Five Basic Steps for Marketing Early Childhood Music Programs

With so many things needing attention at once, it is all too easy for owners of children’s music studios to lose focus on basic marketing principles that will help them ensure the ongoing success of their business. We often unintentionally get bogged down in the day to day activities, where more long-term plans are placed by the wayside. As a refresher, these five very basic marketing steps should be periodically addressed in order to help operators of childhood music programs stay on track and prevent “missing the forest from the trees.”

Step 1 – Setting SMART Marketing Goals

Goal Setting is the first important and crucial step in the marketing strategy process. We have explored in the past how to develop SMART goals and achieve them, because if you don’t know where you want to be, how can you plan to get there? Traditionally, goal setting for businesses was recommended at one- and five-year intervals. However, depending on changes in your business environment (such as the Covid pandemic), you will want to review and adjust your goals as needed.

Step 2 – Determine or Realize Your Target Market

A target market is the particular group of consumers at which your children’s music program is aimed. For example, your overall target market may be families with young children. Market segmentation further divides the larger market into smaller, more defined categories, such as parents or grandparents of young children. Even further, you can divide them into demographic, geographic, psychographic, and behavioral segmentation. The more specific the segments, the better you can focus your marketing resources. If you don’t know where to start, a good place is your current customer base. What are their similarities in those four segment categories? Once you have determined your current customer, you can expand marketing efforts from there to similar audiences.

Step 3 – Developing a Marketing Message

“You can lead a horse to water, but you can’t make them drink.” No matter how well you have identified your target market and segments, if you do not offer value to them through your music studio offerings, they will not enroll their child. Therefore, you must determine your value proposition or “pitch” in order to explain why they should enroll their child in your program. As a professional children’s music teacher, you are well aware of the numerous benefits that early childhood music education to children. The key is to create a concise statement or series of statements of this value called a Marketing Message. This is your “elevator speech” that should be consistent in all of your marketing and sales efforts and only slightly tweaked for different market segments.

Step 4 – The Competitive Positioning Statement

As with any business, it’s important to understand your competition. This may be indirect competitors that don’t offer the exact same product or service but yet compete for your target market’s resources. For example, children’s dance classes or sports programs that also enrich the lives of children may compete for your parent’s budget or time. It’s also important to know your direct competitors – other early childhood music programs. Think about how you can market or sell against both types of competitors, which is often summarized in a competitive positioning statement.  This is generally stated more in positive terms of the different benefits your business offers than negative terms such as “throwing shade” on your competitors. As with the marketing message, indirect and direct positioning statements will be slightly different.

Step 5 – The Marketing Mashup – How it All Comes Together

The final basic step in the marketing strategy process is to combine all the previous steps. In a nutshell, it is to present your unique value proposition to your target audience(s) in order to reach your marketing goals. A unique value proposition is how you combine your marketing message with your competitive positioning statement in order to differentiate your children’s music studio from its competition. Depending on the goals you have set and your marketing budget, you can determine the best way to reach your target audiences through the various marketing channels available. Remember that the more specific you are with your target market segments, the more efficient you will be with your marketing resources – whether in time or money.

While there are many other decisions to be made about implementing your marketing plan through sales and marketing channels, if you begin with these basic steps and refer back to them consistently, you will have a good marketing foundation for your early childhood music studio. Keep in mind, however, that marketing is both an inexact science as well as an iterative process. Fully expect that you will make mistakes along the way, but with a good marketing strategy, they will have less of a negative impact and make you that much smarter the next time around.

Virtual Children’s Music Classes – A Teachers Prospective – Dr. Joy Galliford

If you have not been following our blog series which explores different music teacher’s perspectives on teaching children’s music classes virtually, you can find them here. In this final installment of the four-part series, we interview Dr. Joy Galliford, Ph. D., Director of Development and Instructor for South Florida Music serving children in Miami and surrounding areas. Dr. Galliford, or as her students call her, “Dr. Joy” has over thirty-six years of experience in music education at every level. That experience, along with the addition of having won numerous awards and accolades in her field, Dr. Joy’s insight into how childhood music translates into a virtual environment is invaluable.

Let Musikgarten first thank you again for agreeing to share your knowledge with us. Tell us a little bit about your experience teaching the Musikgarten curriculum?

Dr. Joy: My journey began as a parent. Over thirty-one years ago, I attended children’s music classes with my daughter, Alaina. Then, my son, Nathaniel, began classes, and later participated in the Musikgarten Piano curriculum pilot with Dr. Mary Louise Wilson, his piano teacher. I am certified in each of Musikgarten curricular levels and teaching each one for over 25 years.

Please share with us how you came about offering Musikgarten classes online, and what influenced that decision?

Dr. Joy: South Florida Music is based in Miami. In March, it became evident that our public-school system would be closing due to the pandemic. While the exact date was unclear, we knew it was only a few weeks away. Knowing this, we aggressively began planning our transition to online classes. For us, it was extremely important that our children would have the opportunity to continue this new virtual journey with South Florida Music.

South Florida Music considers everyone involved in our program a family. This includes the children, parents and staff. We knew that it was critical for everyone’s mental well-being that music and the relationships formed remain strong and present. Because of this, providing an opportunity for the children to see, hear and enjoy music-making with their teachers as well as seeing the sheer joy of the experience in their home environment was paramount for us. Together, our staff shifted the in-person program to virtual within one weeks. It was truly an amazing task embraced and accomplished as a team for which I am grateful to have been a member.

Did you offer in-person Musikgarten classes before the pandemic? Did you have previous experience with an online video “production”?

