of music education provides a number of possible options for professionals interested in teaching. Many music educators, for example, choose to become a private music teacher, often referred to as a private music tutor. This rewarding career gives you a variety of options and opens opportunities ranging from working with an existing studio to starting your own music teaching business.
Private music teachers share many of the same core responsibilities as other educators in the field. Because they work one-to-one with students, they are able to individualize instruction, identifying and using materials that best meet each student’s goals.
Private music tutors have the flexibility to work for an existing studio, other organization, or own their own business. If employed by an organization, their responsibilities will depend on the audiences their employer works with. Teachers who pursue self-employment or entrepreneurship are able to narrow their focus to specific audiences or genres.
Private teachers who focus on individuals who are still in school often must also be aware of the relevant curriculum and standards in their students’ districts. These students will likely have goals related to their school work, such as preparing for a recital or examination.
What Is the Salary for a Private Music Teacher?
Salaries for this field are highly dependent on the type of environment that you work in and where you’re teaching. As of April 2, 2025, labor analytics platform Lightcast reports that the median advertised salary for private music teachers is $73,000, with a projected salary range between $51,000 and $107,000. If you pursue self-employment, you will want to research job postings and lesson offerings in your area to get an idea for standard rates.
How to Become a Private Music Tutor
The path to becoming a private music teacher is full of rewards and personal satisfaction, as teachers have opportunities to contribute to society’s understanding of culture while building talent and creativity. However, it can be difficult to determine where to start. Every individual’s route to a fulfilling teaching career is unique, so the first steps to becoming a private music teacher are about refining your passions and determining how you want to develop professionally.
1. Network with others working in your area of interest
Surrounding yourself with other professionals who have similar skills and interests can help you find new students and ways to build your personal teaching style. This step can also allow you to find mentors, who can help you set personal goals and guide you toward setting a strong foundation for your career. Sharing referrals with others, building a reputation, and establishing a strong foundation for yourself are the necessary elements of having a successful career as a private music teacher.
Networking is also one of the key benefits of pursuing a music education master’s degree, as you can connect with your peers and faculty to develop your understanding of music and pedagogy. Technology has also opened new paths for finding mentors and peers with similar interests, as there are numerous online communities that can provide quick guidance or help you develop professional connections— ranging from popular social media platforms like the music educator community on Reddit to professional membership organizations like the Music Teachers National Association.
Another excellent way to get involved in the larger community is to attend music education conferences, such as the University of Florida’s International Symposium on Assessment in Music Education, an event that focuses on the cultural context of learning music and how educators assess performance and other types of music learning.
2. Identify the skills best suited for your career goals
While decisions like determining which specific instruments and genres you want to develop competency in may seem obvious, there are myriad other music education career options to consider. For example, do you want to focus on a specific type of music or would you prefer to develop an understanding of a broad range? Do you personally play several instruments, or have you focused on one or two in particular?
As you hone in on the sorts of instruments, genres, and types of classes you want to teach, utilizing the network you’re establishing for yourself can help you build connections that lead to clients and other opportunities.
Knowing which audiences you best communicate with is equally important. For example, if you enjoy working with children and know that you do very well imparting information to young students but struggle connecting with teenagers, you may find your focus is best directed towards families with elementary-age kids.
Consciously thinking about these decisions can also help you to fine-tune your communication skills and identify your education goals—for example, a music education program’s capstone project is an excellent way to develop your skills and portfolio in working with the audience you’re best at connecting with.
3. Identify Private Music Teacher Degree Requirements
Graduate music education programs provide opportunities to build skills that make private music teachers successful. While not all private music tutors hold master’s degrees, many clients are drawn to the prestige associated with a master’s degree from an institution known for music education, so completing a relevant program can add to your credibility and build your reputation.
Furthermore, pursuing a master’s can enhance your teaching style and equip you with skills to better serve your clients. Master of Music in Music Education programs will offer coursework that delves into various strategies for teaching music as well as techniques for critically evaluating those strategies.
Music education graduate programs can also help teachers expand their understanding of different musical genres and develop their knowledge and skill in their specific focus areas. For example, the University of Florida’s online music education program includes coursework in popular music genres, in musical cultures that exist throughout the world, instructional design, theoretical analysis, and the psychology of music.
4. Identify the best environment for your success
Once you have obtained the necessary competency and education, you must decide whether you want to pursue teaching with a music studio or if you want to make a solo venture of your career.
There are advantages to teaching with a studio: most of the administrative work (billing, tracking, etc.), marketing, and scheduling is done for you. However, you are bound by the type of students and method of teaching that the studio focuses on. By pursuing solo teaching, you may have more control over your career trajectory, but you also take on more of the responsibilities of administration, marketing and promotion.
You may also consider working in multiple education environments. For example, if you want to become a private music teacher primarily to increase your earnings, you can continue to teach in a school while offering private lessons in the evenings.
5. Develop your own brand
One of the most significant steps to becoming a private music teacher is deciding how you want to position yourself as a music educator. Obtaining a music teaching degree gives you the power to market yourself as someone with advanced skills and a deep understanding of strategies for developing students. However, you can go beyond that by adding personal style and flare to the way you talk about and promote your work. For example, when first building your own brand, it can be helpful to ask questions like:
What is the ideal atmosphere of your classes like?
What first impression do you want to give when students enter your class?
What do you hope students get out of your classes the most?
Establishing these details at the beginning of your private music tutoring career will provide you with the focus you need to make your music classes engaging and comfortable for your students. You can continue to refine the vibe of your classes and tailor the type of professional relationship you have with students as your career evolves. Doing so can enhance not only how students learn, but how your career progresses. For example, students may be more likely to recommend a teacher with whom they feel comfortable, giving private teachers that build strong connections a competitive edge.
Becoming a private music teacher is about developing yourself as much as it is about elevating the creativity of your students. By building your own teaching style and better understanding the clients you most want to teach, you can create a highly successful and fulfilling career.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s Online Master of Music in Music Education program is designed with the evolution of music education in mind. In addition to covering a broad array of music genres, the program’s curriculum explores advanced concepts in music education psychology, instructional design, and technology in the music classroom. The faculty include instructors from a diverse range of professional backgrounds— from professional musicians to internationally recognized music education researchers and authors.
