Chapter in Brooks, Beachum and Watson

Keeping the Beat: Why Music Drives Leadership

Ira Bogotch, Florida Atlantic University

Louis M. Ruccolo, School Board of Broward County

and Friends

As those with long memories tell it, in other times the sun was the lord of music, until the windstole music away. Eversince, birds console the sun with concerts at the beginning and end of

the day.

Eduardo Galeno (2013). Children of the Days

I had just graduated with a masters’ degree in ESL from Teachers College (TC), Columbia University and had taken a part-time job in mid-Manhattan teaching adult English as a Second Language (ESL). It was my very first paid gig as a teacher. On day two or three, I brought my tape recorder to class and put on a cassette of Peter, Pauland Mary singing, Leaving on a Jet Plane. At TC, I had taken a professionaldevelopment workshop with Carolyn Graham, author of Jazz Chants, where I learned how to use jazz rhythms and tempo to assist second language learners in not only learning new vocabulary, but also practicing oralsentence phrasings. This was just one of the many innovative teachingstrategies taught by my university professors. While I was playing the song and teaching the lesson, the school’s director walked by my classroom and heard music coming through the door. He opened it and asked me to step outside the room right away. I remember his exact words: we hired you to teach, not play with the students. At the end of that first week, I was out of the job. The year was 1976, decades before accountability and standardization had come to dominate instructional methods. Yet even then, back in the day, the distinction between work and play ruled the minds of school leaders, favoring the former over the latter.

Fast forward over the subsequent generations of school reforms into the 21st century and the playing of music, drawing and painting, doing ceramics and dance are all becoming lost arts in schools. The definitions applied to literacy and numeracy, which should be inclusive of musical metrics and rhythms of life, have been driven outby prescribed curricula that ignore the passions of teaching and the joys of learning. To be clear, this is not true in all schools or for

all families in the USA. Wealthy and upper middle class families have never relied on schools alone, be they public, private, or parochial, for teaching children art and cultural mediums. Instead, these families and communities willingly pay extra for private afternoon, meaning afterschool and weekend, music, art and dance lessons. Fact: many large public school districts around the country have opened magnet schools devoted to the performing and visual arts; but these schools are highly selective, and like charter and private schools require active parent involvement, for at a minimum, to get students to auditions and, if necessary, provide daily transportation to and from school.

The essay you are about to read happened in real time and owes it beauty to teachers and musicians, notably Louis Ruccolo, Jeffrey Lee and Nicole Yarling, the “and friends.” Yet for our purposes here, narrative and research have been spliced together for exposition and creative effect. The story begins with a jazz concert held on June 16th, 2015 that was sponsored by the South Florida Jazz Society. It featured the Clayton Brothers, saxophonist Jeff, bassist John, John’s son Gerald on piano, and two amazing other amazing musicians, Terrell Stafford on trumpet and flugelhorn along with the reason we are all here reading right now: the amazing story of drummer Obed Calaire. Right before the concert began, Jeffrey Lee owner of Resurrection Drums in Hollywood, Florida was called up onto the stage to tell the audience a story. It was of Obed’s journey from a middle school student in inner-city of Miami to his becoming a world renowned drummer. But what makes any story fascinating are the possibilities, that is, how people and circumstances come together and make somethingmeaningful and exciting. And that aspect of the story has as its central figure, a middle school math teacher, Louis “Marty” Ruccola, aformer chef and musician. Marty was sitting in the first row as Jeff told the story, which I found so compelling that I knew I had to retell it and share it with those who were not present at the concert.It’s a story of how Marty was so instrumental in Obed’s rise to fame. How often is a middle school math teacher the hero of a story? You don’t have to tell me. I’m a professor of educational leadership and Iknow first-hand how teachers as leaders are often ignored or forgotten. So, once I heard the story, I just knew that it was my responsibility to learn more and share. Being a professor of educational leadership, I ask your forgiveness for the twists and

turns, not of plot or character, but because of my feeling obligated to weave peer-reviewed research into the narrative. For many readers, typically university professors, it is the citing of research that “legitimizes” aspects of any narrative; but in fact, all of us know – as human beings - that no amount of research cited will change people’s minds regarding the place of music in public school curricula. As an educator, you either feel the rhythm or you don’t.