Dr. Joy: Our program only offered in-person classes prior to the pandemic, but I had some previous experience with video production. However, online video production was a new task for me.

What would you say were the biggest challenges or hurdles around transitioning from an in-person children’s music class to an online format?

Dr. Joy: The challenges and hurdles in transiting our program to online classes were numerous. First, we had to determine how the weekly classes would be provided to satisfy our semester commitment for enrolled parents. Second, a decision had to be made regarding the technology and equipment needs to produce a quality product. Then, it took careful content planning so that the children and parents would be engaged during the lesson. Another challenge was keeping our staff present in the lessons so that our 280 plus enrolled children would be able to see “their teacher” and continue a level of connectivity. The final hurdle came in the area of production. The complexity and time intensive labor involved in recording videos; storing and organizing of the recorded clips; producing, reviewing and editing the lessons; organizing, planning and producing resource materials for the piano levels; plus planning occasional LIVE Zoom sessions to continue excitement and engagement was more than anyone could imagine.

What technical advice could you offer to someone who has never created or provided an online children’s music class?

Dr. Joy: My recommendation is to begin by watching others who are producing online music classes. Increasing your understanding of this product line, what is being offered in your area, what are parent expectations, and can or do you have the ability to accomplish an online music class is paramount. Taking this first step assumes that you already have knowledge of the curricular level that you are intending to produce. If you don’t, please stop and make sure that you increase your confidence and mastery level. Then, one must be realistic in understanding his/her personal limitations with technology coupled with maintaining a high-level of commitment, perseverance, and love for early childhood music education. All of these factors must be evident to contribute to your success story for our profession.

How do you think the interaction between teacher and parent/child differs for online classes vs. in-person? From your experience, what tips can you offer to make that interaction meaningful?

Dr. Joy: I thoroughly enjoy interactions during my classes with both children and parents. My class is a learning lab for all who are present, including me! Online classes have made this more challenging. I still consider myself the conductor of the “Interaction Symphony”, yet, I have had to be even more intentional in creating this experience from the onset. I have had to establish the form for my symphony to be created. This has required me taking the time to ask my parents the following questions:

  1. What device are you using to view the class?
  2. Is your sound loud enough to hear the music played and myself?
  3. Could you possibly create physical boundaries so that your child has a specific space during class?
  4. Do you have your instruments (i.e. shakers, sticks, scarves, etc.) ready to use?
  5. Could you please stay in this area with your child and be present so that your participation is the in-person model for them during the lesson?

These are just a few of the questions I ask to establish the form for my “Interaction Symphony”.  If parents do not believe that their child is engaged, they begin to ponder if or not their continuation is necessary and valuable. Therefore, it is my responsibility to make sure that they are ready for success by helping them to understand how to assist me in this journey. They have become the in-person interaction model instead of me. The symphony has increased to another level of complexity. I love helping them to learn how they can become an active participant in this “Interaction Symphony” virtually! They are a key player! What a pleasure to help them understand that together we are making an incredible impact in their child’s life!

 What things do you think are lost or gained from an in-person classroom setting to an online format?

Dr. Joy: A common topic for music educators has always been how to effectively compete with those offering other children’s programming. Understanding the research regarding the importance of music for brain development and mental well-being makes this crystal clear to our profession. During in-person classes, evidence was seen weekly. However, moving to an online format significantly decreases these moments not to mention the side conversations before or after class with parents or between parents reinforcing these impressionable moments. This is a loss.

Energy and inspiration is generated for me when I am with children! I just love being with people. Positive and fun conversations are quite enjoyable! Even sharing the troubling and sad moments add depth to our relationship and increase our trust in one another.  While I embrace the role of an educator and entertainer in this online platform, many may find this new reality uncomfortable for various reasons.

The hugs after an accomplished “ba-ba-ba” or “sol-mi-do” is priceless. This is just one of the pieces that I, personally, am missing greatly! If I feel this void, what are the children experiencing? From the beginning of our pandemic, this is one of the many thoughts that has weighed very heavy on my mind and heart. Whether in-person or online, I am extremely intentional in communicating how much I love my children, how proud I am of them for anything that is accomplished, and how thrilled I will be to celebrate with them in-person as soon as we are able. Any life experience can have losses or gains. We, the believers and advocators, must find a way to move forward and continue the making music with our children.

Do you feel like once it is safe to do so, that you will go back to in-person classes only, continue with online only, or a mixture of both? Why?

Dr. Joy: South Florida Music will definitely offer in-person classes when we believe all will be safe to do so. We will also offer a component of online programming as well. While we believe strongly in the value of in-person classes, we also know that this pandemic has shifted the paradigm of education delivery. For this reason, as well as the safety concerns raised by parents and staff, we will need to accommodate both.

We would like to thank Dr. Galliford, as well as the other participants, in this series. Their unique and experienced perspectives help Musikgarten to provide a supportive community of children’s music educators and business owners who are working towards the same goal of instilling the gift of music into young minds and hearts.

Dr. Joy Galliford, Ph. D., is the Director of Development and an Instructor for South Florida Music and the Executive Director for the Friends of South Florida Music Foundation. She received the prestigious 2010 Florida College Music Educator of the Year Award from the Florida Music Educators Association, and is a nominee for the 2019 Children’s Trust David Lawrence Jr. Champion for Children Award. To find out more about Dr. Galliford and her studio(s), click here.

Virtual Children’s Music Classes – A Teachers Prospective – Part 3

This is our second teacher spotlight in our blog series about virtual teaching early childhood music in the wake of Covid-19. Today, we interview Anthony Williams, Director of the Early Childhood Music School in Williamsburg, VA., and certified Musikgarten teacher.

