John Kozicki (Michigan Rock School and RockSchoolProprietor.com) and Mandy York (Music Time of Milford) talk with Kristen Blanchard, 2024 Michigan Band Director of the Year. A middle school band director of nearly 30 years, she shares how music education has evolved and how her methods have also changed over the course of her career. Kristin highlights why creating a fun, engaging environment is so important in her band room.
They discuss practical approaches to practice, the value of performance traditions, and how private instructors and school programs can work together to grow lifelong musicians and music lovers.
Your ratings and reviews on Apple Podcast and Spotify are always appreciated!
Join our private Facebook group, “The Modern Music School,” a community for like-minded professionals to connect and share insights.
Looking for a simple and effective guitar curriculum that includes FREE instructor training and support? Consider John’s book, Complete Guitar Strumming.
Episode Transcript:
John Kozicki (00:01.371)
Welcome to Rock School of Proprietor podcast. My name is John Kozicki.
Mandy York (00:06.168)
and I’m Mandi York.
John Kozicki (00:07.905)
And our guest today is a middle school band director with over 25 years in public education, the conductor of the Civic Youth Ensemble Program through the Detroit Symphony Orchestra, and in 2024 was awarded the Michigan School Band and Orchestra Teacher of the Year, Kristin Blanchard. Hi, Kristin, how are you?
Kristin Blanchard (00:32.117)
Hi, great, how are you?
John Kozicki (00:35.371)
doing great, doing great. So I will kind of start by saying, Kristen, you teach at the middle school that is within walking distance of my lesson studio and Mandy’s studio. And now, Mandy, with your students, they ultimately will end up going to Kristen at some point in middle school. My students sometimes show up and I, like, over the years I’ve heard like,
Ms. Blanchard, Ms. Blanchard, she’s the best. And then from the parents, she’s the best, Ms. Blanchard’s the best. So I’m prop you up right there a little bit, but we’re gonna talk about your experience today in the classroom and I think approaches to practice and performance and all those things. But first, what’s kind of on my mind is when you get a fresh group of, say, sixth graders,
Kristin Blanchard (01:09.945)
Yeah.
John Kozicki (01:34.737)
in your band room. You presumably don’t know if any of them have experience. You don’t know who’s going to be like a player who’s like maybe drawn to music naturally and their instrument, or maybe they’re just like they’re in band because their parents said they had to be in band and they’re going to bounce as soon as they can. But regardless of those circumstances, you don’t know any of that stuff.
but you have to, I’m assuming, present the material in an engaging enough way so that over time you can find out that information, but also the kids can engage with music in a way that does get them excited and does get them interested. So again, you draw that out of them. Maybe a big question, how do you do it?
Mandy York (02:30.798)
Ha!
Kristin Blanchard (02:32.812)
my gosh, that is loaded. For me, it’s really easy because band is so new for them. They’ve maybe been in music or music lessons or had some music training, but I always start from very basic and I assume nothing.
and then we kind of build from there. So I’ll usually do a show of hands who’s had some piano lessons or things like that. I know because they come from the elementary schools and our elementary schools have very good teachers that they come with some knowledge. Sometimes the language is a little bit different. So we try to…
bring everything together so that it makes sense for my classroom. But when you have shiny objects like instruments, it’s pretty exciting. So it’s pretty easy to get locked in and excited really fast. And I work very fast paced. So I think that that helps too. So you get the kids who are already excited about band, whether it’s because they’re brothers or sisters or parents or whatever the reason is that they’re in band, but also because it’s like this new novel thing. Never once before this
usually in sixth grade, did they have an experience like this? I usually don’t get kids who’ve had prior training on their instrument maybe once in a great while. So generally they’re coming in and they’re already pretty excited and pumped up. So it makes it easy.
John Kozicki (03:53.985)
So no prior training on whatever instrument that they’re playing in band, but some of them maybe they’ve had piano lessons and that information is going to transfer. I guess, do you, is there a focus on, obviously you’ve got to teach all the basics, right? But is there a focus on presenting things in a way that regardless of the, like the, nuts and bolts of the music, they get excited about.
Kristin Blanchard (04:24.301)
Yes, I make everything super fun. even…
you know, we’re talking about starting band in a couple weeks. And the original thing you do is you walk in, you’re learning how to be in my classroom, in my space. But then we work on how to breathe because most of the instruments you have to learn to breathe properly in order to play. So we do all kinds of fun stuff and I have toys and I use candy and I make it as fun as possible because they are kids, you know, when you’re dealing with sixth graders, especially they get so geeked about like all the fun stuff. So I have a lot of like toys and extra little things.
I bring out and in that first couple weeks even when you’re talking about something as boring as breathing or posture I have like little toys to teach posture and we do little games and things like that you have to keep it super fun even when you’re doing kind of what seems to be mundane you know tasks or information it’s super important in order to play the instruments you know properly later so I have you have to infuse fun you have to that’s the line.
