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1.  I learned about the movement portion of the lesson.  So much of this felt awkward when I try to teach it.  I think I can handle it now!

2. It's important that we "do" music, not talk so much about it. This can apply to feedback as well.  Every child doesn't always need feedback on what they've done.  Just say "thank you" and move on.  It's okay if they don't have it yet.

3.  A question I have:. Is there a certain number of assessments you do each quarter?  I can't imagine that I could assess all 8 parts of the workout every 9 weeks.  Are there parts that I should assess every 9 weeks because they're so important?

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I’m so happy Corey is here! Is anybody else audiating our canon ad nauseum?

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1. I learned

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1. Developmental v. Chronological. It finally clicked today.
2. Your criteria for picking a song to turn into a move-it was so lovely to me.
3. Are the upper grades books more challenging material, or just content that's more appealing for older students?

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Hilary Toerner

1.  I learned that there is A LOT to the movement exploration part.  Warm-up doesn't mean not much to do there.  I need to keep reading this section.

2. It is important to do what I said above after watching that little boy conduct.  Movement exploration is important!

3.  Will I retain all of this great info in a couple of weeks?  Also, I could use more explanation of the chart with the music and the 9 Gardener things around it.

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1. Today I learned some new movement exploration games, such as the Creative Movement Poses, the Wave, and the Spaghetti vs. Stone. I’m really excited to use some of these this year in my First Steps lessons.

2. One important thing from today is that the FIRST STEPS ASSESSMENT IS ONLINE hoorayyyyyyyy

3. A question from today: Will the Move It DVDs ever be streamable? I'm not expecting them to be free, but I'd like to be able to purchase to stream instead of use a DVD (as DVD technology is slowly leaving my school)

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1. I learned that the student created movement is intended to be used as an assessment and to hit all laban themes in one month.
2. A quote that stuck out to me today is by John himself - “The skillful teacher enables learning to be a process of seemingly effortless assimilation”
3. Final question is how to get the word out that this method is available and works? I feel as if many music teachers don't know about it.

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1. I learned of a wonderful resource for Awareness Shapes. I also learned that there are many Beat and Movement Resources.
2. There is an assessment tool created by John and available online!
3. Are there "Ask Me" cards available for the first year of the curriculum?

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1. Today I learned about the 3 different movement activities in First Steps.  I always feel like I get to these in my classroom and it was just repetition. I didn't understand the different function of the three.  Now I do.
2.  Today I learned how impactful Movement Exploration can be.  That video of the little boy conducting was so powerful for me.
3. Question:  Can't think of one now.  I'm sure a ton of questions will pop up as I get back to my students.  Thank you!

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1. Something I learned: When teaching a Movement Exploration that will be performed to music, always teach without the music first (Example: Teach the Bubble activity before adding “Aquarium” from Carnival of the Animals).

2. Something I thought was important: We’ve been taught/trained specifically Feierabend, but it’s okay to “do our thing” (to an extent, of course) in our classrooms.

3. Question: Where can I find an affordable siren whistle that produces a good sound? Party City & Amazon were failures.

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Day 5 - Kathy Smith
1. Today I learned easy to implement activities for the Laban Themes.
2.  I realized how important it is to talk less and just DO the lesson materials!
3.  Questions....I'll come up with some as I digest it all.  Thank you!  Wonderful week!

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1. Something I learned: There is an assessment tool for First Steps! Yay!

2. Something I think is important: In moving with the beat, it is important to follow the student's pulse/tempo.

3. A question I have: Does anybody have any tips for encouraging district buy-in/department buy-in?

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https://www.giamusic.com/store/artists/john-feierabend

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1. I've always been intimidated by Call and Response songs, maybe I was not giving my students enough credit or trusting their response. I think I was just unsure of the best way to approach them. After today, I feel confident and eager to teach these type of songs.
2. Something important I learned today is the Golden Rule #?: Sing FOR the class, not WITH the class. There are times I am good at this, there are times when I need to be more cognizant.