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Thoughtful measurements and evaluations tied to clear learning goals are a vital, motivating part of music education. For students, the right assessments demonstrate their growth as musicians and provide an encouraging path forward. For educators, assessments provide valuable information that can be used to inform and adapt their teaching.
Marshall Haning is associate professor and area head of Music Education at the University of Florida School of Music. He also serves as chair of the faculty for the UF College of the Arts; convenor of the Assessment, Measurement, and Evaluation Special Interest Group for the International Society of Music Education; and chair of the International Symposia on Assessment in Music Education. He teaches undergraduate and graduate courses, including sections of the “Assessing Music Learning” course in the online Master of Music in Music Education (MMME) program. Before coming to UF, he taught high school choir and music theory.
For Dr. Haning, one of the most rewarding aspects of his role as an educator is helping students build new understandings and ideas. “It’s amazing to see how learning at one level can provide a foundation for learning at the next level,” he said.
In this Q&A, Dr. Haning answers some common questions about music learning assessment so that educators gain a better understanding of where to start and what techniques to consider.
What exactly is assessment in music education? Why should I be assessing my students?
Assessments are a crucial part of teaching. They help us guide our students’ progress and give us valuable data to inform our teaching.
I hope that we can move away from thinking of assessments as something that marks the end of learning and instead start thinking of them as something that moves learning along.
Done properly, assessments should be an iterative process, where we
1. Measure students’ understanding
2. Figure out where they need help
3. Give them that help
4. Measure them again
5. Celebrate how far they’ve come
It’s so important to have actual measurements and evaluations of individual students. For example, if all we do is listen to the choir during rehearsal, then we have little to go on in terms of planning our future teaching to help each student improve. But if we measure the knowledge and skills of individual students and determine that some are really struggling with solfege and others need help with their breath support, then we can target our lessons to make sure that all students are getting help in the areas that are most needed.
A note on the use of “assessment”: I’ve actually started to move towards the words “measurement” and “evaluation,” to try to be clearer about what we’re actually talking about — what we’re really trying to do when we assess students is measure their performance on a given task, and then evaluate that measurement, in order to determine what it means and the best way to move forward. Without the measurement, it’s hard to make an accurate evaluation — it’s important that we not leave out that step!
I’ll continue to use “assessment” for the purposes of our conversation here, but keep in mind that I’m always speaking with those two processes in mind.
I know that I should be assessing my students, but where should I start?
The best place to start is with clear learning goals.
Assessments are about measuring a student’s ability to meet goals, and if you only have vague, group-based goals, such as “the band will play this piece successfully,” there’s not a lot to measure!
I always encourage teachers to take a good look at their learning goals before they start thinking about assessments. A well-written goal will almost assess itself.
Two questions to ask yourself are:
1. What do I actually need students to demonstrate they know or can do?
2. What are creative ways for students to show they have that particular knowledge or skill?
If, for example, my students need to show they understand the characteristics of the Baroque period, I could have them explore how to play a folk tune they already know in a Baroque style, or identify the Baroque piece in a set of three examples, or write a short piece of their own with Baroque characteristics.
Another place to start is with NAfME. Their Music Standards should be goals for all our classrooms. To go along with those standards, NAfME has developed a set of “Model Cornerstone Assessments” that individual teachers can adapt to meet their specific classroom needs.
Finally, if you’re still having trouble with assessment, consider taking classes, or seeking out professional development. You can often seek professional development at the district level; very few principals are likely to complain if you tell them you want to take a class that helps you assess better!
Or, you can look into academic classes like those in UF’s online Master of Music in Music Education program. There are also lots of great articles in professional journals, webinars, books, and other resources out there — the most important thing is that you’re actively working to build your knowledge.
There is so much I need to cover in my classes. How do I also find the time to do regular assessments?
It’s true that assessments take time. However, it’s a misconception that assessments must be overly long, complicated, or intense.
Anything that allows us to measure students’ ability can be an assessment, and in many cases a three-minute bellringer can be more effective than a 25-minute quiz.
Assessments are most effective when they are embedded in what you’re already doing. They can even make use of what would have been unused time.
Here are some ways I strategically use assessments:
I’ll give students a bellringer (a mini assignment to be completed when they enter class, while I’m still taking attendance or doing other things) or assign a short quiz with instructions that students complete the quiz anytime their section is not singing or playing during rehearsal.
I’ll walk around with a rubric while students are working through a piece and listen to each individual student for a few seconds and give them a score.
I’ll have students pass around a voice recorder during class — they hold it for a few minutes while singing and then pass it to the next person. I’ll listen to the audio recordings later and give feedback or scores after class.
These allow me to gauge the student’s understanding quickly, and it also allows me to keep them on task during the down time of a rehearsal. I’m capturing time where they would just be sitting and talking, or leveraging activities that I would have them do anyway, and I’m using that time to get assessment data.
Remember: we assess students to make sure they are learning and growing — if you don’t have time for that, what are you making time for?
What are some common tools that music educators use to assess their students?
One of our unique challenges as music educators is to take things that are inherently subjective and assign measurements (usually numbers) to them. Any tool that lets us create a measurement from something that is not obviously “measurable” is useful for music teachers.
Some of the primary tools we use for this are checklists, rating scales, and rubrics. These are flexible, multi-situational tools that you can use to put a number on a moment.
Checklists are a “yes” or “no” list of what a student should be doing right. For instance, did they start at the beginning? Did they play all the way to the end without stopping? Checklists are really helpful when you are looking at small behavioral criteria.
Rating scales are numerical assessments, often using 1 through 5 or 1 through 10. You can rate a single aspect or use several rating scales at a time. For example, you can rate a student on overall performance. Or you can rate them on breath support, then separately on musicality, and again on pitch accuracy.
Rating scales allow you to evaluate with a little bit more nuance than a checklist. It gives you more room to break down the good or bad or in-between.
Rubrics are similar to rating scales but with a description added to every score. Rubrics are more objective and more consistent than a rating scale. To create a rubric, write out specifically what a student must do to receive a certain score. For example, “To get a 1, a student performance would look like this. To get a 2, the performance would look like this.”
