Cars In My Neighborhood - Rules and Regulations

Hey! So it's been a LONG time since I wrote a new entry - so much to write about, but so little time! As I prepare to write and reflect more, I thought I could entertain you all with pictures of cars from my neighborhood.

What I find so interesting about car usage here in Hangzhou is that there is so little regard for others; for example, cars have the right of way, they find ANY place to park, and drivers honk crazily even when it's clear that the next person needs to wait for traffic to move on ahead. Ok, others may tell me to chill out and proceed to bring up issues in India - I need to witness it for myself someday, but at the very least, here are some pictures of (parked) cars I've seen around Hangzhou along with sardonic/exasperated captions:

Yes, it's parked!

Nice parking job.

You kinda just have to scoot around these two.

Look closely - this is a one way street...

That's pretty smart, actually. (This guy's fine)

The roads are already narrow in this neighborhood - thanks for making it even narrower!

Thanks for parking in the middle of the sidewalk - how did you even get here in the first place?

This can't be good for either car (*cringe)...but I guess they're trying to be polite.

According to my aunt from Hangzhou, these people are usually ticketed (when police officers are actually doing their job) but the fines are so low that people usually don't care about it and end up "facing the consequences." It's like paying for parking, I guess.

Now, I'm thinking about how justice/security/fines are dealt with in the United States: I know some people easily and readily despise police officers, but, when fines are so high and when officers are so strict, does it not communicate to people that they ought to stay in line and regulate themselves in order to create a safe environment for others? Does it not feel...safer, in most parts of the US, or at least less chaotic?

Could this be carried into the classroom? Absolutely: clear structures and rules are necessary, while not letting anything slide by; when the teacher (leader/officer) is strict and CONSISTENTLY addresses issues as they come up, it allows students (community members) to know what the expectations are. It changes their ATTITUDE, thus affecting how they function in the classroom (neighborhood).

Essentially, teachers design and dictate the functionality/flow of the classroom environment. It could be one that's chaotic: a "world" filled with empty threats and inconsistent standards leading to what I've witnessed here in Hangzhou with these cars. Or it could be secure: even if people own guns and could be nasty to each other, the general laws/rules (and how they're carried out) in many cities in the US allow community members to stay safe while going about their everyday lives. I imagine there are many other kinds of "communities" out there, led by all sorts of different leaders with different motivations. Ok, I'm not saying that the US is perfect - it's far from it. But for the sake of this conversation, I think you get what I mean.

So let's create safe spaces for our students (or kids, or followers, or whatever)! Be stricter, hold higher expectations, and don't be a tyrant, all while holding positive intentions :)

What Does It Mean to "Create" Music? (The Creative Process)

A few months ago, I got into a conversation with a colleague: s/he loves dancing to and playing music, but claims that when it comes to understanding music theory, s/he's clueless. My colleague also says that the creative process of music comes when one plays music. But, if one simply reads sheet music (follows the rules to the dot), is one really CREATING music?

Yet, from a composer's point of view, I came in thinking that creativity comes in the process of putting something together from the ground up (in which case, some knowledge of music theory is necessary). But a piece of sheet music is simply not music - someone has to play it to have it heard. Is there validity in piece of sheet music if it just sits there?

So what exactly does it mean to create music?

This makes me think of cooking as an analogy: a cook could follow a recipe and create a dish (the product) to be shared and enjoyed with others. With enough experience, one could eventually create recipes from scratch (there could DEFINITELY be young recipe writers!). This person is also like a music composer, with the recipe acting like the musical score for another cook/musician to follow (Composers aren't necessarily old/dead European males).

The recipe writer could also be a cook (the composer could also be a musician) - he learns more from DOING the cooking and playing in the kitchen (a composer learns more from actively playing and DOING music) - future compositional choices in cooking and music are based on things learned in the play process.