Using manipulatives, i.e. puppets, googlie eyes, etc. to enhance and engage the students is another important note. A lot of my students are raising themselves, have seen more as a child than I have as an adult. Therefore, that make-believe, sense of wonder, imagination state of mind has been lost. I'm going to step outside the box (not feel cheesy) and trust that even if for 30 minutes, my students can forget about reality and be a child and make beautiful music. Bring on the puppets!

3.  Do you have any suggestions for Jig and Reel music? Do you mostly use what is provided with the NEDM books?

Also, I'm having a hard time wrapping my head around the students not being in unison during simple songs. If we are trying to create tuneful children, is it the tune inside their head and not collectively creating a tuneful community together? Or is that developmentally inappropriate to ask at this age? Am I misinterpreting Tuneful?

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Hilary Toerner

1. I learned to model, model and do more modeling for arioso.  I move too quickly.  I also learned to do neutral vowels first and not to move on too quickly.

I also learned that I should have someone read the songtales to me.  It is a different experience to be on the other side.

2.  I think it is important to remember to keep the wonder and make believe in activities.

3.  A question I have is how to explain the "why" of movement.  If a teacher saw us leading with a body part and asked why that is part of music class..what is a good response?

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1. Something I learned: The three stages/levels of Arioso make much more sense to me after today and extensive modeling of Ariosos for students is a necessity.

2. Something I thought was important: The Song Tale books would be great to request as resources for our school libraries.

3. Question: What would be a good folk song to introduce at each grade level (K-5), assuming students are beginners?

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In class with students, if you're doing a Movement Exploration activity where a student gets to be the leader, are you "supposed" to let every kid be the leader in the same class period, or keep the activity to 1-2 minutes?  Maybe track who was the leader and spread it out over several periods....

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1.  Today I learned so much about Arioso.  I feel like I have tools to help my students be more successful because I am not so intimidated by Ariosoland.

2.  An important lesson for me today was in the Simple Songs.  My students were not grasping the SS and I think it was because they were tuning out.  I wasn't adding movement and they were bored.  I feel like I have 'permission' now to add movements to engage the students.

3. My question:  In the Movement Exploration Book, pg. 8 talks about "The Five-Course Meal for Movement".  I am unsure how this 5-course meal fits in with the 10 Laban movement themes.

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Last year I used the book "Don't Let the Pigeon Stay up Late" as a pitch exploration activity. Everytime the pigeon made an excuse, my kids would sing the word "no" to him on sol-mi. Was this actually a pitch exploration activity, or more of a song fragment type activity?

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Greenie and Blu-ie!

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1.  Today I learned how simple it can be to present call and response to children.  I admit to being leery of it, thinking that the students wouldn't be able to handle it.  But it seemed so easy with Greenie and Bluie (opening amazon tab right now...).
2.  Something I think is important that I've been doing differently is not showing the picture books until after we've done the song tale at least two times.  I've ended music class with "Sing a Story" and have collected picture books that are illustrated songs for over 25 years - long before I ever heard of John.  But I completely agree with the rationale of letting them use their imaginations to develop their own images before showing them the illustrator's interpretation.
3.  A question...more of a point to ponder than something to get a direct answer for....how do you know the actual authentic source of a folk song?  There are many versions of the same song.  There are many songs in this collection that I know differently from other sources.  John says not to change the words of a folk song....but who changed them?  There are reliable sources that differ.  Folk songs have different versions - sometimes regionally, sometimes because somebody just remembered it differently etc.

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1. I learned a lot today! Talking through the sequence of the Arioso section helped me to better understand how to teach it and most importantly, why it is included in the workout. Two things I will try next year are to add the I-V-V-I accompaniment and to try out wordless picture books to create context.

2. Something that is important is when to give feedback/when to say thank you/when to move on to the next child. I have sometimes found myself getting caught up with one student trying to get them to give the “correct” response. Now I know - they are not tuneful yet.