A big advantage of rubrics is that they provide automatic suggestions for students on how to improve; students just have to look at the description for their score and for the next higher score to know what they should work on.
Keep in mind: one of the most challenging words you can add to a rubric is “and.” For example, if you write that students will score a 2 if they achieve “acceptable resonance and placement,” then what do you do if they have poor resonance but outstanding placement?
The clearer and more precise you can be, the quicker and less overwhelming your assessments will be.
You can see an example checklist, rating scale, and rubric below.
Checklist example
Rating scale example
Rubric example
All these tools can be used in a variety of different contexts. For example, you could use a checklist to make sure the student knows how to set up their instrument properly; use a rating scale for their overall performance on a piece; and use a rubric to dig into breath support, tone, quality, and expression.
A great tool for summative assessment is a digital/electronic portfolio. Portfolios allow us to provide evidence of student learning that goes beyond our own interpretation and gives us a chance to really show in a concrete way what students can do from the start of the year to the end of the year. Pair it with a rubric and you have a multimedia, multipurpose assessment.
No matter what tool you choose, make sure that your measurement instrument is as efficient and as clear as possible.
Do I really need to do assessments? I don’t want to ruin my students’ musical experience with numbers, and I don’t want them to get discouraged!
I’ve heard teachers say they refuse to assess their students because if they did, the students would become discouraged and quit music. If that’s true, then you’re doing assessment wrong!
Assessment should be a way that students see how far they’ve come and where they need to do to continue to improve. Done right, assessments do the opposite of discourage — they can motivate. Students understand they can reach another level and have a clear path to get there. They have motivation to grow as a musician and a creative person.
When we assess frequently and make it a normal part of the learning process, students come to take it for granted and see it as a valuable tool for continued improvement. It’s when we make assessments something that happens infrequently, under high stakes, and with no connection to our normal teaching, that it becomes something that students are afraid of.
Plus, by measuring a student’s progress and showing them a path to growth, we are telling them that music is a subject worth learning and worth improving in, just like math, or writing, or any other subject in school.
Ultimately, the teacher sets the attitude for the students. If you celebrate students’ progress and encourage them to keep moving forward, students will be happier about the assessment process.
Why is a standalone assessment course so important
Assessment isn’t talked about a lot in many music education programs. At UF, we want to be sure our master’s students get a thorough grounding in ideas and strategies related to assessment because it’s a crucial part of teaching. That’s why we’ve included an entire course on assessment as a part of the Masters in Music Education program, and it’s why we embed assessment throughout the program in all of our courses.
Embedding key concepts is part of a larger goal: while certain topics are foregrounded in certain courses, they’re also reinforced throughout your entire coursework.
We try hard to model effective assessments all the way through our program. Most of our assignments and all our courses have clear rubrics. Students can see what they’re going to be assessed on and the rubrics reflect what we feel is most important about the assignments.
So, not only are we expecting MMME students to apply these ideas all the way through the program, we as faculty are also trying to demonstrate the use of those items all the way through the program.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s online Master of Music in Music Education program is designed to help music educators enhance their abilities as musicians, teachers, and passionate students of one of humanity’s most dynamic modes of creative expression. Exploring both practical and theoretical perspectives, the program, designed and taught by experts in the field, is perfect for current music educators looking to enhance their ability to encourage student engagement with music.
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As the National Association for Music Education points out, music education is not just a study of music or education, it is also the study of people, places, and cultures. For this reason, music educators come from all varieties of professional, cultural, and educational backgrounds. Although master’s degrees can offer career advantages, such as increased salary, the unique and creative nature of music education means that advanced degrees in the field are about more than earning pay raises; many professionals pursue a master’s in music education to learn the best strategies for bringing music to life for their students.
IS A MASTER’S IN MUSIC EDUCATION WORTH IT?
There are several career advantages for music educators who are interested in graduate-level education. Labor market analytics company Lightcast reports that elementary and post-secondary music teachers have an average advertised salary of $66,300 for jobs that require a master’s degree. Salaries for positions that don’t require a master’s degree have an average advertised salary of $54,700. Lightcast salary metrics for related career outcomes that require a master’s degree are as follows:
Music Teacher – $66,900
Music Therapist – $69,900
Music Director – $70,000
Most professionals hoping to teach college will also need at least a master’s, and may pursue their MMME degree as a stepping stone to their doctorate. There are also a few intangible benefits that can lead to more engaged students as well as deeper expertise in music and education theory.
Career Flexibility
While most master’s in music education students are engaged in teaching or administrative roles, the lack of standardization in certification requirements from state to state can be a limiting factor in geographic career flexibility. For example, while many states only require a bachelor’s degree to teach K-12, states such as New York require teachers to either already have or earn a master’s within five years of becoming certified.
Certification reciprocity, where states agree that teacher certification in one state will transfer to another, makes the issue even more complicated. Even experienced teachers have found that their certification in one state doesn’t always qualify them to teach after moving.
While a master’s degree doesn’t necessarily guarantee complete geographic career flexibility, a robust music education graduate program can help alleviate some of the headaches associated with moving between states because it satisfies the more stringent advanced education requirements for teacher certification. It can also open the door to teaching in other environments later; teaching in most postsecondary environments requires at least a master’s degree in a related field, according to the U.S. Bureau of Labor Statistics.
Networking
Building a strong professional network is a cornerstone of successful careers for many fields, including music education. The positive outcomes of peer-to-peer networking and collaboration extend to the classroom and to schools in general. In a 2014 report by the RennieCenter for Education Research & Policy, the authors noted that there is considerable benefit for teachers from many different backgrounds working together. These benefits include:
Stronger student performance
Improved ability to solve instructional challenges
More frequent feedback on classroom practices and lessons
One of the central themes of the report is that in school environments where collaboration was strongest, it was often the teachers driving the change rather than the school. The best master’s in music education programs are built on facilitating collaboration among professionals from different backgrounds; furthermore, the network they build in these programs can help them create new ideas for their classrooms.
