Australian super veteran secondary school music teachers: Motivated and valuable

Abstract

Veteran teachers are defined as having over 15 years’ teaching experience. This research introduces a new career stage of ‘super veteran’ for music teachers that have worked for 30 plus years and seeks to identify the influences on, and contributions of, Australian secondary school music teachers of this career stage. This article reports on survey data gathered in a larger qualitative study that contained a national survey and interviews. The analysis of the interview data in the larger study is yet to be completed. Likert-type scale questions were used for demographic data collection and open-ended questions explored influences on music teacher work practice. Of the responses, 32 were from super veteran secondary school music teachers. These teachers were motivated by working with students and felt valued by them and their parents. Super veterans continued to be engaged in professional development, found work–life balance a constant challenge and many were planning to continue teaching. This research has implications for school leaders in encouraging, valuing and utilising the expertise of super veteran secondary school music teachers. It suggests tailoring professional development for this career stage, gives feedback on the implementation of new curriculum and indicates strategies for stress management and work–life balance.

Keywords

Career stage professional development secondary school music teachers super veteran value work–life balance

Introduction

Music teaching in secondary schools has become more complex and stressful in recent years due to the increasing demands placed on teachers in general, and also through extra-curricular ensembles and musical performances that are subject-specific to music teachers (Gardner, 2010; Sutherland, 2017). This article explores factors that affect music teachers who have had long careers in the secondary school music classroom. With the participants labelled as super veterans (music teachers of 30 plus years’ experience), this article explores their motivation, sense of value, professional learning, their implementation of new curriculum, stress and work–life balance, and career forecast.

Literature review

There has been much research on teacher career stages, motivation, value, professional learning, stress, work–life balance and the impact of curriculum change. As such, these focus areas appear as common threads in the literature, highlighting the positive and negative influences on the working lives of music teachers and how they impact career longevity.

Research into the working lives of music teachers is often framed into career stages. These career stages have been given different labels across various studies and include pre-service, induction, competency building, enthusiastic and growing, career frustration, career stability, career wind down and exit (Christensen & Fessler, 1992).

Baker (2005), in a UK study of 28 instrumental and vocal teachers which used the sharing of life histories, placed his participants into five age phases: induction (21–25 years), consolidation (26–35 years), professional apex (36–42 years), reassessment/redefinition (43–53 years) and proximate retirement (54 plus years). In the reassessment/redefinition phase, issues with career/life balance were emerging, and the teachers’ reputation within the school community was important. In the final phase (proximate retirement), Baker found the music teachers had subsiding expectations for the learning of instrumental performance, realised the importance of their role in holistically developing students and were planning for life beyond retirement.

In the research of career stages, teachers are commonly divided into categories according to the number of years they have been teaching. Research in the United States often uses career stages such as pre-service, early (1–5 years), mid-career (6–15 years) and veteran (15 years plus) (Bernard, 2015; Bley, 2015; Brown, 2015; Dabback, 2018). Bley (2015), through a large survey of 347 music educators from K-12 in Ohio, named those with experience of over 15 years as ‘veteran’ music teachers. The study revealed that these music teachers wanted administrative support, appreciation and recognition without being involved in decision making. Issues of trust and the need for autonomy were flagged as areas for further improvement. A similar study in North Carolina (Brown, 2015) analysed veteran music teacher job satisfaction and found working with students was the most enjoyable aspect of the job, along with being valued and supported. The recognition of music as an important subject was paramount to job satisfaction. Research by Robinson (2018) highlights the unique nature of music as a subject to provide opportunities for student–teacher connection that can strengthen the relational capacity within the classroom. Therefore, it is important to recognise how music can connect teachers to students, enabling engagement and motivation and further enhancing job satisfaction.

Research in Italy by Guglielmi et al. (2016) surveyed 537 Italian teachers to find what drives teacher engagement. They found that younger teachers were more engaged than their senior (aged 50 years plus) colleagues and that middle-aged teachers (aged 35–49 years) still sought professional development (PD) but enjoyed being valued and recognised. Senior teachers also enjoyed the acknowledgement of their skills. The on-going impetus of teachers in this final career stage to improve their skills despite nearing the end of their careers and the importance of being valued in their work place enabled stronger teacher engagement.

Research by Skaalvik and Skaalvik (2017) surveyed 760 teachers from Grades 1–10 in Norway exploring motivation for teaching – these were not music teachers specifically. School goal structure (the goals and values of the school) was found to influence teacher self-efficacy, job satisfaction, emotional exhaustion and time pressure. It was also noted in this study as a motivating factor for teachers leaving the workplace. A recommendation was that school administrators be cognisant of the goal structure, to ‘be aware of signals communicated to teachers about educational goals and values’ (p. 158). This research shows the impact of how school culture (goals, values) can have a profound influence on how teachers cope in the workplace.