I would imagine, at some point, the recipe writer could delve into the chemical compositions, reactions, and processes that happen to the food while it is cooking and could create recipes based on theory, just like how a music composer could use musical theory as a basis for musical composition.

What does this imply?

Picture this: when young kids are told to just "cook" without any instructions and guidance, we will probably be left with a mess with all sorts of mistakes here and there leading to an inedible product (half-cooked, filled with egg-shells, etc.). In other words, a beginner initially learns certain techniques from a guide (maybe a parent in the "child cook" scenario. How about a music teacher?) in order to figure out the process of putting something together (a dish, a musical piece, a sentence, a science report, etc.).

Personally speaking: I'm beginning to realize that learning music is not just about learning theory. Kids (especially elementary students) NEED instructions and structures in the context of tangible experiences in order to be successful. They learn music by initially DOING music: singing folksongs, playing musical games, playing known songs on instruments, etc. They eventually ABSORB enough musical experiences and become comfortable enough to play more on their own, riffing and adding variations onto their prior experiences (similar to how a cook who originally follows a recipe eventually adds his own variations to a recipe).

It's a hand-in-hand process: as the music teacher, I ought to provide my elementary students with tangible musical experiences that also play into developing one's ownership of musical decisions. And they should have fun while doing so!

Adjusting Expectations, Constructivism, and Bilingualism as the Bridge

Hey everyone, I haven't had a ton of time to write recently, but I'm still constantly thinking and reflecting!

One of my recent contemplations is on expectations and standards:

What kinds of expectations do I hold for my students? What standards do I use to guide my planning?

The tricky part is, as I have reflected in an earlier post, my students struggle with the English language and with culture as well. For instance, we recently sang a bunch of Christmas songs and danced to movements from the Nutcracker; they will not know its cultural significance unless we set it aside and discuss it. Or, whenever we sing songs, I have to break it down for them so that they know what exactly they're singing about.

To once again describe my job in a nutshell: I am expected to bring a Westernized music education to Chinese students who have had little to no prior "Western" cultural experiences.

Thus, educational standards from Western countries are null; we cannot expect a 1st grader in China to perform in the same way that a 1st grader in the US would do. (Reminder, our school is not an international school for expats; it is open to ordinary Chinese kids) Adjustments must be made.

In my mind, bilingualism plays a HUGE role in such a context, as I could help kids connect their prior knowledge (all in Chinese - their main mode of communication/understanding) to create new meaning. Then this begs the question: what do I do if my administrators tell me to only speak English in class?

To be completely honest, I have been "cheating," because if I want my students to fully understand, I have to be able to communicate with them. If they can use their main mode of communication/understanding in order to create new meaning in English, then that's what I will do.

And maybe that's what constructivism is: to help my students create new meaning by respecting where they're coming from (and Scaffolding from there); take a chill pill in the meantime, because shoving everything down their throats and expecting instant results isn't going to help them.

Scaffolding Creativity

Goal: To teach students to take a creative/generative approach to music (to "synthesize" and not just "regurgitate.")

Problems:

1. When left in an unstructured environment, students go berserk or do not know how to respond
2. Students do not have enough concrete musical experiences to draw upon when making musical choices (Can't just tell kids: "Go and create!" - Create WHAT? And how?)
3. Creativity and problem solving is not part of the cultural context.

Now, how do I apply my own problem-solving skills to try and achieve the goal?

Solutions and words to remember (Contemplation):

1. Give students more concrete musical experiences (sing more songs, play more musical games, etc.)
2. Provide a strong structure to guide learning, produce flow, and provide predictability.
3. Think of creativity in different forms, such as choices made in in musical games.
4. Get instruments to use as tools/aids for creativity and play (have been ordered and are now on the way!!)
5. Simplify activities and take small steps at a time.
6. Remember that learning is a process. It takes TIME. In a couple of years, a school culture will develop.