Master’s in Music Education Program Considerations
Master’s in music education programs can vary significantly from school to school. Most Music Education curricula will provide foundational coursework in the philosophy of music education as well as music history, but the supplemental and elective courses make a program truly unique. Some programs focus on giving students exposure to a broader array of music, while others offer supplemental music education classes that focus more on teaching, including music class design, theories of learning, and the psychology of how people interact with music.
The best music education program option depends on the student’s focus in their bachelor’s program, their previous work experience, and their career goals. However, there are several specific considerations to make when choosing between degree programs, including:
Collaboration Between Faculty and Students
In addition to having distinguished faculty, the quality of music education programs is uniquely dependent on the accessibility and availability of their faculty – instructors can help foster creativity in students’ work and guide them toward the right resources for their careers. Students hoping to get a sense of the level of collaboration between faculty, students and peers can ask specific questions about class sizes, capstone projects, and group discussions to get a sense of the degree of interaction in a music education program.
How the Program Uses Technology
The use of technology in the classroom remains a hotly debated issue with regard to how much students should be able to use devices like tablets for learning. However, the National Association for Music Education suggests the proper use of music education technology could drastically transform the classroom, if the implementation is handled well. Music education graduate programs that use and explore the role of technology will become more important, especially for teachers hoping to engage students who are increasingly tech-savvy in their daily lives.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s Online Master of Music in Music Education program is designed with the evolution of music education in mind. In addition to covering a broad array of music genres, the program’s curriculum explores advanced concepts in music education psychology, instructional design, and technology in the music classroom. The faculty include instructors from a diverse range of professional backgrounds— from professional musicians to internationally recognized music education researchers and authors.
Today, there is a lot of buzz about artificial intelligence (AI), with both excitement and concern about how it will impact our lives. In particular, the widespread availability of AI built on large language models that are capable of understanding and generating human-like text has resulted in new AI tools that are user-friendly and accessible to everyone.
What impact will this have on music education? Only time will tell, but there are some ways that music teachers can harness this technology now to help with instructional tasks that may be time-consuming or tedious. Teachers can also use AI to brainstorm new ideas and approaches to engaging students in music learning activities. AI has the potential to become your personal music teaching assistant.
In this blog post, I provide four examples of ways music teachers might integrate AI into their workflow by using two free online tools, OpenAI’s ChatGPT and Bing Image Creator. ChatGPT and Bing Image Creator are generative AI (GAI) applications. GAI tools can generate content such as text, images, videos, audio, and other forms of data that resemble human-created content.
A word of caution is in order when examining the content created by a GAI; it is prone to hallucinations. A hallucination in this context is when an AI makes up a plausible but inaccurate response as the truth. This happens because GAI tools generate responses based on patterns in the data they have been provided, without the ability to apply logic or detect factual inconsistencies. Consequently, they might output information that is incorrect or illogical, without realizing the error. Researchers are working to make GAI more reliable.
For an AI to provide assistance, it must receive an inquiry or prompt from the user. Prompts are usually typed into a designated location in the AI, however, recently it was announced that verbal and picture prompts can now be used with the paid version of ChatGPT. This will undoubtedly become a common way to interact with an AI. Importantly, the quality of prompts provided to an AI will impact the type of results received.
In general, you should communicate with an AI in a manner similar to how you might talk to a young child. Be very exact and explicit. AI is literal; don’t assume that it will correctly fill in any gaps you have left. Good prompts are clear and specific, provide essential contextual information, and include relevant keywords. Don’t be afraid to iterate a prompt to get better results: you may need to experiment to receive a suitable response.
You are encouraged to try out the prompts below, varying them as appropriate to fit your situation. Also, try your own prompts. The best way to learn how these tools work is to experiment with them.
Brainstorming Lesson Plans
Lesson plans are important, but they can be time-consuming to write. Teachers may also want to seek inspiration for new approaches and ideas to use. ChatGPT can help. Here is a prompt I gave it to brainstorm ideas for a lesson plan:
Create two student learning outcomes for a second-grade general music class based on the following national music standard: Improvise rhythmic and melodic patterns and musical ideas for a specific purpose. What are some examples of learning activities and formative assessment strategies that align with these learning outcomes?
Within seconds, ChatGPT responded:
If I wasn’t satisfied with this response, I could refine my prompt and try again, or I could take this output and manually adapt it as I saw fit.
Conversing With a Historical Figure
Imagine being able to talk directly to a historical figure in music to learn more about them and their accomplishments. This can be simulated with ChatGPT. Here is a prompt:
I want to know more about John Philip Sousa by role-playing a conversation with him. You will play the role of John Philip Sousa and I will play myself. You should answer questions I pose to Sousa. You should also ask me questions that help to extend our dialog and allow you to learn about me and why I’m interested in you. Use my name when talking to me. We will begin when I introduce myself.
ChatGPT’s response:
Our conversation continued, covering a variety of topics. For instance, I asked “Mr. Sousa” what his primary instrument was. “He” responded:
Creating an Image as a Response to Music
Ask students to create a list of the observations, thoughts, and emotions they experience while listening to a musical composition. Then, enter that list of descriptors into a text-to-image generator to create a visual representation of each student’s response to the musical selection. The class could then share their images with each other and discuss what they heard in the music, as represented in their image.
While listening to Prelude to the Afternoon of a Faun by Claude Debussy, I generated a list of words that came to mind (dreamy, awakening, floating, flute, pentatonic, calm, exploring, meadow, impressionism) and used Bing Image Creator to generate this image:
Assessment
ChatGPT can create various types of assessments (e.g., essay, multiple choice, rubrics). Here is an example of a multiple-choice quiz about the 1960s British Invasion in pop and rock music. First, I created two student learning outcomes, which can be seen in the prompt below. ChatGPT could help create these, if desired. Next, I used ChatGPT to generate an article about the British Invasion for students to read. After having students read the article, I would facilitate a class discussion, which might include watching relevant YouTube videos and listening to music from the era. Finally, I would check students’ understanding of the topic by having them take a brief multiple-choice quiz, generated by ChatGPT using the following prompt:
Generate five multiple-choice questions that cover the main topics of the British Invasion in popular music, including prominent musicians and how the music connected with the culture of the era. These questions should align with the following student learning outcomes: “(1) Students will analyze the cultural impact of the British Invasion on society. (2) Students will critically assess the musical innovation of key British Invasion bands.”