3. A question going through my head all day is how to adapt these ideas to my older students - especially junior high and high school choirs. How can I use these tools to get my experienced singers more tuneful beatful artful? I think it would be completely appropriate to teach a canon with my advanced high school group the same way I would teach it to a 2nd grade class.

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1.  I learned how to use props to teach call and response songs.  I'd never thought to do this.  It's genius!

2.  Something that I think is important is that I was not doing motions for simple songs correctly.  I understand what to do now.

3. How many times should we repeat a movement activity? Is there a rule? I tend to repeat them several times throughout a nine weeks, usually rotating between 3-4 different ones. I see my kids for an entire week, so I need variety.

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1. Something I learned: Arioso is, in fact, NOT scary.  I can do this with children!

2. Something I thought was important:  "Sing for the class not with the class" showed up three times in my notes.  This is clearly important.

3.  A question that I have:
A.) I am expected to make my students a "showpiece" and do music performances that appeal to adults and administrators.  I have a reputation that does not support First Steps Materials.  How does JF feel about performances, informances, and what types are materials are considered appropriate from a First Steps point of view?
B.) I plan to introduce First Steps with my pre-K kids. Would it still be appropriate to start my Kinders on year 1 as well?

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1. Kids should listen to songs and stories first, then see visuals.
2. The songs are so rich and creative that you can use them for multiple things, and sometimes get sidetracked. I learned the importance of keeping the purpose of each activity in mind when teaching.
3. I know this might be a trial and error thing, depending on the class... How cyclical is your progression through the stages of arioso, typically? For example, if your students explore an easy version of composing the text and the tune at the end of kindergarten, do you go back in first grade and do neutral syllables again, just with more musical complexity?

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1. I learned that "Simple Song Time" is NOT the right time to see how many motions you can add to the song. This is a time for focusing on the singing.
2. Sing arioso in full sentences for full length musical phrases.
3. Do you do the Laban movements in order? Is there a specific sequence?

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1. Today I learned a great technique for introducing call and response. I’ve always struggled with these, but I love the idea of the googly eyes (or since I don’t have any, probably with puppets) to show the two different parts. I have shied away from call and response because it’s harder for the students to grasp than echo songs, but I’m excited to add these into my lesson plans.

2. One important thing from today is that golden rule: sing for the students, not with them. Easy to forget, but so important.

3. A question from today: Are there any move-its to contemporary classical music?

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Good quality, low price cables.
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To control the music on your computer from your mobile phone, use iTunes on your computer, and control it with the Apple "Remote" app on your phone. As long as your computer and your phone are connected to the same wifi signal, you can control your computer's iTunes from your phone app.

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Nickel Creek performs this folk song live.
https://www.youtube.com/watch?v=vP6JcXwiJpc

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1. Something I learned is that children learn best from other vocal models. There is absolutely nothing wrong with asking a child to demonstrate for the class.

2. Something that stuck with me is that most learning takes place when a child sings by themself.

3. My questions will probably be answered in the lecture - how do you pace the lesson? How do you decide which songs to use from the supplemental materials? How do you know when it’s time to put away the green book and start on CS?

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1. It was nice to revisit Vocal Chord Anatomy. I've known it was better and developmentally appropriate for the students to be singing for example, in the Key of F or G or in the students' head voice, but I learned about the awesome science behind it with the functions of the lengthening and shortening muscles.
2.  I think it is important to know, "Children learn best from other child models." I find myself (more often than I care to admit) to be the forefront and sole provider for instruction, instead of trusting my students and allowing them the opportunity to grow and develop musical skills by learning together. *MUST work on "Talking about music is like dancing about architecture." More doing, less talking.
3. I have an upcoming 2nd grader, that can not sing in his head voice (YET) :) I've tried everything I can possibly think of to get this child to get into his head voice and I'm just waiting for that moment where it "clicks" and it happens. Do you have any tips and strategies for this? I'm hoping after this training and implementation of the pitch exploration curriculum there will be the light-bulb moment!

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1. Something I learned: SCIENCE!  I was totally geeking out learning about the voice more in depth!

