2016-17 Guided Internship Opportunities

Updated 9/7/2016

MusicLaunch! 

Launch your teaching career through community service… in Chinatown!

Open to: Students of all majors/backgrounds!
Website: http://musiclaunchboston.org

NEC’s MusicLaunch was founded in 2010 and is a partnership with the Boston Chinatown Neighborhood Center (BCNC).  MusicLaunch is an innovative community-minded music education lab, where programs and curricula are driven by the dynamic, multi-faceted, and versatile faculty of NEC’s Continuing Ed Music-in-Education Certificate Program. MusicLaunch seeks to “develop the potential of every child” with its open enrollment (no audition) policy and classes that encourage music literacy from the ground up. Small-group lessons in guitar, band & string instruments, and recorder are also offered.

Like BCNC, MusicLaunch is committed to promoting social responsibility, critical thinking, and socio-emotional development.  While many arts organizations focus on free performances as their way of giving back, MusicLaunch instead puts experiential, hands-on learning and multi-level (sometimes, multi-generational) instruction at its core.

As a MIE Intern, you will help each child document his or her MusicLaunch experience through the year (in the form of reflective journals, video vignettes, and performance recordings), as well as assist MusicLaunch faculty with small-group or individual instruction. Open to students of ALL majors. MusicLaunch prefers students who can commit to the interning the entire year.

Time Commitment: 

This internship takes place from 4:15-5:30 PM on Wednesdays between October 5, 2016 and Dec. 14, 2016 (Fall Semester), and Jan. 25, 2017 to May 3, 2017 (Spring Semester). Priority will be given to students who can commit to this internship for both semesters. Included in the 2.5 hrs per week is a mentor/intern sharing session to help facilitate and allow for flow of constructive inquiry. Program documentation is assembled on a semesterly basis into digital portfolios that make visible these poignant moments of learning and exhibit MusicLaunch’s efficacy for all to see.

Emmanuel College

Emmanuel College is a private, coed Catholic liberal arts and sciences college, located near Fenway Park. And their music director, Greg Paré, is a NEC alum!! (M.M. Composition & MIE Concentration)  Greg has generously offered to host two interns. This is a fabulous chance to work in a college setting and be mentored by a successful NEC/MIE alum.

Voice Intern

The Voice Intern would teach a weekly lesson to a trained singer, once per week at Emmanuel College, and coach Emmanuel student song leaders in vocal technique and stage presence. A final project could be performed and journals would be encouraged. A piano or keyboard will be provided, and if the lesson is a group lesson, it may be possible to have an accompanist.

Instrumental Intern (Violin, Piano, or Clarinet)

The Instrumental Intern would offer a private or group lesson once a week at Emmanuel to students of beginning to intermediate experience. The goal will be to help Emmanuel students improve on their respective instruments, broaden their musical experience and exposure, and work towards a performance opportunity of some kind.

Hawaii Youth Symphony 

An inside view into community-based music education

Open to: Students of all majors/backgrounds!
Website: http://HiYouthSymphony.org

Hawaii Youth Symphony is one of the oldest and largest independently-operated youth symphony organizations in the country. Founded in 1964, HYS now serves over 600 students, ages 7-18 across the state of Hawaii, through its 7 orchestras and community music programs. HYS’s executive director is Randy Wong, of the NEC Music-in-Education faculty.

As a MIE Intern, activities will include designing multimedia assignments, research, examining student work, program observations (via video), learning about non-profit governance, fundraising, and more.  You’ll get an inside view of how a youth symphony organization operates, paired with the perspective and insight of a NEC MIE faculty member. Through this internship, you will have the opportunity to learn and develop analytic and interpretive skills that will further your growth.

Also, something cool is that HYS is partnering with From The Top and Hawaii Public Radio in Fall 2016, and the first semester of your internship will include activities related to that. Past HYS partnerships have included residencies with Midori, Toby Oft, and Conrad Tao.

Time Commitment: 

This internship requires 2-3 hours per week, and will be conducted primarily via email, phone, and shared docs.

Preference given to an instrumental major (classical, CI or jazz) with personal experience in a youth symphony-type program, and who are able to make a two-semester commitment. Sorry, no field trips to Hawaii!