Mandy York (05:25.868)
Yeah. Right. And you’re very good at that. I know that. I should say that we’ve known each other for a while. My husband is also a middle school band director. You guys have worked together. My daughter’s been in your band for a couple of years. So I know that Miss Blanchard is very fun. You’re, you’re do a great job. But I even in my world, the early childhood world, when I have parents that ask about, when can I start piano lessons? When’s too early and recommending t-shirt, tee.
Kristin Blanchard (05:28.334)
you
Kristin Blanchard (05:35.021)
Thank you.
Kristin Blanchard (05:42.745)
Yeah.
Mandy York (05:54.861)
wanting me to recommend teachers, it’s the same thing. If it’s not fun, it’s not going to go well. They have to be presented this musical journey like in a very engaging and fun way so that they have success down the road. yep, you do great at that.
Kristin Blanchard (06:12.142)
Yeah.
I just don’t think it has to, it doesn’t have to be so, I think of it as old school, but you know, our old school methods of teaching band were so militant and most of us nowadays don’t subscribe to that method. There are some people that get stuck in that kind of mode, but I just feel like there’s no reason for that. Like if they’re going to be excited about music and shouldn’t music be fun and exciting, then I have to make it fun. And so I try every little thing I
do it’s with a little bit of fun or something is cute or something is silly and if I make it like that they buy exactly what I’m selling you know so it’s that’s part of the whole being a middle school teacher.
John Kozicki (06:59.872)
Kristen, you mentioned the old school, I guess, philosophy and being militant about it. Where do you think that came from and why did it have to die? I I think it should have died. Yeah.
Kristin Blanchard (07:13.709)
Well, why is it dying? The whole idea of wind band developed from the military. there’s it’s it’s not that I think this I know that.
John Kozicki (07:26.374)
So it’s literally milk. Yes, it’s literally like this is our how we do it because it’s for the military.
Kristin Blanchard (07:31.852)
Our heritage is military. So when you think about like the old John Philip Sousa’s and when music came to America, I mean, that’s the intention was it was first like Civil War marching bands, you know? So the military style and the military, like just that whole vibe is kind of how school bands, like that was the…
I don’t even know the words I’m looking for. Like that was, that laid the groundwork for how to teach band in school. But we know better now, you know, and that’s, and that is still, I think, sort of woven into the fabric of what we do to some extent, that tradition. But when you’re teaching middle school kids, child development, we’re not going to do it military style. That’s just not going to get you anywhere. So are there…
Mandy York (08:24.462)
And I think even the literature, right? The literature has evolved and changed for this group of kids.
Kristin Blanchard (08:28.161)
Yeah, huge, huge evolution there, which is the nuts and bolts of what we do. We get to pick the music and when you pick the right music and there goes the fun part again when you’re infusing fun into it, it doesn’t have to be so rigid all the time.
John Kozicki (08:48.608)
So I’m always a proponent of kind of getting to the core of what makes us excited about music, right? So like the idea of playing music is fun because of how it makes you feel, not as just a player, but as a listener as well. And everyone can experience that side of music, whether they’re a player or whether they’re a listener.
But I do think it’s interesting that these older traditions have in all sorts of subtle ways, whether it’s in the middle school classroom or whether it’s in the private lessons or in the rock school, well, maybe not so much in the rock school. But there’s all these subtle little things that are sort of implied, like.
Kristin Blanchard (09:32.751)
Yeah
John Kozicki (09:40.158)
like how you have to practice and you have to log time, have to log hours. And it’s almost like these weird expectations. Well, I know, Mandy, you are going to kind of present, maybe now’s the time to present the question about practice.
Mandy York (09:58.125)
Yeah, I mean, it’s something that we talk a lot about on the podcast, John and I have. And because there’s a lot of different philosophies out there and I, I come from a traditional background. do too. John is less traditional rock, rock and roll guy, but can you tell us a little,
John Kozicki (10:15.295)
Well, to be fair, to be fair, no, I did band in school. I had private piano lessons which were very much traditional. So it’s not that I don’t come from that school. I just rejected, I rejected that school when I got to the point where I could make a decision about like, okay, how do I want to approach this and how do I want to continue with it?
Mandy York (10:21.784)
That’s right.
Mandy York (10:40.428)
And I appreciate Kristen’s approach. So can you tell us a little bit about that in your classroom, Kristen?
Kristin Blanchard (10:46.625)
My approach to practice is, again, it’s kind of fallen away from, and I’ve changed my philosophies a lot throughout the years. I know you said I’ve been teaching over 25. This will be my 30th year. And so, oops, there goes my camera. My 30th year teaching. And so obviously there is going to be a lot of…
choices I’ve made throughout the years in judgments and getting to know families and getting to know kids better and just getting to know how it’s comfortable for me. So yes, I used to do practice logs. I used to make them log their time and turn them in and get a grade and they would lie, I’m sure, and just fabricate things or whatever.
