Why?  Music schools are looking for new ways to open their resources to a wider range of students.  Especially in the aforementioned area.  Technology is changing the way many of today’s leading musicians compose, perform and produce.  It is also changing the way in which music reaches audiences both in the recorded and performance mediums.

The country’s leading music programs and even traditional conservatories are taking notice.  There is a reason for this.  Schools are finding it necessary for their sustainability to train students for the careers that will exist 20 years from now.  This includes going beyond the traditional classical curriculum and picking up on ideas that have led to the emergence of non-traditional music programs such as Berklee College of Music and Musicians Institute.  Many of today’s jobs a few years from now will have been replaced by other things.  Other careers in music will be invented or explored.  What these jobs or other careers will be, only time will tell.  But colleges owe it to their students to make sure their needs are being met and that they are truly prepared for a career in music.

Traditional distinctions among types of music schools are becoming less prominent as schools increase their offerings by adding more academic and technology programs.  For instance, Chicago’s Columbia College just recently launched the Contemporary Urban and Popular Music Program and awards a Bachelor of Music degree for students that are interested in producing, composing and performing modern music.  Ironically, this is the same degree awarded to students for classical composition.

Many schools which started as traditional conservatories are now offering degrees in Music Business, Music Industry and Music Engineering Technology.  Berklee College of Music and the University of Miami’s Frost School of Music were the among the pioneers in these non-traditional fields of music.  Schools are offering these programs designed for modern music production which are essential for sustainability and are using modern methods in order to reach current and future students.

Music has been deeply affected by the enormous change evolving in all forms of media.  Every branch of the arts has and will be affected for years to come.  It’s important that we embrace the future and what technology has to offer in the field of music.  With new ideas come new possibilities and exciting opportunities.  This emerging trend has not gone unnoticed and many music schools are now getting involved.  Music colleges owe it to their students to meet their current goals as a musician and lead them in directions they may never thought existed.

During primary and secondary education, learning music is not exactly given much attention. It is but one of those “filler” subjects. But for a few more artistically-inclined people, this serves as a foundation for their future interest, or even way of living. And when one does decide to enter schools of music, one would know for sure that it is a passion, a dedication.

It is during these formative years that music teachers play their pivotal roles as future musicians’ mentors, even inspirations. Teaching is indeed a noble profession, more so a vocation. Yes, it is far from teaching math, or science. Said subjects are purely academic subjects that entail a teacher’s thorough knowledge. Teaching music, on the other hand, necessitates both knowledge and aptitude…and, probably even more importantly, passion.

Music teaching possibly started as a way of passing on a community’s tradition. India has in their ancient scriptures references to Indian classical music. The “Great Book of Music” or Kitab al-Musiqi al-Kabir was written by the Arab scholar al-Farabi in the 9th century.

In the Western world, music teaching may have started from the church, with cleric/monks teaching their hymns to those next in line, or to the religious. In fact, in the U.S.A., the first singing school was created by Reverend Thomas Symmes in 1717 in Boston, Massachusetts for “the purposes of improving singing and reading in the church”. With the continued popularity of music and its commercialization, organized instruction evolved and schools of music sprung forth around the world.

Albeit the acclaim of many musicians who graduated from these schools, music education does not seem to receive the recognition it deserves. Thus, an organization, the International Society for Music Education, was formed in 1953 in a conference convened by UNESCO. It aims “to stimulate music education as an integral part of general education”. It is now considered to be “a worldwide service platform for music educators” for their works to be recognized. It now has affiliations with national music education organizations of different countries to promote music and teaching to as many people as possible, if not to all.

Music instruction has evolved through time, in tune with the evolution of music. It also has changed, along with the changes of the times, of the people. Somehow, music teachers, of all levels, are now given the commendation they are rightfully due. More importantly, music teaching is slowly but surely winning the respect, it has earned. For what is, the worth of music if it is not taught, hence, shared.

Parents who enroll their children in music schools can help in the total development of their child. Even if a child chooses not to enter into a musical career, music lessons can provide a positive impact on the child’s development.

In taking up music lessons, there are other abilities that can be learned aside from learning music. One of the traits that can be developed is discipline. In learning music, it takes many hours of practice to become good. Others can take months and years to master it. One needs to develop self-discipline in order to succeed. The earlier a child begins to learn music, the earlier he or she starts to develop discipline within his or herself.