Thank you so much for agreeing to this interview. Tell us a little bit about your experience teaching the Musikgarten curriculum?

Anthony: Our program was established in 1989 by Cindy L. Freeman and we recently celebrated our 30th school year! This year will be my 4th year teaching Musikgarten classes. I have worked with all keyboard levels, Around the World, Cycle of Seasons, and the Family Music for Toddler series – Sing (Play, Clap, Dance) with Me. However, I would say I spend most of my time teaching the various keyboard levels.

Please share with us how you came about offering Musikgarten classes online, and what influenced that decision?

Anthony: Like many of us, our program was forced to stop in person classes – so the pivot to online classes was a must. Our school staff has leaned on a shared Google drive for years to help teachers find resources for lessons, well written home assignments, and much more. Since we had to pivot to an online platform we built from what we had, creating Google classrooms for each level and providing a shared folder for those enrolled in the class.

Did you offer in-person Musikgarten classes before the pandemic? Did you have previous experience with an online video “production”?

Anthony: Yes all classes were in-person pre-pandemic. I would not say I had any video “production” skills. However, I do have an extensive background in sound design and working with studio style recording. These programs have similar layouts and principles, but there was still a learning curve.

What would you say were the biggest challenges or hurdles around transitioning from an in-person children’s music class to an online format?

Anthony: Communication! Not that I wasn’t sending emails, calls, and text, but that the parents were getting slammed by their school systems being closed and doing things online. So many of our families were in survival mode that I would constantly hear back the words “Sorry it took me so long to get back with you.” I felt that the best thing was to say “I understand” and ask how we could help.

What technical advice could you offer to someone who has never created or provided an online children’s music class?

Anthony: Take advantage of what you can do instead of what you can’t! Not everything we do in class translates online. I found pre-recorded lessons in smaller clips and short skits to be family favorites. Don’t expect each student to sit in front of a screen the same amount of time they would participate in class. In fact, Musikgarten prides itself on limiting visual learning and focuses on other skills. So, if you have to use a video, use it with the intent to enable them to do something away from the screen.

How do you think the interaction between teacher and parent/child differs for online classes vs. in-person? From your experience, what tips can you offer to make that interaction meaningful?

Anthony: I have felt that there has been more time for parent “coaching.” I have tried to show how they can use this time of social distance to dive into the lessons with their own children more regularly. For the kids… the smaller the virtual meeting the better. This allows for more interaction between each student and myself, as well as the kids with each other.

 What things do you think are lost or gained from an in-person classroom setting to an online format?

Anthony: Dances, ensemble develop, and group singing are all difficult things to achieve online. However, making sure that a grown up is present for dances, providing opportunities to build virtual ensembles, and call and response singing between two people have been the substitutes we have used.

Do you feel like once it is safe to do so, that you will go back to in-person classes only, continue with online only, or a mixture of both? Why?

Anthony: I feel like we will keep components filmed teaching points as part of our resource material for parents. We found that some of our keyboard families that were struggling in class found this very helpful because the adults had a better idea of how they could help. Since our program runs several classes at once, it is not uncommon for a parent to be in a parent and me class with a younger sibling while older children are in Keyboard classes.

Musikgarten would like to thank Anthony again for sharing his experience and advice into how childhood music education teachers can continue offering inspiration and instruction to children when in-person teaching is not an option. Stay tuned for another insightful interview in our next blog post.

Anthony Williams is Director, and an early childhood music instructor at the Early Childhood Music School (ECMS) a weekday ministry of Williamsburg United Methodist Church. He holds a B.A. in Music from Randolph-Macon College and a Masters of Music in Composition from George Mason University. He currently is the director of the Children and Youth Music Program at Williamsburg United Methodist Church. To find out more about Anthony and ECMS, please visit here.

Virtual Children’s Music Classes – A Teachers Prospective – Part 2

In this second installment exploring the challenges and reflections on teaching a virtual early childhood music class, we continue our interview with Rebecca Cauthron of East Dallas Children’s Music. A certified Musikgarten teacher, Rebecca provides her experiences, tips, and ideas to help other teachers and parents of children’s music classes to navigate through social distancing while still maintaining a valuable connection between teacher, students, and parents. To find out more about Rebecca and the team at East Dallas Children’s Music, please see the end of this interview:

In today’s continuation of our interview, Rebecca covers specific technical issues and tips for teaching virtual children’s music classes, as well as reflection on how this online teaching format differs from in-person teaching:

As many of us know, keeping young children’s attention during an in-person classroom setting is hard enough. What technical advice could you offer to someone who has never created or provided an online children’s music class to make the experience better for the children, teacher, and parents?

Rebecca: First, the tips I offer to parents are:

  • Don’t face the camera towards a window. It backlights the image and all a teacher sees is shadows. Light coming from the front or above is best. It is important, still, for the teacher to see the student and the child does love to see themselves, too, but they quickly get over it!
  • A laptop at arm’s length is best for the child’s viewing. The parent can control the mute button and the child can have the teacher in view without being too far back to create a distraction. If using Zoom, have them put the “speaker view” on so the teacher is always big (mostly for children under four.)
  • The camera needs to be approachable for the child, so they can interact closely with the teacher. If needed, the parent can cover the keyboard with a piece of paper taped to the sides (A cloth or a blanket could overheat the computer.), and finally…
  • Placing the computer on a box, the floor, a step stool, or a short table is preferable for the young child.

