Focus on Budget: Identifying Potential & “Hidden” Music Budget Cuts

A "cut" in a music program is any decision made that will negatively impact the ability of any student to participate in making music.

Some music program budget cuts are easy to spot because the word "music" is in the line item of the budget or other documents published by the district. It is more difficult – yet certainly not impossible – to identify “hidden cuts” or budget line items that do not include the word “music.” This article will show you how to identify, and respond to, both potential and hidden cuts.

Whenever you respond, however, please follow this rule at all times:

RULE #1: NO CUTS OR COMPROMISES SHOULD BE SUGGESTED BY ANY MEMBER OF THE COMMUNITY. THIS INCLUDES THE MUSIC COALITION, MUSIC EDUCATORS, AND THE MUSIC SUPERVISOR!

The Administration Must Balance the Budget

I have never met an educator who became a school administrator because he/she wanted to eliminate the music program. It is a part of the administrative responsibility to balance the district budget.

As you’ve learned from reading my previous article on Central vs. Site Management, administrators have varying degrees of decision-making powers and responsibilities related to the budget. Decisions that affect the quality of the music program are made at both the district level (school board, central administration, superintendent) and at each local school site (principal).

In the process of recommending budget reductions or cuts, several events may occur:

1. The district school board will adopt a set of budget assumptions as recommended by the administration. These assumptions will be used as a guide during the decision-making process.

2. Central and site administrators will present to the board a consensus philosophy and a list of priorities about which programs are essential and which programs may be cut.

3. Community surveys may be taken to give the administration a sense of what cuts may be most politically acceptable. These surveys may or may not be scientific and are often completely ignored during the decision-making process; they may only serve to give an illusion of community involvement.

4. Music teachers may be contacted individually, or as a group (such as band teachers), and asked which reductions will do the least damage to the program. Any suggestion made will most certainly be accepted and cuts will be blamed on the teachers. If teachers from one area or music curriculum level suggest cuts in another area, this divides the music staff and converts music educators into music competitors. Keep in mind the old adage "united we stand, divided we fall" and repeat after me: "Any cuts will have a negative impact on student participation in music."

How To Identify Potential Cuts

As you investigate the potential for cuts in your district, review all documents related to the budgetary decision-making process. This information is public and should be made available to members of your music coalition.

Any budget line item that includes the word “music” is a fair target when the district develops its list of cuts being proposed or "considered." The proposed cuts publicized by the (central) administration to the school board normally identify only those specific music cuts that are a part of the central budget. Usually this includes cuts to elementary (general/vocal and instrumental) music programs.

Uncovering the Hidden Cuts

Hidden cuts include potential reductions to the music program that do not specifically identify music. Cuts at the secondary level most often fall into this category.

In analyzing the potential for hidden cuts in your district, be on the look out for the following key words or phrases:

• Materials and Supplies
• Clerical
• Department Chairs
• Coordinators
• Supervisors
• Average
• Curricular
• Co-curricular
• Extra-curricular
• Enrollment decline
• Equal cuts
• Across the board
• Increase class size
• Reduce staffing
• Educational Reform
• Graduation Requirements
• Test Score
• District-wide
• Summer school
• Capital Outlay
• Transportation
• Surveys
• After school
• Pull-outs
• School-to-work
• Alternative Schools
• Magnet Schools
• Reduce length of day
• Reduce periods
• Reduce elective options
• Participation fees
• Pay-to-play

If these words or phrases appear in administrative proposals for budget cuts, odds are good that music cuts are being considered. You should immediately examine each proposal (before it is adopted by the board), paying particular attention to each line item in the district budget to see if it may contain items related to music.

You may or may not be informed of the specific details of hidden cuts. In my experience, the normal practice is to keep them private. It is also typical to inform the music teachers but order them to not make proposed cuts public or face losing their jobs.

The latter course of action is, of course, illegal, but it does put the "fear" in teachers. Music teachers often fail to advocate against proposed cuts for this specific reason. To me, it seems completely illogical. If the district is eliminating teaching positions in music and teachers don't fight it, they lose either way. And, since low seniority teachers are cut first, senior teachers may sometimes resist advocacy to preserve their own jobs while sacrificing opportunities for children to participate in music.