This is the quiz, created by ChatGPT:
If I didn’t like this set of questions, I could click ChatGPTs “regenerate” button as much as I desired, prompting it to create five more questions each time. In the end, I could pick and choose which questions to use among the options provided by ChatGPT.
Final Thoughts
Artificial intelligence, in many forms, will undoubtedly affect our personal and professional lives. As music teachers, we and our students can benefit from the possibilities AI offers. However, it is important that we be part of the wider professional conversation and actively take part in discourse related to appropriate uses, ethical considerations, and pedagogical practices related to AI. Get started by experimenting with tools such as ChatGPT, Bing Image Creator, and AIVA, an AI music composition platform.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s Online Master of Music in Music Education program is designed with the evolution of music education in mind. In addition to covering a broad array of music genres, the program’s curriculum explores advanced concepts in music education psychology, instructional design, and technology in the music classroom. The faculty include instructors from a diverse range of professional backgrounds— from professional musicians to internationally recognized music education researchers and authors.
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Plus, Four Tips for Getting the Most Out of Your Capstone Experience
The capstone project is a grand finale to the University of Florida’s online Master of Music in Music Education (MMME). For UF Music Education graduate students, it represents the full arc of their work over the course of the degree and showcases their growth in areas such as pedagogy, research methods, creativity, and understanding of world and vernacular musics.
However, it is more than a reflection of the past — it is also something that can help students as they move forward. It is a tangible achievement that they can demonstrate to their current or prospective employers. Moreover, it can transform how they teach.
In this article, we provide a broad overview of the UF capstone project, how it fits into the online Master of Music in Music Education, and how it can match and support students’ career goals. We also share tips on how to get the most out of the project.
Megan Sheridan, an associate professor of music education at the University of Florida, shares insights and advice for students throughout the article. Dr. Sheridan serves as a faculty advisor who has helped many UF Music Education students shape their capstone project. In addition to her advisory role, Dr. Sheridan teaches a range of courses, including general music education, qualitative research, and sociology in music education. She also has extensive experience in elementary classrooms having taught general and choral music in public and private schools in Pennsylvania and Maryland.
“The University of Florida has a fantastic online master’s program. I truly enjoy working with the students in this program.”
Megan Sheridan Associate Professor of Music Education at the University of Florida
Dr. Sheridan’s research, teaching, and professional background mirror the guiding principles of the UF School of Music: her goal is to help students develop their knowledge and skills so that they can inspire the next generation of musicians.
She also believes that educators should meet students where they are, rather than adhering to a rigid set of techniques: “To inspire students, educators must strive to connect with them on their level rather than strictly adhering to a rigid set of techniques,” said Dr. Sheridan.
What Is the Capstone Project? A Brief Overview
“The capstone project is a culmination of a student’s learning and growth that has happened over the course of their master’s degree program,” explained Dr. Sheridan. “It demonstrates that you have put in the work to gain the knowledge and skills that place you at a master’s level and that you can speak intelligently about music education in a variety of ways.”
While students in the online Master of Music in Music Education do take a specific capstone course, “MUE6790: Capstone Project in Music Education,” the capstone shouldn’t be seen as a stand-alone product.
Instead, it serves as a companion to all work done in the program and, on an even larger scale, a complement to a student’s professional journey.
The Capstone Is Based On Your Interests
Students choose their own topic to pursue, with the help of a faculty advisor like Dr. Sheridan. That advisor then works with the student from start to finish.
“As an advisor, it’s my job to guide students through the capstone process. I help students identify their area of focus and then break the research and writing tasks into manageable steps,” said Dr. Sheridan. “With this approach, it doesn’t seem like an overwhelmingly large project.”
Not all students start the program with a topic in mind — and that’s okay. Dr. Sheridan said that she encourages students to choose a project that has a personal connection. If a student isn’t sure what they want to pursue, they’ll sit down and talk about any favorite courses or topics, or about a professional issue that they’d like to address.
For example, a student might choose a project related to music performance anxiety because they have experienced stage fright themselves and also want to help their classroom students overcome their fears so that they can enjoy music performance. Or, perhaps they’d like to help their K-12 students’ ability to sight read music, so they develop a research-based curriculum that will allow them to systematically teach this skill. These are just a couple of examples of capstone topics, which are limited only by the UF student’s interests and creativity.
The Capstone Can Broaden Your Perspective
While the capstone topic aligns with a student’s interests, it can also serve as a catalyst for them to step outside their comfort zone and broaden their perspective of music education. This matches one of the key goals of the UF School of Music’s approach to education.
“Students get to step outside the boxes they’ve initially put themselves in, where they’ve limited themselves by believing there are only certain prescribed ways to approach music teaching,” Dr. Sheridan said. “They learn there is not one single way to approach teaching.”
“For instance, some become interested in informal music-making or modern band,” she explained. “Or they start to focus more on ways to incorporate creativity, improvisation and composition in the ensemble setting. Through their coursework and highlighted by the capstone, they develop a more well-rounded approach to teaching music.”
How the Capstone Format Matches Your Career Goals
Students not only get to select the capstone topic, but they also get to determine the approach that best suits their requirements, with the guidance of a faculty advisor.
While some students might prefer researching a topic and presenting their findings in a paper, others may choose a practical approach that involves breaking down a teaching process and developing a new curriculum plan. Ultimately, the format is based on what is most useful for their future. Past students have undertaken projects such as:
Literature review or research study
Students who are interested in the “why” of a topic might choose to do a critical analysis of current knowledge or conduct original research. For students who want to go on to pursue a PhD or other post-graduate education, completing a research-based capstone preps them to undertake future academic projects like a dissertation.
Curriculum project
In this project, a student revises their own curriculum or unit plan; or designs a new curriculum or unit plan based around a learning goal or subject area. This is a great way to combine professional development with making a direct impact: “I’ve seen students use a curriculum project to revise their district’s music education curriculum,” said Dr. Sheridan. “In this way, the capstone can lead students to make a broad impact in their communities.”