I wasn’t, I like accepted that, like that was just what we do. And then over the years, obviously I’ve changed my attitude and my attitude now about practice is…
It’s pretty loose and I think sometimes people think that that’s crazy. But all of parents, especially beginner parents that, you know, that old attitude of we’ve paid for this instrument, we’re investing in this instrument or these supplies, therefore you must, it’s transactional, like you must put in this much time. And my attitude is always with my beginners, you don’t know enough to practice 30 minutes a day. Like that’s absurd. Like you don’t even know enough information for you to…
do what your parents are expecting you to do. And so I will tell them flat out, don’t, please don’t put a time, like some sort of weird time abstract limit on how much you should be practicing. It needs to make sense. And I, again, I make it so fun for them that they’re going to want to practice. So the motivation has to be different. It can’t be like, because this piece of paper says you must have 30 or 60 minutes or whatever it is. And so I motivate through the music. If they don’t practice, then I just say, listen, it’s going to show up.
Kristin Blanchard (12:34.255)
in the classroom. You may not need to practice as much as, you know, little John next to you whoever. You may need to practice more. It might depend on your instrument. It might depend on your aptitude for music, whatever it is. But if you don’t choose to work towards it, then it’s just going to show up in the performance. And that’s, it could be fine for you. And that might have to be fine for me too.
And then the older they get, it really comes down to like what performances we have. And if they’re getting the job done during my class, that’s good enough for me. And so I’ve adapted this different kind of attitude about it. Whether you’re going to be a recreational musician, come to my class. It’s every day, 55 minutes, you’ll get what you need. But if you want to go a step further or two steps further or four steps further, I can, we can go there, you know, but.
I’m not gonna force it and I’m not gonna require it. I’m not gonna make a big, you know, deal about it and I’m not gonna attach a grade to it. that’s, and that has been a complete 180, right from where I started 30 years ago. So.
Mandy York (13:37.987)
I so appreciate that. Yeah, that’s great. Like you said, when they’re beginning, they don’t have enough information to practice for 30 minutes. That’s smart. But you’re making it fun for everyone. Those that are self-motivated will do more practicing than others. And like you said, aptitude is different, so they’re going to need different things. You’re keeping it fun for everyone. And then I think, I mean, am I wrong? You do offer
you know, other things outside of your classroom, because some kids will be more driven. And if so, here’s what you can practice. And here are different, I don’t know, ensembles or events that you can participate in to push yourself more.
Kristin Blanchard (14:23.265)
Yeah, if you have an opportunity, if I know about an opportunity, I’m going to present it. And if kids take me up on the opportunities, which there are a boatload, you know, available outside of school, then that’s where they will tend to want to focus all their energy and time. And then it’s up to me to help them kind of get to those, meet.
meet those goals and successes. And if it means, and I’ll even say to them, you don’t need to practice your band music. We’re doing that every day in class. Like there might be moments that I’m like, yeah, these few measures you could afford to use some work. But if you want to try out for this honors band, or if you want to be a part of a solo ensemble, or if you want to try out for all state band, here’s everything you need. And those kids will be the go-getters. Those will be the ones who’ll put in the extra time. And those are the ones who are a little bit more serious about it. And that’s fine. That’s great. You’re my leaders in class. Cool.
John Kozicki (15:13.567)
Kristen, you mentioned that approach to practice and your thoughts. You kind of did a 180 from how when you started and was there was there like some sort of rationale or was there a moment or what made you, you know, change your mind or was it as simple as like, well, I’m doing it like this because I’m a young teacher and this is what I’m supposed to do. And then, you know, I guess what was it? What was your motivation there?
Kristin Blanchard (15:44.644)
Gosh, that’s a good question. I don’t remember there being like a catalyst. I just remember in the first few years, I vividly remember being really against kids like picking up pop music to play and like finding like Disney music or fun stuff. And then there was this moment that I was like, why do I care what they’re playing? If they’re practicing their instrument.
and they’re putting their trumpet to their face, I should be thrilled with that. So then over, it it kind of evolved, right? Over the course of a few years, I sort of lightened up. became, we, and especially as music majors in college, like we are, it is this wild, we’re in the practice room practicing several hours a day. Like to me, that’s what it is. So it took a minute, I think, to get out of that mindset.
of being a school teacher. Like, I am not in conservatory mode. We’re not in like, I must practice six hours a day to be first chair in orchestra mode. Like, I had to change that whole mindset, that shift had to happen, but it took a couple years. So I really thought that they all should be practicing all the time and they should all be practicing like this legit concert music. But over the years, it’s like, if you want to play, here’s some Christmas music, knock yourself out.
But they’re playing and they’re practicing. And why shouldn’t it be just enjoyable? Why can’t it be just for your family? And then I like double down. I’m like, extra credit if you give your family a Christmas concert or whatever, holiday or birthday or whatever. It should be fun. It should be part of just what you do. And it shouldn’t be because I said so. Like I want them to be motivated by the music. And if you’re being motivated, you’re motivated to do it on your very own. So yeah, it took a minute to get there, but.