Assist with Group Violin Classes at St. John Paul II Catholic Academy

Get experience with elementary-age, beginning string players!

Open to: String Players from all degree programs (Bachelors, Masters, DMA, Jazz, CI)

Time Commitment: Varies, but you have several choices: 

Mondays

  • Lower Mills Campus (2214 Dorchester Ave, Dorchester MA) from 1:30 to 2:15 in-school
  • Monday Night Strings program from 6:30 to 8:00 pm (in Rob’s words: “The most awesome thing ever!”)

Wednesdays

  • Mattapan Campus (120 Babson St, Mattapan, MA), from 1:30 to 2:15 in-school;

Thursdays

  • Columbia Campus (790 Columbia Rd, Dorchester MA), from 10:15 am to 11 am
  • Neponset Campus (239 Neponset Ave, Dorchester, MA), from 12:30-1:15 and then from 1:15 to 2 pm.

Apply your CPP Fellowship As a MIE Internship

Every year, some of our most committed interns are those who are also in the CPP Fellowship program. In order to apply your CPP Fellowship as an MIE Internship, you must send Randy an internship proposal prior (before)  the start of the semester. First priority will be given to students who have taken (or are currently enrolled in) a MIE core class such as the MIE Intro course or MIE Teaching Seminar.

Early Childhood Experience w/ Rock & Roll Daycare 

Rock and Roll Daycare (RRDC) is a music and arts immersive early childhood education center with a Montessori teaching philosophy. Students are organized into Infant (3-12 months), Toddler 1 (12-20 months), Toddler 2 (20 months-2.9 years) and preschool classes. Each age group receives daily group music lessons taught by a different specialist every day. Preschoolers also receive weekly private instrument lessons on violin, piano, guitar, or drums. Our curriculum focuses on a different world culture every two months explored through children’s music from the culture and culminating in an “International Night,” a guest artist performance/community potluck at the end of each study period.

 

LOCATION:

RRDC currently has two locations, one at 166 Prospect Street in Cambridge (ten minute walk from the Central Square T stop) and one at 527-535 Cambridge Street in East Cambridge (a five minute walk from Lechmere Station, or directly off of the 69 bus line from Harvard). Two additional classrooms will be opening in Cambridge at 366 Broadway, October 2016.

 

Time Commitment

Group music classes run from 9:00 am to 10:30 am at the 166 Prospect Street location, and then from 11:00 am – 1:00 pm in East Cambridge (527 & 535 Cambridge Street).  The music schedule will shift once our new location opens in October, offering classes simultaneously at Central Square and East Cambridge from 9:00 am to 12:00 pm.

As a MIE Intern: NEC students are welcome to observe classes at either location with advance notice, either as a “fly-on-the-wall” or actively participating in group classes and exploratory period. Any observing student must submit a CORI form through RRDC in advance of joining us at the school. NEC students working with RRDC would gain exposure to a wide range of teaching techniques from an experienced core of music educators.

Specifically Seeking: Any students looking to work with young children. We want to expose our students to a wide range of instruments and genres, so a diverse pool of musical candidates are encouraged to participate. The ideal music partner at RRDC would be enthusiastic, engaging, and compassionate, with an interest in the development of the “Whole Child” through a strong foundation in the arts. Previous experience with young children is preferred, but we’d welcome the right candidate with a strong interest in this field. 

Classroom Cantatas

Bring Alive Classroom Subjects Through Words and Music

In partnership with the Cantata Singers!

Specifically seeking: Singers, composers, pianists

Shadow professional teaching artists from the Cantata Singers and assist them with teaching elementary kids (grades 2-3) composition, vocal technique, singing, and basic performance skills. Kids compose and perform cantatas based on texts and themes integrated into their core curriculum. Help kids explore the language and rhythm of melody, giving shape to their individual voices while deepening their understanding of core subject matter and character. Learn more at http://www.cantatasingers.org/education/classroom_cantatas.htm

Time Commitment: 

This internship takes place for 2 hours weekly, observing Boston Public Schools holidays and intersession breaks. Specific dates/times to be determined, based on program availability.

The Atrium School’s ‘Music Plus Music Integration’ Program

Open to: Students of all majors/backgrounds, but we are specifically interested in string players and improvisors.