Meet the Leadership Team Music concretely connects people through relationships. This is not abstract concept, not when it comes to music. According to Louis `Marty’ Ruccola, “music is experiential, in the moment; learning is hard to express or 1create,’, but we can learn and model the emotional connection and `commonplaceness’ music has and move it towards what leadership needs in order to be effective and connected.”

How powerful are musical connections? Powerful enough to bring peopletogether from different races, gender, socio-economic status, and ages? Yes. In conversations, Marty frequently referred to Obed Calairenot just as his adopted “son,” but also as his “friend” – despite dramatic difference in race, SES, and age. Yet all readers are aware that teachers are told explicitly not to blur relationship lines with their students and not to be their friends. Yet when it comes to music, according to Marty,

…Relationships are supreme, and move and provide possibilities beyond the people involved - energy/chemistry. I have worked with hundreds, maybe thousands of students, I recognized that I had a connection with Obed that required me to be more involved in helping him in and out of the school setting.

Musical relationships were made evident even before the evening’s formal performance began. As I approached the auditorium on the NOVA Southeastern University campus in Davie, Florida, a group of youngsters were setting up folding chairs in front with their musical instrument close by. How nice, we would be treated to music before the music! Choreographing this outside performance was an African American woman who was everywhere, checking for sound, adjusting the video lighting and angles, every important aspect that goes into a performance, however informal. She occasionally shouted to one of the young musicians to warm up in place or practice a particular note. Realizing that her audience was gathering, she turned to us and simply

and directly said, “I’ve been in music all my life,” and then turned her attention back to the teens.

For the next 30 minutes of so, Nicole Yarlings’ students entertained the outdoor audience still waiting to be admitted into the auditorium.Between songs, she would praise one or more of the musicians and explain that both she and they were there to show the power of music in giving the teens a purpose and a joy. She made it clear that her work on behalf of children and music was how she was voluntarily giving back to both society and her passion, the music of jazz. At the end of the session, Ms. Yarling told the audience how they could help, with money of course, to keep the many voluntary Saturday workshop sessions going in Broward and Dade counties. It should be noted that all the teens were wearing T-shirts with the initials JECC,which stands for JAZZ Educators Community Coalition. Just as the youngsters finished their last song, the auditorium doors swung open. The audience, including the teens who had just played outside took their seats.

From the beginning

The announcement of the PA system at Thomas Jefferson Middle school, an inner city school in Dade County said, “Please welcome to our staff, Mr. Melton Mustafa, our new band director.” No way, thought Marty. Melton Mustafa was and still is a jazz legend, and someone Marty, in his past musician days had played with. As soon as Marty had a planning period break, he raced across campus to the band room, expecting to meet and greet the man himself. Instead, a much younger man welcomed him at the door. Marty said, “I’m here to see Mr. MeltonMustafa.” The young man replied, “That’s me, I’m Melton Mustafa Jr.” Quickly overcoming whatever disappointment, Marty welcomed the legend’s son to TJ Middle. They talked music and by and by Marty told him that he played the drums. In fact, Marty had a drum set in his special education math class to help his students hear “the math in their heads.”

TJ Middle was located in Carroll City, Miami, where Louis `Marty’ Rucolla was teaching mathematics in one of the school’s many portables. “One day, after school, Melton invited me to the band room asking if I could play“fast swing” for his aspiring music students.” While Marty played, they listened tothe kids try to imitate the beat. When Marty stepped away from the drums, one of kids who had been playing bass sat down and just began

playing. That was the moment. In music everything happens in a moment, especially in jazz. From that day on, the middle school student named Obed Calaire would be on drums for as Marty heard then and there, “Obed was a natural.” The question was how would Obed develop his talents.

