Recruitment, Retention, Retraining, and Revitalization Among

Elementary Music Teachers in Wisconsin and Minnesota

Susan M. Tarnowski and Vanissa B. Murphy

Susan M. Tarnowski is professor of music and vice president for academic affairs at the
College of St. Scholastica in Duluth, MN, and Vanissa B. Murphy is professor of music and
coordinator of music education in the Department of Music at the University of Wisconsin-Eau
Claire.

In the midst of the current national teacher shortage, as student populations grow and music
teachers retire or leave the profession, teacher recruitment, retention, retraining, and
revitalization consistently emerge as significant topics of concern for music educators and
administrators. Indeed, recruitment, retention, and the professional development of teachers are
strategic directions articulated by the National Association for Music Education (MENC, 2000).
There are many sound reasons for these areas to be seen as critical to the future of music
education (George, 2000, p. 2). Music education research in these areas should therefore
illuminate the reasons students choose music teaching as a career and experienced teachers
continue to teach, and identify those professional development activities that lead to retraining
and revitalization. Recruitment is viewed as a vehicle that can address our present and upcoming
music teacher shortages (Charting The Baby Boom Echo, 1998; Clayton, 2001; Hinckley,
2000; Hudson, 2000; Kimball, 2000; Wilcox, 2000). In the area of retention, there is an
expressed need for providing new teachers with positive administrative support (Krueger, 2000),
for mentoring new teachers (Conway, 2001; Krueger, 1999; Rammer, 2000; Richardson, 1992;
Smith & Haack, 2000; Stern & Cox, 1993), and for preventing teacher burnout and attrition
(Hamann & Gordon, 2000; Heston, 1996; Lee, 1991; Metzke, 1988; Promoting the Profession,
2001). Writings relating the need for professional development, also referred to as continuing
education, generally are categorized in two overlapping areas: (1) retraining (Bowles, 2000;
Shuler, 1995; Time for Professional Development, 1994) and (2) revitalization (Scott-Kassner
& Kassner, 2001; Smith & Haack, 2000; Zemelman, Daniels, & Hyde 2001).
There is a growing need for research that addresses teacher recruitment, retention, retraining,
and revitalization. By the year 2008, 2 million new teachers will be needed in the United States
(U.S. Department of Education, 2000). It is estimated that the United States will need 123,500
music teachers for the 20072008 school year (Charting the Baby Boom Echo, 1998). Wilcox
(2000) reported that an increase in student population, upcoming retirements, and an insufficient
number of music education majors have contributed to a shortage of qualified music teachers
across the country. To further articulate, 33 states have indicated music teacher shortages
(Wisconsin Department of Public Instruction, 2000). A recent survey by MENC (Topics of
Concern to MENC State Leaders, 1999) reported that state leaders in music education placed
the teacher shortage as third in their rankings of areas of concern. To illustrate, emergency
licensee data in the state of Wisconsin, which are similar to national trends in supply and
demand of educational personnel (Wisconsin Department of Public Instruction, p. 4), showed
serious shortages of licensed teachers in a number of areas (p. 23). In the area of music, there
were 56 emergency licenses issued in Wisconsin for 19992000 (ibid.). Statistics such as these