And yes, that is the interesting thing about my situation; since the school is completely new, there are a lot of things that seem impossible to achieve at this point, but I have to keep reminding myself that after a structure and school-culture is in place, the only ones who really need to ease into it will be the newcomers, and they will have a much easier time as they will see the older children as examples. In the meantime, everyone's a newcomer. And that is ok; I just need to adjust my expectations!

Finding Happiness

I felt compelled to write this blurb after being reminded in a good talk with a friend/colleague during break in October:

You cannot wait for others to hand happiness to you; you have to be proactive and find what makes YOU happy. And ALLOW yourself to BE HAPPY.

Things have been difficult as I am now removed from the structure of being schooled and the drive to achieve (grades, degrees, etc.). School is tough in the sense that you bring work home in the form of studying, writing papers, or reading; it always looms overhead.

At this point in life, I have gone beyond schooling and am supposedly free to do what I like. I have a well-paying job and am constructing a music program from scratch. Yet, I am not fully satisfied.

Well, what do I even do with my time, or free time for that matter?

For some reason I feel the "need to be productive" and focus on work in my free time, as I had been doing for the past several years. I would also like to do other things, but cannot motivate myself to do so. I have recently been asking myself: what happened to the joy of playing a great video game, reading a novel, taking a walk, playing music for enjoyment, talking with people (NOT about work), or creating things?

I feel like I'm going nuts.

I introduced the song "Simple Gifts" (a Shaker song) to my 7th graders - I think the lyrics may speak some truth in light of this craziness:

'Tis a gift to be simple, 'tis a gift to be free 

'Tis a gift to come down where we ought to be, 

And when we find ourselves in the place just right, 

'Twill be in the valley of love and delight.

When true simplicity is gained,

To bow and to bend we shan't be ashamed,

To turn, turn will be our delight,

Till by turning, turning we come 'round right.

Here's a beautiful rendition/cover done by The Piano Guys - hope you'll enjoy it :)

On Relatives and Struggling to Belong (or: Setting Boundaries)

Hi everyone! I'm currently on break due to a National Holiday, and during this time I had the chance to hang out with some of my relatives.

Relatives! According to Google, "relative" comes from the Latin word "relativus," meaning "having reference or relation," as well as the English word "relate."

As welcoming as these relatives are, I feel that I cannot fully "relate" to them. I have noticed:

• There are many observed habits that my "Western side" finds uncomfortable (i.e. shouting across a restaurant to tell the waitress that she missed an order).
• There are many social and conversational "givens," especially when they all interact with each other. As they take part in the "in group," I feel left out; I am an outsider.
• There are many things they want to do for me to show their hospitality and care, but sometimes I simply want to say: "No, thank you (Please give me some space)."

This isn't all bad though! My struggling to belong is great for a couple reasons:

• I have the chance to learn more about Chinese culture.
• I will learn more about myself and what I believe in throughout this process.

At the root, I am learning to form boundaries; I am giving definition to myself and all components of myself (Philosophy, beliefs, etc.), which, as a young adult trying to figure out life, I find very exciting! (And it is something I will happily partake in)

Will my relatives and I ever "relate" to each other? I have an inkling that we will never reach complete understanding, and maybe that is ok, because that's the basic reality: we are different.

P.S. I just skimmed the wikipedia article that I linked to "boundaries" above - it's fascinating (and very much related to this post)! Please give it a skim when you have the time :)

Could Discipline, Structure, Independence, and Creativity Coexist?

Recently I've been thinking a lot about childrens' need for structure; structures allow kids to know if they're doing well in class; it also lets students know what to expect - it makes class feel safer and more predictable. Through structures, kids become "cultured" (they learn what behaviors are acceptable or not).