E-portfolio
The e-portfolio capstone is a digital collection of examples that show a students’ best work, reflections on their learning experiences, and evidence of their growth throughout the degree. This platform is an excellent way for students to reflect on how the degree program impacted them as a teacher, scholar, and musician.
These are just some of the ways that MMME students structure their capstone projects. Keep in mind that this is not a definitive or official list; master’s students will work closely with a UF School of Music faculty advisor to develop their individualized capstone plan.
More Benefits: Professional Growth, Presentation Skills, and Networking
Even once a student puts the finishing touches on their capstone project, there are still more opportunities for professional growth. UF students have presented their projects at conferences and symposia, where they get to showcase their findings to a wide audience while building presentation and communication skills. You can see examples of these presentations on our student success stories page. Other students have had their capstone studies published in professional journals.
These events also provide a meaningful way to contribute to music education and a chance to network with other professionals in the field, potentially leading to future collaborations. By sharing their insights with wider audiences, UF’s music education students can help their fellow teachers find fresh and creative ways to inspire in their students a deep appreciation for music.
Four Tips for a Successful Capstone Project
Completing the MMME capstone project requires diligent planning, skill development, and dedicated effort, as it is a significant task to complete. To help ensure success, consider these tips:
1. Create a timeline and stick to it.
A timeline is crucial. It keeps you on track and prevents a last-minute rush to meet deadlines. A well-planned timeline can also reduce the “what should I be doing now?” moments. Plus, it can be a powerful motivator, as it’s a visual reminder of the progress you’re making.
Make sure to tell your advisor about your timeline and update them about any changes. Consistent communication is key: regular check-in moments can keep you accountable while ensuring that you and your advisor remain on the same page throughout the process. Plus, if you send smaller pieces of your project periodically, your advisor has more chances to give you quality feedback, and you have more time to improve your work in response.
“Students who do not let a week go by without working on their capstone tend to be the ones that develop really strong capstone projects,” Dr. Sheridan said. “They’re a lot less stressed because they can see they are making regular progress.”
2. Start thinking about your capstone when you start the music master’s program.
While you don’t need to start writing or researching on day one of your degree, you should start thinking about your capstone early on. Note what subjects or discussions interest you in your classes. Track the skills you are developing and highlight any that spark your enthusiasm. The more the capstone matches your interests, the more you are going to be excited about working on it.
“The capstone shouldn’t be viewed as a separate assignment, but as an outflow of the work you’ve done,” explained Dr. Sheridan. “A lot of students will take an idea they had in a class and expand it into a capstone project.”
She also noted that many students choose a topic that is personally relevant to them, in addition to being professionally important. “When you personally like what you’re doing, that makes it easier to stick with it,” she said.
3. Use the many resources provided by the University of Florida
The University of Florida libraries form the largest information resources system in the state of Florida. They offer a wealth of online resources to students, which includes large databases such as JSTOR and WorldCat and more targeted databases such as the Music Periodicals Database, the Performing Arts Periodicals Database, and RILM Abstracts of Music Literature. By the time students begin their capstone, they will be very familiar with accessing and navigating these databases thanks to their prior coursework.
Within the Master of Music in Music Education curriculum itself, two courses can serve as particularly helpful: “Psychology of Music” and “Research in Music Education.” These provide students with experience in conducting literature reviews, conducting research, and drawing conclusions from their own research and the work of others.
4. Observe other capstone defenses before starting your project.
Each semester, UF School of Music students present their capstone projects live via Zoom, and the online MMME community is invited to both support and actively participate in the presentations.
By watching and participating, newer students can get a sense of the scope of the project, as well as potentially find ideas and inspiration for their own work. Observing the capstone defenses can also provide insights into the expectations of the capstone and how it is assessed.
How a Capstone Elevates UF’s Music Education Program
The online Master of Music in Music Education has been thoughtfully designed so that every class, course, and curriculum step contributes to students’ growth as a musician, educator and scholar. We deliberately chose to include a capstone project so that students could have a rewarding experience that gives them the chance to dig into a topic that interests them and deepens skills that they’ll use throughout their careers.
The capstone is also an opportunity to connect with UF faculty like Dr. Sheridan. The connection you make with faculty during your capstone project — and throughout your time in the music education master’s program — can extend far beyond the capstone and even the completion of your degree. These professional relationships have the potential to become invaluable resources in your professional network, providing ongoing support and guidance as you navigate your career.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s online Master of Music in Music Education program is designed to help music educators enhance their abilities as musicians, teachers, and passionate students of one of humanity’s most dynamic modes of creative expression. Exploring both practical and theoretical perspectives, the program, designed and taught by experts in the field, is perfect for current music educators looking to enhance their ability to encourage student engagement with music.
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What is the most effective way to encourage creativity and a lifelong love of music in the classroom?
The answer to this question guides every aspect of dedicated music educators’ careers. We at the University of Florida’s online Master of Music in Music Education (MMME) program believe the student learning experience should not be limited to the development of performance technique, an understanding of music history, and knowledge of music theory. While these elements are important, it is necessary to go further, empowering students to make their own creative, expressive musical decisions. By merging foundational music skills and knowledge with support for individual imagination and expression, students develop personal agency and self-satisfaction while simultaneously achieving a comprehensive musical education aligned with national and international learning standards.
But how can music educators adhere to curriculum standards while encouraging confidence and creativity within their students? In a recent webinar for the National Association for Music Education, UF presenters and MMME faculty Drs. William Bauer, Marshall Haning, Barry Hartz, Megan Sheridan, and Peter Webster answer this question and more.
Creativity Across the Music Curriculum
Here, our presenters explain the importance of creative musicianship and the benefits of increasing musical agency within the classroom. They cover four creative musical experiences — composition, improvisation, creative music listening, and creative performance of others’ music — and offer strategies for incorporating these experiences in K-12 classrooms and ensembles.
Watch the video above to discover innovative ways to support your music students. You’ll also get a deeper introduction to the UF School of Music and our educational beliefs and culture.
Want more? Check out our list of resources for developing creative musicianship, compiled by Dr. Bauer. You can also connect with us directly by emailing smonline@hhp.ufl.edu.