UPDATE, Fall-Winter 2003, 15

make it increasingly clear that recruiting new music teachers and retaining experienced teachers
are of paramount importance.
An introduction to the teaching profession in college is often too late for capturing the interest
of students in a teaching career (Hudson, 2000). Clayton (2001) suggested that general, middle,
and secondary music teachers, intentionally as well as unintentionally, recruit their students to
consider a career in music education. College music majors verify by their own testimonies that
the influence of a particular school music teacher was often the reason they decided to pursue
music teaching. Barrett (2000) asserted that in order to recruit for our profession, experienced
teachers in the field need to encourage young students who show potential to pursue music
teaching. Suggestions included giving students challenges and responsibilities in leading a
rehearsal or in organizing small ensembles, thereby encouraging them to make musical decisions
and to also understand a part of the teaching process. Lautzenheiser (2001) polled former music
educators who had left the field after one to three years and found that the most powerful factor
in their decision to become a music educator was a former teacher. Wilcox (2000) extends
Lautzenheisers ideas by relating the need for current music educators to talk with their students
about teaching, why they teach, and to show a positive attitude so that students can see the joy of
teaching music. Indeed, it is this overt display of the joy of teaching that may help overcome the
negative stigma many associate with the education profession (Asmus, 2001) that discourages
students from selecting teaching as a career choice.
Retention of new teachers is essential, and the process begins in the preservice experience.
Three frequently mentioned issues in the literature on retention are mentoring new teachers, the
prevention of teacher burnout, and attrition from the field. Conway (2001) reviewed research on
beginning music teachers and found that the literature could be categorized into three areas: (1)
problems faced by beginning music teachers, (2) case studies of beginning teachers, and (3)
induction of beginning teachers. Within the context of induction, she suggested that the role of
principals, mentors, and the university be examined. In a national study of teacher induction
programs, the processes of socialization into a profession were described by Hudson (2000). The
study suggested that experienced teachers who function as mentors can help new teachers
successfully adjust to the procedures and mores of their school and the school system, as well as
help new teachers develop effective instructional and classroom management skills (p. 3). The
role of the administrator is also of concern in the area of teacher retention. Rammer (2000)
asserted that administrators can help preservice music teachers by offering to conduct a class
observation of a student teacher, conferencing with the student about his or her instructional
strengths and growth areas, and encouraging him or her to participate in school activities such as
staff meetings, parent conferences, and school social events. He further stated that student
teachers in music need positive first experiences and that it is an administrators duty to
support, mentor, and encourage qualified candidates to enter the field of music education (p.
14). In fact, lack of administrator support has been cited as a primary factor for dissatisfaction
with the teaching profession (Madsen & Hancock, 2002).
Teacher burnout emerges in the literature as a primary contributing factor to teacher attrition
among experienced teachers. Heston (1996) presented the results of a survey of band directors
with regard to job satisfaction and reported that stress variables such as teacher alienation, a poor
working environment, and strained student relationships contributed to burnout within that
teacher group. Teacher and student attitudes, morale, discipline, and motivation were suggested
as factors contributing to burnout, and were also areas of concern to preservice teachers (Stern &
UPDATE, Fall-Winter 2003, 16
Cox, 1993). Additionally, it has been suggested by Lee (1991) that a teachers lack of critical
thinking skills and scant understanding of the aesthetic nature of teaching music contribute to
burnout and the lack of a feeling of empowerment. Hamann (1990) related that music teachers
felt that a lack of recognition, a poorly coordinated curriculum, poor working conditions, and the
intensity of their own commitment to teaching made them good candidates for burnout.
To ensure the future of music education, Wilcox (2000) suggested that music teachers be
recruited and retained through a variety of means, including portraying a positive attitude
towards the profession, reflecting enthusiasm, providing opportunities for students to teach,
being a mentor, staying musically involved in the community, encouraging legislation that
increases pay and school funding, and encouraging schools to provide for professional
development opportunities. The last point, encouraging schools to provide more and better
resources for professional development, is also an essential ingredient for the retraining and
revitalizing of teachers.
Music education literature often refers to the topic of retraining as professional development
and professional growth. Bowles (2003) reported that the topics most frequently chosen by
music educators for professional development included technology, assessment, literature,
standards, creativity, and grant writing. Additionally, general music teachers listed multiple
intelligence, multicultural issues, and interdisciplinary curriculum as areas of concern, while
secondary ensemble music teachers were interested in health-related issues. Music teachers
reported the primary motivation for pursing professional development [was] to increase skills
and/or knowledge (p. 48).
Teacher in-service opportunities are one venue by which teachers can increase skills and
knowledge. In-service growth opportunities as an aspect of professional development were
investigated by Shuler (1995). The report stressed that, in order for teachers to grow,
expectations for continued study, the offerings of college music departments, partnerships
between state and local boards of education, and advanced levels of teacher certification need to
be examined. Other types of growth opportunities might include informal and formal study.
Informal activities such as composing and arranging, practicing an instrument, and joining a
community performing group, as well as formal opportunities such as taking college courses and
attending workshops and conferences, have been suggested (Time for Professional
Development, 1994).
Revitalization is another aspect of professional development that may affect retention. Scott-
Kassner and Kassner (2001) researched ways in which teachers revitalize their musical selves
and reported that music educators nurtured their musicianship by preparing to teach their
students, listening to recordings, talking with musicians, attending conference sessions, studying
in graduate music courses, and attending concerts (p. 26). In their discussion of professional
growth and development, Smith and Haack (2000) used the term life-long learning to describe
their views on teacher revitalization. The authors asserted that teachers who want to avoid the
swirling rapids of countless daily responsibilities or the sluggish eddies of worn routine [need to
be] nourished by new ideas and challenged by modern teaching methods (p. 28). Additionally,
suggestions for professional goal setting and consistent review and reprioritizing of those goals
were made so that teachers could remain rejuvenated and feel professionally satisfied. Although
retention and attrition issues are addressed in the literature, there is little information about the
reasons music teachers choose to continue teaching or what these teachers perceive to be
essential for their own professional development and revitalization.
UPDATE, Fall-Winter 2003, 17
 The primary purpose of this study was to gather information on why experienced teachers
initially entered the field of elementary music teaching and why they remain in the profession.
Secondly, this research inquired into the retraining and revitalization activities teachers
undertake during their careers. The study was designed to allow the researchers to construct a
profile of the responding teachers, including their levels of satisfaction with their career choice.
The specific research questions were:
Why do K6 general music teachers initially choose this career path?
Why do K6 general music teachers continue to teach general music?
What are the professional development activities in which K6 general music teachers
retrain?
What new professional development activities do K6 general music teachers incorporate
into their instruction?
What future professional development activities are expressed as areas of need among
K6 general music teachers?

