HAT Journal #15

Summary:
Chapter 10 is about how to recruit students for string ensembles. Children can be encouraged to play
instruments by parents, peers, and professional musicians. Teachers should evaluate current recruitment
plans at their school then modify the process if needed. First, teachers should decide what time of year they
will recruit. Then, teachers should contact the schools to find recruiting dates. Teachers should print handouts
for all recruitment events so that students can take the handouts home to their parents. Handouts should
include information about meetings to play instruments, the benefits of playing instruments, and orchestra
expectations. Having a website is also an important way to recruit members to your orchestra ensemble.
Oftentimes, a music teacher will work at the school where you plan to recruit and can help by presenting an
introduction to your program throughout a unit. Recruiting students through performances can also help
encourage students to play instruments because they can see the potential they have as musicians. Other
recruitment methods include the “hands on” approach that involves having students teach new recruits the
basics of playing. The chapter says that having parent meetings about recruitment is a great way to involve
parents in the instrument selection process. The chapter ends by walking through how to retain students in
ensembles. Some of these methods include giving students opportunities to perform outside of the ensemble
and keeping a positive learning environment.

H
 The chapter said recruiting in the spring can be challenging if instruction wouldn’t start until the fall
semester. If I am at a school that consistently recruits in the spring, how can I combat this problem and
help students remember to join orchestra after the summer?
 When would recruitment events happen during the school day? For example, if I am teaching full time
at a high school, when will I go to the elementary school to recruit? Would this be during a prep or
lunch break?
 The chapter advised to consider factors like balance and a student’s physical size when having students
pick instruments. How would I handle the situation when a student is determined to play an
instrument that wouldn’t be a good fit?
 The “hands-on” approach to recruitment where students teach each other seems interesting, but it
doesn’t seem to be very practical. Where could I find the time and physical space to supervise many
individual lessons?

A
 I liked that the chapter provided information about how seeing demonstrations of professional
musicians can influence a student’s choice to play an instrument. This encourages me to play regularly
for my students and bring in other players to perform for my students.
 The chapter included a sample handout following a recruitment event. This was helpful because I
wouldn’t have thought to include statistics about the benefits of playing an instrument in the handout.
That could encourage parents to consider orchestra for their children.
 The chapter advised using a website to help communicate information to parents about recruitment. I
think having a frequently updated website is also a great way to show parents how their student
learns. The website could include pictures and performances from everyday life in the orchestra.

T
 The chapter recommend using large amounts of audience participation during instrument
demonstrations. One way I could make demonstrations fun and engaging while involving the students
 is by playing a “name that tune” game where I play a popular song one note at a time. This would also
encourage students to listen to the sound.
 The chapter talked briefly about music tests that students perform before being assigned an
instrument. Using information from these results could help me determine what students in my band
might work well with instruments that require having good ears like trombone and French horn.
 The book says to value and support your students to encourage them to stay in the ensemble. As a
teacher, I think I am good at forming positive interactions with students. One simple way I could
continue getting to know my students and potentially keep them in my ensembles is by learning their
names quickly and asking simple questions about their day or week.