For teachers, my advice is to first follow all of the recommendations above, and also

  • Make sure you are very well lit. A ring light or photography lights really help. The better the children can see you, the more effective you will be. Also, have your computer on full brightness, because it will illuminate your face in addition to the other lights. Make sure the room is very well lit. Close any drapes and black out as much outside light as possible, unless it is in front of you and the camera.
  • A webcam will give you the most ability to fine-tune the video appearance; it will also give you a wider viewpoint and the ability to move it around. Sit a little less than an arm’s length away from the camera. Don’t be concerned about your entire body being in the camera, because it is your face that is important.
  • When you are standing up and moving around, shifting your camera up to get your head and as much of your body as possible is fine. When everyone is moving, they are not really looking at you anyways (except for those toddlers who are fascinated by the movement they see on the screen).
  • Turn off your ceiling fan and put devices on do not disturb. The ceiling fan creates moving shadows, choppy sound, and a breeze on your hair.

Teaching children’s music encompasses and utilizes nearly all, if not all, of the senses. Delivering those over the internet can often be tricky. What technical tips can you offer about delivery that makes the online experience better?

Rebecca: First, sound and internet capabilities go hand-in-hand. This is in regard to both the giver and the receiver. A computer on wi-fi is best. Do not go through a phone’s LTE or 4G because it will not be stable, reliable, or fast enough. The student will have a better experience if they do the same, but the teacher definitely needs to be on a fast wi-fi connection. Make sure you are in range, and if it is weak, put a booster near your teaching area.

To assure connectivity, I like to run a speed test like www.speedtest.net. The experience is best with symmetrical upstream and downstream. Ping (measure latency/delay) and that will vary slightly from student to student, but it mostly tells you the time that it takes to go there and back, so-to-speak. This is reflected in the slight delay we experience and why we can’t sing together. When singing and keeping a steady beat, remember that they hear you in real time, just a second delayed, so just keep on singing and tapping. They will not be with you and they will end after you, but not on their end. When having them echo, audiate their response and continue. Don’t wait for them to finish. It is EXTREMLY helpful to have a practice class with a close friend(s) or relative(s) and have them record so you could hear and see what they are hearing. If you have been teaching virtually for a while and have not done this, you may be in for a shock!

Also keep in mind that for classes below age 4 and maybe some older classes, no matter how good you think you sound, if you do not have everyone else on mute, it will sound broken up to your class, even with high quality mics. There will always be a child louder than you or an unexpected loudness that will inevitably interrupt your stream! I still have to use the mute button with my younger classes, but for my older kids, I never have to use it, because my voice always cuts though as the prominent speaker in the room. In the least, I would recommend getting a microphone that can travel with you.

For an excellent example and demonstration of Rebecca’s sound system click here.

How do you manage playing music/recordings during the class?

Rebecca: I have a separate computer that feeds into a mixer so I can have my music set-up and ready to play without having to share my screen or type it on the computer that is acting as my camera. This is preferred, but highly unlikely that this is a possibility. I just happen to have a techy husband who was a sound engineer and did stage lighting! The second-best option is to simply share your screen and optimize it for listening to music. My least favorite option, but is still audible, play music directly from your computer. It is grizzly, tinny, and bumpy, but it is audible. Before you start class, you’ll want to always make sure your parents/students can hear the music. Ask them to give you a thumbs up if they can hear it. If they can’t, check the volume on your computer. Make sure it is turned up all the way.

What about a choice of video conferencing platform? The options out there can sometimes be overwhelming?

Rebecca: When using a video conferencing platform for the first time, become familiar with the platform and its safety features. Look at all of the features for sound and video and any advanced features. If you don’t understand what they are, google them. Watch how-to-video guides on how to use the platform and research pros and cons. A little bit of time taken to find all of the features can save you a great deal of time in the future. And the more you know about the platform, the more you can help your students’ parents with their questions.

It sounds like you have really set things up well for teaching music on an online environment. Now that you have a good bit of experience in virtual teaching, what things do you think are lost or gained from an in-person classroom setting to an online format?

Rebecca: The biggest fear and take-away that I had during our initial trial last year, which prompted my initial blog on virtual classes (Part 1 and Part 2), was that the child would develop behavioral patterns and resistances that otherwise would likely have been redirected and thwarted by the teacher.  I saw in my own son such different personalities in the class and at home. I maintain that if I were not a teacher myself, it would be challenging to be responsible for singing along with my child (learning the songs), redirecting my child, making sure all of the materials are ready to go, and being a joyful presence in the class. It is much easier as a parent to attend the class with the child and just be an active participant alongside them. It is much easier to model when you are in a room where everybody else is also modeling for their children; the children look around and see what the other children are doing which leads to learning decisions. I think that is the most important life changing aspect that is lost online on all levels is: Interactive, interpersonal learning decisions. I also think there is a lot less singing going on the other end of the screen. They know that they can hide behind their mute button!  Again, when all of the other children are singing, it is more fun, valuable, self-correcting and rewarding to sing along. The confidence goes way down when they are in a room by themselves (parents and students)

Also, it is much, much, much more difficult to teach keyboard online, although, I find that I am having the children use their words to figure things out. When I am teaching in-person, it is hard to be patient and let them discover for themselves; online makes it almost impossible for me to help them too much! I miss ensembles. I miss class resonator bar “Scoot, Scoot, Scoot” turns. I miss using the physical aspects of my teaching room with the children (go sit in this corner for this activity, put your paper under your name and crawl to the poster, etc.) I even miss the smell of their stinky little feet when they take off their shoes to come into the classroom. I miss their eyes looking up at mine, or not! I miss, most of all, the random conversations that pop-up during class. This can’t be replicated.

