Motivating Learners

How we motivate the children we teach is of course critical to effective music education.  Because it would take more space than this text warrants to detail complex theories relevant to motivation in music education I recommend you follow this up if you are interested.  My brief notes are based on work by Geoff Lowe, executive officer of the Western Australian Youth Orchestra.  Motivation in music appears to be based on competence, expectations and value. These theories develop those notions.

• Attribution theory examines students' expectations of music education and the competencies they need to fulfil these. American Susan Harper identifies physical, social, academic and general competences, the latter across the curriculum.
• Expectancy Value theory suggests that students value music learning based on attainment, interest, usefulness and what costs they must make in terms of time and effort if they are to pursue music education seriously.
• Interrelated motivational perspectives embrace choice, competition, creativity, practical involvement and repertoire.

Music and that intangible 'school spirit'!

Music, like sport, is a powerful means of promoting your school's ethos in the immediate community.  Communities do make judgements about their local school based on its prowess on the sports field and concert hall, as reflecting the quality of its 'culture'.  Whether this is valid is questionable, but students ought to be encouraged to take a pride in their school not only through its academic programs but also through recreational activities such as those made public in its sports and music programs.
For example student performances of music in assemblies give music visibility.  At first these may embarrass students, as 'shame jobs' (NT slang!).  This is not an excuse to abandon them.  If they happen with sufficient regularity students will assume they are the norm and not unusual and therefore embarrassing events.
Invite your principal, office or library staff, the groundsman, or other teachers to come to your classroom to hear performances.  These do not need to be even remotely 'perfect' as audiences for rehearsal are very appropriate.  Invite criticism, but prepare staff, beforehand, to mix negative with positive so that the criticism is truly constructive.  Few adults can resist the pleasure of hearing children perform music live.  In these ways make the performance of music a normal and natural part of school music.