Yet, I also read "School as the Product of the Adult Fantasy of a World Without Children" (from I'm Only Bleeding, Alan A. Block), which describes how education smothers the imaginative, playful aspect of childhood. This goes hand in hand with one of my favorite books, The Little Prince (Antoine de Saint-Exupéry), which juxtaposes the perspective of the adult (rigid, calculated, stressed) with the perspective of the child (innocent, hopeful, fresh). While in graduate school with no real teaching experience, I veered on the side of emphasizing creativity/free-thought/less-structured (somewhat idealistic, to say the least) - I dreamed of leading classes based on open-projects and Socratic seminars (the language barrier does not help in this area, haha).

However, at this point in time, I feel that I'm beginning to see the need for MORE structure: I have encountered an episode where I was stressed and appalled by the way my middle school students behaved (I was supervising them when they had some free-time; it was like a battle royale - kids yelling at each other, then screaming louder to try getting their way, lots of pushing and shoving, defacing property that isn't theirs, etc.); this was weeks after "telling" them that they are expected to respect the teacher, the space, and their peers.

Respect, as most of the "foreign teachers" know it, does not seem to exist in these students' lives.

As we're preparing our students for a Western-style education--and as I have reflected with countless colleagues--these students do not seem capable of having free-time without unleashing pandemonium. In other words, they NEED structure to keep them in place and for them to channel their creativity and energies in more productive ways. For example I had to teach a lesson to my 7th graders on how to rehearse (step by step!) because they did not know how to do it on their own; when left on their own, they goofed off.

Perhaps this is where we could apply the concept of Parker Palmer's paradox (The Courage to Teach): there are many situations where two seemingly opposite sides exist. Structure is necessary, but it is meaningless without the creative/free component (freedom within structure).

Could Discipline, Structure, Independence, and Creativity Coexist? Yes - in fact, they must!

Identity Crisis: Asian, American, Musician, Educator

Lately I've been feeling conflicted as there are many things that go unspoken while interacting with students, other parents, and teachers in China. It has been challenging for me to stand firm in what I believe in; if I don't stand firm, I fail to be the teacher and person that I want to be. Here are a few of my observations (conflicts):

• Many Chinese kids AND adults cannot believe that I'm from America; I am Asian [Taiwanese] American. The externalized attempt to comprehend usually goes like this: "Your Chinese sounds off, but I can still talk with you and you know what I am saying...you look Chinese...but you say you're American...how come you're not white? You can't be American..." I find conversations like this to be amusing.
• When I tell others (Chinese relatives, other parents, the Chinese teachers, etc.) that I am a music teacher, they usually follow-up by asking me: "What kind of music do you teach? Will you teach them to play the piano - maybe sing?" All I can do is nod and smile. I don't have the vocabulary to tell them the philosophical underpinnings of what I do, so I just tell them those are possibilities.
• When I tell people my Chinese name (汤耀中 - Tāng Yào Zhōng), I usually explain what each character represents (it's the Chinese way of introducing names). "Tāng as in soup - this is my surname. Yào as in glorify. Zhōng as in, the character used in China; middle; center." And everybody's immediate response is, "Great! You're bringing glory to China!" Boy, does this gets on my nerves! I have revised the last part of my explanation and taken China out of it.
• I feel that my fellow foreign teachers are able to get away with more as they are unable to speak to many of the Chinese teachers. Moreover, they look and act different enough that they are acknowledged and accepted as "different." On the other hand, since I can speak and hear Chinese, I have realized how much I disagree with the Chinese way of doing things in conversations and as I overhear others' conversations. It's a strange dilemma: I want to connect, yet, the more I connect the more I feel uncomfortable; part of me wishes to remain oblivious.
• My elementary students were confused as I played musical games with them last week: "How is this music class?" The students here are used to drilling, reciting, and sitting at desks (some of the Chinese teachers are still doing this as they teach, even if it conflicts with the school's mission statement). I guess this is just something that needs to be worked on one step at a time.
• The Chinese view music as something that only the talented and focused few can do (and music class is only about the talent and skill); it is exclusive. I am trying to make music accessible to everyone. These two frames of mind do not gel together very well. (I am working with a few Chinese music teachers - I foresee this being particularly difficult to navigate)

The big questions: what does it mean for me to stay true to myself? What is my role as a teacher within a larger school system: to be a follower, or a leader? How do I navigate through a world where I don't really belong?