Sample
The sample for this study was composed of elementary music teachers from Wisconsin and
Minnesota. Subjects were selected from the lists of members in the Wisconsin Music Educators
Association (WMEA) and the Minnesota Music Educators Association (MMEA). The
researchers requested a random selection of 33% of the total enrollments of elementary music
educators in the Music Educators Associations from both states (N = approximately 2500.) A
total of 816 surveys were sent, and each of the subjects received a second mailing reminding him
or her to return the survey or request a duplicate copy.

Survey
The survey was divided into three parts: the first set of six questions requested information
that would be used to construct a profile of the respondent, the second part asked participants to
rank reasons for initially entering the field of elementary music teaching and for remaining in the
profession as a career, and the third section requested responses concerning the participants
retraining and revitalization activities. The survey was developed and field-tested with a small
group of local elementary music teachers. As a result of suggestions by the teachers, revisions
were made to the survey. See Table 1 for the text used in the survey instrument. Of the 816
surveys that were mailed, 281 were returned for a return rate of 34.44%. Frequencies were
tabulated in a spreadsheet, and percentages were calculated for the data.

Results
Respondent profile. The survey shows that the respondents (N=281) had taught for an average
of 14.9 years and were most likely to have a Bachelors degree with additional credits (47.69 %),
a Masters degree with additional credits (28.89 %), or a Masters degree with no additional
credits (12.81%). Only 25.62% had taught in exclusively elementary music situations during
their careers; the most frequent additional level was middle school (58.36%). Over half of the
respondents (65.84%) reported traveling between schools as part of their teaching day, and

UPDATE, Fall-Winter 2003, 18

Table 1. Survey text
___________________________________________________________________________

I. PROFILE INFORMATION
Please circle/fill in the appropriate response.

1. What is your educational background?

Bachelors degree
Bachelors degree +
Masters degree
Masters degree +
Doctorate

2. How long have you taught elementary music? _________________

3. Have you taught other levels of music?

Middle school
Junior high
High school

4. Do you travel from one school to another as part of your teaching day?
Yes
No

5. How satisfied are you with teaching elementary music?

Very satisfied
Somewhat satisfied
Satisfied
Somewhat unsatisfied
Very unsatisfied

6. Since you earned your teaching certificate, have you worked in a non-educational setting?
Yes
No
If yes, explain ________________