A substantial study in Australia on teacher motivation (Collie & Martin, 2017) surveyed 519 teachers from primary (elementary), secondary and K-12 schools about their self-efficacy and feeling of value and mastery, as well as anxiety, control and performance avoidance. They found five motivation profiles for teachers – success approach, success seeking, amotivation, failure fearing and failure accepting, stating the need for further research on how to determine job satisfaction in alignment with these models.

In a study based in Michigan, United States, focussed on music teacher perception of their PD, Conway (2008) found that experienced music teachers valued informal interaction with colleagues as the most powerful form of PD. She noted that music teachers in this career stage must be proactive in finding their own PD as they move forward and that they often look for opportunities within a broader context. McAtee (2015), in case studies of 10 veteran music teachers, found that time to meet and collaborate with colleagues and relevant ‘job-embedded’ PD was important to their continuing work. The shaping of PD that is relevant to the individual and includes professional dialogue with colleagues is an important factor for experienced music teachers.

Curriculum change is a feature of a teacher’s work which can bring great challenge, impacting professional practice and identity (Barrett, 2009). Veteran music teachers, with experience of curriculum change and the introduction of standardised testing in their careers, may experience frustration and resist these developments (Abramo & Tan, 2017). In Sweden, Zandén and Thorgersen (2015) studied the impact of a new music curriculum on the practice of 10 Year 5–7 music teachers. ‘They saw challenges and problems, but also possibilities when it comes to new and old ways of teaching and promoting musical learning’ (Zandén & Thorgersen, 2015, p. 43). The reform increased collaboration but demanded more work, especially in documentation.

Linda Lorenza, in her research on curriculum change and teacher response in New South Wales (NSW) (Lorenza, 2018), presented a positive outlook from Arts teachers in their preparation for implementation of a new Arts curriculum. Through interviews across Arts disciplines (Music, Drama, Visual Arts, Dance and Media Arts), she revealed that ‘teachers found the Australian Arts curriculum standards were more “open-ended” giving the teacher and students greater scope for cultivating individual student learning’ (Lorenza, 2018, p. 148). Using the terms Making and Responding was seen to facilitate improved student creativity, while standardised testing and the overcrowding of the curriculum was viewed negatively. Despite this, Lorenza’s participants (of which six of the eight had more than 10 years teaching experience) were motivated to embrace change in the curriculum.

This literature review has revealed much research aimed at the veteran music teacher career stage (over 15 years), but little on music teachers who have continued into the later stages of their teaching careers (beyond 30 years). Literature on music teachers with careers longer than 30 years is rare. The veteran career stage of music teachers is a growing body of professionals as many continue to work longer. To have a career stage that is longer in years than any other is an interesting factor for this research. The issues that affect a music teacher at 15 years are potentially vastly different to a teacher of 30 plus years’ experience. This study aims to explore the factors at work for these super veteran secondary school music teachers in the Australian context.

The research questions for this study were as follows:

What factors enable super veteran secondary school music teachers to remain motivated in their work place?

What are the negative factors that affect the work of super veteran secondary school music teachers?

What lessons can be learned from these experienced teachers, and how can they be supported and valued in the workplace?

Methodology

For this research, a qualitative design was selected which allowed for the study of people in a context using a number of perspectives (Bresler, 1992). The approach included analysis that involved a ‘verbal description and interpretation, supported by illustrative or evocative examples’ (Hammersley & Campbell, 2012, p. 17). This article reports on a survey that included open-ended questions and Likert-type scale demographic data collection.

Questions in the survey (n = 45) covered areas relating to career length, age, gender, qualifications, school type and location, levels taught, motivation, value, job satisfaction, work challenges, PD, the implementation of the Australian Curriculum and future career longevity. The questions were framed by the themes in the literature review. Respondents could also elect to be interviewed. This allowed a selection strategy by maximum variation (Given & Samure, 2008). The analysis of interview data is still to be completed and is not included in this article.

Sampling was purposive, with the survey emailed to 500+ secondary school music teachers nationally. The Australian Society for Music Education (ASME) membership and Facebook page was used for distribution and participants could refer the survey to music teacher social media forums and professional association newsletters. The survey gathered 263 responses nationally, with the largest number received from NSW (53.67%). The other state and territory responses included Western Australia (14.29%), South Australia (9.27%), Victoria (8.88%), Tasmania (3.09%), Australian Capital Territory (ACT) (1.93%) and Northern Territory (1.54%).