Another very important attitude that can be learned in studying music is self confidence. Self confidence if very essential to us if we want to succeed. In learning music, there will be recitals and stage presentations in front of a live audience. This will help develop one’s confidence when facing the crowd.

Aside from these internal traits, a child can also develop his or her ability to entertain people. With their confidence, children who learn music at an early age will have the ability to entertain friends, family or even people who are not acquainted to them.

These are only some of the positive abilities a child can acquire while studying music. There is a lot more to than learning to play an instrument or learning how to sing. Internal traits will be developed, especially if a child starts a very young age.

Every week, children would have singing lessons, be introduced to instruments, and learned about the great composers. Art instruction included using mediums such as watercolor, charcoal, and tempura paints, as well as art history lessons and exposure to artists from across the centuries. Children were provided with all the materials they would need, and musical instruments were rented to families who did not have their own, for a nominal fee.

At some point in time around the early 1980’s, music and art instruction in the public schools came to an end. Budget cuts were blamed and schools were left scrambling to find the money to continue their art and music programs in the schools. Art and music teachers were not rehired and classroom teachers attempted to take over. Much of what they taught was based on what they had learned from the professional art and music teachers in years past. Schools in more affluent area were able to carry on with their programs, in large part because of the donations of time and supplies made by their parents who could financially sustain them.

During the 1990’s they was a resurgence of music and art programs due to the efforts of the large artistic and musical communities who saw the need for this type of instruction in the public schools. Movies like Mr. Holland’s Opus opened our eyes to the need for these programs by our young people.

Do music and art programs in the schools really help our children learn academic subjects more easily? Music is associated with mathematics, patterns, and memory function. Art stimulates a part of the brain that has been linked to writing proficiency. Music and art programs do add to our children’s academic progress and should be a regular part of their school curriculum.

Your music industry education can begin in college. If you are sure that you want to be the person who edits the recorded sound to make it better, then a college with a specialized music program is your best bet. These programs offer intense study of music and hands-on training. Someone who graduates from one of these programs will have the advantage of actual knowledge of music equipment.

Technical schools are also in high demand. At one time, people shunned technical training as being second class. It ran a distant second place to getting a degree at a four-year institution. But, when it came to finding jobs after graduation, technical school graduates had one very important advantage-legitimate experience handling the latest equipment used in the music industry.

Technical schools provide a mix of book learning and lectures and time in the music lab. Students get to create music, edit sound, and produce their own music to see how the process works. Many technical degrees are two-year programs but a lot of fundamentals and advanced teaching goes on in those programs.

Internships are required at most technical schools. They evaluate their students and how they apply the skills learned in the classroom in a work setting. Some programs at four-year institutions require internships before graduation but not all. An internship at this stage with an instructor to back you up is a great initiation into the music industry.

When choosing a music school or a music program at a college or university, review the entire program. Are the instructors credentialed? In the music industry, this could mean that they have twenty years experience as a sound editing engineer or a music producer. A Bachelors degree wouldn’t hurt either. With the constant changes in the music industry, be sure that your instructors can provide the type of training for you that is currently pertinent to the industry.

How is the program set up? Many programs offer more book work and less time in the lab. Theory is good to know if you are planning on a career in teaching. For a career that involves working in a music studio or on the sets of music videos, hands-on experience is more practical.

Studios are looking for graduates who can jump right in and be a part of the company. If the studio head asks you to sit at a station and make the sound better, your career could take a dive if you can’t work the equipment or provide an interesting answer. They don’t have time to waste on unprepared people.

Distance learning is also a way to get the education you need to perform technical jobs in the music industry. For those who have to work a regular job during the day to make ends meet, distance learning programs provide the opportunity they seek. All you need is a willingness to be flexible, a computer with Internet hook-up, a telephone, and commitment. Many distance learning programs are affiliated with local community colleges or university campuses so students have access to musical equipment. A student has the best of both worlds on their own terms.

So, before you decide to move to a major city to go to school, check out the local technical schools and distance learning. Being in New York or California won’t make you more likely to be hired, but the content of your school program might. Check with potential studios to see what program accreditations they recognize and shoot for a music program that has them.

