Thanks to everyone who responded to this informal survey. I
found the responses to be touching and thoughful, and I hope they will be of interest to string teachers.
2. Everyone knows that fairly strict discipline is necessary in order to accomplishanything during
rehearsals. Do you agree or disagree? How do you think this attitude has changed, or has it? Should it? (Competency #4; how
learning occurs)
Rehearsals are a process. I am in a small chamber orchestra and the conductor is a "newbie",
straight out of university. It is interesting to see how things work themselves out. We often suggest procedure, such as who
tunes first, what tempi suits our group, bowings...I like it when the process is more democratic. That is also true of the Toronto
Symphony Orchestra here. We had one conductor who was very autocratic and the orchestral members did not work well with
him. There must be mutual respect.
I disagree somewhat. I think it's possible to have rehearsals with fun and a sense of
humor so long as there is a boundary line to prevent chaos.
Absolutely agreed. When this attitude changes, a great
effort should be made to point towards the trouble-makers, underline the injustice done to those who wish to get the work done,
and to enjoy the results.
I tend to agree with this statement, although as above, I believe that the exact strictness
needed varies with the size and level of the group. In general, I think this attitude has stayed the same, although at the
elementary rehearsal level, discipline may be less emphasized than in the past. I think that with smaller groups discipline can be a
little more lax than with larger groups, and younger groups take a different type of strictness than olde r groups.
Yes,
discipline is important. we must bow uniformly on most pasages, must play in tune, must sit up in good position and so on. "No,
you can't chew gum and play the bass at the same time"'Yes Ronda, you can go to the bathroom.' (What will happen if you say
NO?)It has to be FUN, rewarding, disciplined - but FUN too.
Strict discipline is necessary, but again the discipline can
be friendly or unfriendly. There should never be an adversarial attitude in any rehearsal.
I agree and do not think that it
has changed much, nor do I think it should.
My discipline is fairly lax because my classes are 14-16 people at a time,
and I can afford to be lax.
I agree, if you didn't have strict discipline, again, you would have chaos. I don't think this
attitude has changed in the orchestras I am familiar with, but they are very high quality, serious organizations, so discipline is
usually not a problem. In my son's youth orchestra, there is one young man who is somewhat disruptive. He is being dealt with,
and I suspect may either be moved in the back for the next year or asked not to return because it is not fair to everyone else to
have him disrupting the rehearsals.
I agree. But there is nothing more time wasting than not being prepared - be it
conductor or player.
Agree.Discipline has become an
increasing problem in our schools. A short attention span promoted and "TV" mentality has made it difficult for students to
listen. Much time iswasted on repeated instructions.
Disagree
Yes. A more humane approach by many
conductors has come about, and I like that
Agree. I believe the more stricter, the better. However. one must be flexible
to outside forces that the teacher has no control over. (Try teaching class if there right after a fire drill and you'll get my
point)
As above. Other factors include how often you see them. If you see a group of kids everyday, you can afford to
develop a working rapport. With rehearsals once a week, it is most important that everyone be very attentive to what is going
on
3. What is your general sense of how children respond to the revered composers of the past such as
Vivaldi, Bach, Mozart? What methods do you use to inspire interest inthese traditionally revered composers? (Competency #9;
materials andresources)
I have one student, who just turned 9 years old and he just adores Beethoven. There is a
video called "Beethoven Lives Upstairs" and he watches it often. We intuitively talk about the composers, showing him pictures
and telling him a summary of their lives or looking them up in a music dictionary.
My students seem to love these
historically famed composers. Often by senior year they purchase Cds and listen for fun. My only method is to select beautifully
crafted and tuneful compositions by these composers. I always choose works in the original editions, by the way, as my students
tend to find the "student editions" prepared by some companies to be condescending and poorly written (therefore less fun to
play).
I see three distinct reactions. Vivaldi is generally good - when you're talking of Spring or the Seasons, they
already know it and want to play it right away. We did a string arrangement of Gloria, and I think they liked the repeated 16th
notes. Bach: generally speaking, they like the instrumental challenge and that drives their interest. Mozart: I find that besides the
inherent quality of the music, the students need to understand sonata form in the simplest sense for them to really enjoy his
music (esp other than melody.)