Conveying the Negative Impact of Music Program Cuts

Your school board is probably not even aware of the potential impact of the hidden cuts on the music program. But remember: a "cut" is any decision made that will negatively impact the ability of any student to participate in making music.

Here are a few suggestions to assist you in avoiding cuts to your music programs:

• You will be wise to maintain open and continuous communication with your central and site administrators. This is a great role for the music coalition. When you keep the lines open, you lay a solid foundation for effective communication and problem solving in times of change or crisis.
• Keep in mind that decisions that affect the ability to deliver a quality music program are made not only at the district (board and central administration) level, but also at each local school site.
• Beware of proposals to make equal cuts "across the board" because music programs normally have more line items than other curricular areas. This means that across the board cuts are particularly damaging to music programs.
• The proper role for the music advocate is defender of the music program. Well-researched and clearly presented impact statements are the key to a successful defense. Impact statements are basically response arguments and statements such as these: “If the administration adopts the proposed recommendation for cuts in the music program, it will have the following short and long-term impacts on the faculty…, curriculum…, student participation…, and the budget….”
• And finally, always remember: No member of the music staff or community should suggest cuts or compromise! Doing so transfers the responsibility for making cuts from the administration to the music teacher, music supervisor or the music coalition.

Effective Advocacy = Accurate Information + Clear Communication + Long-Range Strategies

As committed music advocates and thoughtful strategists, we must clearly understand and demonstrate the impact of reductions and cuts. If we are effective, we’ll preserve and protect school music programs for our children.

Until Next Time,
John Benham

------Dr. John Benham is a 30-year music education veteran and foremost expert on saving and restoring school music programs.

Research Briefs: Did You Know?

from the American Music Conference

Did You Know?

Middle school and high school students who participated in instrumental music scored significantly higher than their non-band peers in standardized tests. University studies conducted in Georgia and Texas found significant correlations between the number of years of instrumental music instruction and academic achievement in math, science and language arts.
 Source: University of Sarasota Study, Jeffrey Lynn Kluball; East Texas State University Study, Daryl Erick Trent

Did You Know?

Students who were exposed to the music-based lessons scored a full 100 percent higher on fractions tests than those who learned in the conventional manner. Second-grade and third-grade students were taught fractions in an untraditional manner ‹ by teaching them basic music rhythm notation. The group was taught about the relationships between eighth, quarter, half and whole notes. Their peers received traditional fraction instruction.
 Source: Neurological Research, March 15, 1999

Did You Know?

Music majors are the most likely group of college grads to be admitted to medical school. Physician and biologist Lewis Thomas studied the undergraduate majors of medical school applicants. He found that 66 percent of music majors who applied to med school were admitted, the highest percentage of any group. For comparison, (44 percent) of biochemistry majors were admitted. Also, a study of 7,500 university students revealed that music majors scored the highest reading scores among all majors including English, biology, chemistry and math. 
Sources: "The Comparative Academic Abilities of Students in Education and in Other Areas of a Multi-focus University," Peter H. Wood, ERIC Document No. ED327480
"The Case for Music in the Schools," Phi Delta Kappan, February, 1994

Did You Know?

Music study can help kids understand advanced music concepts. A grasp of proportional math and fractions is a prerequisite to math at higher levels, and children who do not master these areas cannot understand more advanced math critical to high-tech fields. Music involves ratios, fractions, proportions and thinking in space and time. Second-grade students were given four months of piano keyboard training, as well as time using newly designed math software. The group scored over 27 percent higher on proportional math and fractions tests than children who used only the math software. 
Source: Neurological Research March, 1999

Did You Know?

A McGill University study found that pattern recognition and mental representation scores improved significantly for students given piano instruction over a three-year period. They also found that self-esteem and musical skills measures improved for the students given piano instruction.
 Source: Dr. Eugenia Costa-Giomi, "The McGill Piano Project: Effects of three years of piano instruction on children's cognitive abilities, academic achievement, and self-esteem," presented at the meeting of the Music Educators National Conference, Phoenix, AZ, April, 1998

Did You Know?