The teaching of music in the American educational setting dates back 1838 when Lowell Mason introduced singing classes to Boston grammar schools. Instrumental music appeared in fits and starts over the next fifty years but was never included during the school day; rather, it was relegated to the ranks of extracurricular activities. Around the turn of the century, instrumental music began to see some acceptance into the classroom, though often was taught by those untrained in the area of music education. Moreover, little if any standardization of the instrumentation or music literature existed. (Rhodes, 2007)

Near the conclusion of World War I the quality of school music began to increase. This was due primarily to veterans who, after having been musically trained in the various service branches, began to fill music teaching positions in the schools. Band, however, was still regarded as an extracurricular activity. (Ibid)

In 1907, the Music Supervisors National Conference or MSNC, (now known as the Music Educators National Conference or MENC) was organized to support school music. In 1912 a proposal was made to include, as accredited subjects, a number of music activities including choruses and general music. Band was included – but at a much lower priority. Later, however, at the Cleveland MSNC conference in 1923, Edgar B. Gordon stated,

“The high school band is no longer an incidental school enterprise prompted largely by the volunteer services of a high school teacher who happens to have had some band experience, but rather an undertaking which is assigned to a definite place in the school schedule with a daily class period under a trained instructor and with credit allowed for satisfactory work done.” (Ibid)

In the same year, and likely due to the increase in both acceptance and importance, Carl Greenleaf (then head of C. G. Conn Ltd.) helped organize the first National Band Contest in Chicago. Later, in 1928, he directed the Conn company to contribute to the founding of the National Music Camp in Interlochen, Michigan and later supported publications designed to support band directors. While these endeavors may have appeared somewhat self-serving in light of his position with Conn, they nonetheless helped establish school band as a significant part of school curriculum. (Banks, 1997)

Despite a gradual, while still limited, acceptance of instrumental music within the school curriculum, budget cuts have often curtailed or even eliminated these programs. Further, with the recent increased emphasis upon “teaching to the test” due to the pressures of No Child Left Behind (NCLB) and similar state requirements, support for the inclusion of music in schools has begun to wane. Michelle R. Davis, in “Education Week,” stated “The federal No Child Left Behind Act is prompting many schools to cut back on subjects such as social studies, music, and art to make more time for reading and mathematics…” (Davis, 2006) This is most unfortunate considering that the study of music, especially instrumental music, has proved to be beneficial for all students – even increasing their ability to reason and problem-solve.

Many theorists have contributed to the elevation of music as central to education, or at the very least, demonstrated that limiting the school environment to the “Three R’s” is short-sighted. Howard Gardner postulated his “Multiple Intelligences” theory with the understanding that children do not possess identical propensities for learning. Not only do they have differing capacities for learning but have differing capacities for learning in many areas. These areas, as he explained, are the varying intelligences of which he speaks. Originally describing seven intelligences (of which music is highlighted) he identified two specifically (linguistic and logical-mathematical) as “the ones that have typically been valued in school.” (Gardner, 1999, p41) Obviously, Gardner recognized that the educational system was not reaching all students – only those that could “do school” well. Gardner did not limit his study, of course, to the mere existence of multiple intelligences but demonstrated that a given person can be strong in more than one, enabling those intelligences to interact one with the other. He explained that, “there are other ways in which different intelligences can affect each other…one intelligence can mediate and constrain the others; one intelligence can compensate for another; and one intelligence can catalyze another.” (Gardner 2, 2006, p219) He further extolled the advantages of a musical intelligence by explaining that “…a strong musical intelligence may lead a person engaged in a linguistic task to be more sensitive to the rhythmic properties of language as well as its meaning.” (Ibid, p223)

While many may assume that music and the study thereof is associated primarily to that which is heard, it is also related quite closely to mathematics. Dahlhaus, reflecting Rameau stated that “music had its origins in the Pythagorean proportions; (i.e., music is a mathematics).” (Gargarian, 1996, p137, 138) Regardless of whether or not one agrees with the theory that music is mathematical in toto, there should be little dispute as to the relativity of music notation to mathematics. Indeed, introducing the coordinate, or Cartesian, plane appears to aid the new music student in understanding the horizontal (x), and vertical (y) axes of music notation. Simply stated, the horizontal (x) axis on the music staff relates to duration while the vertical (y) axis relates to pitch. This, of course is a reflection upon Gardner’s aforementioned theory of intelligence interaction.

There is further evidence that instrumental music study is advantageous for the student. In 1995, Gottfried Schlaug, et al, published a study, “Increased Corpus Callosum Size in Musicians” wherein they described an increase in neural fibers across the Corpus Callosum (CC), contributing to its enlargement. They further were able to determine that this increase in fibers/CC size was attributable to instrumental music study. (Schlaug, et al, 1995) Obviously, the supposition can easily be made that, if there is greater cross-talk between the two hemispheres of the brain (specifically, the left – thought to be the analytical, and the right – thought to be the creative) the result would be a person with a greater, more creative, problem-solving ability.