John Kozicki (17:36.305)
Okay, so now I’m curious because you mentioned something like I’m not a music major, right? So I’m sitting here between two music majors who had very similar requirements in college. And I guess, Mandy, what Kristen just said about like that idea of practice as being something that you had to do in college, and that’s just the way it was, is that does that ring true for you too?
Mandy York (17:36.865)
Yes.
Mandy York (18:03.06)
gosh, I relate so much to everything that she just said so much. And I’m not a classroom teacher, but I mean, I think I’ve mentioned this to you before, John, when my daughter, you know, we, did a little bit of piano lessons and then she wanted to take guitar lessons. And I loved what you were doing and I took her to your school, but I was a little bit like, but we should be learning Mozart. Shouldn’t we be learning Mozart? You know,
John Kozicki (18:26.59)
Hahaha
Mandy York (18:30.464)
So I had, I had to let go and open up a little bit and realize just like you, Kristin, she’s developing a love for music and the ear training that she’s doing. And she, she can play and she’s learning how to improvise. I can see with my own little guinea pig here at home, my daughter, like the music learning that’s happening through electric guitar and, and, rock band. It’s all music learning, you know? so yeah, you just, we come from these.
traditional and strict backgrounds, but when you’re taking it out into the world, you’ve got, you do have the band geek, you’ve got the cheerleader, you’ve got a rock star. Like you have all of these different personalities and different abilities in your classroom. You’re not all going to get them, you know, learning these, this, these traditional band marches. You need to reach them all and,
Everything you said, it just rings true. And it’s amazing how you have been able to open up and be able to reach those kids. And they adore you.
Kristin Blanchard (19:37.68)
Thank you. Me saying it out loud, I’m really proud of that because I think so many teachers stay in their lane and they do what they’re comfortable with. That’s never been me as a person. I’ve never been one to just status quo. I always want to get better. I always want to improve. I always want to evolve. To be able to say that as a teacher over 30 years that I really feel like I’ve changed a lot, just the way I think about it.
But you you were saying too, Mandy, is not only just the kids, but you’re impacting their family too and how families have changed over the years and how just our society has changed. Like we have to change with that. We have to become like cool with and okay with, you know, just their family dynamics. Cause those kids are going home to a family and what is their expectation of how all this should be. it’s a lot of, it’s a lot.
John Kozicki (20:35.332)
It is interesting because I think what this makes me think about is adaptability with culture. And when we’re talking about music, we really are talking about culture. then, Kristin, you tied in the family as well. And there’s changes in culture related to family. There’s changes in trends related to education. yeah, in technology, but in so many aspects of music, it
Kristin Blanchard (20:48.868)
Mm-hmm.
Mandy York (20:55.854)
Technology too, all of it. Yeah.
John Kozicki (21:04.838)
And I think back to my piano lessons as a kid, it’s like, well, I even had to ask Tim Topham, who’s a piano instructor on an earlier episode of this podcast, well, why, why do we just kind of accept method books as the way to go for piano lessons? And I didn’t really know. honestly was like, why? And he explained to me, well, it goes back to how
music was taught like hundreds of years ago and you had a book and that was the only way to do it because there weren’t recordings, right? There weren’t audio recordings and it just sort of stuck is what he said. And it’s funny how, yes, these traditions while they work, there’s an, haven’t necessarily all been updated to reflect how culture has changed.
Kristin Blanchard (21:46.489)
You
Kristin Blanchard (22:01.497)
That’s interesting that you’re talking about it like that because I, as you’re saying that, I can’t imagine not using written, you know, books or theory or music to teach, because I don’t know any other way. But that being said, I’ve also never been trained by ear. And that’s like a gift that I wish I had. I wish I could just pick up an instrument and just be really comfortable playing without anything in front of me. It’s necessary, but is it?
like the only way know, like I wish I had that. I’m always very envious of people who can just play.
John Kozicki (22:37.49)
Well, but in a classroom situation with 30 plus kids, I just don’t see any way you could do it without Method Books. Yeah.
Kristin Blanchard (22:44.847)
No, for what we do, can’t. I feel like I wish there were, I wish there was another. And I do, there, can teach improvisation and things like that, but it’s just not conducive to, you know, my, my situation. But I think that’s a, it’s an important part of what we should be able to do, you know, that I was never trained to do.
John Kozicki (23:04.552)
Well, so Mandy, I know you had some questions or you wanted to talk about concerts, right? Performances.
Mandy York (23:09.102)
talk about performance a little bit, right? Yeah. John, your studio’s performance-based. Your band program is performance-based, Kristin. You guys are always working towards the next thing. And I mean, I’m not, I’m just, we’re learning through play and taking the music to the families, But John’s performances are very…
Kristin Blanchard (23:21.839)
Yeah.
