Reading Reflection 2

The recruitment and retention procedures for school orchestra programs are, in fact, almost identical to those of school band programs and, to a lesser extent, even choir programs. Basically, the director needs to give general, larger-group presentations/performances of his ensemble and then follow up with more personal, specific visits to solidify students’ interest. Perkins (in reserve article 2) offers suggestions, such as having the students fill out index cards with basic information on them to show mere interest. They are not commitment cards, but they are a great way to start the recruitment process. Also crucial to include, somewhere in the recruitment process, is an opportunity for young students to have a hands-on experience with the string instruments. Until they are able to hold the instrument, they will have a hard time knowing for sure that orchestra is for them.

The best advice, (at least most poignant to me, as most of this ideas are things that my directors all did quite well and I am, thus, very familiar with), concerned the orchestra teacher in specific. The teacher needs to be the face of the orchestra program; he needs to be well-known and well-liked, both by students as well as by other faculty. Word of mouth is an important communication avenue, and it can be used effectively, to the teacher’s benefit, if the teacher has a good reputation.

Lastly, retention is based upon several factors. Several of the most important factors are very clearly stated by Gillespie and Hamann in pages 208-212. Some of these factors include the learning environment, having a tradition of excellence, setting standards for admission to ensembles, and valuing and supporting your students.

The suggestions and ideas included in these articles are all very good and important things to consider when beginning that first job (and every job thereafter, too!). I do not feel that they differ very much at all from the band world, but I believe that they are universally crucial.

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