II. RECRUITMENT/RETENTION

7. Which of the following are the initial reasons you chose to go into the teaching of elementary music?
Please rank these reasons in order of importance to you (1 = most important)
____ like working with children
____ like working with music as a subject area
____ like teaching multiple levels (K9 or K12)
____ like school colleagues
____ like the financial security
____ feel that school administration is supportive of my efforts
____ other _______________________

UPDATE, Fall-Winter 2003, 19

Table 1. (continued)
__________________________________________________________________________________

8. Which of the following are the reasons you continue to teach elementary music?
Please rank these reasons in order of importance to you (1 = most important)
____ like working with children
____ like working with music as a subject area
____ like teaching multiple levels (K9 or K12)
____ like school colleagues
____ like the financial security
____ feel that school administration is supportive of my efforts
____ other _________________________________________

III. RETRAINING/REVITALIZATION
Please circle the appropriate response.

9. Have you chosen to participate in any professional development activities?

Yes
No

10. In which of the following approaches have you retrained to stay motivated as you continue to teach?
Orff
Kodly
Dalcroze
Gordon
Other ________________________

11. Which of the following new areas of emphasis have you incorporated into your teaching?
technology for teaching music
an interdisciplinary approach
a World Music approach
a standards-based approach
new music assessment techniques
involvement with student teachers or
preservice or practicum teachers
other __________________________

12. In which of the following professional development activities would you participate in the future?
Orff
Kodly
Dalcroze
Teaching with technology
Teaching with an interdisciplinary approach
Teaching with a World Music approach
Standards-based teaching
Assessment in music
Other _______________________

UPDATE, Fall-Winter 2003, 20

slightly under half (45.70%) have worked in non-academic settings since receiving their teaching
licensure. Of the total number of non-teaching position descriptions given in the respondents
narratives, the most frequently cited was that of church musician (31.36%), followed by some
type of sales (22.88%), office work (18.64%), private lessons (12.71%), restaurant and food
service work (9.32%), or positions as professional, performing musicians (5.08%). Finally,
93.94% of the respondents report feeling very satisfied, somewhat satisfied, or satisfied
with the field of elementary music teaching. See Table 2 for details of the respondents profiles.
Respondents reasons for initially choosing elementary music education as a career.
Fully 97.87% of respondents chose like working with music as a subject area (64.77%) or
like working with children (33.10%) as their top reason (ranked as number 1) for initially
going into elementary music teaching. When the data were reviewed considering items ranked as
first, second, or third choice in terms of importance, the same two items emerged as highest
ranked: like working with music as a subject area (34.75%) and like working with children
(33.38%). Ranked in a distant third position was like being able to teach at multiple levels
(13.88%). Some respondents did not follow the directions to rank all seven possible choices in
order of importance to them, and gave rankings for only their top two choices. Thus, percentages
were calculated based on the total number of actual responses rather than the total number of
possible responses. See Table 3 for the list of rankings. Narrative responses were requested if
participants marked other as a reason for entering the teaching profession at the elementary
level. The most frequently cited reasons were that either a desired high school position was not
available or women were not assigned to high school positions in given districts. Other reasons
included statements about flexibility in scheduling and summers off, an excellent high school
mentor, or feeling sufficiently competent to do the work well.
Respondents reasons for remaining in the elementary music teaching field. The most
frequently cited reasons for remaining in the elementary music teaching when considering only
those items ranked as the most important reason (ranked as number 1) were like working with
music as a subject area (46.97%) and like working with children (42.35%), for a total of
89.32%. When the data were reviewed considering items ranked as first, second, or third choice
in terms of importance, the same two items emerged as highest ranked: like working with music
as a subject area (32.70%) and like working with children (32.20%). Ranked again in third
place was like being able to teach at multiple levels (11.15%). Some respondents again did not
follow the directions to rank all seven possible choices in order of importance to them, and gave
rankings for only their top two choices. Thus, percentages were calculated based on the total
number of actual responses rather than the total number of possible responses. See Table 3 for
the list of rankings.
In an attempt to look at attitudinal change over time, a comparison of the reasons for entering
the field and the reasons for remaining in the field was done. The rank order of the items remains
the same with the exception of the other category. For entering professionals, reasons other
than the ones stated in the survey were cited frequently enough to be ranked at number 6; this
category was ranked last by experienced teachers. The three highest-ranking items, like
working with music as a subject area, like working with children, and like teaching at
multiple levels, declined in frequency of response as number of years of teaching experience
went up, although that decline was minimal. Teachers with more experience placed slightly more
importance on financial security, liking ones colleagues, and the support of the administration.