Like most of the kids at TJ Middle, Obed came from a home with little resources, none to spare on drum lessons. So, Marty took it upon himself to bring him on Saturdays for lessons at Jeff’s place, Resurrection Drums, located then in Hallandale. Marty, who lived in Hollywood first drove to Carroll City to pick up Obed and then they drove together to Broward County; Marty paid for his lesson, and then drove Obed home before he himself returned to Hollywood. This went on throughout middle school. Every Saturday, this four hour round-trip routine was repeated.

On Stage

Jeff Lee knew he had just a few minutes before the Clayton Brothers were to perform with Obed Calaire on drums. In fact, it was Jeff who arranged for a custom built drum set to be there for Obed. Marty was sitting in the first row and had no idea what Jeff was going to say tothe audience. The idea was to introduce and welcome Obed Calaire back to South Florida where his musical career all started, in large part because of Marty, Jeff, and Melton.

Leadership Team Teachers (Mentors):

Leadership Team Performers (Mentors)

Music Leadership

Today, Mr. Louis `Marty’ Ruccolo is a Transition Supervisor for Transition Services in Broward County Public Schools, responsible for partnering with community-based programs to assist students to transition into vocational training, paid employment, technical colleges, apprenticeship programs, community college and universities.At its core, Marty’s job is to facilitate students’ with disabilities transition into adult life. http://unicornvillageacademy.com/about/board-of-directors/20-about/37-louis

Where he is today is a professional career away from teaching math in an inner city middle school in Miami-Dade. Yet Marty’s leadership can

be directly traced to working at TJ Middle under the direct supervision of an assistant principal, [need permission to name] Dr. Wesley Warner. Marty describes him as his educational mentor/father! Why this fact is so important is that Dr. Warner, deliberately allowedMarty to set up and play his drums in class. That’s right, what supervisor today with all the accountability pressures to raise test scores would allow a public school teacher to set up his drums in the classroom?

Dr Wesley Warner was “always very supportive of me and what I did, once commenting on my future `Lou. you will affect public policy in education if you so desire’"

But what Dr. Warner did became a role model for Marty’s own leadershipphilosophy at the district-level in Broward County, north of Miami-Dade.

To do good, if not great work, you don't ask for permission, especially when “I'm creating (jamming), I don't have the time nor the trust in the vision of my supervisors to have to explain what I am doing, i.e., transition.” “They just need to trust me like School Board Member Mrs Bartleman has - her support is essential to my success, and underscores the need for people to recognize creative thinkers in organizations and takea chance on supporting them before they know if they will be successful, based on their ideas. It's so `in the moment’ like playing music - but that is where the magic happens, so awesome to be around. Mrs Bartleman has been instrumental for me as I navigate and create, based on vision,   through this giant and dense bureaucracy - Broward Schools' Leadership needs people who recognize `out of the box,’ and what change can ensue from support of these ideas - KEY!), to have to explain, re-explain and re-re-explain for leaders to make a decision on something they know nothing about is unreasonable and unfair and time consuming, I'd rather be forgiven than forbidden, and conduct my activities with determination and conviction based on the students' needs [we need permission from Mrs. Bartleman to use her name]

Marty’s musical leadership philosophy is that life is rhythm (confirmed by neuromusic research cited later, see record 522 Chen, Penhue, Zatorre, 2008). Rhythm, meter, rhyme schemes from sonnets to haiku, all connect to spatial thinking and math. That Marty was quick to mention names of those who have supported him, is conclusive evidence that music leadership is not a solo activity, but needs to build upon relationships. Music contextualizes the meaning of relationships. In music, you can hear, feel and see if the relationships are working well or not. Bands form almost as quickly as

they break up. It could be because of personalities, egos, different musical philosophies or sensibilities. To play together over an extended period of time requires strong ties. It’s like being married,only more so. The point is that musical relationships are not clichés or built upon abstractions. They are felt realities. And music is the glue. So it was with Marty’s relationship with Obed; Jeff’s relationship with Marty; Nicole’s relationships with her kids: all real and meaningful.

