who is at risk in the music classroom

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MENC: The National Association for Music Education

Who Is "At Risk" in the Music Classroom?Author(s): Nicole R. RobinsonReviewed work(s):Source: Music Educators Journal, Vol. 90, No. 4 (Mar., 2004), pp. 38-43Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education

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W h o I s " A t R i s k " in t h e M u s i c Classroom?Nicole R. Robinson

Master eachers n avariety f classroomsettings haretheirapproachesoteachingat-riskstudents.

NicoleR.Robinsons coordina-tor of music education atVirginiaCommonwealth ni-versitynRichmond.hecanbereachedt [email protected].

eaching at-riskstudents can be one of the "moststressful,complex and difficult challenges facing public educationtodayand perhapsone of our greatestfailures." What fur-ther complicates this challenge is that there is no com-monly accepted definition of the term at risk,and it is dif-ficult to determine which students this label should identify.

Generally, he termhas negativeimplications,leading many educa-torsandschool officialsto inappropriatelydiscount these troublingstudents.For the purpose of this article,seven masterteacherswere inter-viewed to identify personal qualities and teaching strategies thatmay contribute to their success in handling at-riskstudents in themusic classroom.These masterteachers,leadersin the music edu-cation profession from urban and suburban schools, maintainexcellent reputations among colleagues and have establishedaward-winningqualityensembles and programs n extremelydiffi-cult school environments with challenging students. These inter-views provide insight into the teachers' definitions of the term atrisk, effective teaching strategies, and ideas about the benefits ofmusic participationfor at-risk students. In order to elicit detailedresponses, masterteachers were assuredanonymity.For profilesof

The musicclassroom sa placewhere at-risktudentscanexperiencesuccess.

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the seven teachers, labeled A throughG in this article, see the TeacherInterviewGuide sidebar.DefiningAt RiskWhat does at risk mean?Who is atrisk? Some educators suggest that atrisk is the latest term for a familiarproblem: children with learning andbehavioraldifficulties.Others,howev-er, argue that at risk is a label thatdescribes a new phenomenon in cur-rent society and may include childrenwith high ability and from middle-and upper-socioeconomic families.The master teachers shared theirthoughts on the term.Teacher A: "At-risk students arethose individuals who for whateverreason do not have an interest inschool."Teacher B: "[They are] at risk ofnot completing theirhigh school edu-cation in some way, shape, or form. Tome, at risk means at risk of not havinga satisf[ying] life, including meaning-ful work and meaningful relation-ships. In some cases, at risk simplymeans not living past the age of eight-een. I have some students that I con-sider at risk [based] solely on the factthat they are growing up in homeenvironments that tend to producespecific problems. Often these chil-dren are not getting the necessities oflife."TeacherC: "After eachingin a pre-dominantly white school, [I havefound that] a lot of people, forwhatev-er reason, think that blacks orHispanic kids have corneredthe mar-ket on [being] at risk by not succeed-ing or [by] dropping out of school-but there's nothing further from thetruth.I have a lot of students who dropout of school and become pregnant. Ithink that an at-risk student is a stu-dent who is disenfranchised-forwhatever reason-from school. Theydon't fit in the band, and they don'tfitin the chorus, and they'renot involvedin any school activities. School justdoes not motivatethem. At risk doesn'thave anything to do with ethnicity.Unfortunately,a lot of people thinkthat, but it doesn't-from my experi-ence."Teacher D: "They have so manyproblems at home that the studentcan'tbe concerned with education. He

TeacherInterviewGuideTeacherA:SuburbanHighSchool BandDirectorTeacher B:SuburbanHighSchool Choral DirectorTeacher C: UrbanHighSchool BandDirectorTeacher D: UrbanElementary Orff)MusicTeacherTeacher E:Urban MiddleSchool Chorus TeacherTeacherF:UrbanHighSchool Chorus TeacherTeacher G: SuburbanElementaryMusicTeacher

or she is so concerned vhappening in the home-money to buy food or to betc. They may eventually1dropping out or giving ujAt-risk students are alsobehavior problems-subehavior problems thatcerned for their safety."