I was hired by the "international principal," an alumna of Teachers College, to bring the Western perspective of music (or, to bring Western education and philosophy through music), yet I feel that I am situated in a context where all odds are against me. At the same time, I'd like to believe that Teachers College has prepared me to stand for myself, stay grounded in theory and philosophy, and to likewise help students find their individual "voices." I know Teachers College tends to raise leaders and advocates in their fields; I believe I am now in a position to slowly bring change to the culture here (the foreign/international administrators are, in fact, encouraging me to do so). The thought of this both excites and terrifies me.

God, help me.

Reflections on My First Week of Class

Hey everyone, I'm about to begin my second of week of school, but just to give everyone an update and for me to reflect on what I experienced last week:

What: Two 7th grade music classes (class size 12-13)
Where: At the WeLearning Center (the new school is still under construction), 未来城。
When: Alternating days (class A one day, class B another day, etc.), from Sunday to Friday (there was a make-up work day for a holiday last week)
How: Using no musical instruments, a whiteboard, markers, my iPhone, a speaker system, and paper. Decided to take an Orff(-ish) approach.



Here are my lesson plans that I used (please excuse any possible errors):

 9/6/15

Class: 7th Grade General Music

Unit (Central Focus): Introductions – Who Are We? How Is Music Relevant To Us?

Objectives: Students will learn more about each other, and I will get to know the students. Students will learn basic rules for a musical classroom (LISTEN).

Standards: (Doesn’t matter for now)

Materials: Survey Sheets (x25), iPhone (to play music), Audio System, Pencils (?), Pen, Whiteboard, Markers

Duration: 60 minutes

Anticipatory Set: (5 minutes) Quickly go around and ask students for their name and their favorite thing in music – artist, genre, instruments, etc. I will share a little bit more about myself.

Part 1: (10 minutes) ·      Name Game: “My mama told me to tell you to say your name just like I do.” (x2) o   Show kids an example (“Do it with me”) o   Go around – then ask, “What kinds of different things were your classmates doing?” Write on whiteboard, for them to think about it. o   Try it one more time, but this time try something different.

Part 2: (5 minutes) ·      Quick discussion: o   Were we doing music? What does it mean to be musical? o   What are things we need to keep in mind while doing music? §  Possibilities: listen, be intentional, don’t ruin it for everybody, wait your turn, participate, try, respect each other, be supportive, etc. (write on board)

Part 3: (25 minutes) ·      Survey Game (Similarities and Differences) o   Spend 4 minutes filling out the survey (passing out, doing, etc.) o   Now, gather in groups when I tell you the category; as big of a group as you can! Look for: SIMILAR RESPONSES or DIFFERENT RESPONSES o   Just so it doesn’t get too chaotic, what are things we need to keep in mind? No shouting across the room, don’t push each other over. o   This will be TIMED (like musical chairs). Brownie points if you could recognize the song being played! ·      Discussion: go through responses one at a time, giving space to each individual. Open up the space for questions, comments, responses, etc. ·      At the end, I will share my responses too. ·      Leave extra time at the end for questions.

Independent Practice: ·      None.

9/8/15

Class: 7th Grade General Music

Unit (Central Focus): Basics of Music (Beat, Rhythms, Tempo)

Objectives: Students will gain understanding and play with: beat, rhythm, doo, doo-day

Standards: (Doesn’t matter for now)

Materials: Whiteboard, Marker, Timer, Blank Beat Template (2 sheets) cut, Scissors

Duration: 60 minutes

Anticipatory Set: (10 minutes) ·      Human Knot Game o   Divide into 2 groups (of 6 each) o   Explain rules (unknot yourselves, without letting go of hands) o   Go! (Compete) Then try doing it as a class.