The study identified four groups of secondary school music teachers categorised according to their number of years of teaching experience. The categories were early career, mid-career, veteran and super veteran (teachers of over 30 years teaching experience). These categories align with those explored in the literature review, with the new label of super veteran given to teachers with 30 plus years’ experience. This article reports on survey data from super veteran secondary school music teachers.

There were 32 super veteran secondary school music teachers who completed the survey. This included 18 from NSW; 3 from Queensland; 2 from the Australian Capital Territory, Victoria, South Australia and Western Australia; and 1 each from the Northern Territory and Tasmania, while 1 did not declare their state of origin.

The super veterans came from 12 Government schools, 14 Independent (non-government) schools, 4 systemic (Catholic) schools, 1 Christian school and there was 1 who worked across a Government and Independent school. The schools included 23 from the metropolitan areas of capital cities and 9 from regional centres across the country. Most respondents were Head Teachers (13) followed by classroom teachers (10), peripatetic (itinerant) teachers (4), specialists (4) and retired (1).

The survey responses were coded allowing grounded theory principles to emerge. The principles of grounded theory (Creswell, 2014) were used where ‘the researcher derives a general, abstract theory . . . grounded in the views of the participants’ (p. 14). Open coding was employed, conceptualising and labelling the themes that emerged (Cohen et al., 2007). In the second (axial) stage of coding, links were created which then allowed for the third stage – selective coding and the identification of the core themes in the data (Cohen et al., 2007; Strauss & Corbin, 1998). These themes were examined and compared to the themes discussed in the literature review, allowing new themes from the data to be included.

Findings

There are a number of themes highlighted in this research. These are enjoyment of work, the importance of being valued in the workplace, the impact and availability of PD, the impact of curriculum change – the implementation of the Australian Arts Curriculum, areas of stress and work–life balance and positive perspectives for the future.

Enjoyment of work

The most enjoyable aspect of teaching expressed by the majority of the super veterans (27) from the survey was their work with students. They enjoyed enabling student achievement, knowing that they, as teachers, were making a difference. This is supported by the research of Brown (2015) as a vital factor in the job satisfaction of veteran music teachers. One super veteran commented,

Without doubt the best part of the job is working with talented students who love learning about music. I get to meet wonderful people and watch them grow into adulthood. I put a lot of time and energy into my role and in general, my students are grateful and seem to enjoy the lessons I teach and the programs we offer. I love the flexibility that is built into the NSW syllabus and the fact that most students who want to improve at music, will have the opportunity to focus on, at some point in the course, on their passions and interests. Watching the joy and excitement as they do their first performance or composition is very special. (SV22)

The stimulation of the work and that learning for them as practitioners continues to be developed, was important to this super veteran:

Most days I am intellectually stimulated by my work and I am able to be creative and innovative in the classroom. (SV32)

The super veterans found the least enjoyable aspect of their work was administration: emails and annotating and collating evidence (e.g., for the New South Wales Education Standards Authority, NESA). This was highlighted in a quarter of the responses and supported by the research of McKinley (2016), where experienced teachers were overwhelmed and stressed by administrative tasks. The necessity and purpose of some meetings was also questioned:

Extra hours spent ‘collaborating’ with colleagues in The Arts/other faculties on prescriptive tasks delineated by administrative personnel (usually data driven to prop up their positions it would seem) while there are a hundred other things I should/could be doing for my students. This still occurs in times of pressure when reports are due for example. (SV11)

Other less enjoyable aspects of super veteran work included classroom management, the repercussions of limited funding for their (government) school, not having enough time, marking, fixing equipment, dealing with parents, and annotating and collecting evidence for NESA. The pressure of the role as head teacher, a position held by 13 of the super veterans, brought increased frustration, as illustrated by this super veteran:

[The] politics of the job. In a head teacher role, I am often in a position where, as the messenger in middle management, I am the target for my staff’s frustrations and complaints. This is wearing and tiring. Other big frustrations are around the place of music in education. So many school structures are inherently built around the ‘core’ subjects. (SV22)

One super veteran focussed on the perception of the school and community about the importance of music teaching:

Most colleagues are pleased to see students achieve and excel irrespective of their teaching area. However, the role of the music teacher in this journey is not always recognised. ‘Educating’ the school and wider community on what is needed to nurture the musical development of all students, from the novice to the gifted, is an ongoing challenge which becomes tedious and tiresome. (SV16)

The super veterans’ motivation included working with students who enjoy music, student energy and enthusiasm; having a vision and seeing it come to fruition; implementing new teaching ideas, appreciation from students and parents; and striving for excellence through a high culture of learning in the school.