2. Something I though was important:  I realized that in considering the phrase "every response is the right response, even if it is no response at all," that not all children are developmentally able to complete the tasks we are asking them to do , and some students are attempting to do things, musically, that they have never attempted before.

3. A question that I have: When assessing students informally, how do you get data from the student that refuses to participate in activities? Today we talked about moving on from that student without drawing attention, having the student perform that activity privately for the teacher, "bribery" (for lack of a better word), and hoping they see others having fun and choose to participate during the next class. How do we handle that situation when our bag of tricks is empty and grade card deadlines are looming...

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1. I second Heather. The toddler class video gave me tons of ideas for all the ways students could show two directional thinking. I think I often make the mistake of focusing too much on the response I'm expecting.
2. I'm getting a lot out of our repeated discussions about what makes a folk song.  Yesterday's discussion made me think about how social/political contexts can give songs meaning and also about which folk songs are hardest to preserve before they're lost. Today I thought a lot about what makes a camp song or a school tradition song different from a folk song. This training has given me a much different process for picking songs for my classroom in the future.
3. A question for tomorrow, probably. In the lessons in the back of the book a simple song used in an early lesson often comes back later as a beat motion song (ex. Frog in the Meadow). Is there any harm in doing beat motions when were focusing on it as a simple song?

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1.  I really enjoyed the refresher on the vocal chord anatomy as well as how it refers back to kinders.  I was always taught that 5 year old singers could sing from Middle C to A.  I'm glad that hear that the their range is closer to an octave.  It is hard to find quality songs within the range of a 6th.
2.  I think learning about the 4x4 model will help me a great deal.  I'm always struggling with when the students are ready to sing independently.  This will help guide me.  I also appreciated knowing that the 4x4 doesn't have to be sequentially.
3. I am very uncomfortable singing in the key of G.  I usually sing in E or F.  I would love to know some of the tricks that Leslie referred to today about singing in keys that are uncomfortable for the teacher.

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Hilary Toerner

1.  I learned about the shortening and lengthening muscles and think this is so important especially when you aren't a vocalist and feel clueless!!

2. I think it is important to know that any response is a correct response and also think it is important to know what to do when a student has no response vs. a purposeful silly response etc.  It's good to plan ahead because I have been caught with the silly response train that happens and when you aren't prepared with a reaction and plan it can get out of hand and you lose the purpose of the activity.

3.  I would like to know how many of us try to fit in Orff activities etc. because that definitely changes fitting the 8 parts in!  Maybe we will talk soon about what parts are vital and what can be skipped if necessary.

Also, I would like to know how to make my comments not say anonymous.

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1. Something I learned is that I will never look at Aerosmith the same way!  All I could visualize was vocal cords when I heard them on the way home!  Seriously though, I learned that many of the songs from the toddler curriculum may help me reach my severe special needs population.  I really love teaching these kids because of connections I can make with them.  I've always felt a little stumped on how to best reach some of them.

2. Something that is important is using students to model and allowing them to perform alone.  I already do this, but sometimes feel uncomfortable because I feel like a parent might question me about potential singling out or embarrassment.  Now I know exactly how to explain why it's important to do this.

3.  A question I have is since I'm not a vocalist, what are some ways that I can increase my range and stamina? I can sing high enough for a short time, but it's not very comfortable.  Mi, re, do and sol in the key of G sound fine, but higher than that doesn't sound very appealing!

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1. Something I learned: I was very interested and took a lot of notes on the physics of the vocal muscles.

2. Something I thought was important: "Any response is the right response, even if it’s no response at all."

3. Question: Did we hear the entire Airplane Poem? It reminded me of when we read “There Was a Man and He Was Mad”. I always have students who ask what happened? Did he die?!? How do you address their genuine concern and worry?

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1. Today I learned about shortening and lengthening muscles. I knew that head voice was preferred for students, but I didn’t know the actual physical science behind bringing the head voice down using the vocal exploration activities. Also I’m glad to find out that the Simple Songs supplemental book does exist - I always wondered why there wasn’t one, but now I know that it’s just part of the Toddlers and Infants supplemental books.