The best way to get children to admire the works of great composers is to obtain a fair
version of their music. The pleasure they derive from this is far stronger than words. The method is repetition, but with a new
little details added each time, such as: In repeats,more P; certain accents; shorter notes here, longer there, etc. The: "Let us try
this" approach works nicely � and one should consult students afterwards, how they liked this, or whether another solution was
preferable.
I think some students really enjoy and are fascinated by the music of the revered composers of the past. In
general, I think younger students tend to have a more open mind and are quite willing to play music of all styles, while older
students have developed their own personalized preferences concerning what music they enjoy. At all levels, I try to expose
students to a wide variety of musical styles and hlep them realize that they share many characteristics. Specifically for the
revered composers, I try to link them and their music to things that the students may know similarities (in their music), historical
stories about the music or composer, show pictures of the composers, etc.
Our orchestra loves chorales and thinks
fugues are trey trey cool. And they like Vivaldi because they know the pieces (by and large)were written for children their age
to play.
They seem to love these composers without my having to impose their music on them. They seem to get this
sense either through the school orchestra setting, family background, friends, or from playing something by those composers. I
usually pick pieces that I think will be interesting to the student regardless of the composer----and many times it will be Bach or
Vivaldi; and then Mozart.
Generally speaking, the great composers touch something "eternal" in all of us. I realize this
is a somewhat biased statement coming from a private teacher, as students who study privately tend to be those who have
already responded in some personal way to the great composers.
My students are excited, and proud to be performing
the masters
I think they respond beautifully. I suggest reading Catherine Wolfe Kendall's books -- Stories of
Composers for Young Musicians and More Stories of Composers for Young Musicians. I also require my students to complete
a "listening" assignment each week--They listen to a classical recording or go to a concert. The recording must be listened to at
least 3 times and then they report back, telling me the name of the piece, composer, performer/conductor/ensemble. My son did
this for a number of years and is often able to tell the composer and performer just from listening to something on the
radio.
Mostly they respond positively to the works of these composers. I try to explain background, linking in to their
history lessons at school. I explain the reasons why the music was written and the type of performances it would be given. I
make this music as accessible to them as players, as possible by teaching them to interpret written music accurately.
A
question of age. Teenagers become interest in music with high esteem thyself.
My students respond very well to this
music. They generally don't like what they have not had a chance to hear or play. I feel it is my job to encourage them to try
"new/classical" music. Once they have learned it, they like it.I also let them know that it is OK not to like every piece of music.
Each person will have personal preferences.
Kids don't connect to them. I learn as much about the composer as I can,
and relate that information in as interesting a way as I can
Rhythm alone, perhaps. Or the color of the
orchestra.
As much as I Love those guys, the kids will tune out if you force it upon them. I choose fun pieces arranged
from great composers to gain their interests. Note: Kids prefer the faster numbers.
4. How much
verbal interaction among students do you allow during rehearsals or lessons? Does this depend on the group or the
individual(s)? How do you decide how much talking is okay? (Competency #7; communication)
Talking is
discouraged, especially when it is not related to music. When it is, it is brief. Otherwise it interferes with making music. That's
what it is all about.
I have to work all the time to keep the talking constructive and the more playing we do, the less
extraneous talking there is. If I spend too much time and energy repressing talk, rehearsal time gets wasted, so I have to find
ways to keep us playing while dispensing quick instructions. If I need to talk alot, I call sectionals.
Depends. Talking
for the purposes of fixing mistakes and peer instruction is great and encouraged. The "hey, how's it going" happens before and
after. This depends on whether you have leaders of each group (1st V. 2nd V, Va. C. and Bass) which have worked with you
before the rehearsals to get the bowings right, etc They may of course communicate with their group members, at certain
moments of the rehearsal, for an established time. Once you judge they got their job done, order is re-established and the playing
continues.
The amount of verbal interaction I allow among students in rehearsals and lessons depends on the following:
size of group, age of group, material being covered.I tend to allow more talking in smaller groups and less in larger groups. I
also tend to allow more talking when we first look at new skills or pieces (letting the students share their discoveries with their
neighbors) but allow less talking when we are focused on preparing for a concert. I guess my general rule concerning talking is
that it is okay up until it interferes with my teaching or the learning of other students and that this covers most situations in my
rehearsals and lessons.