We need interns to help document a really innovative, first-of-its-kind general music program. It’s built completely on MIE principles and frameworks, from the ground up, and taught by Beatrice Affron, Music Director of the Pennsylvania Ballet!! This program has been visited by movers/shakers across the country because of its inventive, interdisciplinary approaches to general education using music.

As a MIE Intern, you’ll help us study student academic growth and help us learn why music should be an integral part of every child’s curriculum. This internship is more ‘action research’-oriented than it is hands-on teaching. If you have a yearn to learn about mixed-method qualitative and quantitative research, portraiture, rubric development, and creating (or interpreting) data displays (graphs, statistics, charts, etc.) then this internship is totally for you!

Time Commitment: 

Flexible — though generally 2 hours per week on-site plus travel and readings. You’ll need a car for this internship, or live in Cambridge, as the Atrium School is easily accessible by bus from Harvard Sq. (#71). Unfortunately you will not be reimbursed for travel expenses.  You will also need access to a Mac with Excel (Numbers not OK) and be willing to install JMP statistical software on your computer.

Boston Public School teaching opportunities

Open to: Students of all majors/backgrounds, but they are specifically interested in winds/brass/perc players, singers, and improvisors.

We have had interns in the Boston Public Schools for the last 10 consecutive years! These are popular internships and the opportunities go fast. Schools where NEC students have interned include:

  • Boston Arts Academy. BAA is an urban arts-focused charter high school with students who take a full complement of music classes (music history, theory, Solfege, ensemble, lessons)—in addition to their regular curriculum. Walking distance from NEC.
  • Roland Hayes School of Music. RHSM is a music-centric middle school in Roxbury. We’ve had interns teach music theory, harp ensemble, choir, and band instruments here. The school is a block from the Roxbury Crossing T-stop on the Orange Line.
  • Josiah Quincy Upper School. JQUS is in downtown Boston (Chinatown) near the Tufts Medical Center T-stop. Students have taught composition, woodwind and brass instruments, music theory, and improvisation.

Create Your Own Internship

Maybe you already teach somewhere… or have an idea of your own that you want to put in action. Talk to MIE Internship Advisor Randy Wong and see if we can help you make it into an official MIE Internship!

2016-17 Guided Internship Application

GUIDED INTERNSHIP APPLICATION: https://form.jotform.com/necmie/Guided_Internship_App_2016-17

TO BEGIN APPLICATION PROCESS:

  1. Submit a Permission Request on PowerCampus for ‘MIE INT/Department/01’
  2. Complete online application
    https://form.jotform.com/necmie/Guided_Internship_App_2016-17
  3. Send an email to randy.wong@necmusic.edu when you have completed the online application.
  4. Once your draft is approved, your PowerCampus permission request will be approved. You will then need to ADD the internship to your schedule prior to the end of Add/Drop. You will also be e-mailed a PDF of your application to confirm your internship is approved.
  5. IF YOU ARE APPLYING FOR MULTIPLE INTERNSHIPS (2 MAX) YOU MUST COMPLETE SEPARATE APPLICATIONS AND PERMISSION REQUESTS FOR EACH.

Students should contact MIE faculty member Randy Wong (randy.wong@necmusic.edu) with any questions. Applications due to Randy by email on WEDNESDAY September 14, 2016 (fall semester) or WEDNESDAY January 25, 2017 (spring semester). You may also email MIE Department Assistant Mona Sangesland (mona.sangesland@necmusic.edu) if you have internship questions. 

Zumix Sprouts Program: The final weeks

It’s been about 3 weeks since my internship at Zumix ended. The last few weeks are a bit of a blur, scrambling to prepare the kids for a show that would inevitably only come together in the last minutes. By some miracle, at the end of it all, all the kids were costumed, remembered the vast majority of their lines, entered and exited at the right times, and performed the musical numbers without the vocal help of any of the teachers. For the actual show, I was asked to play oboe in the band and had a lot of fun improvising lines that would enhance the music as a whole. The voices of the singers were quite young, but much of the music was rock and roll. As a result, a delicate balance between ripping and playing as soft as possible so as not to cover up the voices had to be achieved. This was quite the challenge but was good practice for another semi-improvised musical that I was just involved in, in which the producers didn’t have the budget to amplify the singers. The question for any pit player is how to contribute without covering, and I will likely spend much of my life finding new answers to this question.