Mandy York (23:37.527)
want to say informal, but they’re like, they’re concerts, they’re experiences, right? Kind of real world examples that the kids are displaying. They’re not recitals, right? They’re not sit at the bench or whatever and perform for everyone. Your band concerts, I have been to them, they…
They have a formal feel, right? And I think that’s how I grew up. I can speak for my husband. That’s how he runs his programs, right? We’re teaching performance etiquette, sitting up straight, walking in straight lines, all of those things, raising the instrument at the right moment when the conductor stands up, lifting it when the baton is, all of these little things, right? And it reminded me earlier as we were talking about…
changing with the times. This is something that hasn’t really changed a lot. These like formalities of performance. Why are we still holding on to those do you think?
Kristin Blanchard (24:47.577)
That is a very good question. But those are things that I do like. I like that organized, not chaotic, you know, and when, you my bands are big, so you’re talking 60 kids in a group.
Mandy York (24:49.112)
Yeah.
Kristin Blanchard (25:06.815)
the only way to, the only way I know how to do that is to be very organized and keep it, you know, less chaos, the better. But I also think it presents nice, you know, so I don’t know. That’s a good question. I think that those are rooted in tradition. Is that something that’s worth changing? I don’t know. I think it looks good. I think when I, when I talk about stage presence and all those things, that’s good for even other, other
avenues. Like it doesn’t have to just apply to music. You knowing how to be on a stage or walking on a stage or looking professional is helpful for lots of things, you know, if you think about it. So even though we do keep it real traditional in that way and formal, I think that it’s still valuable and it doesn’t have to be just because of band. So I don’t know. That’s a great question.
Mandy York (25:57.027)
Yeah. Yeah. No, I was just curious your thoughts on that because I mean, I do appreciate it. I’ve been to school performances where there was, it was very loose and there weren’t the, you know, the, the formality is in the very kind of professional look to them. And I don’t like it as much. think I’ve had conductors say, you know, that the
Kristin Blanchard (26:09.795)
Yeah.
Mandy York (26:25.238)
you know, it goes beyond just the performance goes beyond playing the music. It’s how we present ourselves on the stage, right? I don’t know. I think.
Kristin Blanchard (26:28.611)
Yes, yes. Yes, I use.
I use the phrase the devil’s in the details and it’s all details. And if you care about the details and you really think about it, everybody notices that. And then I’ll tell my students, they’ll notice how you perform the minute you step on the stage. So you could be walking correctly with your instrument in the correct hand and your folder in the correct hand and all those little details. And I do feel like that translates for kids into something special because for them, they know that I’ve elevated them to this level and that that’s my expectation.
And I don’t find there to be anything wrong with that. And then you can, again, transfer that over to anything in their life. If you’re thinking about the details and you’re putting that much care into it, then aren’t you gonna be better? Like, I don’t know, I just feel like it’s a mentality. And I think that can go across all disciplines, you know.
Mandy York (27:23.682)
Yes. Yeah, I appreciate it. And I think it does make the kids feel like they’re, yeah, more professional in what they’re putting out there as just a leveled up. I think.
Kristin Blanchard (27:34.607)
Thank you.
John Kozicki (27:38.204)
So if I could, if I get interject because I think that like what you’re talking about, I think it’s really important too. And I definitely don’t want there to be, you know, any sort of assumptions that again, cause I’m, I’m the informal guy. I don’t want there to be any sort, any sort of assumptions that I disagree. Like I think going back to what we started this conversation with, like Kristen, you don’t know who those kids are. You don’t know.
Mandy York (27:41.057)
Yeah!
Mandy York (27:45.123)
Mm-hmm.
Mandy York (27:51.822)
No, no, it’s a different thing.
Kristin Blanchard (27:52.687)
you
John Kozicki (28:08.231)
how many of those kids are going to love your band program so much that they are going to practice every day by choice. And then they’re gonna go on to solo ensemble and get ones across the board and then go into high school and do the same thing and then pursue playing their instrument at a higher level. So that performance that you’re doing is consistent with someone who wants to take that.
Kristin Blanchard (28:17.005)
Yeah.
Kristin Blanchard (28:38.616)
Yes.
John Kozicki (28:38.843)
The flip side of that is what I’m doing with my performances just happens to be something different. But we still are looking at the details. We still are talking about stage presence. We still are talking about in this setting when you are putting on a concert, part of your job isn’t just playing your song. It’s about connecting with your audience and even bringing them into that performance in a way
Kristin Blanchard (28:50.308)
Yes.
Kristin Blanchard (28:56.195)
Mm-hmm.
Kristin Blanchard (29:04.654)
Yeah.
John Kozicki (29:08.987)
that creates this experience for everyone, not just you on the stage or not just the people in the audience. So I think it’s great.
Mandy York (29:18.222)
Yeah.