We allow no talking between players other than 'business' "Can I borrow your rosin, use your
extra mute' and so on.But the director asks the children for their ideas about the music, what images it brings, and so on, so
there is talking, but related to the music.
Section leaders may talk to their sections and I will wait for them to finish. I
don't allow any distracting banter.In my master class I encourage students to respond to me and each other since they are all
partially responsible for teaching the class. Each student performs in the class after which the others critique
I am
pretty straight forward in lessons. There is usually so much material to cover that there is only time for talking about the music.
Social life or how it is going in their personal life comes at the beginning of the lesson as they are setting up and preparing to
begin the lesson or a little bit at the end unless there is a personal or musical crisis.
I view the lesson as a collaboration
between student and teacher. Thus, the talking is a conversation and not a lecture.
Students are encouraged to teach
each other, but not to mess around or visit about other things besides orchestra. I can allow this because my groups are very
small (14-16 per hour).
I teach fairly young children, but I am training them to be polite and talking is not polite when
someone is playing, or talking to the group.
I try not to lose sight of what is actually being achieved. I have a plan in
my head of what I expect each student to be able to learn and at what rate, and if this is being held up by too much chat, I will
take steps to remedy the situation. Often this will be through cheerful exhortations to get on and play the next tune, or a light
hearted 'Yes, but what about this piece here?' if they start talking too much. It very much depends on the age and standard, and
attitude of, the pupil. I probably allow more 'chat' than some teachers because music reflects life, and to ignore their perspective
on life will also be to inhibit the ideas they may pass to the music. Very 'chatty' children are often the most imaginitive, musically
and generally.I always make time to answer questions about music or string playing, as thoroughly as possible - and encourage
them to ask these questions.
Musical work has priority. I do not accept disturbances. But small comments are
OK.
I try to allow talking only between different pieces of music but it definately varies with the group. The more
disciplined they are, the more freedom I will give them.
Young musicians may talk when I am not on the podium. i
invite discussion during rehearsal related to the performance of the piece being played. Kids are kids and one must be ready to
steer the q/a to a meaningful significant question.
Very little interaction.
If I am able to get my goals
accomplished, soft talking is appropriate. Once the talking disrupts the learning, however, I put a halt to it
5. What do you do if the student(s) is disrespectful to you personally? What if they're clearly upset?
Do you continue with the rehearsal or lesson, or take time out? How understanding are you, in general? What are your limits?
(Competency #2, 11, 15; self-esteem, classroom management, ethical/legal/professional standards)
If someone is
disrespectful, which rarely happens (but it's not unheard of), I speak firmly with them after class. This has always worked in the
past (I'm told I have "fierce eyes" when displeased).
In general, I think I'm too understanding. I always assume that the
student's intent is not to be disrespectful -- that it just came out that way. I usually ask if they intended to be disrespectful if
something strikes me wrong. Then I take the opportunity to tell them a story about how I once said something that came out
wrong . . .
The way you act will either cause respect, or will cause trouble. If students show disrespect, I start blaming
me, to start with, and only on mature reflection would I take issue with one or some of them. In extreme cases, you might ask
them to leave the rehearsal, for, say, 10 minutes, to think their grief over, and come back afterwards. As stated in 2), one should
have a majority on one�s side and let them put their troublemaking pals to collaborate peacefully. If nothing works, the rehearsal
is interrupted, I sit there to read a book, and wait for the group to get bored from inactivity. Then the rehearsal is
resumed.
If a student is disrespectful to me, I try to address it either at that time or later. If the student is clearly upset
or the situation requires it, I may have the student take a time out while I work with the rest of the group. At some point, even if
it is at the end of the rehearsal or class, I will talk to the student one-on-one about the disrespect and follow it with appropriate
action. If on the other hand, the situation demands more immediate attention, I will give the other students something to do
(practice your part on your own or check with your neighbor that you both are playing this part correctly, etc.) and immediately
talk with the disrespectful student. I view myself at rather understanding and try to be responsive to the needs of my students. I
want to know why the student is being disrespectful and find a way to eliminate that behavior. At the same time, I will not
tolerate continued disrespectful behavior towards me or any of the other students.
We have had some children with
attention problems. I told one student to go out and run around the church ten times to use up energy (he did)The other children
are understanding, but not tolerant. They have spoken to the problem children, as the others perceive them as obstacles to the
group progressing.