Contemporaistructures,conomicand workpres

parentsarecharpictureofth

Teacher E: "I would drisk student as someonmany factors that woulcontribute to this personstrugglemore than the aveto succeed in a 'regular'environment. These factolittle more difficult to be sthe classroom."Topin down more specto these questions, it may1to determine what at risk

vith what is mean. It should not be a label casual--the lack of ly applied to poor children; manyuy clothing, poor children excel in school. Itleantowards should not identify children solely onp on school. the basis of their minority or ethnicthose with backgrounds;many minority studentsch serious are academicallysuccessful. It shouldwe're con- not be used to haphazardlypredictthesuccess or failure of certain studentsbased on socioeconomic or ethnic fac-tors alone; such an approachsuggeststhat certain children are inherentlyatrisk and therefore destined for aca-demic failure.2At risk should referto relationshipsry family between cause-and-effect factors.c trends, Such factors can be any event, condi-tion, or characteristic that increasessures on the probabilitythat the undesired out-ging he come will occur. For example, readingbelow grade level, drug abuse, pover-e at-risk ty, and teen pregnancymay be risk fac-tors for academic failure. These fac-student. tors do not necessarily cause the aca-demic failure; however, they mayincrease the probability of failure.3When a student is labeled at risk, the

cause-and-effect factors should beaddressed.4 The undesired possibleoutcomes (e.g., failing in school orlefine an at- dropping out) may have not yet.e who has occurred, and appropriate interven-d generally tions arerequired mmediatelyto keepL's aving to them from occurring.erageperson Rossi suggests that it is difficult toor 'normal' categorize at-risk students becausers make it a there are various degrees of being at3uccessful n risk. The degrees are based on whatbad things happen to a child, how:ific answers severethese things are,how often theybebeneficial occur, and what other influences arez should not in the child'simmediate environment.

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For example, "a pregnant fourteen-year-old s at risk. Buta pregnantfour-teen-year-oldwho uses drugs is evenmore at risk.And a pregnantfourteen-year-old who uses drugs, has beenretained a grade, has missed thirtydays of school, and has a low sense ofself-esteem is still more seriously atrisk."5Contemporary family structures,economic trends, and work pressureson parentsarechanging the picture ofthe at-risk student. Today,any childcan experience risk factors and beconsidered at risk regardless of gen-der, race, age, or socioeconomic sta-tus. For example, a six-year-old childwhose parents are in the throes of adivorce and who is doing poorly inschool is at risk. A seventeen-year-old

whose grades are good but who isdeeply depressedbecause she just losther boyfriend is also at risk. A ten-year-oldwhose brotherdroppedout ofschool a year ago and whose fatherjust lost his job is certainlyat risk.6

Whatareeffectiveinstructionalethods or

at-risk tudents?

Educators must reassess theirthinking when dealing with at-riskstudents in the classroom. Considerthis analogy: "Educationis to schoolfailure,as medicine is to disease."7Asmedical professionals seek to cure anunknown disease, initial emphasis isplaced on the patternof its symptomsand the factors that influence itsoccurrence. Like medical profession-als, educatorsshould initially focus onpatterns of school failure and the fac-tors-social, academic, or both-thatinfluence its occurrence.

Thus, an at-risk student may bedefined as any student, regardless ofgender, age, race, or socioeconomicstatus, who has the potential to suc-ceed but whose success is inhibitedbyacademicor social risk factors.

Effective InstructionalStrategiesTeacher A: "In my opinion, theschool curriculum must be of interestto the student. Of course, their inter-ests areusually based on their values,and their values are usually based on,in my opinion, what they've learnedfromtheir environmentsuch as home,friends, etc."What are effective instructionalmethods for at-riskstudents? In whatways can these students'academicsuc-cess in the general music or rehearsalclassroom be increased? Determiningeffectiveness s difficultdue to the com-plexity of teaching. Often, teachereffectiveness s determinedby the rela-tionshipbetween the teacher's ehavior(the act of teaching) and the student'sresponse (academic achievement).Researchshows that when a teacher isidentifiedas "effective," ffectivechar-acteristics(e.g., fairness,caring, moti-vation, and social interactions) areemphasizedmore than specific teach-ing methodologies.8The master teach-ers described their strategies in theclassroom.Teacher B: "Allow at-risk studentsto develop trust for you as a teacher.Itry to develop a personal relationshipwith them with simple things, such ascommenting on something cool theyhave on or picking up on somethingthey've said. I just try to let themknow that I notice them."Teacher A: "The first thing Ilearned very quickly was to never,everbe confrontational with a studentin frontof the class. Also, talk [to] andtreat the student with respect."Teacher D: "Iwant my students toexperience success immediately, andthat's one of the reasons I like usingthe Orff approach in my classroom.Immediately, the student sees thatthey can do it ... that success givesthem self-confidence."Teacher C: "[I am] hard but fair.Ididn't let up on my expectations. I amvery,very demanding of all of my stu-dents. However,I always make myself

