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1. How many years of teaching-conducting experience do you possess?
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2. What level of education have you completed?
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3. What is the geographic location (state, province and/or country) of your current primary position?
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4. How long have you held your current teaching/conducting position?
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5. What level of musician do you work with (Beginner, Intermediate, High School, Community-Amateur, Collegiate, or Professional) and what type of ensemble do you conduct (e.g. High School Band or Intermediate Orchestra)? Please list all that apply.
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6. What is the biggest obstacle to finding ensemble literature that fits your educational goals? What would be the most helpful for overcoming this obstacle?
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7. What is the biggest obstacle to finding literature that fits the instrumentation of your ensemble? What would be the most helpful for overcoming this obstacle?
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8. For which developmental level ensemble is there the LEAST amount of literature that combines digestible educational material with engaging (for student and audience) music? Why?
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9. In your professional view, define a quality piece of educational music. How is this definition different from your definition of a quality piece of music?
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10. How many concerts a year do you present? Is this number: A. too many; B. too few; C. about right? Explain.
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11. How much rehearsal time, on average, do you have to prepare each concert? Is amount: A. too much; B. too little; C. about right? Explain.
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12. In your teaching, how do you balance the need to challenge your students with the need to build their confidence?
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13. In your teaching, how do you balance playing music that addresses your students educational needs with music your students want to play?
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14. When searching for new literature, how do you locate new pieces and how do you evaluate whether these pieces are appropriate for your ensemble?
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15. If and when you encounter holes in your ensemble (lack of instrumentation or instrumentalists who perform at a level well below the ensemble as a whole), how do you compensate?
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16. How often do you make adjustments to published pieces (i.e. change orchestration, change rhythms, or change length)? Is the rationale for these adjustments musical, practical, or personal?
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17. How much time do you devote to sight reading? What factors influence this decision?
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18. What is the most rewarding part of your work as an educator/conductor?
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19. What is the least rewarding part of your work as an educator/conductor?
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20. What would you most like to tell composers and/or publishers?
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21. From the results of this general survey, other surveys focusing on more specific concerns will be created. Please supply your e-mail address if you would like to be notified when the new surveys are complete.
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