Kristin Blanchard (29:19.255)
And I want to point out too that I’ve been to those rock school performances over the years. I’ve been to a few of them and I 100 % agree with you. Like everything you do is at like this top notch, 10 plus level. And it’s like you’re at a real rock concert and that’s the experience that you’re providing and but you’re doing it. Like you’re executing like a fine tooth. Like everything is perfect. But I don’t know if people would really see that, but you like I do.
Mandy York (29:36.866)
Yes.
John Kozicki (29:36.956)
Yeah.
Kristin Blanchard (29:45.359)
Because I go to these and I’m like, my gosh, like every detail is in place. So now we all agree, I think on that piece 100%.
Mandy York (29:51.746)
Yeah, absolutely.
John Kozicki (29:52.594)
Well, yeah, and then the bigger picture that I didn’t know if we were going to get into this, like I think then the challenge that we face across the board is because we, the three of us here, we’re all speaking the same language, right? And we understand the nuance and how the music is presented and how it’s taught differently and maybe the stylistic differences. But if you strip all of that away, we’re still talking about music. And the challenge that I feel like I face
Mandy York (30:05.23)
Mm-hmm.
John Kozicki (30:21.559)
on a daily basis is that’s obvious to us because we have years of experience in this and we see like, well, yeah, it’s just music. But from an outside observer, from a parent’s perspective, they don’t understand how all that works. So they may need to compartmentalize, well, band and orchestra is done this way. Rock music is done this way. And like, what are the rules for this? And what are the rules for the other thing? And it’s like,
it gets confusing and they don’t see that it’s like, no, it’s all the same thing. It’s just in how you apply.
Mandy York (30:57.752)
Yes, different details. There’s just different details for the different genres. No, go ahead, John. Well, I’m just thinking.
John Kozicki (31:02.321)
Mm-hmm.
So sorry, go ahead, Mandy. Well, so we talked about, yeah.
Mandy York (31:13.228)
I’m just thinking about, so all of your, I want to know what your goals are for your students. We’ve mentioned you have this diverse group of students, right? And you’re so good at connecting and giving the different, different students what they need. I know what my goals are for my families and my students. What, what about yours? I know that you’re not, you don’t want to go in there and produce.
John Kozicki (31:19.95)
yeah.
Mandy York (31:41.568)
musicians to fill all of our major orchestras in the country, that they’re not all going to do that. So what, talk about that for us.
Kristin Blanchard (31:49.36)
We don’t want that because not everybody should be a professional musician. I mean, it’s not for everybody and it’s definitely, definitely not the goal of like what I do. I always, this is my biggest thing. I just want you to love and enjoy live music.
Mandy York (31:54.146)
Right.
Kristin Blanchard (32:06.585)
That’s it. If you go on in this world and you go and you watch a live performance, you, could be a free performance, but what if you were to pay $35 for that performance? Whoa, you know, even better just to understand and appreciate what’s gone into those productions or those performances and then to go attend it. Or you’re going to have kids later, which I’ve had multitude of kids, know, kids of kids, you and then you encourage your kids to be in band or orchestra.
or vocal music, but you know for me it’s band. If you’re loving what you’re doing enough and appreciate it so much that you just want it to be a part of your life in some way shape or form later, then I’ve done my job.
You know, if you’re seeking it out. Like for me as a musician, if I’m in a new city, I’m always looking for where’s the live music venue? Where can I go see a jazz trio? You know, that’s what I enjoy. But maybe you stumble upon it and you’re like, we’re going to, you know, go into this place that’s having this jazz music. This is awesome. Perfect. Then I’ve done my job because you understand kind of the other side of it, like how much work is taken to get there. So.
Mandy York (33:18.894)
I love that. Yeah.
John Kozicki (33:20.892)
That was such a good question, Mandy, because again, I think it shows that we all have the same goals, right? People will tell me all the time, like, well, I don’t know if I’m looking for my kid to be a professional or anything. like, yeah, I know. But what we want to do is get them to love music, right? Get them to appreciate music in a deeper way.
Mandy York (33:39.288)
Yeah.
Kristin Blanchard (33:40.756)
please.
John Kozicki (33:49.755)
than just listening, right? And so, because then they can carry that throughout their whole lives. And that is really what is important about whether it’s in Mandy’s classroom at six months old or Kristen, yours at 12 years old or even mine at, I mean, even in our adult band program, right? At like 40 years old. It’s like the idea is that
However we do it, whatever we do, we want to make sure that the people we’re working with are getting that. They’re getting that music is something that they can enjoy and they can appreciate and they can participate in a deeper way forever.
Kristin Blanchard (34:38.551)
I want it to be a part of their life. I want it to be like just a part of their normal life. And we can always compare this to sports. The difference with sports and teams is it’s not a curricular activity in school. So thank you for, you know, us having it in schools. But I just wish that it was on par with that. Like just something normal that you do as an adult. It’s part of your life. So.
Mandy York (34:38.69)
Yes.