We understand that the virtual format of teaching has been a necessity for many more than a choice, and most teachers would much rather be face to face with their students. Keeping that in mind, are there any things you find you have gained during this conversion?

Rebecca: What is gained by online teaching is a focus and a more condensed direction towards a goal through each activity. I have to work much harder online to make the activity musically meaningful; I have been teaching for almost 25 years in an interactive classroom! You can’t just holler out, “Betty, how should we move next?”  Online, you almost have to take suggestions all at once and then remember them! I digressed to what is lost, but my point is that I have to work much harder to come up with new “tactics” in order to teach the goal, therefore, it is usually much more detailed, thought-out, and relevant. I obviously gain control of my classroom, because behavior is not really my issue anymore. There is a lot less interpersonal play between the children which is wonderful and sad all at the same time.

So, do you feel like once it is safe to do so, that you will go back to in-person classes only, continue with online only, or a mixture of both? Why?

Rebecca: We are without a doubt going back to in-person classes as it provides the essence of our program: Socially, emotionally, and cognitively making music together.  The bonding between the students, teachers, and parents form the strong foundation of musical development. From a parent’s perspective, in-person teaching is a shared goal of giving their child the gift of music and learning a little bit themselves along the way. In an in-person setting, teachers earn the students’ trust from an early age and the students realize that music, love, happiness, and the teacher give them the confidence to learn, grow, try new things, and challenge themselves. It is extremely difficult to form this kind of bond through a screen. If it is the only way for a while, so be it, but we will do so with our hopes for the future that we can make music physically together.

From the numerous quality instruments, multiple part ensemble building, being part of a common interest group, pitch matching while they are playing the resonator bars, running and playing together in real time, manipulating physical space while we are all rolling on the floor to the sweet eye contact made when they first enter the room and when they say their goodbyes, it makes a difference to be there. But the truth is, we don’t know what is going to happen even in the near future. We need to keep our options open and understand that virtual learning, I believe, is here for good. There may be options for hybrid studios; in-person classes, but if you are out of driving range for the class, then an online option would not exclude those who live in rural communities. I have always believed in equal access when it comes to music education. I often thought how wonderful and valuable it would be to teach flute to students in extremely rural communities with no access to private teachers. So, would I teach a Musikgarten class to students in communities that lack a Musikgarten program? What will this new age of teaching look like? That is for another blog.

Thank you again for participating in this interview. I am sure that many teachers and parents will find your experience and insights here extremely helpful as they navigate the difficult situation educators find ourselves in today.

Rebecca Cauthron is an early childhood music educator at East Dallas Children’s Music, a flute instructor for Duncanville, TX ISD, and an adjunct flute professor at Dallas College Mountain View Campus. East Dallas Children’s Music, established in 1989 and founded by Cathy Mathia, offers a full range of Musikgarten classes from Birth through age 9 and adults. Cathy and Rebecca are joined by Musikgarten certified teacher Jaycie Skidmore at East Dallas Children’s Music. For more information on East Dallas Children’s Music and its talented and dedicated staff, click hereClick here for a full studio bio.

Virtual Children’s Music Classes – A Teachers Prospective

This is part one of a two-part interview with Rebecca Cauthron, certified Musikgarten teacher at East Dallas Children’s Music. Rebecca shares her experiences and insight into translating in-person children’s music classes to a virtual environment as a result of the Covid-19 pandemic. For more on Rebecca and East Dallas Children’s Music, please see the end of this interview:

Thank you so much for agreeing to this interview. Tell us a little bit about your experience teaching the Musikgarten curriculum?

Rebecca: I have been teaching Musikgarten classes since 1997 (23 years). We offer Musikgarten classes from birth to Year 3 Keyboard students. I have taught all classes through Keyboard Year 2. Whereas I am able to teach all levels, my specialties are Music Makers at Home and Music Makers Around the World.   

Please share with us how you came about offering Musikgarten classes online, and what influenced that decision?

Rebecca: It was a forced decision due to Covid-19.

Did you offer in-person Musikgarten classes before the pandemic? Did you have previous experience with an online video “production”?

Rebecca: Initially, last year, we attempted a class by video with my son, because he was getting over being sick (contagious) and could not attend class, so we attended virtually. It was a huge learning curve for Cathy and me. After analyzing the outcome, we concluded that there would be some potentially detrimental behavioral, social, and musical issues that could result from courses being taught on-line. This was discussed in the context of being on-line and then returning to in-person classes and the resulting behavior of going back and forth. Fast forward six months later, Covid hit and we needed to continue classes through the spring, but our teaching location closed and everybody was quarantined. We wanted to continue to bring music into the lives of our families and give some normalcy to the children. Video production was a huge concern as we wanted to connect with the students as clearly as possible. We worked diligently together to find solutions to lighting, webcams, microphones, conferencing platforms, and PARENT COMMUNICATION/EDUCATION to try to create the easiest and most lifelike class possible.

What did you find were the biggest challenges or hurdles around transitioning from an in-person children’s music class to an online format?

Rebecca: I remember the day I went to our teaching location just before quarantining. I had one hour to grab everything I needed for the rest of my spring teaching. I packed my car with as much as I could fit and I now use my closet shelves as my instrument and materials storage facility. My shoes and sweaters were not happy about this! On a more serious note, the biggest challenges that I faced were creating instruments from objects that children could find at their house, and, more importantly, it was asking myself “what do I want to accomplish” with each piece of music, poem, and activity in the curriculum. After establishing the goal, I created an online experience for each activity that would be appropriate, meaningful (emotional), and valuable (cognitively) to each family and child.