When I've taught in public school, I have usually solved this problem by first speaking to the
student privately about the incident (away from other students so as not to embarrass the student). If that doesn't work, the next
step is calling the parent and explaining what is going on and asking for support. I do not interrupt the rehearsal or lesson. I ask
that they see me after class. It rarely, if ever, happens during a private lesson. At that point, then I'mlikely to say that perhaps
our personalities are not a match and that they should search for another teacher. Sometimes clearly these eruptions could be
caused by something that really has nothing to do with the class or lesson. In that case, I try to understand why it came out in
my class or the lesson. I don't have specific limits because it rarely comes up, if ever. My limits are pretty narrow. Find out the
problem. Solve it. If I can't solve it, then it is time for the student to move on. No point in senseless confrontations. Besides, the
student is the immature one or should be. The teacher shouldn't respond as if on the same maturity level as the
student.
I try to keep up at least on a superficial level with my students' personal lives. Though problems of this nature
are rare in my studio, the occasional one can usually be traced to some hardship the student is having personally. I have at times,
under these circumstances, stopped the lesson to discuss whatever the student may wish to disclose or have cancelled the lesson
entirely in order to allow the student to take care of whatever the situation required.
I am very understanding. I assume
the best about my students.
I am very understanding. I do not tolerate blatant disrespect, but try to handle it quietly. If
a child is clearly unprepared emotionally or behaviorally to have a lesson, the best thing to do is to stop the lesson immediately,
but kindly. It works like a charm and does not usually have to be repeated. With very young children, I only teach them the
amount of time they can handle without fidgeting. Then I instruct the parents so that they will understand the small lessons they
need to help their children with at home.
Disrespect to me personally - I take GREAT exception, in the same way that I
would not disrespect them. I will make it clear to them, quietly but firmly, if I find their behaviour disrespectful.If they are
clearly upset, I will take time to establish firstly if they want / need an adult's help and then offer them help, consolation, or
whatever. I am conscious that I may be the only adult besides their parents with whom they have one-to-one contact. What are
my limits ? I am paid to teach them violin - I can be flexible, but if the upset takes much time away from actual learning, I will
discuss with their academic teachers and a parent.
A joke may be OK. Then I invoke for concentration.
I ask
them to see me after class. I'm generally tolerate for awhile and then come down hard on the individual.
Interpersonal
relationships are extremely important to young artist development. If anartist cannot express feelings and emotions that they are
feeling they are invited to take a moment to reflect on the difficulty at hand. It is then the possible to communicate on a break in
the rehearsel. I do not stop rehearsel.Many times the difficulty that a student is working thru can be a positive experience
betweeen the members of the group. The teacher/conductor must model compassionate understanding behavior and steer the
ensuing conversation to a satisfactory end.Students that are physically threatening orrefuse to engage in presenting their
difficulty calmly are asked to leave and parents are called.
Require that they leave the room. Do NOT interrupt the
learning of others!
Not enough room to answer...Every situation is different. I take the appropriate steps necessary in
accordance to school district policy and where that particular student is on his/her step. Since I am provided with a cell phone
by the school, there will be immediatecontact with parent.If I am unable to make parental contact, I remove student from room
(either sit outside door or refer to office.)If I am very upset, I wait 24 hours before the student gets his/her consequence. That
way the child has a reasonable consequence instead of the euthanasia that I would like to administer.
6. Do you have any particular stories you like to share about composers to make them more human
and immediate and real to the students? If you have time, please share those with us? How do the students usually respond?
(Competency #9; materials and resources)
I tell some stories I've read in the composer bios I'm always reading. I
also tell stories about conductors who've inspired me. Am too tired to pass any on, but I'd advise reading the latest
bios!
I told that one student about Paganini and how innovative he was and how people thought he was the
devil...When it was his sister's turn for her lesson, he drew a picture of what he thought Pagannini should look like. He explained
to us (his mother, sister and I) that he has a big head because he needs it for all his violin ideas. So charming!
While
doing overture to Rienzi, I usually tell some fiction about Wagner and his penchant for over-the-top opera
roductions
Stories belong into the music class, not into the rehearsal � unless it is a short joke or pun. And only, if the
rehearsal goes well.