UPDATE, Fall-Winter 2003, 21

Table 2. Respondent profile
___________________________________________________________________________

Number of years teaching elementary music

Mean 14.9
___________________________________________________________________________

Number Percentage

Highest level of education

Bachelors degree 27 9.61
Bachelors degree + 134 47.69
Masters degree 36 12.81
Masters degree+ 84 29.89
Doctoral degree 0 00.00
Total 281 100.00

Levels of music taught during career*

Elementary only 72 25.62
Middle school 164 58.36
Junior High 127 45.20
Senior High 119 42.35
*Percentage does not total 100% because categories are not discrete; many teachers have
taught at more than one level

Number of respondents who travel between schools

Yes 96 34.16
No 185 65.84
Totals 281 100.00

Level of satisfaction with teaching elementary music

Very satisfied 151 53.73
Somewhat satisfied 84 29.89
Satisfied 29 10.32
Somewhat unsatisfied 11 3.92
Very unsatisfied 6 2.14
Total 281 100.00

Work in non-educational settings since receiving a teaching certificate*

Yes 127 45.70
No 151 54.30
Total 278 100.00
*Three participants did not respond; percentages are based on the total of actual responses

UPDATE, Fall-Winter 2003, 22

 Table 3. Teachers self-reported reasons for initially entering and remaining in the elementary
music teaching field

Reasons selected as 1st, 2nd, or 3rd Entering the field Remaining in the
choices field
Number % Number %
Love working with music as subject 278 34.75 261 32.70
material
Love working with children 267 33.38 257 32.20
Like being able to teach at multiple levels 111 13.88 89 11.15
Financial security 64 8.00 84 10.54
Like school colleagues 41 5.12 59 7.39
Feel that school administration is 14 1.75 36 4.51
supportive of my efforts
Other 25 3.12 12 1.51
TOTAL 800* 100.00 798** 100.00
*Although total possible responses = 840 (280x3), only 800* or 798** responses were
given. Some respondents ranked only their first and second choices.

Retraining and revitalization. A vast majority of the survey participants (97.50%) reported
choosing to participate in professional development activities. Retraining in the approaches of
Orff and Kodly is cited most frequently by respondents; more than half of the respondents have
some level of retraining in these two areas. By contrast, only a fourth of the respondents had
experiences with the Dalcroze approach. Narrative responses were solicited if the respondent
marked the other category. These additional retraining activities included training in
Comprehensive Music through Performance (CMP), dance and movement, keyboard labs and
MIDI, Boardmans Generative approach, Hunters approach, adaptive music, brain-based and
inquiry-based classrooms, Education Through Music (ETM), and an American Indian
curriculum. More than half of the responding teachers reported incorporating the following new
areas of emphasis into their teaching: a standard-based approach, an interdisciplinary approach, a
World Musics approach, and an approach using technology for teaching music. Just under half of
the respondents reported incorporating music assessment techniques into their teaching.
Narrative responses indicate that theatre programs, learning centers, the Wisconsin or Minnesota
Listening Contests materials, voice and choral work, adaptive music, and music therapy
activities are also being undertaken. More than half of the survey respondents indicated an
interest in pursuing professional development activities in the future in the areas of the Orff
UPDATE, Fall-Winter 2003, 23
approach, teaching with technology, assessment in music, and music standards-based teaching.
Just under half indicated an interest in further professional development in the Kodly approach,
a World Musics approach, and an interdisciplinary approach. See Table 4 for specific details on
retraining and revitalization.