The pacing is also a challenge, because you do not get the same feedback from students and so the class tends to feel as if it needs to go faster than it should. For pacing, “Mr. Roger’s Neighborhood” is my guide. I calm myself down to “Fred time;” Slower, well-thought out speaking with smooth transitions from one activity to the next. The computer screen is stimulating enough and there are so many distractions in their home space; it is so important to draw them into your world for the special time that you have with them each week.

How do you think the interaction between teacher and parent/child differs for online classes vs. in-person, and from your experience, what tips can you offer to make that interaction meaningful?

Rebecca: Many parents are desperate right now to keep a sense of normalcy for their children and being home so much of the time gets long and lonesome. Because of this, they are very excited to get online and participate with their child or help their child participate in the music class. The biggest difference between in-person and online are the distractions: From the random dog walking through the room, to toys lying around, to couches that beg to be climbed on, they are all part of the home environment that the child is comfortable with and is used to not having much structure or restriction. I can imagine what is going on in the head of the child: Now, Ms. Rebecca is on a computer screen IN THEIR OWN HOUSE (how exciting!) personally speaking to them and they want to show you everything; or, they wonder and get distracted by a toy that they enjoy playing with; or, they hear their little brother playing outside and they want to go, etc. At their own home, it can be distracting, and we have no control over that as a teacher except to instruct the parents to find a room/area in the house that can be set up for the child’s room to attend class each week. It needs to be the same place and clear of distractions:  No toys, pets, siblings, etc. just items for music class.

Another interaction problem:  Many teachers have said, jokingly…sort of…what a wonderful thing the mute key is. I, personally, find it to be a crushing blow to interpersonal relationship skills that are developed in my class and a huge wall. I look for suggestions at all times, but there is something so impersonal when I have to teach most of the class on mute. Although, from the parent’s perspective (I have a three-year-old in music classes right now!), when we are muted it puts the responsibility on us to be fully engaged with the child and the class, but it is also hard to step back and not talk over the teacher.  The teacher can make the interaction more meaningful by allowing students to talk to you at the beginning and end of class, even if that means listening to everyone one-on-one while everyone else is muted. During class, reference each student at least a few times: Look to see how Sally is tapping her sticks, notice the smile that Bob has when he is bouncing, etc. Verbalize all of this so the children feel connected throughout. When teaching older students, this is easier.

In our next blog post, we’ll pick back up as Rebecca continues to share her experience with teaching virtual children’s classes from a technical standpoint, as well as her thoughts on what is gained and/or lost from an in-person classroom structure vs. a virtual environment.

Rebecca Cauthron is an early childhood music educator at East Dallas Children’s Music, a flute instructor for Duncanville, TX ISD, and an adjunct flute professor at Dallas College Mountain View Campus. East Dallas Children’s Music, established in 1989 and founded by Cathy Mathia, offers a full range of Musikgarten classes from Birth through age 9 and adults. Cathy and Rebecca are joined by Musikgarten certified teacher Jaycie Skidmore at East Dallas Children’s Music. For more information on East Dallas Children’s Music and its talented and dedicated staff, click here. Click here for a full studio bio.

Balancing Digital Media for Children at Home

With summer in full swing, and the pandemic still influencing parents work arrangements and social activities, we find ourselves asking the familiar question “How much screen time at home is adequate for my child?” Children’s music studio owners and teachers often get this question from their parents with the added caveat, does virtual educational time count as screen time?

To better answer this question, lets first understand what “screen time” actually means. Medline Plus defines screen time as a term for sedentary activities performed in front of a screen, such as watching TV, working on a computer, or playing video games. Note that the operative word here is sedentary, meaning children are being inactive physically while sitting down. Keyboard, mouse, remote, or game controller use are not considered physical activity in this definition.

So then, how much screen time should be allowed to children per day? For years, The American Academy of Pediatrics’ recommended no screen time for children under the age of 2 years, and no more than two hours per day for children and teenagers. But recently, the AAP have adjusted their guidelines to acknowledge the role that technology plays in our daily lives, as well as the new reality of Covid-19. So rather than provide definitive recommendations on time children should be allowed on screens, the new guidelines emphasize the active role parents play in allowing screen time in moderation, and how to navigate the balance.

With the onslaught of Covid-19, parents are transitioning into work from home (and back again) while trying to figure out childcare responsibilities. Similarly, schools are trying to juggle social distancing and remote learning. As a result, a good portion of childrens education has transitioned to online and virtual delivery. Understanding this necessity and its additional challenges, the AAP and other health care organizations have offered parents some flexibility and more general guidelines for managing screen time for children at home:

  • Take an active role in what your child is doing on screens – Sit down with your child and review what they are currently doing online, using it as an opportunity to have discussions about what is acceptable in both the household and society as a whole. It’s also a good idea to supervise while your child is engaged in screen time, even if it is only an occasional glimpse over their shoulder.
  • Establish a healthy and balanced “Play Diet” for kids – Know and explain the difference between physical, social, creative, and unstructured play. A healthy play diet consists of a balance of these activities, and parents should learn how to expect, promote, and maintain it during long periods inside at home. Again, this requires attention and involvement from the parent, but once a balance is established, children will begin to manage it on their own.

Parents understand the negative risks that too much sedentary screen time can have on their children, including obesity, loss of social skills, irregular sleep patterns, and behavioral problems. With the transition of home life that so many families are experiencing through the Covid-19 crises, parents are taxed with how to deal with it responsibly in this new reality. While the official time limits for screen time have been loosened by health care professionals during this time, parents can follow a few guidelines to ensure that their children can continue to develop in a healthy and balanced environment.