I like to share some of the "traditional" stories about composers. For instance, I share the story
about Haydn composing the "Surprise" Symphony to wake up his guests and one about Haydn's servant who would get Haydn
out of bed in the morning by playing all but the last note of the Surprise Symphony theme which Haydn felt compelled to end. I
also share the story of Beethoven being unable to hear while conducting the 9th Symphony and not knowing that the audience
was applauding at the end. I tend to use these stories when playing themes from these pieces in method books or other pieces.
In addition, I have a couple books about composers from which I will relate some historical facts about the composers we are
studying. The students usually are interested in the "human" side of these composers.
Well, I think that there will
always be a need for traditional teaching methods until the student has enough knowledge so begin giving opinions. And if the
opinion is worthwhile and works, fine with me. If I think that the opinion on say bowing of fingering doesn't work, then I am
pretty dictatorial. In instrumental music courses, it depends on the level. Is it elementary, junior high, high school, or college. It
depends also on the situation and the level of the students in the class.
We just generally talk about the composers. The
students are usually interested.
I will, of course, discuss Mozart the child with younger students, will describe Vivaldi,
the Red-Haired Priest and headmaster of an orphanage, tell of Haydn's life as a royal composer and if nothing else, help the
students to categorize the composers whose works they have played into the four major style periods. Students are usually
interested in these things. I can't say that they particularly "relate," but they enjoy knowing about the different lives and times of
the composers whose works have survived to their time.
In general, I try to show how composers were just normal
human beings with a whole range of emotional responses, and that their skill lies in reflecting this by writing music.
I
generally pass out material about the composers that we are playing.
I study composers from a variety of sources. Ex.
Composer and Critic by Max Graf. Young artists are always eager to understand that composers were people too. They had
everyday concerns like the students. Relating amusing anecdotes from the lives of the composers and their contemporaries is
just one way to give access to the life of any composer. Telling why a composition was written and the story of it's creation is
oftenfascinating. Young artists are willing to know more about a composer if they can relate his life to theirs. The student
should know why we revere a composer and must bestow their own measure of his/her greatness.
Not really, because
many are irrelevant or like gossip.
7. What are your
feelings toward traditional teaching methods versus a response-centered approach, where the burden of learning is placed on the
student? Howdoes this apply in instrumental music courses? Does it apply? (Competency #8; instructional
strategies)
I think that in most instrumental courses we need to rely on a traditional approach, though not lockstep
and rigid and inhuman. Response is necessary too.
I relally feel that ultimately, it is the children that learn. I try to find
out how they learn, model it, and give them the opportunities to experience what they need to teach themselves.
In
string instruments, the burden of learning lies necessarily on the student. It is important that the students gets it right � if only
once � in class, and then he has to get used to this right way on his own.
Teachers need to find the approach that works
best for them in each particular teaching situation that will best help the students learn. I think that some situations call for a
more traditional approach while others may work better with student exploration. When dealing with new skills or concepts, I
use a mixture of methods from direct instruction ("Do this to achieve this sound") to exploratory ("What different sounds can
you achieve?" and then "How did you get that sound", etc.). While I know some teachers who feel quite strongly that
instrumental music needs to be traditional (and authoritarian), I feel free to include response-centered approaches to try to meet
the diverse learning styles of my students.
It seems to me that in today's world (and perhaps earlier as well) the burden
oflearning orchestral music is the students AND parents. (Mr. S' triangle!) I have no students who are succesful without the
parents involvement as well as their own interest.
Students need to be taught by example and continually corrected. It
is up to the teacher to teach students to teach themselves. In this sense some of the burden of learning is placed on the teacher.
Still I have to emphasize that this can only be accomplished if the teacher teaches teaching.
Not too much. It doesn't
come up much. It happens only if I feel a student needs to think about a bow position first before playing, or a certain musical
thought before beginning a piece. I guess I do more thinking than I thought. One has to always be prepared mentally to play as
piece or whatever. And sometimes that demands a short period of quiet ahead of time to prepare mentally for a performance,
audition, a lesson, or whatever.
Of course, in the private lesson, the responsibility is placed on the student to practice
daily and to become one's own teacher during those practice sessions. It is up to the private teacher to teach the student to teach
himself.
