Managing Student Behavior

Hawkeye Pierce, the television character portrayed by Alan Alda on M*A*S*H, once said, "I'm a great teacher. I take no attendance, I encourage cheating, and I tolerate no discipline in my classroom!!!"

Few music educators, though, would advocate this laissez-faire approach to classroom management. In fact, classroom discipline has been cited as the primary burn-out factor among practicing teachers. Among American public school teachers who have left the profession, 17.9% cited student discipline as a source of their dissatisfaction (NCES, 1997).

The problems seem to be getting worse. In the 1940's, school teachers listed gum chewing and talking in line as major discipline concerns. Today, schools are threatened by guns, violence, terrorism, teen pregnancy, and substance abuse. These problem directly affect the music classrooms, and teachers must develop strategies for minimizing their impact.

Discipline

The origin of the word discipline traces back to the word disciple, meaning "to lead to a higher cause" (Taylor, 1997) or "a person who believes in and helps disseminate the teachings of a master" (disciple, Corel, 1996). Contemporary definitions of the word discipline include references to punishment, behavior training, correction, and rules. When school children are asked about discipline, visions of writing lines, staying after school, rules, and other control-centered ideas come to mind. The present perception of discipline has little to do with leading students. Instead, discipline is perceived as punishment or enforcement.

Music educator Deborah Sheldon (1994) defines classroom discipline as the specific process of regulating student behavior through a stimulus and response network. It may include enforcing rules, establishing punishments and consequences, and creating a reward system for students who comply with the teacher's directives. Her model describes the basic tenants of behaviorism.

Popular programs including Lee Canter's Assertive Discipline provide structured control systems for reducing student misbehavior. Behavioristic programs are the most common management strategies found in schools today. They are also heavily taught bu university psychology departments. Margaret Merrion (1991) wrote that "(music student teachers) have no difficulty in understanding reinforcement schedules, theories of motivation, concept formation, and even behavior modification" (53). cooperative learning, social learning, student-centered curricula, and research which counters behavioral research and practices. Many teachers, though, believe that students can be motivated to behave when the learning environment -- materials, activities, climate, support, and encouragement -- are interesting and worthwhile, not by applying a "reinforcement schedule" or other artificial program or device.

Today's students have learned that confrontation is better than obedience (ASCD, 1996). Popular culture does not teach cooperation and mutual understanding. Linguistics researcher Deborah Tannen describes this in her book, The Argument Culture (1998). She writes that modern culture is obsessed with agonism, defined as ritualized opposition and debate. This is harmful, as confrontations erode the "blend of connections and authority" (p. 24) which is vital to building communities in our classrooms and schools. The result "is as if every day is with a substitute teacher who cannot control the class and maintain order" (p. 25).

Traditional reward and punishment systems do not necessarily extinguish aggressive or confrontational behaviors, either. Alfie Kohn (1993) believes that "punishment teaches about the use of power, not about how or why to behave properly" (p. 231). He cites research that shows increases in negative behaviors when punishments are applied.

An "Eclectic" Approach

Comprehensive classroom management (CCM) has emerged as a middle-ground between laissez-faire and control-centered philosophies. This eclectic approach forces teachers to examine the total classroom environment: prevention methods, establishment of positive relationships, alteration of unproductive student behavior, and meeting the psychological and academic needs of the student (Jones and Jones, 1995).

CCM recognizes that all students will not respond to all environments or interventions in the same way. Therefore, anyone who adopts a single program, fad, or philosophy is probably not reaching a large group of students. Just as students have different learning style, students will have unique responses to classroom management approaches. Therefore, the teacher must develop an approach which best meets the needs of their students.

Many music teachers view this with skepticism. When one examines the traditional role of conductors in a symphony orchestra, the lineage of authoritarianism is apparent. Some perceive music teachers as strong, confident directors who dictate their desires from the podium. In addition, music teachers often work with larger class sizes, especially performance classes which may number 80 students or more. They feel that any surrendering of teacher control will result in bedlam and chaos. CCM does not mean that music teachers have to give-up their teacher-centered classrooms. Teachers are encouraged to examine the total environment and find the solutions which best meet their students' needs.

Consistent Routines and Procedures

The beginning of the class period is vital to capturing and maintaining student attention. Rowdy hallway crowds incite a flurry of confusion, anxiety, or excitement prior to students entering the room.. Music students often come straight from physical education, recess, or lunch. Their energy levels have increased. Teachers need strategies for refocusing their students' attention at the start of class.