Reflecting upon Gardner’s theories, as well as those of Schlaug, et al, it should surprise no one that others have confirmed links between music and other skills. Bahr and Christiansen in their article “Inter-Domain Transfer Between Mathematical Skill and Musicianship” published findings demonstrating that students who had studied music demonstrated superior performance on mathematical tasks provided there was some structural overlap with music. (Bahr, Christiansen, 2000) This “structural overlap” could be nearly anything, including the relationship of dividing measures or notes into fractions, relating pitch to frequency, or, as aforementioned, establishing the link between the coordinate (Cartesian) plane and the music staff.

With this enhanced problem-solving ability; this increased awareness of mathematical concepts, it would not be a grand leap to assume that music students might perform well with classroom technology. Indeed, music students should be expected to do at least as well as other students with regard to technology. If that is true, then the next step would be to assume that they would do especially well with technology geared especially to them.

Somewhat recently, technologists, recognizing a dearth of technologically-based music applications began to develop computer programs for music education. Music theory websites began to appear, many having been produced by, and linked to, symphonic organizations. Others have been produced by teachers and graduate students either as part of coursework or perhaps for their own use (and anyone wishing to utilize the application). A quick search of the internet reveals that there are quite a number of available technological tools produced and published for the music student. There are interactive music games, in-class keyboard music theory applications, countless online pitch and rhythm websites, and, perhaps most powerful, applications known as “computer assisted instruction” (CAI)” specifically for the music classroom and student. In January 2005, Steven Estrella published the findings of a study demonstrating how music teachers in the U.S. used music technology. Among his findings, he discovered that approximately twenty percent of the survey participants used some form of CAI as part of their instruction. The survey further discovered that the predominant software application was “SmartMusic.” (Estrella, 2005)

SmartMusic is a teacher/student interactive application allowing students to practice, at home, with a synthesized band or orchestral accompaniment. The program can also, with an included microphone, record the student’s efforts and grade them using rhythm and pitch data. The student can immediately see their results and can retry if they wish. The recording and the accompanying grade are then emailed to the student’s teacher/director and automatically entered into the teacher’s database grade book. The program includes accompaniments for around thirty-thousand compositions including band and orchestra method book pieces. (Nagel, 2007) While early reviews of the program were mixed, the company that produces SmartMusic, “MakeMusic,” was apparently responsive to teacher/consumer complaints and suggestions. The program requires that the home version be installed on the students own computer and, in earlier versions, installation, setup, and microphone placement were problematic. In the latest version, SmartMusic 11, many of these issues were addressed either by simplifying the process or with enhanced user guides. (Whaley, 2008)

For the classroom, SmartMusic holds a wealth of applications. The most basic functions of the program include a displayed tuner and metronome. (A music classroom with an interactive whiteboard can make excellent use of SmartMusic’s utilities.) The teacher can then play a pre-recorded version of a piece to be studied and, while the students are playing along, can instantly record them independent of the pre-recording for later playback. The program also includes fingering charts for all instruments so a quick check for the students perhaps needing additional instruction is easily accomplished. Keys and tempi can be changed easily, if necessary, and if a single performer wishes to play with a pre-recorded accompaniment, that accompaniment, “listening” to the performer via a microphone, can follow the performer’s changes in tempo – not unlike what the conductor of a symphony orchestra would do in a live performance.
As important and powerful as SmartMusic is in the classroom, its most powerful application – and the primary purpose for which it was intended – is that of a home practice and assessment tool. There are literally thousands of accompaniments and scales included in the software as well as thousands of music titles. Once the students have subscribed, downloaded (or installed from a CD), and set up the home version of the program, the teacher can design playing assignments which the student then accesses at home on their own computer.

Playing through a microphone to the program’s accompaniment gives an instant visual and aural response; while the recording of the student’s performance is played, their correct notes are displayed in green while mistakes are displayed in red. The student can decide upon and set their own tempo, then practice with the computer-generated accompaniment as many times as they wish prior to recording for a grade. In short, the student is in control while at home. Students having access to broadband internet and a reasonably up-to-date computer can fully realize the potential of the program – as well as their own. (Rudolph, 2006)
But what of those students not fortunate enough to have a computer at home – let alone internet access?

