MU Column: The Essential Handbook for Musicians Who Teach

Musicians come to instrumental or vocal teaching through a variety of routes. Some start teaching when they are students, while others begin later, perhaps having previously worked in performing or in other professions entirely. Unlike classroom music teachers, who usually have a degree in music as well as a teaching qualification, it is unusual for them to complete initial training or take teaching qualifications. What usually unites musicians who teach is a process of learning their craft as they go, which can lead to a huge variety of different approaches and outcomes.

Filling in the gaps

Musicians who teach can face considerable challenges, and they are often under-supported in these. Professional musicians have signify cant knowledge about playing their instruments, but they may lack opportunities to develop teaching skills or an understanding of how students learn. Despite this, they are still expected to hit the ground running and deliver high-quality teaching when engaged by schools or Music Education Hubs. Additionally, they can be under-supported in learning what is required of them when entering schools or other regulated settings.

A new book from Faber Music, The Essential Handbook for Musicians Who Teach, seeks to offer advice and guidance on these topics and more. Written by Diane Widdison and Dr Kerry Boyle, the book is welcomed by the Musicians’ Union as a valuable source of information for MU members and any musician who finds themselves teaching.

Crucial topics

The book begins with an examination of the profile and identity of instrumental and vocal teachers, expanding on some of the issues touched on above. This leads to a discussion about the settings and workplaces that music educators need to be aware of, with information on the protocols that apply in each setting.

A chapter on business considerations covers issues that are common sticking points for musicians who teach: contracts and employment status. Many music teachers have no written agreements in place with the schools where they work, while others sign questionable self-employed contracts that are in fact closer to employment. Contract issues can lead to a range of problems, from a lack of job security to missing out on employment benefits that teachers should be entitled to. The information in this chapter should help teachers avoid these pitfalls.

There is also a chapter on what good teaching looks like. Most instrumental and vocal teachers will relate to the experience of teaching in the way that they were themselves taught, which works better in some contexts than others. Here, teachers are inspired to raise the bar and teach in a way that works for all students, which may mean deviating from a default way of doing things and switching up the approach from student to student. Planning and long-term progress are covered, along with lesson structure and some well-established pedagogical approaches. These principles may not be new to experienced teachers, but they are essential for those just starting out and will be useful for anyone looking to refresh their teaching.

Safeguarding has its own chapter, which considers how best to protect the children and young people who pass through a teacher's studio. It also looks at how teachers can protect themselves by avoiding behaviour that could be interpreted ambiguously, and by always maintaining the highest professional standards.

Health and wellbeing are also areas of relevance to music teachers, who introduce their students to ways of playing that will lead to the formation of habits. Habits can be positive or negative, and the book helps promote the former by explaining musculoskeletal health, posture, mental health, performance anxiety and hearing health. The book concludes with suggestions for ongoing professional development.

The authors

The authors are specialists in the field of music education. Dr Kerry Boyle is a singing teacher, choral director, researcher, and lecturer. She trained as a classical singer before specialising in education and has experience in a range of professional contexts including schools, colleges, universities, and music services.

Diane Widdison was a professional flautist, instrumental teacher, conductor, and manager before joining the staff of the Musicians' Union in 2006. As national organiser for education and training until December 2020, she focused on supporting musicians who teach by introducing a range of benefits and services related to their work.

The Musicians’ Union continues to support teachers with all the issues discussed in the book, and we encourage you to visit our website below to find out more. You can join the MU for £1 for the first six months. MU members can purchase this book and other Faber Music publications at a 20% discount.

www.themu.org