Mandy York (35:04.974)
As my Miss Mandy persona, I’m always saying that music is an important part of our life experiences. We want to give that to our children. It’s an important part of life. And then I would also argue that the more musical the world is, the better place it is actually.
John Kozicki (35:26.652)
So Kristen, mentioned sports. again, I wasn’t sure if I was gonna get into this one, but you mentioned sports. I think one thing that’s great about sports is if someone wants to learn golf, if someone wants to learn baseball, whatever, let’s use golf as an example. Go get some golf clubs.
go to the driving range, you go to the golf course, there you go, you’re a golfer, right? You’ve done it. That’s like, it’s that easy. But with music, there is this belief, and I get this more in the private lesson world, I think, than maybe you do in the band room. But there’s a belief that in order for you to do the activity, you first need to study.
Kristin Blanchard (35:59.994)
Thanks.
John Kozicki (36:24.54)
how to do the activity for an extended period of time before you can actually, know, like I hear it all the time. Doesn’t my kid need to like take private guitar lessons for a while before they can be in a band? And my thing is like, well, no, not really, not necessarily, you know? And I also hear related to maybe like group music classes. Well, group music classes need to be, well, it needs to be all guitar players or it needs to be all piano.
you know, full group piano class, but in the middle school classroom, none of those things do not apply, right? And it’s just generally accepted. Kids go into a mixed instrument class on day one and they are playing their instrument. Thoughts on that?
Kristin Blanchard (37:03.523)
Nope. Yep.
Mandy York (37:13.302)
And Kristen, tell us how many, like tell us what your largest class size is. Seriously.
John Kozicki (37:17.476)
Yeah.
Kristin Blanchard (37:18.415)
Well, my first hour, I just looked at my grade book today. My first hour is gonna have 64 students. Yay, got me. So my smallest class is 54. I don’t know, I could be wrong. But anyways, yeah, our beginners, we actually bring them all in and we get them started and we expect nothing. And there are gonna be people who always are like, we might wanna get them some lessons. And you know what I say, please don’t because…
Mandy York (37:24.28)
See? Yeah.
Kristin Blanchard (37:45.72)
Honestly, I’d rather they know nothing and I teach them everything from the beginning the same exact way that way there’s no confusion my private teacher said to do this I’m like, okay So it’s actually nicer if they know nothing in the beginning levels and yeah, they’re multi instrument classes So we keep the brass together and this year we’re having woodwind and percussion together But yeah, it’s still like a lot of instruments in one class So it is interesting because there is this perception that they have to know something
and it doesn’t matter to me. Like I said, I’d rather they know nothing. I know what I’m dealing with. It’s basically a blank slate with a little bit of information that they have from previous elementary school experiences. But yeah, you’re right. There is this preconceived notion, but I don’t know. For me, it seems pretty easy, but I’ve been doing it a long time.
John Kozicki (38:34.46)
Yeah, and I mention it because I also think in my world interacting with lot of private instructors, there does seem to be a bit of perpetuating that myth, right? And I don’t know if it’s like ego or elitism or whatever, where obviously there are benefits in private lessons like that one-on-one hands-on stuff that you can…
you know, you can dig in a little deeper and there is potential to learn more in a shorter period of time. But then there’s also a great deal of things that just can’t happen in private lessons that do happen in the group environment, which is like, like that, that big aha moment where everyone’s playing it together. And it’s like, this is it. This is the thing.
Mandy York (39:26.658)
the way music was meant to be played together.
Kristin Blanchard (39:26.679)
Yeah, when you get when you get the goosebumps because of all that, that you can’t you can’t possibly have that experience in a private lesson. And I know this because I’ve done all those things both sides of it.
John Kozicki (39:32.592)
Yes.
Kristin Blanchard (39:39.736)
It’s just, there’s something different about playing with that group, you know? And then you’re, I wanna go back to what you said about the teachers and this elitism. yes, I think sometimes we get so, it’s back to that conservatory mindset. Like you must do it this way and these are the things we have to teach you in this order and blah, blah, blah, blah. And I had a student who wanted to start.
as a seventh grader or moved into the district or something a couple years ago and I was going to have her get a few lessons, you know, over the summer and the grandma or mom or whoever was like, yes, we’re going to do this. go, that’d be great. I can get her up to speed after that. But if there’s just like, like how to open the case and how to put things on and put things together, if you could get that taken care of, I can do the rest. And the private teacher seemed a little bit.
confused by that, like really thought this person should have way more like they’re not going to be ready for your band and do you want to know something? That child was fine. And it’s all about what the expectation is. Like for me the expectation was that she was going to be a virtuosic musician in 10 weeks. Like that’s not what we were saying. But I wanted to get her enough to where we could, you know, immerse her into the program and it’ll all shake out.