available [to] them. I come early inthe morning [to] open the bandroom-I try to make the band roomtheir haven. I want them to feel like itwas a place they could feel comfort-able."Teacher F: "In my classroom, Ibelieve that excellence is the greatestmotivator. I push to create somethingout of them, however, not in a stern,strict atmosphere. Once the studentrespects me, it becomes much easierto create a motivating atmosphere inthe classroom. My students are veryloyal to me. The students get reallyupset if they believe they're etting medown. But then I try to stress to themthat it's not me that they're lettingdown, it's the music."Master teachers were also asked,"Whyare some teachersunsuccessfulwith at-riskstudents?"Teacher D: "I think teachers maynot be viewing the student appropri-ately. The teacher may not take intoconsideration all the dynamics thatinfluence this specific individual. Ithink this may be the differencebetween a teacher that is successfulwith at-risk students and one that isnot. Also, I believe many teachersoften misidentify at-risk students ordo not identify them at all."Teacher F: "I think some teachersare too harsh with at-risk students.Don't misunderstand me; I'm a verystern teacher,but I care about my stu-dents and they know it. Some teachersshow no interest in the studentbecause they've already given up onthe student."Teacher E: "I think what youexpect of kids is what you get. Thestandards you set will be what theylive up to. We as teachers can limitstudents' ability to be successful, justbecause [we] don'tbelieve in them."The Benefits of EducationEducators must first evaluate thevalue of music in human life beforethey can determine the benefits ofmusic participation for students, atrisk or not. Humans have long createdand shared music. Music containsintellectual and emotional elementsthat are inseparable.9 Although cul-tures do not share and express thesame musical understanding,music isin every culture.10 Some consider

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t mz ZwL 0sON3AI MENCResourcesThe followingMENCresources maybe helpful o musiceducatorsteach-ing at-risk students.Visit the MENCWeb site (www.menc.org)or call 800-

828-0229 to order.Musicand Students t Risk:Creative olutionsora NationalDilemma,ackA.

Taylor,Nancy H. Barry, nd KimberlyC.Walls. 1997. Item#1635.The prefaceto this book is available online at http://www.menc.org/information/admin/atriskpr.html.

A SpecialFocus issue of MusicEducatorsournaln November 1991 (vol.78,no.3) focusingon "Music ndAt-RiskStudents" eatured he followingarti-cles: Collett, MaryJane,"Read Between the Lines: Music as a Basis forLearning,"2-45; Duerksen,George L.,andAlice-AnnDarrow,"MusicClassfor the At-Risk:A MusicTherapist'sPerspective,"46-49; Hanson,J. Robert,HarveyF.Silver, nd RichardW.Strong,"Square egs:Learning tylesofAt-RiskStudents," 30-35; Modungo,Anne D., "The Lost Student, Found,"50-54;Scripp, Larry,and Joan Meyaard,"EncouragingMusicalRisks for LearningSuccess,"36-41; Schuler,Scott C., "Music,At-RiskStudents,and the MissingPiece,"21-29.

The Winter 1992 issue of GeneralMusicToday vol.5, no. 2) featuredacollection of articles on at-risk students:Acevedo, Deborah, Nelda Horton,and Suzanne Stein,"PRIDEat Joslin Elementary," 1-22; Barry,Nancy H.,"ReachingAt-Risk ChildrenThrough Music and the Arts," 12-14; Green,Patricia C. D., and Norris S. Nerry, "Songs for At-Risk Students," 15-16;Hinckley, une,"Musicand the At-RiskStudent,"3-4; Hughes,William,"TwoPrograms or High-Risk tudents," 0; Levinowitz,LiliM.,"MusicEducation nthe PrimaryGrades'"28-29; Moore,Janet L.S.,"ProjectTEAM:Annterviewwith Michael Bailey,"17-19; Shaklee, Beverly D., and Frances M. Biedler,"ChangingAt-RiskSettingsfor At-PromiseStudents'" -7; Stauffer, andraL.,"The Risks of Stress,"25-27; Swain,SusanC.,"KeyboardExperiences orAt-RiskStudents,"10-1 1.

The following articles shed additionallight on at-risk students in themusic classroom:Abrahams,Frank."ALearning-Styles pproachfor At-Risk Students."GeneralMusicToday , no. I (1992):22-26.Giles,MarthaMead."Musicand Stress Reductionin School ChildrenAt Riskfor Conduct Disorders." UPDATE:pplications f Researchin MusicEducation, no.2 (1990): 11-13.Levinowitz,Lili M."Parent Education as a BeginningSolution to MusicalChildhoodat Risk."UPDATE:Applicationsf ResearchnMusicEducation 2,no. I (1993):9-13.Shields,Christina."Music ducation nd Mentoringas Intervention orAt-RiskUrban Adolescents: Their Self-Perceptions,Opinions, and Attitudes."Journal f Researchn MusicEducation9, no. 3 (2001):273-86.