About the University of Florida’s Online Master of Music in Music Education
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s online Master of Music in Music Education program is designed to help music educators enhance their abilities as musicians, teachers, and passionate students of one of humanity’s most dynamic modes of creative expression. Exploring both practical and theoretical perspectives, the program, designed and taught by experts in the field, is perfect for current music educators looking to enhance their ability to encourage student engagement with music.
Comments Off on Sparking Creativity in the Music Classroom: Hear From a Current UF Student
Connecting with and inspiring students is of the utmost importance for all teachers, and at the core of our online Master of Music in Music Education program. We strive to help PK-12 teachers who enroll in the program develop as musicians and educators by utilizing active learning strategies in courses that deal with contemporary topics; providing a space to network with each other, faculty, and guest speakers; facilitating discussions about common issues and concerns; and sharing ideas about how to creatively engage their own students in classes and rehearsals.
In this blog series, we hear directly from current and former students in the online Master of Music in Music Education program. They share their passion for music education, why they chose to study at UF, and how they are utilizing what they learned in the program.
Meet Andrew Wilfong
Andrew is an elementary school music teacher and a church music director. Andrew has held jobs as a high school music teacher, band camp instructor and private piano teacher (among others). He is currently enrolled in University of Florida’s online Master of Music in Music Education program where he is slated to graduate in Spring 2022.
What is your focus in your current role, and what’s important to you in your work?
Teaching my students music literacy and being an inspiration to them to continue in music are both important. Once they leave elementary school, they’re going to choose to continue in music or not. My goal is to show them enough about music so they can make an educated decision and so they know how expansive music options are. I had so many students think that a career in music meant simply music performance, like playing classical piano or playing in an orchestra. I want to show them the possibilities beyond the classroom. Aside from just being their educator, I try to be an inspiration as a real life musician who has continued to do what they love with music.
Why did you choose UF’s online Master of Music in Music Education program?
The thing that really stuck out about UF’s program is the practicality of all of the courses so far. A lot of the other programs that I looked into were very statistical- and research-based. There is definitely a time and place for that, but seeing the balance between research-based courses and practical courses that I could implement immediately into my current teaching practice was my biggest draw to the program. I began UF’s online Master of Music in Music Education program when the COVID-19 pandemic was starting. Even seeing that the first classes were strategically designed to teach creative music-making or technology in music, I knew that I was learning things that I would be able to use immediately.
I’ve been very impressed with the guest lecturers in the program and all of the different connections we’ve been able to make. In fact, some of the leading researchers in music education have spoken to our class. That has been great, and the diversity of the interviews in terms of topic have been fantastic as well. For example, Christopher Tin, who composes music for video games, was one of our guest lecturers.
I think a lot of people enter a master’s program with the idea of getting the courses done as fast as they can. For instance, a lot of the other programs that I looked at would allow you to take more than one course at a time. UF’s program is designed in a way where you take one course every eight weeks. I think that was a very valuable thing to really slow down and process the information before moving onto the next course.
How has the program helped you to influence creativity in your own classroom?
When I first started teaching elementary school students, I really hadn’t considered much of the possibility of using technology in the classroom. In the Technology Assisted Music Learning course, Dr. Bauer shared a lot of different digital resources, which is where I got the idea to integrate technology into my teaching for younger students. One of my favorites was the Isle of Tune plugin, which we use to create melodies and beats. I also used it to discuss form, timbre and instrumentation. For the older students, I was able to use some of the other programs that were mentioned like BandLab and a scoring app called Noteflight.
The biggest shift in my philosophy of teaching was realizing that my students were able to create something to take home. It’s not just about them playing instruments in the classroom. I also became familiar with the application Flipgrid, which is a resource where students can film themselves and submit it. I realized that recording classroom sessions and music that they’re making allows students to listen to themselves and make revisions. These were all things that UF’s program really laid out well in ways that I could integrate immediately.
Was there a project that you worked on with your students that stood out from a creativity standpoint?
My favorite project this year involved an application called drumbit which allowed students to make their own drum beats. I was teaching a lesson on rap music to my fifth grade students. We listened to different drum hooks and lyrics, and we talked about different forms and structures. Both my fourth and fifth graders wrote their own rap songs, and the fifth graders arranged the music as well. For the first stage of the project, students created their own rap beats in the lab. They used a variety of children’s literature books, like nursery rhymes and Dr. Seuss books to compose the lyrics. For the culminating project, I divided students into groups. They used the beats that they created, arranged the text and created their own rhythms to make a rap song. We finished the project just in time for Dr. Seuss Day. They were able to perform, record and share their songs with other classes in the school. The students were really excited to be able to rap through different books.
Has your perspective on influencing creativity shifted from your time in the program?
I definitely think that it has. The biggest pitfall I had faced in teaching elementary music was feeling like I had to hold their hand through every little moment. In UF’s Creative Thinking in Music and Instructional Design in Music Education courses, we talked about design frameworks and preparing units with that end in mind. I learned that if I properly equip students in the beginning, then they can foster their own creativity. The program really helped me shift my mindset towards more student-centered learning.
What are some other things you learned in UF’s Creative Thinking in Music class, and what have you been able to incorporate into your own teaching?
There were multiple applied projects in that course where we focused on honing our own skills as musicians, which is something I didn’t anticipate. I was expecting a lot of the courses to be solely on pedagogical practices. But there was a project designed for composition and a project for arranging. There was also one for improvisation.
I think that focusing on honing our own skills as musicians really helped when I was designing units for students because I had to think about how l learned something, even as an adult and teacher. How did I have to think differently to compose, improvise, arrange and record? Putting the educator in the shoes of their students helps prepare you to expect the unexpected from students. It also helps you figure out what groundwork you may need to lay before asking students to complete a particular assignment.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s online Master of Music in Music Education program is designed to help music educators enhance their abilities as musicians, teachers and passionate students of one of humanity’s most dynamic modes of creative expression. Exploring both practical and theoretical perspectives, the program, designed and taught by experts in the field, is perfect for current music educators looking to enhance their ability to encourage student engagement with music.