And quite frankly, if you think about it, these kids are sponges, right? It’s the perfect age for all of this. Throw them in, throw them in, they’ll be fine. I’ll get them what they need. I can work with them a little extra. They’ll have friends. It’s a whole group situation. But if you expect that they can’t, then they won’t. And so I was going back and forth with a private teacher. I’m like, they’ll be fine, they’ll be fine. I’m like, you don’t have to worry about it. We’ll worry about it on my end, you know? This child ended up being amazing.
and being in jazz band and doing all the things and I didn’t set any bar for her. I was just like, it’ll be here. We’ll get you there. But yeah, but you’re at, it’s all about your attitude too. And I will admit that probably 30 years ago, I may not have had that attitude. I don’t know, but not anymore.
Mandy York (41:30.36)
So cool.
John Kozicki (41:43.418)
So I’ve got Christian, I’ve got one more question and at the, you know, potentially open up a can of worms here or maybe not. But keeping in mind who generally listens to this podcast, which I do have a lot of private music instructors and music school owners. And what would you say is the best way for private instructors or studio owners to work with?
the school band directors and the music teachers.
Kristin Blanchard (42:18.387)
like in what, like what framework are you talking about? Like just communication wise or what?
John Kozicki (42:23.161)
Well, you I don’t I mean, you just mentioned the example of, you know, private instructor specific to one of your students who was coming into your program, I guess, from a different perspective. mean, obviously, for me, we teach different instruments at my school. Right. So but I’m incredibly supportive of of what you do. I’m incredibly supportive of what Mandy’s husband does in in his classroom. You know, and
Going back to that idea of like these kind of invisible barriers and these invisible like beliefs about about, you know, well, this is how things are done in this room in this setting. And this is how things are done in this setting. I’m in the spirit of like an abundance mindset, right? And not a competitive mindset. You know, even if it was just to say like a private instructor wanting to
introduce themselves to someone like you and just say like, hey, I’m here. I’m here to help you if ever you need anything or something like that. I don’t know.
Kristin Blanchard (43:32.398)
always love knowing the private teachers in the area, because then I can obviously send students their way if they wish. The one thing I find is sometimes the philosophies are different because of that. We’ve been in the trenches for so many years, and I have loosened up.
from my training. And I have started to, I haven’t started to, I do understand the students and the culture and the society and the families and you know, all of that has changed for me. So I just feel like sometimes there’s a disconnect.
John Kozicki (43:52.101)
Mm-hmm.
Kristin Blanchard (44:06.159)
with the private teacher’s understanding of like a 12 year old student and their world. And I wish that they could, I don’t want to say come down to their level, but I feel like they are sort of up here still a little bit.
which I can understand and I can appreciate because I’ve been there, to know that they’re teaching students who, like you said earlier, are probably not going to be professional musicians. But they should be learning. If they want them to be learning, they should be learning what they need to learn, but it should be fun. And knowing what you’re doing to support us, I’m dealing with the masses and I’ve taught private lessons and there is a beauty to that private lesson experience.
It’s awesome. And it’s so individualistic and so hands-on. But knowing that we’re dealing with this wild, crazy ship that’s sometimes almost near impossible to steer. And so I just want that relationship. But I think understanding where a 12-year-old’s mentality is at, depending on the kid, how they can be really supportive and useful and helpful.
John Kozicki (45:23.173)
So they should just reach out and say hi, huh? Okay.
Mandy York (45:23.374)
That’s good advice.
Kristin Blanchard (45:25.389)
Yes, my gosh, I’ve had several, like they’ll email, they’ll figure out like what the schools are. And that’s hard too, because you have to figure out who the schools are and what the teachers are or whatever. But if they’re reaching out and just saying, hey, I’m available, we have instructors that come in that we pay separately, like I have a booster account or whatever, that we…
just whenever we need somebody, like, oh, you know, we could use some help on this instrument this week. And we’ve got a smattering of people that we always kind of call upon. But that is always like, I welcome people in my band room. I know not everybody does, but I feel like that is partly my secret weapon is having.
extra helpers come in and support us because I am dealing with the masses and it’s hard, know, it can be really, really, really challenging. So I think if they just reached out to the local teachers and just said, hey, whatever they’re willing to help with or do, usually most of us are pretty interested in that help and support. So.
John Kozicki (46:28.165)
That’s great. So Mandy, did you have any other questions for Kristen? Because I think like the last couple of things that she said were fantastic. And yeah.
Mandy York (46:29.198)
awesome.
Mandy York (46:37.384)
I do too. Yep, that was so great. Kristin, I think the work that you do is really important and you’re really great at it. Thanks for what you do. Yeah.
Kristin Blanchard (46:47.513)
Thanks, I appreciate it. Thank you.
John Kozicki (46:51.067)
So, well, then we’ll wrap this episode of Rock School Proprietor Podcast and we’ll see you next time. Thank you, Kristin.
Kristin Blanchard (46:59.258)
Thank you for having me, I appreciate it.
John Kozicki (47:01.276)
Okay.
Mandy York (47:02.191)
See you later.