[success] anywhereelse, I will guaran-tee it in my classroom."TeacherE: "Donot isolate the stu-dent in any way. Find ways to makethem feel just as important as anyother student in the class and thattheir participation is crucial to thesuccess of the entire [ensemble]. Oncethey feel the sense of being part ofsomething greater than themselves, Ithink they really have bigger avenuesto explore ... and to feel that they'regoing to make a difference. This willgenerally transferto the rest of theirlives and allow them to feel more suc-cessful, not only in a music classroom,but also in other areas.Once a studenthas a taste of success, [it] is conta-gious. As music teachers, we have alot to offer. We sell the students andourselves short if we don't help themreach their full potential."Teacher D: "Youmust be sensitiveto the needs and the goals of the stu-dent. Look at each student individual-ly and assess where they are, wherethey should be, and determine howmusic is going to get them there.Determine what is going to make thestudent successful, not only in themusic classroom,but also in life."Teacher G: "Takea personal inter-est in the children; just notice theindividual child. Find out what theirstrengths are, and then go on fromthere.For example, today a student inmy class asked me if I would come tohis baseball game. You have to maketime to do the 'extra'things, becauseit's real importantto the student. Theymust know that they'recared for andthat they'reloved. You must love thekid, I mean almost be a parent,because often these kids don't evenhave parents."TeacherF: "Lovethe students. Forall their problems, love them. If youdon't love them, they'renot going torespond to you. At-riskstudents needguidance much more than any of theother kids I'veseen. I think the key tomy success at school [is that] mychoir has become the kids' family"

Music teachers are fortunate toteach a subject in which there is somuch intrinsic reinforcement. Al-though it is unlikely that self-esteemcan be given directly to a student, it is

possible that self-esteem may comewith successful musical achievementsin the classroom. TeacherE said, "Onecan only control their own environ-ment ... so, if a student does not get

ConclusionTo reach and understand at-riskstudents, we must be compassionateabout the students' world and theirpersonal situations. We must havecompassion and understanding when

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dealing with unfortunate family situa-tions, mental or physical difficulties,and academic and learning deficien-cies-problems that we may not bepersonally familiar with. We must notgeneralize about at-risk students,inaccurately or inappropriately assign-ing labels based on preconceived per-ceptions and judgments. And ulti-mately, we must remember that at-riskstudents are not only those in urbanor inner-city schools, of low socioeco-nomic status, or from minority or eth-nic groups.Much work remains to be donebefore at-risk students become unla-beled students in our schools. Thischange may need to begin with ourown perceptions and attitudes thatstem from our limited personal experi-ences. As educators, we must alwaysremember that no child is inherently atrisk but is placed into at-risk situationsby external disadvantages: "If theseconditions were to be eliminated ortheir effects were to be significantlyreduced, the children in questionwould no longer properly be termed at-risk."13 Our task as music educators,then, is to mitigate those conditions. Ifwe support the idea that at-risk condi-tions are externally applied and notinherited, then there is much hope forworking with these students.Notes

1. Ellie Lago-Delello, "ClassroomDynamics and the Development of SeriousEmotional Disturbance," ExceptionalChildren 4, no. 4 (1998): 479.2. Robert J. Rossi, ed., Schools andStudentsAt Risk:Context ndFrameworkorPositive Change (New York: TeachersCollege Press,1994), 142.3. W. Eaton, "Demographicand Social-Ecologic Risk Factors for MentalDisorders," n Risk FactorsResearch n theMajorMentalDisorders, d. DarrelA. Regierand Gordon Allen (Washington,DC: U.S.GovernmentPrintingOffice), 130.4. BethMcMahon,SusanBrowning,andMary Rose-Colley, "A School-CommunityPartnership for At-Risk Students inPennsylvania," ournalof School Health71,no. 2 (2001): 53.5. Jack Frymierand Bruce Gansneder,"ThePhi DeltaKappaStudyof StudentsAtRisk,"Phi Delta Kappan71, no. 2 (1989):142.6. Ibid.

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7. Michael S. Knapp, "The TeachingChallenge n High-PovertyClassrooms," nTeaching for Meaning in High-PovertyClassrooms,ed. Michael S. Knapp (NewYork:TeachersCollege Press), 1-10.8.JamesH. Stronge,Qualitiesof EffectiveTeachers(Alexandria, VA:Association forSupervisionand CurriculumDevelopment,2002), 13-22.9. RobertGlidden,"WhyStudyMusic?"in Vision2020: TheHousewright ymposiumfor the Future of Music Education, ed.CliffordK. Madsen (Reston, VA: MENC,

StepRightUp! l

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2000), 49-54.10. Clifford K. Madsen and TerryL.Kuhn, ContemporaryMusicEducation,2nded. (Raleigh, NC: ContemporaryPublishing Company,1994).11. Joseph A. Labutaand D. A. Smith,Music Education: Historical Context andPerspectives (Upper Saddle River, NJ:PrenticeHall, 1997), 44.12. Bennett Reimer,"WhyDo HumansValueMusic?" n Vision2020, 43.

13. Rossi, Schools and StudentsAt Risk,xiii.MARCH 2004

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who is at risk in the music classroom

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