Comments Off on Sparking Creativity in the Music Classroom: Hear from a UF Grad
Connecting with and inspiring students is of the utmost importance for all teachers, and at the core of our online Master of Music in Music Education program. We strive to help PK-12 teachers who enroll in the program develop as musicians and educators by utilizing active learning strategies in courses that deal with contemporary topics; providing a space to network with each other, faculty, and guest speakers; facilitating discussions about common issues and concerns; and sharing ideas about how to creatively engage their own students in classes and rehearsals.
In this blog series, we hear directly from current and former students in the online Master of Music in Music Education program. They share their passion for music education, why they chose to study at UF, and how they are utilizing what they learned in the program.
Meet David Thomas
David has worked as a conductor and a professional church musician for 36 years, directing numerous choral and instrumental ensembles. He currently teaches high school music classes in the metro Atlanta area. David completed the online Master of Music in Music Education program in Summer 2020.
Can you tell me about your focus in your current role, and what’s important to you in your work?
I teach Music Technology and Classic Piano at a Title I high school in the metro Atlanta area. I find that many of our fine arts students come to school so that they can be involved in the creation and performance of music. Teaching Music Technology gives me an opportunity to reach a broader cross section of our student body and provide them with a unique insight into technology. Research has suggested that nearly 80% of students are not involved in a traditional music performance ensemble. Music technology provides that larger percentage with an avenue to be involved in creating music.
I feel my goal as an educator is to provide my students with opportunities to have positive musical experiences and connect with music in a way that brings joy to their life and helps them believe in themselves in order to become a better human being both musically and holistically. As I connect with students at this deeper level, I find they are more engaged, not only with the content, but also on a personal level.
Tell me about your passion for music.
My passion for music started very young. I grew up singing in church choirs from elementary school through high school. I had the good fortune of having our church choir director as a mentor during high school. He took me under his wing early on, and much of my conducting expertise comes from his constant encouragement and tutelage. I was also our high school’s drum major and student conductor, and I continued student conducting in college. Early in my career I taught piano, saxophone and voice privately for around 12 years.
Why did you choose UF’s online Master of Music in Music Education program in particular? What were some moments in the program that have stuck with you?
I was a 51-year-old professional musician returning to college in order to accomplish a goal of pursuing a teaching position at a college or university. I grew up in the Jacksonville, Florida area and always wanted to attend the University of Florida, but because of full-time employment in church music very early in my college career, I stayed in the local area for my undergraduate studies. After relocation to Macon, Georgia and then to the Atlanta area (and over three decades in the church music field), I decided to resume my educational goals.
I consider myself a lifelong learner and have spent the last 20 years in culturally diverse performance settings, exploring a wide variety of American musical genres along the way. Having always been an early adopter of technology, I was particularly interested in the continuing role of technological advances in music education. When the University of Florida online Master of Music in Music Education began several years ago, it seemed like a perfect fit and a way for me to accomplish my lifelong dream of a degree from UF.
Being able to complete a master’s degree fully online was the initial draw, but the future-focus and forward thinking orientation of the program, especially the technology-related courses, which explored new and emerging technologies used to create, perform and respond to music, stuck out most.
How has the Master of Music in Music Education curriculum helped you to influence creativity in your own classroom? Can you give me an example of how you’ve done this?
I think the biggest change is just to be aware that as music educators we need to encourage creativity. Often we ‘rubric’ the creativity right out of our assignments. Most of my students are non-traditional music (NTM) students, meaning they are not part of a large group performing ensemble. As part of one of our courses, we were treated to a Zoom lecture and Q&A with Dr. Robert Woody from the University of Nebraska-Lincoln and much of what he said rang true with my experiences in the NTM classroom thus far. My students are not interested in a ‘purist’ approach and wholeheartedly embrace a philosophy centered around creative freedom. The environment in my music lab could be perceived as a bit raucous compared to many others–especially core classes. It reminds me of an Anne Lammott quote I absolutely loved that was shared: “messes are the artist’s true friend.”
I have started adding “Be Creative!” to almost every assignment I give my students and keep this as high priority in my new scoring rubrics. I ask my students the following questions: Is this original? Would you want to listen to this? Would you be excited to share this with your friends? These types of prompts seem to help keep them challenged to be creative as they compose and perform music.
What are some things that you learned in the Creative Thinking in Music class here at UF that you’ve been able to incorporate into your own teaching practice?
This course informed my future teaching, specifically in the areas of composition and creative listening. The reinforcement of alternative means and methods for both of those skills has carried over into my classroom, especially in music technology. While I have always felt that these mostly non-music reading students were legitimate ‘composers,’ I now had the research and additional tools to enhance their composition experiences. I especially appreciated the encouragement to allow more freedom in composition through the use of instructions and rubrics that are far less restrictive than some of my previous assignments have been.
The focus on creative listening also intrigued me, especially the knowledge gained regarding how to frame prompts that elicit divergent responses. Often we music teachers focus on convergent listening which involves questions or prompts which produce a right or wrong answer. Divergent listening, on the other hand, involves prompts or questions which should elicit a wide variety of responses. Examples would be questions like: What would be a good title for this piece? Which of the two songs that we sang do you prefer? What do you think about when you hear this music? The convergent model has been a staple in my teaching and having a better understanding of both has positively impacted my instructional model for creative listening going forward.
About the University of Florida’s Online Master of Music in Music Education
The University of Florida’s online Master of Music in Music Education program is designed to help music educators enhance their abilities as musicians, teachers and passionate students of one of humanity’s most dynamic modes of creative expression. Exploring both practical and theoretical perspectives, the program, designed and taught by experts in the field, is perfect for current music educators looking to enhance their ability to encourage student engagement with music.
The Bureau of Labor Statistics’ (BLS) Occupational Employment and Wages, indicates the median annual wage for postsecondary art, drama and music teachers is $77,280 per year. Regionally, the report shows that with a few exceptions, the highest annual wage for postsecondary music teachers occurs in the northeast and California, with annual mean wages reaching $132,490 per year. Areas of the Midwest and Northwest generally have lower salaries than the rest of the nation.
The value of music education encompasses both the emotional and cultural impact of experiencing music and the way that learning music enhances our brains. Research suggests that learning to play an instrument can enhance someone’s 
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The capstone project is a grand finale to the University of Florida’s