This super veteran described their holistic understanding of motivation:

Everything, teaching is a calling, not just a job, so everything motivates. It’s all about having the right mindset and seeing it holistically and through the right lens. It’s all about the student and making a difference. Performance, Musicals, Technology, Professional Learning, contributing outside of school to local and National Associations as an advocate to support the growth and awareness of the music. Ultimately, you hope to make some sort of difference, even if small along the way. Sometimes you don’t see the results immediately, rather it occurs in the years after the student has left. (SV23)

The prime motivation for super veterans and the most enjoyable aspect of their work is to develop their students’ musical skill and make a difference in their lives.

Music itself is always the driving force for me. I am motivated by the challenge of finding ways to lead students on a musical journey which opens their ears and eyes to the mystery of new musical experiences. The challenge of building on their musical skills and experiences and of finding ways to introduce new and unfamiliar repertoire which they can understand and are willing to explore is very satisfying, particularly if the students are responsive. (SV16)

It is important to understand that Australian super veteran secondary classroom music teachers are driven by their enjoyment of teaching music and by the skills they are developing in their students.

The importance of being valued in the workplace

The research of Brown (2015) highlights, along with the enjoyment of teaching, that veteran music teachers need to feel valued and supported. Guglielmi et al. (2016) found middle-aged teachers (aged 35–49 years) sought role clarity, as a critical factor, while seniors (aged 50 plus years) were driven by social recognition (being seen as an expert) (p. 355).

In response to the question ‘Do you feel your work is valued? By whom?’ 24 super veterans felt their work was valued, while eight did not. The key people who acknowledged their work were the students (22), parents (18), Principals (17), colleagues (17) and Head Teachers (7).

One super veteran indicated the importance of parent and student support stating:

At times the Principal and staff note achievements, but when parents and students say that they enjoy a performance or your teaching – that is fabulous. (SV12)

Another shared the importance of the value of music in the school community:

The school acknowledges the value of the Arts and Music specifically, supported in time, allocation and resourcing. Other students and staff in the school see music as valuable and an important part of the program across the whole school. Parents and students from PK-12 [Pre-Kindergarten to Year 12] are invested in the program. (SV23)

The super veterans shared the ways that their value was acknowledged, through verbal or written comments, or by the affirmation of their music programmes being resourced.

When this super veteran felt that her work was not valued, the blame was attributed to the school leadership:

When leadership do not attend performances. When in a personal development plan (PDP) meeting, the leadership ask if you are planning to move on soon. (SV2)

The pressure of the work and the demands of the school were clearly stated by this super veteran:

No – they just keep heaping work on to me – no time to breathe. (SV3)

One super veteran listed the lack of awareness of leadership about the work that goes into performances, while another lamented that she is valued by being given more work and obligations.

The recognition of work done well was important to the super veterans. The students, who motivate them and bring enjoyment to their work, were their strongest supporters and enabled them to feel valued. The importance of recognition, being supported in the school and trusted in their work, is evidenced in the literature of the veteran career stage (Bley, 2015; Brown, 2015). There was criticism in this research of school leadership (five responses – Principal and/or Senior Executive) in their limited understanding of the work needed to present a performance and a lack of acknowledgement after the work was completed.

The impact and availability of professional development (PD)

PD (also labelled in schools as Professional Learning) is now mandated in Australia for all teachers. Teachers are required to complete 20 hours of PD per year, with learning aligned to the Australian Professional Standards for Teachers (Australian Institute for Teaching and School Leadership, 2017). Some courses are provided in schools and others are identified and sourced by teachers according to their particular subject or need. Experienced teachers value PD that facilitates collaboration with colleagues (Conway, 2008) and the shaping of PD to personal need as an important factor to relevance and engagement.

Most super veterans (24) were fully engaged in their PD. In the past year, they attended courses such as Protools, GarageBand for iPads, Kodaly and Orff, music technology, syllabus implementation, differentiated teaching strategies and network meetings through professional associations. Three respondents said they led PD in their school or association. Only two of the super veteran survey responses were negative towards PD involvement, with one finding it:

a waste of time – irrelevant. (SV7)

The importance of time after a PD to implement learning was also a factor:

Following up on technology PD is time consuming. (SV11)

Most super veterans were positive about what they gained from PD. They commented on the challenge to themselves as teachers as well as leaders of PD:

I enjoy learning and being challenged. Sometimes it can be reinforcing and/or reminding you of what you already know and do. Sometimes it can be new ideas. (SV12)

As a facilitator and learner, it continually challenges me to think about my profession, whether as a presenter to new teachers, or other peers or as a learner reflecting on my practice. (SV23)

In response to the question ‘Is the professional development currently available, easily accessible and suitable to your needs?’ the super veterans were divided; 14 responded positively (10 from metropolitan areas, 4 from regional areas), 9 responded negatively (6 from metropolitan areas, 3 from regional areas) and 9 chose not to give an answer.