NEC Prep Eurhythmics Program: Concluding Thoughts

As a celebration (and culmination!) of my internship at NEC Prep, this past Saturday (May 7th), I had the opportunity to teach a small lesson plan to the level II eurhythmics class. This lesson plan consisted of comparing and contrasting musical characters through Saint-Saen’s excerpts “The Swan” and “The Aviary” from Carnival of the Animals. I created a brief story about how two best friends (a graceful swan and an excited songbird) go on an adventure in a jungle temple, and used this as the lens through which I taught various musical concepts. My goal was to make the lesson plan as enticing for the students as possible, and I engaged their creativity and cognition by allowing them to contribute to the lesson plan. Ways in which I did this included asking them to show me what a graceful swan would look like, what would an excited songbird do if he saw his best friend after a long time, and what would a swan flying upwards look like if you only used your hands to portray the motion? By doing so, I was able to really understand how they were perceiving and processing what I was doing, and being sensitive to this allowed me to change my lesson plan on the spot to better fit their needs and interests (I was going to include a portion on smaller phrases within a larger phrase unit, but at the time I was teaching, it seemed too complicated to delve beyond tempo variations within the excerpts).

I felt the students responded rather well to my lesson plan; they were very well behaved and seemed legitimately interested in the story. The students also had varying ideas of how a swan would move or how an excited, little bird would fly, and I was challenged to incorporate their ideas into my lesson plan as best as I could. Looking back at the video of my teaching, there are many things I should like to do differently (which will be explained in the portfolio itself), but I think I was also very successful in some aspects of my teaching. Some of these include being sensitive to the children’s needs and learning abilities and being inclusive of all the students. These are skills I have been acquiring since beginning work at NEC Prep (and also through my CPP outreach programs), and I look forward to continue expanding upon these.

Through this lesson unit, I learned that there are limitations to being a strictly classical musician. This may seem an odd conclusion to arrive at, considering the Eurhythmics program at NEC is structured around the classical style of music. However, I found that I was greatly limited by the pieces of music I had in front of me; had I memorized these excerpts, I could have kept more of my attention on what the class was doing. It was a little difficult to keep one eye on the music and one eye on the children. Ginny Latts improvises all of the music she plays at the keyboard, and I think this is very freeing. Dalcroze even talks about how it is necessary for the music to be improvised and organic as well. For the purpose of my lesson (introducing wonderful excerpts), improvisation is not strictly necessary, but if I want to expand beyond simply introducing well known works, understanding how improvisation works might be beneficial for me. These are findings I was not expecting to have, and of all the problems I anticipated occurring, this certainly was not one of them! Because of this, a long term goal I now have is to work on building up improvisational skills (of which I have none currently), so that I might better be able to incorporate Dalcroze techniques organically into a lesson plan. Perhaps a future internship could be to expand upon my Dalcroze skills while learning how to improvise, ultimately creating a lesson plan that is very organic and even more engaging for the students.

End of Ponaganset

This marks the end of my two year long internship with the Ponaganset High School Wind Ensemble. This has been an eye opening experience and I am truly grateful for everything that I have learned. I have pushed far outside of my original comfort zone, and while I still have places where I could learn and push myself, I am very happy with what this experience has taught me. The students have all been fantastic to work with, which initially surprised me, and I found that I actually have quiet a bit of patience when teaching kids. (This was not something I thought I had). I enjoy teaching far more than I ever would have expected to enjoy it, and I hope to do more teaching in the future.