Intermission

After four songs, each lasting about fifteen minutes with enough time for Terrell, Jeff, Gerald, John and Obed – the quintet - to find themselves during improvised solos, the Clayton Brothers took a much needed break. I lost count of the number of bottled waters that had been consumed on stage.

John Clayton served as the emcee and spoke with the same variable notes and tonal quality as he had coaxed from his standup bass. He notonly praised each member of the band, but communicated a warmth and appreciation for what they individually and collectively were doing. That appreciation could be seen on the faces of each of them in mutualadmiration for their musical gifts. When relationships mesh, good feelings can be felt within and shared with the audience. It’s as close to what the research term school climate calls open and trusting relationships.

Between songs John also mentioned a new project in which the quintet would share the composing and creating processes with online viewers at ArtistShare (http://www.artistshare.com/v4/Home/ArtistProfiles/40/ArtistShare-Profile-John-Clayton). Why this is so significant is that jazz is notalways the most popular or accessible of the different musical genres and what the Clayton Brothers were attempting to do was unique, something that both educators and politicians often talk about, but rarely demonstrate, that is, transparency. How fitting a metaphor forcitizens of Florida where the government by law is supposed to operatein the sunshine.

Musicians, like all artists, are judged after each and every performance. To open the creative process to the public builds trust,an attribution often missing in K12 public education. But in music, it cannot be otherwise as the music comes from inside the artist, not from external authorities. Even when musical artists cover one another’s songs, their signature styles are always evident in the delivery. An aphorism attributed to the late Orenette Coleman says “It’s perfectly O.K. to repeat a phrase, just don’t say the same thing.” Who would have thought Lady Gaga and Tony Bennett were a musical match? In this sense, music models improvisation and transparency. Over the past quarter century, you can count on one hand the number of K12 school reforms that put professional (i.e., artistic) judgment and creativity at the center of the enterprise. More typically, reforms which are developed outside school systems areimposed upon teachers and principals with the admonition to implement with fidelity. How unlike jazz! My mind goes back to the brouhaha caused by Robert Slavin of Success For All claiming that the lack of positive results was because Dade county teachers did not follow instructions to the letter.

A comparison of the students’ performance on the reading subtest of the Florida Comprehensive Assessment Test, Norm Referenced Test component, generally showed no difference in the scores of students in schools implementing the Success for All program and those attending comparable MDCPS schools. http://oer.dadeschools.net/sfasummary.pdf

Of course, music, particularly rock music, loves to parody school: think Alice Cooper (School’s Out) and Pink Floyd (Another Brick in the Wall). Sarcasm and satire. Not only has public education ignored contextual and cultural questions (aka different genres), it has also ignored therigorous neuromusical research findings in the literature as well as progressive and aesthetic ideas of John Dewey, Maxine Greene, and Elliot Eisner, favoring instead a narrow-minded test-centered curriculum for today’s public schools. To which, I have asked on manyoccasions, why can’t education be more like music and stop ignoring the essential questions, effective for what and effective for whom (Bogotch, Miron, & Biesta, 2007; MacBeath, Townsend, & Bogotch, 2015)

The Art of Play versus the “Science” of Work

In the second half of the concert, the music reached higher highs, ending in a five minute drum solo by Obed Calaire, a fitting tribute on his return to southeast Florida. But when the music ends, the relationship created by the music with the audience continues, whetherit be humming to one’s self or singing out loud, walking to a new beat, or just smiling and feeling good. How different this relationship is than the one academics look for. For a researcher, when the music ends, they turn to published research studies for understanding, affirmation or confirmation on the effects of the music. Alternatively, most educational practitioners and policymakersdeem the playing of music and its many effects on children and adults to be outside the curricular needs of students [remember my first job experience described above]. Not only are research findings and musicmarginalized if not ignored as educational, but extra-curricular electives of art, music and dance fall precipitously into the pejorative category of play.