The negative issues raised included distance (where the PD involved the cost of an overnight trip and accommodation), PD at school being prescriptive and having to complete PD in the teacher’s own time. The concept that there is no ‘one size fits all’ approach (Conway, 2008) is supported by these super veteran responses:

Sometimes the professional learning is too strongly focused towards the beginner teacher and not enough is available for the experienced teacher. (SV16)

Very little (if any) available for my level of experience and interest. (SV18)

The energy and interest in PD by the majority of the super veterans was quite strong, but opportunity and accessibility were sometimes an issue. It is interesting to note that location (metropolitan, regional) did not have an overriding influence on availability and accessibility to PD for this group. There also seems to be a difference in attitude towards mandated PD, often delivered in the school, and external PD. There was great variety in the types of PD pursued, indicating the broad interests of the super veterans and their willingness to continue to grow their professional skill and knowledge.

The impact of change – the implementation of the Australian Curriculum: The Arts

Curriculum change for music teachers is identified in the literature and, for the veteran career stage, it is considered to be challenging (Barrett, 2009) and a point of frustration (Abramo & Tan, 2017). For music teachers in Sweden, curriculum change brought not only problems but also possibilities (Zandén & Thorgersen, 2015).

The Australian Curriculum: The Arts is a part of the Australian Curriculum which was designed and drafted from 2009 and endorsed by education ministers nationally in 2015. The Australian Curriculum, Assessment and Reporting Authority (ACARA) led the national collaboration to produce the curriculum. ‘The national curriculum was introduced to improve the quality, equity and transparency of Australia’s education system’ (ACARA, 2019).

The Australian Curriculum: The Arts incorporates five art forms – Music, Dance, Drama, Visual Arts and Media Arts. Most states and territories have, or are going through, the process of implementation, with NSW being the last.

The implementation of the Australian Curriculum: The Arts has impacted the work of super veteran secondary school music teachers. In reporting feedback from the super veterans, their state of origin has been indicated. Overall, the support given to this process was mixed.

Three super veterans found the process of implementation quite smooth and clear:

Very few [issues], as I felt I was relatively in tune with the practical thrusts of the curriculum. Its been more a case of amending school-based curriculum documentation. (SV21, Western Australia)

No real issues experienced – for me it’s been a natural evolution from the days of the Curriculum and Standards Framework through to this iteration. (SV24, no state given)

For another, the combining of the Arts in the Australian Curriculum was a negative aspect:

Anything that refers to the Arts usually denies the unique knowledge and skills required/expected of any of the individual specialties. Usually this results in poor quality curriculum and delivery of that curriculum in the various fields of the disparate group referred to as the Arts. (SV19, Victoria)

This super veteran was still going through the process:

Still trying to do it . . . trying to get head around cross curricular aspects etc. (SV9, Queensland)

One super veteran from NSW shared concern about the upcoming implementation of the Australian Curriculum: The Arts:

I think a lot less teaching is getting done. Because of the reduction in assessment tasks and the implementation of generic ‘one statement fits all’ assessment criteria it is very difficult to create tasks that help students develop their skills in music. In conjunction with ‘accountability standards’ and student wellness issues (read ‘no pressure to help a student excel’), I do not believe the new curriculum will lead to an improvement in student outcomes. (SV5, NSW)

The rate of change in curriculum and school policy was highlighted by this super veteran:

Another initiative to come to grips with and implement – have had many in the last five years – it’s just one more! (SV14, NSW)

From the responses of the super veterans in this research, there seems to be a positive attitude towards curriculum change in some states and territories. NSW respondents ranged from little knowledge of what is ahead and no real concern, to negativity about the process. Two super veterans think NSW has taken too long to implement, while another highlights that the process is being poorly managed.

Areas of stress and work–life balance

There is much research that supports evidence of stress and burnout in the working lives of music educators (Bernhard, 2016; Doss, 2016; Figueras, 2014; Shaw, 2016; Vitale, 2015). Common triggers include the preparation of performances, heavy workload and a lack of resources. Reactions can be physical, leading to illness and emotional exhaustion.