Obviously, the power of SmartMusic would be largely lost on those students without a home computer or internet access. The cost of the home version is small, and some districts have even provided the subscription free of charge for their students. (Nagel, 2007) However, can districts provide a workable computer and internet access or all of its students?

David Thomas stated that schools have made great progress in the introduction of computer and internet access. However, that access, for disadvantaged students, remains at school. (Thomas, 2003) Thomas further quoted then U. S. Secretary of Education, Rod Paige:

“We need to address the limited access to technology that many students have outside of school. There is much more we can do. Closing the digital divide will also help close the achievement gap that exists within our schools.” (Thomas, 2003)

A 2007 study in New York revealed that between seventy and eighty percent of students have computers at home. (Traber, 2007) One might suggest that the real numbers cross-country are actually much lower.

There are many music students dependant upon school-provided instruments, method books, and even instrument supplies such as reeds and valve oil (usually provided out the teacher’s own pocket). These students are already behind their more affluent counterparts and cannot afford private lessons, let alone a workable computer and internet access. These are the students who could benefit most from a program such SmartMusic. However, as useful and powerful as SmartMusic is, it cannot by itself bridge this “digital divide” that still exists.

Educational technology holds great promise for the student musician but until a method for equitable access is discovered, disproportionate achievement will persist.

When it comes time for your child to apply to colleges, having a history of music education will improve their chances for admission to their desired school. Music gives kids many advantages.

Music schools are also a great way to expand your own creative world. Many schools accept adult students, and you might find that taking classes at a local school is the perfect way to add some creative spark to your life.

However, finding a good school isn’t always an easy task. Many of these schools do not always advertise like other organizations. How can you find a music school in your community?

Look Online

Doing a search for these types of schools may turn up several great candidates, especially if you live in a metropolitan area. When you’ve found a list of local music schools in your area, do a search for each specific school. You might be surprised by the reviews you find from other parents and students, and this information can help in your decision.

Online searches for these schools have many advantages, but one possible disadvantage is that not all musical schools advertise online or have a web page. It’s becoming increasingly likely that more of these types of schools will have an online presence, but you might miss out on a great one if you limit your research to the Internet.

Check with Your University

Universities and community colleges often offer music programs. Call the music department of your local college and ask if they offer any kind of musical education for children or adults. Often, the educators at these schools are top notch.

If your local college or university does not have a music program available, ask if they can recommend any specific music schools in the area. Since members of the music department staff at these schools have many professional connections, they might be able to offer some great insight on where to look for a great music school.

Ask Your Child’s Teacher for a Recommendation

Your child’s music teacher is a great resource when it comes to finding a music school, especially one that specializes in teaching music to children. If you are looking for music lessons Mississauga for your child, his or her teacher will also have special insight into which type of school might best address your specific needs.

Even if you are looking for a music school for yourself, your child’s music teacher is probably well connected in the music community in your area. He or she may have some great ideas on where you can go for your musical education.

Advantages of a Local Music School

Finding a local music school provides many advantages, including the following:

• A music school that is local means that you spend less time commuting between your home and music school. You can use this extra time to practice your music lessons.
• A local music school also means you save on the price of traveling between the music school and your residence. High fuel costs will not add to the price of your lessons.
• Enrolling in a local music school can provide you with great local social connections.
• When you attend a local music school, you are supporting your local economy and the creative arts scene.

Compassion of learning music leads to looking for musical instruments that are affordable and are suitable to your taste. Parents of many children like to entertain their children’s activities by encouraging them in playing musical instruments but are not prepared to invest a big amount in an activity that may discontinue without prior indication or notice. Musical instruments available on a wholesale basis are the right choice for any one who desires to purchase a musical instrument, especially a beginner. Wholesale markets are flooded with varieties of musical instruments providing an open opportunity to acquire them at affordable prices than the retail prices.

The eminence of the instrument is also inevitable. Quality instruments with a fairly high price can be easily found only in wholesale musical instruments. Wholesale musical instruments provide superior quality goods at economical rates. The wholesale musical instruments aim in providing satisfaction without hitting the budget. Buying musical instruments in your neighborhood is beneficial as you already have recognition as a neighbor. So getting duped is difficult. Similarly, one can buy directly from a known instrument manufacturing company at a wholesale price.

