The main objective of my teaching is to empower the student. I would consider myself to be a successful teacher if students graduate knowing that they can accomplish anything – knowing that success amounts to doing the right things and working hard; and, that success has little to do with demographics.

My approach to achieving this goal is to instill in the student the ability to think critically. I believe that critical thinking is the most rewarding of all of the academic activities, as it necessarily involves creativity and is a personal statement that cuts to the core of an individual. The ability of to solve problems is the most desirable trait that employers seek in applicants. Regardless of the discipline, the professional workplace is about solving problems. My strategy is to nurture, equip, and model in a effort to have the students believe in themselves and to visualize their potential.

My strategy in the classroom to nurture the ability to think critically begins with the class structure. Students are allowed to use their notes on all exams (provided they do not accrue unexcused absences). The class at the onset is given the choice between numerous exams or fewer exams complimented by robust discussions that ultimately involve the vast majority of the class. Student notes are used on exams to jog the memory in able to come to conclusions relating to overarching course themes. Students can earn “C”s by answering true/false or multiple-choice Scantron questions. However, “A”s and “B”s are for students who can draw conclusions from all content (lectures, reading, videos, and audio music files). Also, this approach makes the issue of cheating moot.

Secondly, I will routinely ask for students’ opinions on lecture topics – everyone has an opinion; and, opinions are neither right nor wrong. This has the effect of making the student comfortable when speaking up in class without having to take a big risk. Finally, I will frequently ask thought provoking questions. Students will often state a fact without answering my question, but I am very careful not to strike down the student. I will respond with something like “ok, what you are saying is correct, but what do you think about such and such?” I am very careful not to ask questions that require several levels of deduction. At first I will ask questions wherein the answer is more or less obvious. Through time, I will increase the difficulty of the questions as students become empowered. I am very careful not to embarrass the student for fear of driving the student away. However, at times, I will apply pressure on the class and threaten to revert to a class strategy of many exams. To this date, the students have always opted for class discussions vs. many exams. Every semester I improve the efficacy of my strategy by discarding what does not work and adopting new techniques learned.

As a studio teacher I apply similar strategies. In short, I begin teaching a student by problem solving 80 percent of the time while the student problem solves 20 percent of the time. That 80/20 ratio changes over the next 3 years with 60/40 in the next year, 40/60 in the third year, and finally 20/80 in the last year. Just as when I encounter a problem on the guitar or in performance I hear my teacher’s voice in my head, I want my students to hear my voice in their mind – “what would Mr. Siqueiros do in this situation”.

With regard to modeling for the students I try to demystify the student-teacher relationship by using self-deprecating humor, the ability to admit when I am wrong, admit that sometimes I do not know the answer (but promise to find it), and remind students that once I was a student sitting in the exact same room and in the exact same chairs 25 years ago. I emphasize that whatever stature I have, it came through respect for knowledge, skills and hard work. I feel that if a student places their professors on too high of a pedestal, they will never themselves be able to climb their own pedestal. I also model for my applied students by staying active as a performer. If I, at the age of 58, can spend 3 to 5 hours daily practicing, then they too must do it. If I struggle with nerves on stage, then they too will struggle and must work through their issues.

As a teacher of multidisciplinary upper level courses in music and culture I try to bring to the student a robust and broad reaching learning experience. I take seriously that the course is mandated to be multidisciplinary by including literature and poetry, sociology, politics, anthropology, American history, music fundamentals, music history, economics, and politics in reading assignments, textbooks and general assignments (one of the required texts is Understanding Society through Popular Music written by sociologists). Several assignments are geared toward understanding the role of music in society and music as a phenomenon of human perception (anthropology). Students are given the option to participate in a performance of American popular dance at the end of the semester in lieu of the required 2000 word thesis paper. Students who participate in the performance learn the value of practice and rehearsal, are introduced to performance issues and stage/backstage decorum, and are rewarded at the end of the performance with a sense of accomplishment by receiving the kudos of classmates and friends. The result is that the students leave the class with a profound appreciation for the performer’s art and craft. For me, these courses are labor intensive. As mandated, assignments and tests are essay type, 4 projects including a 2000 word thesis paper provide a lot of grading (courses usually close at the 75 student cap); not to mention the need to stay current with research in an emerging field.

As a teacher, all of my efforts are intended to equip the students will knowledge sets and skill sets that will prepare them for a professional career.