I think it does apply. It helps the less advanced students catch up, and it gives the more advanced students the
chance to be teachers and solidify their learning through teaching.
I teach Suzuki violin, so I am very biased towards
the Suzuki philosophy. Lots of listening, parental involvement, I encourage them to start very young, because the philosophy
works better.Response-centred - does this mean, you teach what the student asks ? I am almost certainly in the traditional
sector, but determined to be flexible and sensitive to each individual.
In the last 20 years i leaved the trad. methods
more and more. Now the music itself gives the direction the way to go either technically as musically too.
I don't think
that it applies very well.
the learner is always in charge of learning. The teacher facilitates the acquisition of knowledge
by sharing technical and artistic info and holding the student accountable to the student established benchmark of
quality.
Children ALWAYS need instruction.
Traditional? verses Response-Centered?The only way to have a
succesfful music program is to demonstrate to the kids and to have them mimmic back. (short answer)I place theburden on the
student to learn the material. It's my job to teach them how to play and read music. It's their job to do it.Musician/Teachers have
the unique position of trying to learn the current trends in what the edu gurus think will work. I refuse to mold what we do into
an English class setting. We are hands on therefore, the student must experience it for him/herself.
8. Do you find
the notion of metacognition (thinking about thinking) useful in your teaching? If not, why not? If so, give example(s)?
(Competency #8; instructional strategies)
Yes, but I can't give examples because it's the end of the school year, I
am tired, and this questionnaire is going on forever:)
I am prone to teaching this way, but find that only a few students
appreciate this approach. If the student learns this way, I tend toward it.
Planning movements beforehand, knowing
what you want to feel before playing, is very important. Therefore metacognition is always useful, and the more difficult things
become, the more it will help to overcome. There are talented youngsters, artistically minded, but very slow mentally. You can
see how slow they make progress, even if what they have learned sounds stunning. This proves that mental activity is
paramount.
I think metacognition is useful in my teaching. For myself, I like to think about how I thinkabout new
situations and approaching new skills and techniques. For my students, I like to get them to think about what they are doing and
why which leads some of them to thinking about how they think about skills and concepts in music.
Well I think a lot
about PLAYING. What di I do to make this sound? Why does it work (or not) Howcan I explain this to Raoul whose English is
rudimentary.Think about thinking? I think not.
Definitely. If I understand the term correctly you are talking about
thinking about what tothink as you practice and as you analyze your playing. This saves time in practice and in
lessons.
One of my "avocations" is neurophysiology thus, I am always thinking about thinking. Currently, I am
exploring the "oganism-environment system" theory put forth by Finnish Professor Timo Jarvahlet. My philosophy in life is "go
to the source." If one knows how the brain thinks, one has a better chance of preparing information for learning in the
mostpalatable ways.
Yes, it's very useful. It helps the students develop evaluation skills which are critical for good
practice.
Not particularly.
Yes, it is important to know what we do.
No.
Yes. Helping a
student understand their individual learning style is essentiol to the success of that student.
No. Better to train for
CONCENTRATION.
No. I have tried it in the past and am willing to try it in the future. It has been my experience that
I simply define what I expect in a skill and why we have to do it that way. Then I have the students reinforce that.When you are
teaching a 45 minute class with many performance deadlines criscrossing each other, one teaches in the most efficient manner
possible. There, again, strings is different that math and english. Maybe if we giveup performing....
9. Share some of the most successful methods you have in handling disciplinary problems? Define
what you perceive as a discipline problem? Why do you think they usually occur? (Competency #2, 11; self-esteem, classroom
management)
Discipline... I think if the student has had not enough sleep, or ate the wrong foods (as children
having too much sugar), can affect their moods. I ask them what they ate, what they have been doing, or they tell me (or their
parents) Every day is different.
I believe that concepts of behaviour and discipline are a deeply embedded part of
western culture, especially in our attitude to education and child rearing, to the point where it is difficult to see other ways of
teaching. Focussing on "getting behaviour right" results in lessons about behaviour focussing on the music results in education
about music.
If students aren't paying attention and miss a cue or play badly, I have to address the issue. Usually I
address it by talking to the student. This often works. If it doesn't I have to come up with some other
solution.