Aspects of stress that affect super veteran secondary school music teachers include poor student behaviour, administration – deadlines and paperwork, getting staff to meet deadlines and lack of time. The pressure of increased paperwork, which leads to an imbalance of time, is highlighted in the research of McKinley (2016). Other areas include IT (information technology), insecure management, the sudden expectation to perform, colleagues, and pressure from the Senior Executive and Principal.

The roll-on effect of stress is described by this super veteran:

The urgent and unimportant jobs are the most stressful as they eat up precious time in a very busy day. It then causes stress when staff and students want to claim some of that time for things they see as important. This can lead to conflict in the faculty, when staff feel you are not giving ‘them’ enough time and I am spending too much time doing ??? As the saying goes ‘you can’t please everyone’. As a head teacher of creative arts teachers, it can be hard getting them to complete compliance tasks when they do not see any value in them. This creates a lot of flak back at me and creates conflict. (SV22)

The implications of school initiatives can make teaching difficult:

Obeying poorly thought out ‘innovations’ from leadership. Managing students with insufficient support. Trying to teach when the obvious priority is parent and student satisfaction and happiness (i.e. the leadership’s interpretation of ‘student wellbeing’). Consequently, task difficulty needs to be decreased to ensure student wellbeing! (SV5)

Super veterans have a range of coping strategies for stress. These included delegation of tasks at work, going to bed early, seeing a psychologist, exercise, time management, rest and setting realistic goals.

Keeping the big picture is critical to survival. Also, I have had to reinvent myself a couple of times to ensure the job as a classroom teacher stays fresh and so that I can keep up with changes in technology etc. In some ways my personality has assisted in that I can be quite task focussed, and stubborn in staying the course. If I believe in something, I am able to get through the times of conflict and stay true to my principles and professionalism. I also have a beautiful wife and family that keep me balanced and centred. (SV22)

Sometimes space for isolation was sought:

Looking for withdrawal spaces. Using headphones wherever possible to cut down the noise levels. (SV16)

The super veterans gave a mixed response to whether they had a healthy work–life balance with 13 in the affirmative and 11 in the negative. Some super veterans pursued special interests for their well-being:

Personal enrichment, singing in choir. Never take marking home! Supportive husband. (SV15)

I try to do things I like every week. I still rehearse and perform in a band outside of work. (SV2)

One super veteran felt the importance and visibility of his role was a determining factor in his work–life balance:

I have a strong work ethic and want to lead by example. (SV30)

Eight super veterans articulated that they were aware that their work–life balance was not healthy:

The imbalance – expectations are high and do not encourage a balance including working on weekends/holidays and being available to students/parents/staff 24 hours per day. (SV14)

This super veteran was clear in setting boundaries and felt experience enhanced the way they deal with requests:

Maturity and learning to say NO. (SV24)

While many super veterans did agree there are factors in the healthy work–life balance that are hard to solve (distance travelled, work being all-consuming, long hours, poor sleep, high stress), there was an acceptance that a healthy work–life balance is hard to achieve. Of those who said they had a healthy work–life balance, most had intentionally put in place activities and structures that allowed them to be creative and engaged in other things.

Positive perspectives for the future

While some research on the career forecast of music teachers nearing the end of their teaching lives can paint a negative picture (Baker, 2005), the results in this survey indicate a positive response to career choice and continuing work status. Of the 25 super veterans, who answered if they would still be teaching in 5 years, 9 were very likely, 7 likely, 2 slightly likely and 6 not likely, with 1 unsure of continuing beyond 5 years.

When asked if they would choose to be secondary school music teachers again, 21 said yes and 4 said no. This was an encouraging result overall, affirming the career choice made by 78% of these super veterans, with 65% continuing with no foreseeable plan for retirement. This super veteran shared her passion for her work:

I love my job! Being in a creative environment every day, working with and developing students’ talents – what a blessing! (SV15)

Conclusion and implications

This study is a significant and encouraging investigation into the working lives of 32 super veteran secondary school music teachers across Australia. It is significant because the specific reporting of super veteran voice in the literature is largely neglected. While some aspects of the literature suggest this career stage (30 years plus) shows evidence of wind down and exit (Christensen & Fessler, 1992) or reassessment/redefinition and proximate retirement (Baker, 2005), this was not the case for the majority of the super veterans surveyed in this study. These secondary school music teachers were still very much engaged in their work. It would be helpful to replicate this study in other countries to ascertain if super veteran secondary school music teachers share similar viewpoints about their work.

The super veterans found the most enjoyable aspect of their vocation was working with their students. This aligns with the research of Brown (2015) where working with students and being valued and supported was paramount to job satisfaction. The tedium and growth of administration is sadly in danger of eroding the time music teachers have preparing this work that they see as their core business. The researcher, also a super veteran secondary school music teacher, has experienced the exponential growth in administration at the expense of time needed to prepare engaging lessons for her students.