2. One important thing from today is that children learn best from child models, but that most of the learning happens when singing individually. It’s easy to forget when trying to cram in assessment and learning that it is so important for kids to sing on their own, but it’s so vital.

3. A question from today: Could a side effect of Infant/Toddler classes be that parents/guardians are learning more as well? I know that they are adults and now past the “making our pots” stage, but surely they are becoming more TBA as they sing and chant and move with their children?

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1. I learned the 4x4 model.
2. It is important that I not sing in falsetto.
3. How much does JF work on a specific technique in class as opposed to relying on repetition and eventual assimilation? Example: Giving Michael technique hints on how to use head voice vs. trusting that he'll eventually get it if he's presented with a good model.

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Day 3
1. Something I learned - shocker- not supposed to mix up the components of the First Steps lessons.
2.  I found the information on the shortening/ lengthening muscles and vocal ranges to be important and interesting.
3.  Question - Are the stories from the Pitch Exploration cards in a supplement book?  I know IceCream Sundae is in the green book.

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1. Something I learned: I learned the importance of engaging infants and toddlers in two-directional thinking in the crucial first years of brain development. I didn’t write down the exact quote, but it stuck with me that we only get one chance to take advantage of those early years.

2. Something I thought was important: When teaching folk dance (or anything new), don’t be afraid to make mistakes and learn as you go. It’s okay to share with your students that you are learning right along with them.

3. Question: I’m curious how/if the PMMA might work for a SLO goal. Could anyone offer advice suggestions?

4. Another question: What ARE the exact words of that quote I forgot to write down?

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1. Something I learned today is that it is important for musical development for children through age three to feel the beat on their bodies. They will not have the same results if they are seeing or hearing the steady beat.

2. Something I found important is sound before sight. I feel as if I’m always rushing to show notation by grade 2, and even at the end of grade 1. It’s good to hear there’s no rush and to focus on becoming tuneful beatful artful.

3. How can we talk to administrators about the importance of music in pre-k?

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1.  I learned that it is more important for children to follow the phrase structure than the beat when folk dancing.

2.  It is important to encourage and empower parents to start music with their baby as early as possible.  This not only encourages music development, but helps parents and children bond and connect.

3. My question-Has the PMMA been used to identify musically "gifted" children?  My district has been on a huge push to identify children as gifted.  I'm not exactly sure how to do that when I see a child for such a short time.

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1. If we fill the pot too early, it stops being molded and doesn't have as much capacity
2 + 3. The point about music consumers and music makers really stuck with me. I'm wondering what things we can do, outside of teaching in our classrooms, to make our community comfortable with being music makers? Perhaps it's the same as the shiny eyes question, not really sure where I'm going here....

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1. I learned how to “strip the willow”! I can’t wait to do that reel with my older students (after some serious prep haha). I also am excited to take back the ESSA Title IV knowledge to my music team and hopefully get some funding sent our way
2. My most important thing today was the clay pots metaphor. I love how it it illustrated that the talent one receives at birth is less important than the is how that talent or potential is turned into “useable containers.” This is what really rings true to me about First Steps - preparing students for a lifetime of being musical, not just finding musical kids and hoping everyone else hangs on.
3. One question I had (might be answered tomorrow as we dive more into infants and toddlers) - In a class with parents and babies, who is singing? Just the teacher? Or are the parents joining eventually?

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1. I learned children can hear what's going on in the room while still in the womb. That means music education can start in the womb as long as that song is used again after birth.
2. It is important to remember that you ought to be "shaping clay pots", not "filling clay pots" until 2nd grade.
3. I understand that smaller families that are not close in proximity have difficulty handing down folk songs generation to generation. Do you know of any sources that talk about the effect of radio on the "musical family"? Is this when music became more of a consumer commodity than a shared community art?