Table 4. Teachers self-reported current and future interestretraining and revitalization

activities
___________________________________________________________________________

Number Percentage*

Approaches in which respondents have retrained

Orff 161 57.29

Kodly 150 53.38
Dalcroze 71 25.27
Other 68 24.20
Gordon 24 8.54

New areas of emphasis respondents have incorporated into their teaching

Standards-based approach to teaching 212 75.45

Interdisciplinary approach to teaching 170 60.50
World Music approach to teaching 142 50.53
Technology for teaching music 141 50.18
Music assessment techniques 130 46.26
Involvement with preservice teachers 87 30.96
Other 15 5.34

Ranking of professional development activities in which respondents would participate

in the future

Orff 172 61.21

Teaching with technology 170 60.50
Assessment in music 157 55.88
Standards-based teaching 142 50.53
Kodly 130 46.26
World Music approach 128 45.55
Interdisciplinary approach 126 44.84
Dalcroze 82 29.18

*percentage based on total number of respondents

UPDATE, Fall-Winter 2003, 24

Discussion
The purpose of this pilot study was to gather information on why experienced teachers
initially entered the field of elementary music teaching and why they remain in the profession.
Secondly, this study was designed to inquire into the retraining and revitalization activities
teachers undertake during their careers. As part of the study, respondents also indicated their
levels of satisfaction with their career choice.
The study showed that a very large percentage of the experienced teachers who remain in the
area of elementary music teaching are satisfied with their choice of career, and they reported that
their love of both children and the subject area of music are the primary reasons they both
entered and remain in the field. Given the amount of research indicating the significance of a
teacher role model in determining career choice (Clayton, 2001; Lautzenheiser, 2001; Wilcox,
2000), it was surprising that the respondents did not list this as a reason they initially chose to
enter the field of music teaching. Nearly half of the survey participants reported that they have
earned credits beyond the baccalaureate degree, and another 42% reported having earned more
than sufficient credits for a Masters degree. Results also showed that over half of the
respondents have retrained either formally or informally to incorporate the approaches of Orff
and Kodly, as well as approaches based on the music standards, interdisciplinary teaching,
World Musics, or technology for teaching music. Many of these results, including professional
development activities in technology training, approaches involving the standards,
interdisciplinary approaches, and multiculturalism, are congruent with the findings of Bowles
(2003). Finally, the results indicated that more than half of these in-service teachers maintain an
interest in continuing their professional development activities in the areas of the Orff approach,
teaching with technology, assessment in music, and standards-based teaching. The teachers
interest in professional development supports the literature findings relating the importance of
these activities in retention (Shuler, 1995; Wilcox, 2000) and revitalization (Scott-Kassner &
Kassner, 2001).
Most of the teachers responding to this study like working with children and with music as a
subject area. Although supporting these interests is a traditional strength for most colleges and
universities through private lessons, ensembles, and field experiences, prospective preservice
teachers have generally had positive music experiences in elementary, middle, and high school.
Retaining good in-service teachers is vital in recruiting for music teacher education programs
(Clayton, 2001; Lautzenheiser, 2001; Wilcox, 2000). It is also clear that most elementary general
teachers have chosen to be involved in professional development activities. Continuing
education is another traditional area of strength for colleges and universities, but it is evident that
teachers are looking for cutting-edge retraining in technology, World Musics, standards, and
assessment. It is essential that college and university faculty themselves engage in professional
development in these areas to offer retraining and revitaliztion opportunities for classroom
teachers.
Another clear finding is that these teachers do not stay in the profession with the hopes of
making a great deal of money or even the hope that they will receive recognition from their
administration for the work that they do. However, both of these are mentioned by some of the
participants as a third important reason for staying in the profession, and the literature supports
this finding (Madsen & Hancock, 2002; Rammer, 2000). School administrators must
consistently find ways to recognize and reward quality teachers.
Although only one participant mentioned the role of mentoring in her decision to enter the
UPDATE, Fall-Winter 2003, 25
field of elementary music teaching, this was not a question specifically asked by the researchers.
The literature asserts that mentoring is a key factor in the retention of teachers (Conway, 2001;
Hudson, 2000). The role of mentoring relationships between K12 teachers and their students as
well as new teachers and experienced teachers is in need of investigation in further studies. This
should be part of the larger agenda of the research community that addresses issues of teacher
recruitment, retention, and revitalization.

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