We Stand with Our Diverse Community

Dear Friends and Colleagues,

In the front office here at Musikgarten, hanging for as long as anyone can remember, we have a poster that is titled “How to Build Community.” Faded from time but still relevant today, it provides a long list of practical ideas that individuals, families, and even companies can implement to create community. Some are as simple as “know your neighbors”, or “look up when you walk” and “greet people”. Others are more difficult in practice, such as “listen before you react in anger” and “learn from new and uncomfortable angles.” Whether it is simple or difficult, all of these have a commonality – put yourself aside and do the hard work of getting to know people.

Musikgarten detests the current violence and continued inequality plaguing our society.  At the very same time, we heartily support the on-going public conversation concerning racial relations in both our local community and in the nation, in relationship to the treatment of individuals and groups. Just as other multinational and multicultural organizations, we too are taking a careful look at ourselves and the material used in early childhood music education, including the Musikgarten curricula. The Musikgarten authors, trainers and staff are discussing these issues most seriously.

Since our opening in 1994 we have always been active in addressing racism.  We choose an effective and practical role: offering education for children who cannot afford Musikgarten classes, instituting work and hiring practices to support racial balance. Musikgarten believes in doing the hard work of building community, not just talking about it.  Since 1994, The Musikgarten Foundation has provided the many benefits of early childhood music to local and national Head Start programs. We continue to encourage and nurture diversity in our staff and suppliers. Musikgarten has also donated over an acre of land to the inner city part of town (where the company building is located) for a nature and children’s park.

We would like to challenge you to do the hard work of getting out into your community, and we want to help you in this effort. Musikgarten herewith announces a scholarship program for minority children and families in your area that cannot afford the benefits of music and movement classes. For the Fall 2020 semester we have ten openings. This is a beginning, and if we have good response we will add openings. Musikgarten will pay you, the teacher, 75% of your normal Fall semester tuition fee for the student/family and supply the family materials for free. If you are interested in applying for a scholarship for a child in your community, please email us at info@musikgarten.org.

In this time of turmoil, we will continue to be active in addressing the inequalities in our society.  We hope that you will join us today in continuing the hard work of building community.

Sincerely,

Musikgarten

Fun Family Musical Activities for Summer Days

While the stay-at-home orders for most states are beginning to expire, and staged reopening of places of business are giving us a small respite from being homebound, nearly all schools across the United States remain closed for the remainder of the school year. That, coupled with the beginning of summer break, challenges parents with having to manage anxious children at home. As children’s music teachers and parents alike have known forever, music sooths and relaxes stressed out kids. We have touched in past posts about how many children’s music studio owners are providing virtual music classes online, these classes and additional activities associated with them can only take up some many hours in a day or week. Music professionals and children’s teachers will agree that just about any activity that exposes children to music is a good thing. Here are a few fun ideas for families to do at home that will expand children’s musical exposure:

  • Make a guitar out of a cereal box – Cereal is a staple food for many households with children. Whether its Lucky Charms, Rice Crispies, or Captain Crunch, many lids love to eat it all day long. Those empty boxes can be used for a fun arts and crafts activity that also teaches about music. Building a simple guitar out of a cereal box have many benefits, from tactile activity to learning to repurpose materials. No matter how good it ends up sounding, guitars can teach children about rhythm and scales.
  • Musical spoon activities – Many of us imagine an old man from Appalachia on his front porch slapping a pair of spoons between his knee and hand, but the playing of spoons has actually been around since before written history. The ancient Egyptians, Greeks, and Romans all played spoons and a variation of them called rattle bones or rhythm bones. While this form of concussion idiophone can be hard to master, all it takes is an old spoon and other kitchen objects to explore a variety of musical sounds. Rubbing the spoon against an old can, kitchen grater, hitting a pot, etc, provides many different sounds. Children will have fun composing arrangements of the various sounds, and possibly even writing lyrics. Just keep in mind that this is not an activity that should be encouraged while you are on a conference call working from home!
  • Draw what you hear – This activity combines several forms of art with creativity. Start with a blank sheet of paper and pencils, markers, or crayons. Select a piece of music, whether it’s a Classical instrumental or a Rock song with lyrics, ask your child to draw what they are hearing. If they are having trouble, give them some ideas or demonstrate. For example, if the music is a slow Blues song, they may use long loping lines in a darker, melancholy color. For a faster, livelier genre such as Calypso, they may choose to draw shorter, sharper angles in brighter colors. Some children may decide to draw what it literally being sung about in the lyrics. There is no right or wrong way for them to draw what they think or feel when listening to the music.
  • Fortune Teller or “Chatter Box” Game – If you are of a certain age, you may remember the folding paper game that allows you to make selections while manipulating the origami. Children will love folding and decorating the paper, and the resulting activity can be applied to a limitless amount of musical games. Write different genres of music inside the flaps, and play examples as each of them are selected. Another idea is to put common words on each flap and write a song together that includes all of the words selected after a number of rounds. Ask older children to think of their own musical game that utilizes the “chatter box.”  
  • Freeze dance – A variation of musical chairs, this one is fun and simple while burning off some energy at the same time. Play a song on an audio player and ask everyone begin to dance however they feel. When they least expect it, hit pause or yell freeze and see what funny positions everyone winds up in. Like musical chairs, you can eliminate anyone who is still moving when the music freezes, and/or see how long each can hold their positions. Let members of the family take turns in selecting the music and hitting the pause button. Add some toys, children’s instruments, or ordinary household items as props to add even more variety.      