It is a reality that educational research is not widely read nor takento be authoritative. Yet, what every musician knows for certain from experiences, and what researchers know from the studies in brain research is that music is the rhythm of life. The evidence is abundantly clear that music matters in peoples’ lives. Neuromuscial science, hasa large database of over 533 research studies (Edwards, 2008 ) catalogued and ready for synthesizing or a meta-analyses (retrieved 6-21-2015 http://mri.uncg.edu/fmi/iwp/cgi?-db=MusicBIRD532_OWU.2&-loadframes) reporting evidence of the effects on the brain when playedor listened to. The effects are seen on PET scans and MRI imaging. Theoverwhelming evidence indicates that music clearly visible and unique clusters of effects on (our brains) at all ages. Citing another database abstract from a study by Pavlygina, Sakharov, Davydov (2008) contrasted brain response in subjects who listened to classical (Mozart) music or rock (Rolling Stones) music:

Rock music listening showed more global brain responses than classical music listening did. However, [all] music listening increases the intensity of the brain activation. (Published in Human Psychology)

Citing yet another study, record number 522 in the Music Bird database, a two part research fMRI design tested both actions (motor

systems from tapping out the rhythms) and perceptions (auditory systems, just listening). The findings reported that

… certain sub-regions of the PMC may be sensitive to the rhythm of the musical excerpt because PMC activity showed an increase asthe rhythms increased in difficulty. However, brain activity in the mid-PMC region was seen during each trial, which researchers suggest, may be due to humans never truly being able to passivelylisten to music since rhythms are involved in almost every part of daily life. (italics added).

For over a century, however, pedagogy has been guided by “science” (i.e., best evidence, randomized controlled trials) over intuition andprofessional judgments (Lagemann,2000), Professor James Catterall, co-founder of the Center for Research on Creativity, in speaking for the music research community, raises the following questions:

What do we know about music learning and its effects?

What should we expect in a future starved of music education in the public schools?

Is this just longing for the old days when every second grade classroom had a piano and teacher who could play it?

Catterall’s research findings hold that keyboard and vocal lessons contributed to measured intelligence in 6- to 7-year-olds. The effectscentered on the performance side, related to math, science and spatialmeasures. (insert URL)

Quoting further from his on-line blog:

What children would miss most in a musically reduced or barren environment are the musical experiences that music education brings to them… The biggest loss may simply be the chance to participate in a guided way with music — to learn how music is made, to try making music, to learn about the infinite ways that music comes to us and to learn about music’s connections to events and eras of our history.

The losses … will surely visit children from low-income families disproportionately.

[T]he big losers will be the children who would have developed a personal passion for music if they had benefited from an effective school music program. These are the young musicians whoperform in school orchestras and bands when they reach sufficientproficiency and otherwise grow to place music near the center of their lives in school.

He makes a compelling case for including music, aka the creative process, in school curricula. My own field, educational leadership, not only elevates randomized control trials, but also the methods of meta-analysis. But given all the scientific neuromusical research evidence and the many play versus work treatises, it is clear that research findings alone have not made any difference in developing pro-music education policies for K12 education, particularly in low income schools. If research then is not the definitive criterion, thenwhat guidelines are there for practical school leaders to follow?

Aesthetic education, as noted by Felicity Haynes in her entry The Encylopaedia of Educational Philosophy and Theory (1999) wrote, “[the]arts is so contextually dependent that one could never measure it by objective standards” (insert URL). Thus, we are still in a space whereteachers are paid to teach and not play with the students. Unfortunately, the aesthetic arguments of William James, John Dewey, Maxine Greene and Elliot Eisner – heroes and heroines to academic curriculum theorists - are rarely viewed as guides for reforming elementary or secondary public schools.

As a result, the play versus work debate becomes a zero-sum game for curriculum specialists. Yet, listen to two house resident professors at Harvard who wrote that: “if you want your child to succeed in college, the play-based curriculum is the way to go” (Christakis & Christakis, 2010). For those not bound for Harvard and the Ivy League, non-traditional methods including the use of video games are believed by a majority of teachers to benefit and motivate struggling,that is, low-performing, and special education students (Malykhina, 2014). And so it goes, arguments both favoring and opposing play and games are written on the margins with little school leadership and curricular impact.