Data from the National Educational Longitudinal Study of 1988 showed that music participants received more academic honors and awards than non-music students, and that the percentage of music participants receiving As, As/Bs, and Bs was higher than the percentage of non-participants receiving those grades. 
Source: National Educational Longitudinal Study of 1988 First Follow-Up (1990), U.S. Department of Education.

Did You Know?

Research shows that piano students are better equipped to comprehend mathematical and scientific concepts. A group of preschoolers received private piano keyboard lessons and singing lessons. A second group received private computer lessons. Those children who received piano/keyboard training performed 34 percent higher on tests measuring spatial-temporal ability than the others ‹ even those who received computer training. "Spatial-temporal" is basically proportional reasoning - ratios, fractions, proportions and thinking in space and time. This concept has long been considered a major obstacle in the teaching of elementary math and science.
 Source: Neurological Research February 28, 1997

Did You Know?

Young children with developed rhythm skills perform better academically in early school years. Findings of a recent study showed that there was a significant difference in the academic achievement levels of students classified according to rhythmic competency. Students who were achieving at academic expectation scored high on all rhythmic tasks, while many of those who scored lower on the rhythmic test achieved below academic expectation.
 Source: "The Relationship between Rhythmic Competency and Academic Performance in First Grade Children," University of Central Florida, Debby Mitchell

Did You Know?

High school music students score higher on SATs in both verbal and math than their peers. In 2001, SAT takers with coursework/experience in music performance scored 57 points higher on the verbal portion of the test and 41 points higher on the math portion than students with no coursework/experience in the arts. 
Source: Profile of SAT and Achievement Test Takers, The College Board, compiled by Music Educators National Conference, 2001.

Did You Know?

College-age musicians are emotionally healthier than their non-musician counterparts. A study conducted at the University of Texas looked at 362 students who were in their first semester of college. They were given three tests, measuring performance anxiety, emotional concerns and alcohol related problems. In addition to having fewer battles with the bottle, researchers also noted that the college-aged music students seemed to have surer footing when facing tests.
 Source: Houston Chronicle, January 11, 1998

Did You Know?

A ten-year study, tracking more than 25,000 students, shows that music-making improves test scores. Regardless of socioeconomic background, music-making students get higher marks in standardized tests than those who had no music involvement. The test scores studied were not only standardized tests, such as the SAT, but also in reading proficiency exams. 
Source: Dr. James Catterall, UCLA, 1997

Did You Know?

The world's top academic countries place a high value on music education. Hungary, Netherlands and Japan stand atop worldwide science achievement and have strong commitment to music education. All three countries have required music training at the elementary and middle school levels, both instrumental and vocal, for several decades. The centrality of music education to learning in the top-ranked countries seems to contradict the United States' focus on math, science, vocabulary, and technology. 
Source: 1988 International Association for the Evaluation of Educational Achievement (IAEEA) Test

Did You Know?

Music training helps under-achievers. In Rhode Island, researchers studied eight public school first grade classes. Half of the classes became "test arts" groups, receiving ongoing music and visual arts training. In kindergarten, this group had lagged behind in scholastic performance. After seven months, the students were given a standardized test. The "test arts" group had caught up to their fellow students in reading and surpassed their classmates in math by 22 percent. In the second year of the project, the arts students widened this margin even further. Students were also evaluated on attitude and behavior. Classroom teachers noted improvement in these areas also.
 Source: Nature May 23, 1996

Did You Know?

"Music education can be a positive force on all aspects of a child's life, particularly on their academic success. The study of music by children has been linked to higher scores on the SAT and other learning aptitude tests, and has proven to be an invaluable tool in classrooms across the country. Given the impact music can have on our children's education, we should support every effort to bring music into their classrooms." 
Source: U.S. Senator Jeff Bingaman (NM)

Did You Know?

"The nation's top business executives agree that arts education programs can help repair weaknesses in American education and better prepare workers for the 21st century."
 Source: "The Changing Workplace is Changing Our View of Education," Business Week, October 1996.

Buying your child an instrument.