The best place for finding wholesale musical instruments is on the internet.
A precise search provides many details regarding the products and the places that sell musical instruments on a wholesale basis. Purchasing a musical instrument at a wholesale shop is better done keeping in mind few points like the wholesale shop should be a recognized shop in selling the right goods. It should also provide service whenever essential. The wholesale shop should have branded products as well as local products so that customers do not run short of choice. Running on errands after purchasing is impossible so ensuring in all the possible ways of acquiring a quality product is highly essential. After sales service is another important factor to be considered so that one need not run pillar to post during some problem. The vibration, the strings, the sound produced and the material used should be checked so that one does not get carried away with the numerous brands and designs displayed in a wholesale shop of musical instruments.

These words were uttered from the mouth of my third grade teacher Ms. Kratz way back in 1981. A few weeks prior, my music teacher, Mr. Snouffer, pulled me into the tiny, dingy backstage area of our little cafeteria stage at Whitehall Elementary School in Williamstown, New Jersey. He asked if I knew the words to Barry Manilow’s, “I Made it Through the Rain.” I said yes, and he asked me to sing it. I have no idea how in 3rd grade I knew the words to that song. Let’s just say that from a very young age I knew I was not like the other kids. Apparently, Mr. Snouffer saw a spark in me when I sang in music class, and he was checking to see if I could make it in the chorus. He decided I could and let Ms. Kratz deliver the message. He did not know the impact that this simple gesture would have on my life.

Right around this time my dad took off and my mom had to find the humility and courage to accept government assistance in order to keep our home. In addition, I had begun to painfully hear my name called early in the morning every Monday to pick up my “free lunch” ticket for the week. This was humiliating at first, and eventually just became reality. To top it all off, while my brothers were excelling in academics and athletics, I was falling behind in Math. This led to me having a tutor outside of school. Actually, though, I would still be falling behind in Math if you asked me to compute anything beyond basic Algebra.

Mr. Snouffer was the first male figure in my life who took an active interest in my talents and abilities. His invitation to me to participate in the school choir was my first taste of accomplishment in my own rite. I went on to place competitively in All State and Region Choirs in New Jersey, win regional teen arts festivals, star in my schools plays and musicals, and I have done some acting as an adult. Above all, I still reap the rewards that involvement in the performing arts provides. Those are willingness to risk and face fears, discipline, self-confidence, collaboration, team work, and great appreciation for all arts and the value that they have in our culture.

In addition, I learned a great lesson about failure from my early days in choir. I was one of the only Jewish people in my small elementary school; therefore, Mr. Snouffer invited me to introduce the Chanukah song during our Christmas concert one year. During all of our school performances I did my introduction flawlessly. Our parent/evening performances had actually become so popular that the cafeteria was full of kids sitting in the aisles and people standing along the sides. This was my first time presenting in front of a large group of people alone. One of my classmates thought it was really cool to see me up there and he yelled my name from the audience. It turned out that I was quite unprepared for this. When I heard my name I froze, and completely broke down. I had to be ushered off the stage and miss the entire song that I was supposed to introduce. I was devastated. The lesson came when Mr. Snouffer told me that it was ok. He even went as far as to take accountability for my breakdown. He let me know that since I had done so well during our school performances that he didn’t think to tell me to look at the back wall during the evening performance. Looking back, I can honestly say that it this experience in choir was the first time I learned that it is ok to take risks, even fail, get back up, and keep going and learning.

A few months ago, after 29 years, I reached out to Mr. Snouffer with a letter of appreciation. He was grateful to hear from me and appreciative of my willingness to let him know about the impact this simple gesture had on my life. He also expressed that as a teacher (now directing an expansive Choir Department at Westlake High School in Austin, TX), you can’t ever really know which moments or gestures will have an impact on your students. I suggested that perhaps the only real objective is to be fully present and real in each moment and from there we can have significant impact.

Writing my letter of appreciation to Mr. Snouffer allowed me to reconnect with a formative moment in my personal history and inspire a great teacher. Also, while our current economy is eliciting budget cuts in very painful areas like education and arts education, I am reminded how critically important it is for children to have the opportunity to broaden their minds and experience through participating in the arts and art education. I reiterate, there are many qualities that are honed through music education, including discipline, team work, communication, perseverance, self-mastery, and courage. Also, it has been illustrated that children who study music are more likely to graduate high school and go on to college.

I want to encourage you to take a few moments to contemplate the people who have had great impact in your life. Maybe you can even reach out to them and let them know. Who were they? How did they impact you?