Children’s music studio owners and teachers will tell parents that in addition to a more formal music education, just about any other exposure to music or musical activities will expand musical growth. At a time when parents are looking for fun activities for children at home, these simple suggestions can educate, entertain, and exercise at the very same time.    

Planning for Re-opening of Your Children’s Music Studio

As governors across the country monitor their states criteria for re-opening businesses and other organizations, children’s music studio owners should be developing a plan for how and when they will resume their in-person classes in a safe and responsible manner. Many childhood music classes have not ceased with the shutdown of their physical studios, and have taken advantage of technology to hold virtual classes online. Even though online classes do provide a continuation of curriculum for students, home activities for parents, and continued revenue for the business, many teachers are understandably looking forward to when they can see their parents and students in person again. Here are some thoughts and ideas on what to consider looking forward:

  • Remember who ultimately decides when your business reopens – While politicians can announce or declare the economy reopen, they cannot force a music studio to reopen if the owner does not feel that it is a good choice for their staff or customers. But ultimately, its neither politicians nor business owners who decide when the economy is reopen. It is the decision of the consumer. If the population does not feel that it is safe to patronize businesses, then as living in a free market society, they will “decide with their pocketbooks.” Parents are particularly careful when it comes to their children’s well-being, and you can bet that they will not take unnecessary risk.
  • Communication and a good plan is the key – Children’s music studio owners understand that communication with parents is the key to running a successful curriculum and business. As parents start to become more comfortable with the overall safety outlook, they will next want to see what a studio is specifically doing  to keep their children safe. A written plan shared with parents about intentions of how and when to reopen for in-person classes nurtures that important customer relationship and reinforces trust. This written plan may include conducting only outdoor classes for a period of time, social distancing procedures, and/or processes for keeping studio and instruments clean.
  • Have a contingency plan in place – No one wants Covid-19 to have a resurgence in our communities, but in the event that does happen, it’s important that you have a plan in place for your music studio to quickly and efficiently deal with it. Contingency plans  help to put consumers, business owners, and employees’ minds at ease so that a situation does not quickly go into crisis management mode. Finally, remember that a good contingency plan can be applied to a wide variety of unexpected situations, so write it so that it can be quickly applied to almost any unexpected situation. As some studio owners have already shown, continuing business through virtual classes may be part of that plan.

While not advocating when or exactly how children’s music studio owners should reopen their particular business, these tools and techniques are provided to help determine the best and safest way to help keep your business open through unprecedented times. By understanding the official guidelines, understanding and communicating with your customers, and finally contingency planning makes the next unexpected crisis a bit easier to manage. 

Tips for Conducting a Virtual Music Class to Children

For many teachers across the country and the world, the Covid-19 pandemic has required that they embrace technology in a way like never before. Whether they were already tech-savvy or tech averse, teaching virtually has become a necessary reality for educators. This is no exception for many children’s music teachers and music studio owners. While many of the hurdles are the same for all teachers, virtual children’s music instruction poses its own set of challenges to studio owners. Here are a few tips to help you and your students/parents get the most out of your virtual music class:

  • Explore your virtual learning technology – There are various ways to produce a virtual learning class, and which one you select is more up to your taste and comfort level than one “best” solution. The two most popular formats are live or pre-recorded. Live technologies offer teachers a more interactive solution with their students and or parents, while pre-recorded allows more production options for those who want a more polished output. Virtual live classes can also be recorded for future use. Keep in mind that there are hundreds of software and app solutions available out there for virtual teaching, both paid and free. A search on Google will give you a myriad of choices, so think about what is going to be easiest and best fits your needs. More importantly, however, is to keep in mind what technology your students will have available to participate. If you already have a children’s music curriculum, then you may not need the features offered by many of the available solutions. If you have already been teaching children’s music in a classroom setting, then all you may need is a digital camera and a way to serve your videos such as YouTube.
  • Don’t worry about being perfect, just jump in! Once you have chosen a technology to serve your virtual classes, start teaching! Everyone understands that this is a challenge for teachers, so don’t be afraid to dive in and learn alongside your parents and kids. You know that one of the best ways to learn is by doing, and you will find that each and every class will be better than the last as you absorb both the technology and how to leverage it to mimic your desired classroom environment. Keep in mind while it’s never going to be perfect, video and audio quality are important for a music class. However, most newer smart phones, tablets, and laptops have decent video and audio output.
  • With younger children, keep in mind that its music AND movement – In many virtual classes, all that you will see is a “talking head” and perhaps some screen shots of notes and diagrams.In children’s music classes, movement is very important. Therefore, be sure that your screen frame shows your entire body so that you can demonstrate the movements while you teach. Imagine that your audience is in a live class with you, and what you do and would like for them to see and hear. Usually this requires that the camera is set back far enough to show your entire body in the screen, with enough space on all sides to allow room for movement.
  • Encourage and interact with your entire audience – Whether you areperforming a live virtual class or recording a video, be sure to address the camera just as it was your students. Offer encouragement before, after, and during your activities. Imagine you are in your live, in-person class, complete with asking questions and call and response activities, leaving time after each for your audience to respond at home. Lastly, if parents are involved in the class, don’t forget to provide helpful instruction and encouragement to them as well.

While pivoting from a live classroom environment to a virtual online environment may be scary, keep in mind that great teaching skills will serve you well online. Everything you already know will still be with you in a virtual world, so have confidence that you can do this! Lots of children’s music teachers and studio owners who were not previously offering online classes are now doing so. Watch how they have overcome the technical challenges and apply that knowledge to your own production. Remember that they were once as apprehensive as you may be now, so you will become ever more comfortable as you go along.