Carlsbad, Calif. (October 25, 2005)—With the start of a new school year fast approaching, it’s time to start shopping for that guitar, violin, oboe, tuba, piano or whatever instrument your musical child is begging to learn as his or her top-choice. But first it’s important to be an educated consumer so that the new violin doesn’t wind up collecting dust under the bed or being returned to the store.

The first thing to ask yourself is, “Is my child ready to own his own instrument?”

“You’re ready to purchase an instrument when your child shows enthusiasm for his or her instrument or instruments of choice, but owning a musical instrument is an asset at any age,” says Joe Lamond, President and CEO of NAMM, the International Music Products Association, the parent company of the American Music Conference, a leading national nonprofit organization that promotes the benefits of music education and music making for children. “The benefits of playing music are remarkable for all ages. Having an instrument of ones own is a real motivator for involvement with music, and playing music is something one can do for a lifetime. Making music has an essential “joy factor” and owning an instrument or instruments is part of the experience.”

While price is what drives most people towards a purchase, when buying a musical instrument there are many other factors to investigate before reaching into your pockets. So parents can shop with authority, AMC has put together these tips to ensure a confident buying decision and a happy musical child.

1. Consult with an unbiased source. “Talk to your school’s band or orchestra instructor, another family who recently purchased an instrument or your local music teacher’s association,” says AMC Board President, Danny Rocks. “It’s important to seek out the guidance of someone who has been through the purchasing experience and understands the musical development of a child. You’ll also want the unbiased source to give you guidance regarding the long-term use of an instrument.”

2. Do compare prices. Most consumers don’t know the price range of instruments, so it’s important to get a base of reference. Surfing the ‘net is a good way to start. Also, taking a trip to bricks-and-mortar retailers in neighboring communities is a good way to compare prices and find the sales. Many national and local music retailers have Web sites that both sell instruments and offer buying FAQs. There are also mail order music companies, and online marketplace sites like eBay sell used instruments.

Obviously, you’re going to find substantial differences in prices between new and used instruments. But, buyer beware. Used may be appealing to the wallet, but to the inexperienced eye, how do you know you’re not getting a product that’s been abused? You’re instrument has to look and sound like it’s supposed to!

With a mail order purchase, not seeing or hearing the instrument in person can be a risk. Also, around a peak shopping season there is the potential for back orders. If you’re going this route, be sure to make your purchase well in advance, so your child has his or new instrument for the holidays.

3. Ask the right questions. Keep these topics in mind no matter whom you buy from: technical support, maintenance, accessories, warranties and trade-in opportunities.

• Technical support. This is especially important with electronics; so make sure the vendor you choose has these capabilities.

• Maintenance. You’ll want to know if the vendor provides regular or as needed repairs on the instrument, say for worn pads on a clarinet and/or key mechanisms.

• Accessories. A violin bow needs rosin. Guitars need extra strings. Musicians need to keep time, so how about a metronome? Make sure your vendor can expertly sell to you all of the necessities that go along with playing the instrument.

• Warranties. Buying an instrument is a very personal thing. After doing all of the research and finally making a purchase, the last thing you want is to have problems that will cost you more money. Be sure that the retailer or the manufacturer is willing to pay for repairs for a certain period of time without any additional costs.

• Trade-in opportunities. At some point Baby Clapton will advance and require a finer, maybe larger-sized instrument. You’ll want the retailer to offer a trade-in value for a more advanced instrument.

4. Make sure your salesperson asks the right questions. A knowledgeable and efficient salesperson will want to know how your child is going to be using the instrument currently and in the future. Will he or she be playing in a group or solo? How long has your child been playing? Will he or she travel with the instrument—and to what climates? You’ll want to be sure you’re getting the proper instrument case for traveling, all of the accommodating accessories and, most importantly, an instrument that has the proper sound for your use. You’ll also want your salesperson to provide detailed instructions on cleaning the instrument.

5. Have fun. Music making has many academic, social and emotional benefits for children and teens. While shopping for your purchase, always keep this in mind. You’re supporting your child’s interest, talent and ambition, which may lead to a lifelong passion for music. You’re also opening doors for many future successes.

The American Music Conference is a national non-profit educational association, funded by NAMM and the music products industry, dedicated to promoting the importance of music, music-making and music education to the general public. For more information, visit www.amc-music.org.

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