Being valued and supported was also an important factor in this career stage and the super veteran responses noted that students and parents were most likely to value their work. The importance of support by the Principal and Senior Executive of the school was highlighted as an area of improvement and vital to appreciation and feeling of worth by a significant number of super veterans.

Most super veterans were fully engaged in PD and actively seeking courses to continue developing their practice. Some survey responses questioned the value of mandated PD and it would be beneficial for education authorities in each state and territory to fully reflect, evaluate and streamline this area of teacher training. The participants in this research enjoyed growing as practitioners through the receiving and delivery of PD, but the specific needs of this career stage were often overlooked. Education authorities in each state should target PD that considers the career stage of participants to enhance and broaden further super veteran learning.

Concern was raised at the rate of change demanded through the implementation of the Australian Curriculum: The Arts, and the loss of the uniqueness of each Art form, particularly Music. While some states seemed to have moved through the process of implementation smoothly (e.g., Western Australia), others had concerns (e.g., Victoria, Queensland), with NSW yet to begin the process of implementation. Curriculum leaders in NSW would benefit from investigating the experience of the other states and territories to assess the impact on workload from this curriculum change.

Stress was evident in the working lives of the super veterans, but many had developed strategies to cope. Keeping their eye on the big picture, setting realistic goals and maintaining special interests outside of school were paramount to their well-being. It is important that school leadership foster these life-giving strategies to maintain a strong and balanced staff for the future. Strategies could include resources relating to teacher health (Bernhard, 2016) and an understanding of music teacher workload and stress that can surround performances and deadlines (Doss, 2016).

Another important consideration was the size of this super veteran secondary school music teacher cohort. Of the survey respondents in the study (n = 263), 22% were super veterans and this group is growing as music teachers continue to work longer. While this was not a large study, with a high percentage of respondents from NSW, the sample of 32 consistently reinforced the themes of enjoyment of work, the need to feel valued, continuing development as practitioners, ability to cope with change and stress, and their commitment to continuing in the profession. Their wealth of experience is a valuable resource for mentoring and giving back to the wider profession in the future. This super veteran described her approach to supporting music teachers of the future:

Empowering my staff, providing them with the skills and opportunities to develop their craft and being a role model to my students. (SV30)

This research has implications for secondary schools worldwide in the way they value and utilise the potential of this growing group of music teachers in 21st-century schools and classrooms. The voices and needs of these super veteran secondary school music teachers are often neglected in favour of those in earlier career stages. To conclude, this super veteran secondary school music teacher spoke of the strength of his work and the impact on those he teaches:

Great gig and enjoyable, great to do something you love every day, and where you can make a difference. (SV23)

Footnotes

Declaration of conflicting interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship and/or publication of this article.

Funding

The author(s) received no financial support for the research, authorship and/or publication of this article.

ORCID iD

Jennifer Robinson

References

Abramo

J. M.

Tan

(2017). A cross-cultural interview study of Singaporean and US general music teachers’ ‘pedagogical creativity’. Bulletin of the Council for Research in Music Education, 214, 41–61. http://link.galegroup.com.ezproxy1.library.usyd.edu.au/apps/doc/A553114664/AONE?u=usyd&sid=AONE&xid=82afcd81

Australian Curriculum, Assessment and Reporting Authority. (2019). What we do. https://www.acara.edu.au/about-us

Australian Institute for Teaching and School Leadership. (2017). Australian professional standards for teachers. https://www.aitsl.edu.au/teach/standards#!

Baker

(2005). Music service teachers’ life histories in the United Kingdom with implications for practice. International Journal of Music Education, 233(3), 263–277.

Barrett

(2009). No Child Left Behind and the assault on teachers’ professional practices and identities. Teaching and Teacher Education, 25(8), 1018–1025.

Bernard

C. F.

(2015). Ensemble educators, administrators and evaluation: Support, survival and navigating change in a high -stakes environment [Doctoral dissertation, Columbia University]. https://pqdtopen.proquest.com/pubnum/3704455.html

Bernhard

(2016). Investigating burnout among elementary and secondary school music educators: A replication. Contributions to Music Education, 41, 145–156. http://search.proquest.com/docview/1790516934/

Bley

(2015). An examination of the time management behaviors and work-life balance of K-12 music educators (1703023886). ProQuest Dissertations & Theses Global. https://search-proquest-com.wwwproxy1.library.unsw.edu.au/docview/1703023886?accountid=12763

Bresler

(1992). Qualitative paradigms in music educational research. Quarterly Journal of Music Teaching and Learning, 3(1), 64–78.