Understanding Why: Pink Floyd’s Another Brick in the Walli

Why has research evidence on the study of music and learning not had the desired results described by those cited in the previous section? One sarcastic, poetic response was written by Roger Waters in 1979 a member of Pink Floyd in his semi-autobiographical song song Another Brick in the Wall https://www.youtube.com/watch?v=YR5ApYxkU-U. The stark contrast between a math teacher who serves as another brick in the wall in the song and Louis `Marty’ Rucollo, a math teacher who becomesa musical mentor and friend is stunning. In the song, school is depicted as a bureaucratic factory which demands conformity and ridicules creativity using images of physical and verbal abuses.

The most quoted line The effects are seen on PET scans and MRI imaging. The overwhelming evidence indicates that music clearly visible and unique clusters of effects on (our brains) at all ages. Citing one 2008 abstract from a study by Pavlygina, Sakharov, Davydov contrasted brain response in subjects who listened to classical (Mozart) music or rock (Rolling Stones) music:

Rock music listening showed more global brain responses than classical music listening did. However, [all] music listening increases the intensity of the brain activation. (Published in Human Psychology)

Citing another study, record number 522 in the Music Bird database, a two part research fMRI design tested both actions (motor systems from tapping out the rhythms) and perceptions (auditory systems, just listening). The findings reported that

… certain sub-regions of the PMC may be sensitive to the rhythm of the musical excerpt because PMC activity showed an increase asthe rhythms increased in difficulty. However, brain activity in the mid-PMC region was seen during each trial, which researchers suggest, may be due to humans never truly being able to passivelylisten to music since rhythms are involved in almost every part of daily life. (italics added).

Roger Waters wrote the most quoted verse, first sung by the band and then repeated chorally by the Cambridgeshire School for Boys (ages 13 to 15) in Islington, England:

We don't need no educationWe don't need no thought controlNo dark sarcasm in the classroom

Teachers leave them kids aloneHey! Teacher! Leave us kids alone! All in all it's just another brick in the wall. All in all you're just another brick in the wall.

For Waters, and sadly for many readers, the rote learning and sadisticdelivery of lessons is meant to produce faceless, social clones who may knew mathematical formulae, yet who could not produce an original,imaginative thought. While the criticism targets specific instructional methods and systems, the image is of a math teacher ridiculing a student for writing poetry in his class. Yet as all commentators have noted, the line "We don't need no education" is a double negative and literally means the opposite, that is, "We need education." http://www.songfacts.com/detail.php?id=1696 . But even that obvious a message was too subtle for some societies as the group and song were banned from performing in a number of countries around the world( http://www.thewallanalysis.com/main/another-brick2.html; http://www.dprp.net/proghistory/index.php?i=1979_014)

Music is math in your ears

By all accounts, including the songwriter’s, Waters was describing thetype of oppressive actions taken by sadistically minded school teachers, meaning not all school teachers. But students of school leadership are today working inside bureaucratic systems that are being more and more prescriptive and bed and standardized. It is becoming harder, therefore, to accommodate the needs of all children beyond the outcome measures of student achievement (i.e., test scores). A philosophy of scientific managerialism, which was initiated at the turn of the 20th century by Franklin Bobbitt, a curriculum theorist – has been superimposed onto many public schools. Subject by subject progression plans were then and still now put in place to measure progress of students, teachers and administrators. All this to ensure effective and efficient employees in school organizations.

Is it blowing in the wind to say that music has never been needed in our school more than ever? How do we as educators and musicians motivate through teachable moments and build real relationships with students that transcend curriculum and become a part of our everyday

lives in and out of school? At which moment does music (or art or dance or athletics or poetry, etc.) become the rhythm of life regardless of the subject a teacher is teaching or a student is learning? At which moments does music bring passion and joy back to learning? At which moment does music, classical, rock music, hip hop,R&B, and jazz allow for improvisation and individual expressions? Howdo schools become places where teachers and students are free to explore new genres and themes and where issues of social justice as making a tangible difference in students’ lives beyond good teaching and moral leadership fully blossom? (Bogotch, 2014).