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1.  I learned all that babies can hear 3 months before they are born.  It is not just the mother's voice as I had always been taught.
2.  I am beginning to realize how important it is to get music education to students at a much younger age than I originally thought.  I really thought that elementary was the 'golden time' for musical development.  I was only off by 8 years or so :)
3. I am wondering about how to most effectively deliver the First Steps for my kinders.  I only see my students 3 times a month for 40 minutes at a time.  With such limited time, I really feel like I have to focus in on what is  most important.  Is there a hierarchy of most impactful to least impactful?

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Day 2

Hilary Toerner

1. Today I learned to pay attention to one vs. two directional thinking.  Also, I learned about the Story of Clay and how we need to grow each area of intelligence in the critical time.

2.  I think it is important for all teachers and parents to be aware that we are a society of music consumers and how our world's have changed so that we can preserve our history.

3. I am interested in knowing how much the PMMA test helps teachers get to know their students faster and if it helps with differentiation since we have so little time with them.  I have a hard time assessing enough times to the point that I feel confident in my results!

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1. I learned that there appears to be a critical period for language development, as there may be a critical period for musical development as well.

2. I think it is important to understand the theory of multiple intelligences and to make sure that in teaching music, that the theory of musical intelligence is not unintentionally replaced with other intelligences.

3. My question is...how do you help students who may have specific learning delays and lack confidence in their abilities, to recognize that music is a separate intelligence entirely and does not necessarily correlate with aptitude in math or reading?

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Day 2
1.  I learned a lot about the critical periods of development.   The "Acts 1 -3" made it very clear.
2.  I found side bar conversation on Congressional Solfege very interesting.   I don't know much about it and am intrigued.
3.  Not so much a question anymore, but it's comforting to know I'm not the only one who doesn't really address all of the standards on the music room.

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1. I learned a different approach to teaching music with "Ear before Eye" or Music vs Notation. I was always taught by sight, so I found it very interesting and intriguing.
2. I think it is important to understand that neuro-fiber is a use it or lose it function. You grow more than you need, but if neurofiber is not used or stimulated it will atrophy.
3. If they have no musical stimulation by age 7-8, how do you find the motivation to not give up on your students and their musical intelligence.

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Los Machetes and other World Folk Dances - https://docs.google.com/presentation/d/1qDU0tGxtdekva0h6iETXXRxzECH5cQOyubXNyL37Cz4/edit?usp=sharing

Indiana State Standards for Music Education -  https://www.doe.in.gov/sites/default/files/standards/2018-music-general-standards-examples-9-10-2018-jmw.pdf

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1. I leaned sound criteria for evaluating music to use in the classroom.
2. I think it is important to remember as educators to use our limited time with students helping them to become tuneful,  beatful,  artful musicians instead of teaching song that classroom teachers might ask us to teach for concept reasons.
3.  My question is on pacing  - how to fit all of the components of a First Steps Lesson into a 30 minute period.
About me... my favorite Musician is my 4 year old granddaughter

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1. I pay attention to folk dancing directions better after I have already failed at it on the first try. Also, folk dancing is fun, even when you are failing.
2. Who is musical, according to most people.
3. Where do you start with teaching folk dancing? Like, the very beginning....
4. Swimming, and teaching swim lessons

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Hubby and I love Disney!

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My fur babies. Lilly (left) and Nori (right).

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1. I learned that good folk songs and quality literature must have make believe/fantasy, must be appealing to both adults and children, and should still be delicious after many repetitions. There is a lot of bad examples of music out there - choose wisely.
2. Something I found very important is that students need to have good musical role models by age 6. Unfortunately, most students don't see a music teacher until age 5 or later.
3. What resources do you use to find quality literature/folk songs outside of Feierabend collections?
4. I love to be outside (hiking, camping, boating..) and I'm going backpacking in Michigan next week :)

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Day 1:
1. I learned how to explain an elbow turn. "Give your partner your elbow," which makes so much sense. I've always struggled teaching this step.
2. I think the childish vs. childlike step of approaching good literature is so important. I love the phrase "it should be delicious after 30 repetitions."
3.  Question: When looking at pop music, how can we decide what from current pop music is going to be relevant or "passed down"? Is it just a matter of opinion? With the passage of time we'll find out naturally, but when choosing things to play, how do we not just end up using our own opinion?
4. About me: I love to read and travel. I have two cats, Bella and Spike.