10.

Brown

B. S.

(2015). A descriptive analysis of the job satisfaction of veteran music teachers in North Carolina [Doctoral thesis, University of North Carolina]. https://libres.uncg.edu/ir/uncg/listing.aspx?id=18882

11.

Christensen

J. C.

Fessler

(1992). The teacher career cycle: Understanding and guiding the professional development of teachers. Allyn & Bacon.

12.

Cohen

Manion

Morrison

(2007). Research methods in education (6th ed.). Routledge Falmer.

13.

Collie

R. J.

Martin

M. J.

(2017). Adaptive and maladaptive work-related motivation among teachers: A person-centred examination and links with well-being. Teaching and Teacher Education, 64, 199–210.

14.

Conway

C. H.

(2008). Experienced music teacher perceptions of professional development through their careers. Bulletin of the Council for Research in Music Education, 176, 7–18.

15.

Creswell

J. W.

(2014). Research design (4th ed.). SAGE.

16.

Dabback

(2018). A longitudinal perspective of early career music teachers: Contexts, interactions, and possible selves. Journal of Music Teacher Education, 272(2), 52–66. https://doi.org/10.1177/1057083717727268

17.

Doss

(2016). Perceived stress among public school music educators: Stress over time, demographic differences, common self-identified factors of stress, and relationships between demographic differences and emergent stress themes [Doctoral dissertation]. University of Missouri–Kansas City.

18.

Figueras

E. J.

(2014). Constructing and contextualizing a multi-dimensional burnout profile of high school music teachers [Doctoral thesis, Boston University]. https://hdl.handle.net/2144/10991

19.

Gardner

R. D.

(2010). Should I stay or should I go? Factors that influence the retention, turnover, and attrition of K–12 music teachers in the United States. Arts Education Policy Review, 111, 112–121. https://doi.org/10.1080/10632910903458896

20.

Given

L. M.

Samure

(2008). Trustworthiness. In Given

L. H.

(Ed.), The SAGE encyclopedia of qualitative research methods. SAGE.

21.

Guglielmi

Bruni

Simbula

Fraccaroli

Depolo

(2016). What drives teacher engagement: A study of different age cohorts. European Journal of Psychology of Education, 31(3), 323–340. https://doi.org/10.1007/s10212-015-0263-8

22.

Hammersley

Campbell

J. L.

(2012). What is qualitative research? https://ebookcentral-proquest-com.ezproxy1.library.usyd.edu.au

23.

Lorenza

(2018). Curriculum change and teachers’ responses: A NSW case study [Doctoral thesis, The University of Sydney]. http://hdl.handle.net/2123/18901

24.

McAtee

(2015). Increasing school commitment by listening to veteran teachers’ needs and concerns [Doctoral thesis, Walden University]. https://scholarworks.waldenu.edu/dissertations/1723/

25.

McKinley

J. L.

(2016). The experiences of high school teachers who have encountered burnout [Doctoral thesis, Walden University]. https://scholarworks.waldenu.edu/dissertations/1976/

26.

Robinson

(2018). Inspiring music teachers: A study of what is important in practice. Australian Journal of Music Education, 52(1), 51–58. https://search-informit-com-au.ezproxy1.library.usyd.edu.au/documentSummary;dn=253861305238303;res=IELHSS

27.

Shaw

R. D.

(2016). Music teacher stress in the era of accountability. Arts Education Policy Review, 117(2), 104–116. https://doi.org/10.1080/10632913.2015.1005325

28.

Skaalvik

E. M.

Skaalvik

(2017). Motivated for teaching? Associations’ with school goal structure, teacher self-efficacy, job satisfaction and emotional exhaustion. Teaching and Teacher Education, 67, 152–160.

29.

Strauss

Corbin

(1998). Basic qualitative research (2nd ed.). SAGE.

30.

Sutherland

A. T.

(2017). ‘I think everyone’s been thrilled’: Music teachers’ perspectives on school music performance collaborations. International Journal of Music Education, 35(3), 446–459. https://doi-org.wwwproxy1.library.unsw.edu.au/10.1177/0255761416689839

31.

Vitale

(2015). Attitudes and perspectives of teacher performers on pedagogy and perceived student learning in the elementary and secondary school music classroom. Canadian Journal of Education, 38(1), 1–27.

32.

Zandén

Thorgersen

C. F.

(2015). Teaching for learning or teaching for documentation? Music teachers’ perspectives on a Swedish curriculum reform. British Journal of Music Education, 32(1), 37–50. https://doi.org/10.1017/S0265051714000266