Key Lessons: Inside, everyone wants to play drums

1. Job descriptions tell one story regarding a person’s work life. The false illusion that by 2015, people would be working fewer hours and have more leisure time runs counter to the profitable practices of “doing more with less,” and becoming “mean and lean.” In this essay, the counternarrative of work, is not just play, but more importantly, volunteerism and mentoring. The emergence of Obed Calaire as an artist drummer does not happen without people like Marty, Jeff, Nicole and friends who extended their day jobs and eschewed profits by volunteering. What Nicole Yarling does every Saturday is fill the “holes in the school system” by bringing music to underserved populations, including young adults in detention centers.

2. Moreover, job descriptions do not tell the whole story of what itmeans to be “on the job.” As a professor of school leadership, I have heard many talented teachers say “I never wanted to be a leader.” What they typically mean is that they don’t want to do the managerial work of a school or district administrator. They would rather stay close to the children. And yet, the paradox is that these are the individuals are needed to lead bureaucratic schools and school systems because they prioritize the needs of students and create opportunities for others, which is by definition, the meaning of leadership. In Marty’s educational career, he did move from inner city math teacher to district-level transition supervisor. But he did so never forgetting the lessons from his supervising assistant principal. It is within

job descriptions that discretionary time and spaces do matter: teachable moments and improvisations are two examples. Another isproblem-solving: music helps to “develops ears, react spontaneously, allows us to figure things out and put them together, in short, how to think”. Unfortunately, you can hear teachers plaintively ask about their current administrators: “how come they so quickly forget what it was like to be in the classroom?” The great school leaders, however, never forget (Bogotch, 2004; 2010).

3. The history of Jazz is replete with performers who have had to leave the US in order to play regular gigs and achieve worldwide recognition. Despite our national rhetoric, the US is not always as inclusive as it strives to be ideally. Whether it is self-exile or systematic marginalization, there are individuals and groups who must struggle disproportionately in order to achieve any recognition or success. We remain a nation in progress with an unfinished agenda. We can learn these history lessons from music.

Why can’t we have more musicians in educational leadership?

References

Bogotch, I., Miron, L., & Biesta, G. (2007). “Effective for What; Effective for Whom?” Two Questions SESI Should Not Ignore” In T. Townsend (Ed.). The International Handbook on School Effectiveness andImprovement, (Chapter 6). Dordrecht, The Netherlands, Springer.

Catterall, J. ( ). BLOG, The Consequences of Curtailing Music Education.

Chen, J., Penhune, V., Zatorre, R. (2008) in Cerebral Cortex record 522.

Christakis, E., & Christakis, N. (2010). http://www.cnn.com/2010/OPINION/12/29/christakis.play.children.learning/

EDWARDS, R. (2008). The Neurosciences and Music Education: An Online Database of Brain Imaging Neuromusical Research.

Lagemann, E. (2000). The elusive science: The troubling history of educational research. Chicago, Ill: The University of Chicago Press

Malykhina, E. (September 12, 2014). Fact or Fiction?: Video Games Are the Future of Education. http://www.scientificamerican.com/article/fact-or-fiction-video-games-are-the-future-of-education/

Pavlygina, R. A., Sakharov, D. S., Davydov, V. I. (2008). Interhemispheric EEG interrelations in recognition of masked visual images accompanied by music, Human Psychology

To learn more about and friends:

Nicole Yarling:

http://miamijazz.org/yarling_bio.htm

http://wpb.org/jazz-on-the-palm/concerts/nicole-yarling-2/

add Marty, Jeff, Melton, …

i Pink Floyd's producer, Bob Ezrin, had the idea for the chorus. He used a choir ofkids when he produced Alice Cooper's "School's Out" in 1972. Ezrin liked to use children's voices on songs about school.