My time so far at the Zumix Sprouts program

Although it has only been two months, it feels like I have been working at Zumix for over a year. I don’t really know where to begin when I talk about my time there, so I guess I’ll begin at the beginning:
I was referred to Zumix by one of their faculty and I was extremely excited to have the opportunity to work in such a positive and musically diverse environment. The building, a beautiful former fire station is located a block from East Boston’s waterfront, and is home to a radio station, a performance space, and a recording studio. Students approx. ages 5-18 are trained on studio/radio equipment as well as a variety of music classes, and the best part: Many of the programs are free!
I was particularly excited by the idea of helping out with one of the songwriting classes, however, when I arrived for my interview, I was informed that the intern they needed was a person able to help with the Sprouts chorus and musical theatre programs. This program is designed for students in grades 2-5. Both groups collaborate on an educational musical (written by the instructor). On Tuesdays the chorus rehearses the songs and on Wednesdays the actors rehearse their scenes. Then at some point in late May, there will be a performance of the entire musical.
This year’s play, “Words Words Words” is about the importance of having a diverse vocabulary. It takes place at a word factory where employees are constantly coming up with new words until a villain at a rival word company steals all the words, causing the general public to only be able to use the words “yes” and “hello.”
As an intern, I have had a shocking amount of responsibility. At the beginning, I would spend the chorus rehearsals walking around and encouraging some of the shyer students to sing. As I built trust from the teacher, my responsibilities have increased dramatically, ranging from casting roles for the actors, writing harmonies and teaching them to the chorus, leading the groups in warm-ups, stretches, games, and other opening/closing activities, giving feedback to the actors on how to perform better, and running lines with the actors. Last week, we had a substitute teacher who didn’t know the play at all, and I ended up running the entire acting class! This is something I would have been terrified to do at the beginning of the semester.
The chorus is much easier to work with for a variety of reasons, starting with my own background. I have had a ton of choir singing experience and no acting experience. Kids pick up on lack-of-confidence quite quickly, which has caused me to develop an acting role of my own. If I pretend to know what I’m doing, I am much more respected by the kids. More than just pretending to know what I’m doing, I have to convince myself that I DO know what I’m doing, getting fully into the character of an acting teacher.
The students in the acting program are also significantly more rambunctious than those in the chorus, and although the group agreed on the first day to have “no monkey business,” simply reminding them of this fact is not enough to guarantee “no monkey business.” I have found that the thing that works best in toning down the “monkey business” is to clap a rhythm when it starts and have them repeat it to get their attention. Then I redirect them to the task that needs doing.
Today is a major turning point in the semester. The regular teacher for the program, who has been on maturnity leave for the entire semester is returning and team-teaching with the substitute instructor. I am very curious to see how her approaches to teaching and discipline differ from the current instructor.

thoughts on my internship

My internship is to teach a girl, Mariah, keyboarding skills once a week. She is about my age, and is a music minor (plays the steel drum) at Emmanuel College. We only have a couple meetings left so I will divide this into three sections, how I felt going in, some changes that I made in my approach, and some of the things that I would rethink if I was starting over.

Before the internship started, I met with Greg, the head of the music department at Emmanuel. He was very nice and I found it easy to bring up a few of my questions and concerns. He asked that I focus on keyboarding, but also work on ear training and attack a few other musical skills. He also mentioned that I should avoid being too intense or having expectations that are too high for the amount of time she would have to spend practicing piano. My biggest concern that I did not voice to him was what music to give her. I did not have any experience nor any beginning piano books, I also knew that because she was a music minor she would have a certain amount of experience reading music, so I needed an efficient way to work on her week points while keeping the lessons fun and exciting. I also had no idea what about the piano interested her, so it was sort of impossible for me to know what was that I should be teaching. Greg’s advice seemed solid but definitely non-specific, which is a good thing, but left unsure of what to bring for the first lesson or how to plan our time.

Luckily as soon as the first lesson started, none of these things were a problem. Mariah had some experience reading and very strong rhythmic skills (about that of the average non-drummer at NEC). Therefore, I decided to work on both reading drills that develop diatonically from C-G in both the right and left hand, until she was comfortable with random orderings of those notes (treble and bass clef) as well as basic hand positions/piano technique. That can be kind of dry and would kind of fry her brain after about a half hour. The reason why I chose to attack the reading this way is because I know it would work quickly. For the second half of the lessons I wanted to something more fun, so we worked on African drumming exercises that I learned from Jerry Leake.  She was quite good at these and they are naturally very fun. We also did some listening to a few things I thought she might like. We continued like this for the first 4 lessons (continuing to increase the difficulty of the exercises) before transitioning to working on a little piano piece. I decided to bring in the Chopin prelude in E minor.