Teaching: (25 minutes) ·      Introduce the word: Beat o   “A beat is a unit of time in music.” o   Here is a steady beat: (Clap, etc.) Let’s clap together. o   Provide the visual component (lines on the board) – try different ones! ·      Introduce the word: Rhythm o   “Rhythms are patterns that fit into beats.” o   We will learn two: “Du” and “Du-de” (Write visual on board) o   Repeat after me: (Say the rhythms, and clap the beat) – build it up. ·      Assessment: in PAIRS (set up expectations at this time!), I will give you a written rhythm, using the system we used today. I want you and your partner to say it and perform it together. Clap the beat, say “Du” and “Du-de.” o   Perform for class!

Guided Practice: (20 minutes) ·      Pass out blank beat sheets (8 lines) and have pairs of students come up with their own rhythms! ·      They will then give the rhythm to another group, and will receive new ones themselves. ·      Practice the rhythm—performance quality! ·      Performance: SET EXPECTATIONS (how can we be a good audience?) o   Have the entire class decode it together (I will ask a student to be the scribe). o   Compare what we have on the board with what was written on the paper.

Closing: (5 minutes) ·      We’ll chill—let students ask me questions (just talk at this point – building rapport, speaking in English, etc.).

Independent Practice: ·      None.

9/10/15

Class: 7th Grade General Music

Unit (Central Focus): Basics of Music (Beat, Rhythms, Tempo)

Objectives: Students will apply concepts from the last lesson (beat, rhythm) into new contexts.

Standards: (Doesn’t matter for now)

Materials: Whiteboard, Marker, Stuffed Animals (variety), Homework Assignments, Animaniacs Nations of the World video!

Duration: 60 minutes

Anticipatory Set: (15 minutes) ·      Welcome students, gather in a circle! ·      Take out a stuffed animal, and tell them the exact steps. Start with one student, pass it to another while saying their name (across from you!) ·      Make one round through, don’t give them too much yet (the goal is to go all the way through). ·      Ramp it up, add one more stuffed animal. ·      Go until we are challenged – ask: what can we do? (Communicate, eye contact, keep a beat, etc.)

Teaching: (15 minutes) ·      Review beat, rhythm, syllable. ·      Review a couple of examples. ·      We will then dissect different words and write the rhythms for them. Starting with my example (Composition). Have a couple of other words prepared (Homework, etc.) and go through the process with the students. o   Assessment: Go around to each student and ask each to prepare one word (how many beats? What is the rhythm?)

Practice: (20 minutes) ·      Continent chant: tell them that I wrote a chant for them! We will dissect it together. ·      We will learn it and give them time to practice on their own. These are the seven continents: North and South America, Asia, Europe, Africa, Then there is Australia, And finally Antarctica. These are the seven continents! ·      Review performance etiquette (don’t begin until performers are paying attention, follow the leader). Try performing!

Closing: (10 minutes) ·      Pass out the assignment – see if all kids understand. Run through instructions with them. ·      End with the Animaniacs video

Independent Practice: ·      Homework assignment (will quiz them next week).

Name:

Date:

7^th Grade Music Survey

1) What is your favorite genre of music?

2) Do you play any instruments (or sing, compose, DJ, etc.)? Provide a list:

3) What does the word “music” mean to you?

4) What do you know about music? Anything/everything:

5) What was the last song you listened to on your music player?

6) What kinds of musical experiences have you had? Provide a list:

7) What do you like about music?

8) What do you dislike about music?

9) What would you like to get out of music class this year?

10) Is there anything else you’d like to tell us?

Name:

Date:

7^th Grade Music Homework #1

New Words:

Beat: a unit of time in music.

Rhythm: patterns that fit into beats.

Syllable: the number of sounds in a word (example: “homework” has 2 syllables).

Composition: a written piece of music.