As a daily routine, warm-up problems can be used. Each day before class, the teacher writes a new problem or question on the blackboard. As the students enter the room, they work cooperatively on finding a solution. For example, a music theory lesson could begin by writing a short chord progression on the board and asking students to compose a melody for it. Students are put "on-task" immediately; they are also working together. For this approach to be effective, the assignment or problem must be meaningful to the student. It should also have significant relevance to the content. Students will resent "busy work".

A procedure should also be established for the paperwork that takes place at the beginning of class. These might include attendance, lunch counts, homework submissions, detention reminders, announcements, and other such matters. Students need to know how and when these matters are handled, preventing unnecessary interruptions later.

Ensemble directors commonly use this procedure: when the conductor steps onto the podium, all talking stops. Once taught, this procedure is transferred to performance situations. For teachers who are not podium-centered, they can select a signal that tells students to stop and listen!

Taylor (1997) believes that procedures should be practiced by students. Over time, procedures may also need to be re-taught. Consistent procedures may lead to greater time efficiency, leaving less time for students to misbehave (VanDerveer, 1989).

Verbal Feedback

Verbal feedback is an important part of the teaching process. In order for students to learn and mature, teachers must provide information to aid and guide the students' progress. Sheldon (1994) cites inadequate specificity of feedback as an identified element of ineffective teaching. Whenever feedback is given, Sheldon believes that teachers should focus on specific behavioral actions which students can do to correct the situation. When students misbehave, VanDerveer (1989) recommends that verbal "corrections" should be specific, giving students information they need to "keep together" (25).

In contrast, descriptive feedback is a technique for making non-judgmental evaluations of student work or behaviors. Instead of praising or criticizing, the teacher describes what the student has presented. A brass teacher might say, for example, "your articulation is clear and pointed, and your tone quality is thin and unsupported".

Whichever technique is employed, teachers can benefit from practice before either one is used in the classroom (Jones & Jones, 1995)

Prevention and Anticipation

Disruptions can occur, and teachers must plan their response. When they do, VanDerveer (1989) recommends giving students an immediate task that will prevent disruption from unruly students. Students should be assigned chores such as memorizing measures from a song or numbering measures in their parts. These responses must be planned in advance, as teachers must strive for consistency and fairness in their management of the classroom.. Teachers must, however, consider whether these tasks are motivating, engaging, or relevant.

Positive teacher-student relationships are also important prevention. Research by Goodstein revealed that successful band directors to be "significantly higher in development of personal relationships and the need to accomplish tasks" (Grant & Drafall, 37-38). Honesty and trust are key. Teachers who are inconsistent, unpredictable, or unreasonable will have a difficult time earning the respect of their students, often leading towards an increase in discipline problems.

Should I Plan for Teaching Success?

Most experienced teachers believe that preparation is an essential element of classroom management. Preparation elements may include short- and long-term lesson plans, organization of the environment, procurement of instructional materials, and anticipating student progress or problems. VanDerveer (1989) also cites teacher musicality -- she defines musicality as the knowledge of the music elements of harmony, rhythm, history, balance, and style -- as an important element of effective preparation. Is it enough to simply have the knowledge? VanDerveer's assertion seems to be in error. In performance-based courses such as band or choir, the key to teacher musicality is the synthesis and delivery of those elements into an expressive, meaningful, and worthwhile performance outcome. Good lesson planning and preparation should already account for musical readiness in relation to teaching the instructional unit. Simply knowing information about history or harmony does not necessarily equate with successful teaching. Delivery and structure will have a significant impact on student retention, motivation, and cooperation.

Assuming that planning and preparation are secure, music teachers should share their lesson plans at the beginning of each class (in Merrion, 1991 and Jones & Jones, 1995). These can be in the form of a rehearsal agenda (so students can put their music in the correct order), behavioral objectives, daily goals, or other appropriate means. When students understand what is expected of them, their anxiety levels are reduced and achievement levels increase. As a result, they are less likely to misbehave because of insecurity. There are times, however, that despite the best planning, circumstances will disturb the flow of the lesson.