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Day 1
1. I learned the 3 qualifications for choosing quality music (1. Appealing to all ages, 2. It has a sense of wonder/make-believe/fantasy, 3. It is still delicious after 30 repetitions).
2.  Something Important: “Who am I being that my children’s eyes are not shining?” - Ben Zander
3. Does an old "popular song" ever become a folk song? Or is it just a quality old popular song?
4. I'm just a big kid. I'll never stop loving the journey that fantasy and imagination can allow me to take! Growing up just means I'm better at being a "kid" than I was the first time.

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1. Something I learned: I have a much better understanding/definition of folksongs.
2. Something important: "Talking about music is like dancing about architecture" and Plato's concept of two levels to art.
3. Question: I'm always interested to hear how often fellow music teachers see their students. Our elementary students come to music for only 40 minutes every six days.
4. Something important in my life: Family, of course. I don't have children of my own, but enjoy revenge on my brothers by teaching their children (4 nieces and 9 nephews) bad habits.

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I.  I learned what makes a good folk song.  I feel like should have already know this, but now I do :)

2. Learning to better advocate for music education in my district is very important to me.  Arts education is under attach in my district and the ideas/philosophies shared will help me to advocate.

3. Interested in hearing the thought of others about the historical context of the folk songs.  What is a music teacher's responsibility to delve into the history of a song? I know this is a hot topic now. Just curious as to everyone's thoughts

4. These humans are important to me

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1. Something I learned:
I learned about the meanings of tuneful, beatful, and artful.

2. Something I think is important:
I feel that choosing appropriate/good quality music is best for students.  It will be important in my future musical selections to consider whether or not the piece appeals to both adults and children, if it has a sense of make-believe or fantasy, and if it is still delicious after 30 repetitions.

3. A Question I have:
What are some helpful hints to getting hard-to-reach kids and older students interested in participating in good quality folk music and dances.  My kids are pretty tough.

4. Something important to me:
My very family, especially my two little girls (5 and 8).  We have spent our summer exploring the backyard, collecting insects, and caring for our menagerie of 4 rescue dogs, a gecko, 2 tree frogs, too many fish to count, and a variety of caterpillars and creepy crawlies.

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1. I learned that good quality music must appeal to adults and children (child-like, not child-ish), must have a sense of wonder, make believe, or fantasy, and still delicious after 30 repetitions.
2. I thought that it was important to note that we should be teaching with a "30 year plan" in mind. We should be building a community through dancing, singing, and listening to good quality music.
3. A question I have is what folk dances are appropriate for specific grade-levels.
4. My family is what is most important to me. My husband and I have been married for 5 years, we have two boys, Carter age 4 and Camden age 2 and a lab, Miley. I teach group fitness classes which keeps me active, enjoy spending time with our families, and attending live performances and sporting events.

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Hilary Toerner

Today I learned to look for quality music for my classroom.  It is helpful to have a guideline.

I think it is important to keep music class about music.  I appreciate your advice on teaching songs for other teachers in the limited time we have with students.

How do you get around time spent on teaching Christmas carols for example when a school has a history of these events with such limited time.

I love using FS and am excited for this week for me and my students.

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1.  Something that I learned is that inflection of the voice in lyrics correlates with the melody in quality literature.

2.  Something that I think is important is that we only have a very short window of time to instill a sense of wonder in music that needs to last a lifetime.

3. A question I have is how can we delicately encourage our kindergarten colleagues to become better vocal models?

4.  I've been home with my two kids (ages 7 and 5) this entire summer.  Although I enjoy my time with them, it's so nice to have adult conversation and be with like-minded teachers!