Audience: the listeners of a musical performance.

Du: One syllable, the length of 1 beat (        )

Du-De: two syllables, also the length of 1 beat (        )

Rest: A space in music; the beat continues underneath.

Questions:

1) What are the three parts of being a good audience member?

            1.

2.

           

3.

2) Practice these examples (use “Du” and “Du-De”); you will be tested during the next class.

 (NOTE: TEACHER WILL WRITE RHYTHMS)

a)                                                                                                                                                 . 

b)                                                                                                                                                 . 

c)                                                                                                                                                 . 

3) What is the rhythm of the word or set of words? The first is done as an example:

            1. Audience                                                            5. Inch

2. Sketch Book                                                6. World Map

           

3. Beat                                                                        7. Equal Ratio

            4. Horizontal                                                            8. Pencil

4) Create a composition using each of these: Du, Du-de, Rest. Optional: use the words above in the composition (write the words beneath the lines). Prepare to perform this piece.

                                                                                                                                                .

Contemplating Space: Acoustics and Its Importance in the Music Classroom

On Friday, I had the chance to tour my school's music classrooms (1 rehearsal hall, several practice rooms, 2 auditoriums, and a few mid-sized rooms to be used for other things in the future) with the school's primary funder, the head architect, my principal, and the dance/drama teacher. While walking through the construction, I started reflecting on music classrooms, rehearsal halls, concert halls, and practice rooms I encountered over the years. When it comes to acoustics, I realized that there is room for a lot of potential, as the rooms are not yet finished (...nor had any of this been considered...).

"Potential" is written all over!

(Windows and weird "clouds" could be problematic - find out why as you continue on)

As the art of acoustics is new to everyone involved (even the architect - and myself!), I had been given the task of doing some research; I thought I could share some of my findings here!

Part 1: READ THIS

This is a general rundown of all the important points to consider when designing an acoustically sound space. In general, we need soundproof rooms (tight/heavy doors and windows - to keep sound in AND out) and panels to help absorb sound (to reduce reverberation and loudness) and diffuse sounds (to help students and conductor hear each other). Wenger is a great company that helps music classrooms install such panels...in America, that is. I'll have to see if there's anything like this in China!

Part 2: Go To Wenger's Website

Check out all the goodies at Wenger's website - it got me thinking of things that I never thought I needed (but really, these are great pieces of equipment for school music programs!)

These products stood out to me:
http://wengercorp.com/sound-isolation/acoustical-doors.php
http://wengercorp.com/acoustics/legacy-basic-acoustical-shells.php
http://wengercorp.com/acoustics/rehearsal-room-acoustical-treatments.php
http://wengercorp.com/storage/index.php

Part 3: Watch these Videos!

How to Soundproof a Room Cheaply

I noticed that the practice rooms in my building have air vents - this next video addresses it:

Soundproofing and Ventilation

Unfortunately, the vents in the practice rooms are rectangular, so we'll figure out what to do with that!

Part 4: Other Considerations (Brainstorming)

Space:

• Rehearsal space could double as middle school general music room (I will make it work)
• Elementary music room should be located elsewhere (need dedicated space)
• Some of the practice rooms or mid-sized rooms need to be converted to storage spaces

Instrument Storage:

• Need large instrument room near rehearsal room
• Need a percussion room, also near rehearsal room
• Elementary music room can hold off on its own (instruments aren't as loud, shelves most likely won't rattle from noise production)

Temperature and Humidity Control:

• Instruments are finicky! Keep these two in check unless you want a bunch of broken instruments

Lighting (Windows):

• We may read music; white paper reflects light. It hurts our eyes

Anyway, these are just things I started playing around with - and it's important! Musicians deal with sound, so an acoustically sound space will help students tune in with each other and ultimately themselves; they need to be able to listen comfortably and effectively.

What do you think? Do you know any tips or tricks when it comes to acoustics and room design? Did you learn something today? :)