Think Before You Speak: Bias and Perception Errors

Communication and perception are cumulative events. If we associate information with some person or object, we are more likely to retain the association despite strong evidence to refute the connection. For example, when people read about someone who has been accused of a heinous crime, we immediately associate that person with the crime. This occurs despite our sincere belief in innocence and justice. This bias can cloud our ability to process information. Similar examples can be found in the music classroom, as well.

For instance, music teachers are aware that some students do not practice their lessons outside of music class. If such a student approached the teacher for help with a solo, the teacher's bias may lead him or her to accuse the student of not practicing the solo when, in reality, the student may have devoted inordinate hours of practice time to the solo. Instead of concluding that the student needs further instruction or learning assistance, the teacher may incorrectly assess a need for increased practice time.

Students may also suffer from communication and perception errors. Students often misunderstand verbal and non-verbal messages from their teachers. For example, students often perceive the event of "staying after school" as a negative punishment. This is a learned perception because many teachers indeed use after school detentions as a punishment vehicle. Other teachers, though, utilize after school hours for helping students' progress, assisting advanced and/or highly-motivated students with extra projects, or to give individual attention to a student when the regular class meeting does not allow it. Students may also confuse the common direction of "don't talk in class" with the selfish belief of "do not help other students learn". Teachers often chastise students for talking in class, perceiving that the students are "off-task" and misbehaving. Sometimes that's true, but often talking about the subject matter. In instrumental music, students may be sharing information about fingerings or phrasing. Teachers should establish an environment in which students are encouraged to help one another learn while maintaining classroom order.

Perception and communication errors often cloud our ability to see the truth. Once a student is labeled as "below-average", "not talented", or "troublemaker", those associations bias the teacher to expect that trait from the student. All teachers must strive to eliminate these perception errors from their classrooms. Throughout the course of months and years, students will grow and mature as a result of their experiences. Teachers must give students the flexibility to experience this natural development through encouragement and support.

Communication Research and Teacher Attributes

Research into communication in the music classroom has focused mainly upon teacher attributes such as intensity, pacing, competence, physical-kinesthetic (conducting gestures, facial expression, proximity), and verbal usage. Brand's research found that an effective music teacher, among other things, "uses discipline techniques focused upon communication of expectations" and "balances praise and criticism" (as reported in Grant and Drafall, 38). Such a finding may support the notion that students should be clearly told which behaviors are expected of them. Research by Sims found that off-task time increased when teacher intensity declined (Madsen, Standley, & Cassidy, 1989).

Effective teachers must convey leadership in their classrooms, writes VanDerveer (1989). They must convey the idea that "discipline problems have no place in rehearsals" (25). She encourages teachers to assert their authority through the use of proper voice qualities and diction. Students who are compelled to respect their teacher may be more likely to respond to teacher instructions.

Conclusions

Innovative teachers can design a classroom management plan which best serves the needs of their students. A variety of techniques, programs, and philosophies can be effectively employed. The goal - a positive learning environment for all - should guide teachers in managing their classrooms.

References

Association for Supervision and Curriculum Development (ASCD). (1996). Managing today's classrooms: Finding alternatives to control and compliance. Education Update, 38(6), 1, 3-7.

Corel (1996). A to Z [Computer software]. Ottawa, Canada: Corel.

Grant, J.W., & Drafall, L.E. (1991). Teacher effectiveness research: A review and comparison. Bulletin of the Council for Research in Music Education, 108, 31-48.

Jones, V.F., & Jones, L.S. (1995). Comprehensive classroom management: Creating positive learning environments for all students. Massachusetts: Simon and Schuster.

Kohn, A. (1993). Punished by rewards. New York: Houghton Mifflin.

Madsen, C.K., Standley, J.M., & Cassidy, J.W. (1989). Demonstration and recognition of high and low contrasts in teacher intensity. Journal of Research in Music Education, 37(2), 85-89.

Merrion, M. (1991). Classroom management for beginning music educators. Music Educators Journal, 78(2), 53.

Sheldon, D. (1994). Personnel, Communication, and Teacher Attributes. Materials published by the author at the University of Illinois, Urbana.

Single, N.A. (1989). An exploratory study of pacing in the instrumental music rehearsal. Contributions to Music Education, 16, 19-33.

Tannen, D. (1998). The argument culture: Moving from debate to dialogue. New York: Random House.

Taylor, F. (1997). Organization and classroom management. Materials published by the author at Illinois State University, Normal.