Discipline problems result from needs not being met. Usually I can solve them by meeting the musical needs
of the student other needs are beyond my scope.
Inspire respect � the students must know that you are really good at
what you do. If you can do this naturally, without affectation, you have won the disciplinary battle before it starts. Accidents
will occur � try and dismiss them as fast as possible. If indiscipline persists, get disciplined students to help you. The causes for
indiscipline are various: Boredom, frustration of not getting it right. If the teacher is clever, he�ll make a note and correct the
situation before the next rehearsal. Indiscipline in a collective class depends on the number and age of students. The best way is
to mix collective with individual classes � where you can have it out with the usual troublemakers.
In general, I try to
be proactive and prevent potential problems. I try to move around the group and use eye contact to make sure students know
that I am aware of what they are doing. I think minor discipline problems (such as excessive talking, not following directions,
etc.) are usually caused by the student wanting attention (usually prevented by my proactive approach) or by the student who is
confused and needs help to figure out what is expected. More serious problems tend to come from outside concerns or minor
problems that have not been solved. I tend to handle these with a disciplinary plan that includes a warning and then
consequences (talk to me after class, phone call home, etc.).
Usually, I try to stop any before they start. A discipline
problem is anything that interferes with the learning problem, a disruption to a class or lesson.They can occur for any number of
reasons. The student can be bored; they can be tired; the room can be too cold or hot; something at home has gone wrong;
they've had a right with a boyfriend or girlfriend; there was a fire drill just ahead of class. I usually take it in stride and try to
move the class at a quick pace to get their minds back on the task. And I might not get accomplished my goals for the day, but I
have kept order and they are playing.
In a class situation, it usually happens through peer pressure. If you're a good
string teacher, you probably are teaching to the highest level of student in your class. That's always a motivator. But, every
situation is different. What works in one class might not work in another.Sometimes I've used practice charts; holding a grade
over their heads can work; an upcoming performance to prepare for can work.I try to keep this low key, but let them know that
their success and improvement on the instrument lies with the amount of time they spend on the instrument in personal practice
time. Some students take longer than others to get this idea.
See #5 above.
My classroom rules are simple.
When infractions occur, my corrections are very short, and then I return to the music. I criticize the action and not the student. I
point out what is good for the whole group.
I am not a disciplinarian, but if a child oversteps the bounds, usually I have
the parent in the room. I feel it is their job to discipline, not mine. If the parent doesn't do his job, I have, on occasion dismissed
the student from the lesson, or I very firmly, but kindly tell the student that the behavior is not acceptable -- that I have rules in
my studio. Usually it involves getting into things which I use as teaching tools. If I explain that those things are off limits, I don't
normally have a problem. A discipline problem is where learning is interrupted through inappropriate behaviour. My first line of
defence is to explain why their behnaviour is unacceptable and unfair to others trying to learn. I have sent children out of the
lesson for short periods. With serious cases, I will use other adults in authority to me, or to the child, as
support.
Problems occur when the student doesn't understand the teacher or when the basic motivation is absent.
Speaking about is the only way.
Try to keep the class moving with as little down time as possible.Play challenging
music.
Somone who is not ready to be part of the TEAM is a problem. Put the student on the spot to respond to that
point.
My class rules are posted clearly in rehearsal room and all students sign a behaviorcontract. A discipline problem
is anything that keeps a student from learning (including nonparticipation). Each student gets a warning and then they follow the
consequence steps for each infraction.All discipline problems occur when students have down time. I find that if they are busy
the entire class period,
10. Share some of the most successful ways you have found to motivate
string students to practice, focus, try their best. What motivations do you seek to inspire in your students? (Competency #5;
motivation)
Positive feedback is so essential. Not to be too critical. If they make a mistake, I say "oops" but if they
play something well, they get a heart-felt bravo from me. The students, old and young alike, enjoy getting stickers to indicate
they completed a piece.
The best motivation, in my experience, is love of the music we play. That's why I try to choose
works the students like that's why I give them a vote in what we rehearse and play that's why I encourage them to suggest
music to me (last year, kids suggested Holst's Planets, Bizet's Carmen Suite, and other pieces in the past, they've suggested
Mendelssohn Symphonies, works by Mozart and Bach that they heard on the radio or elsewhere etc.)
I'm still working
on this.
Self-realisation is probably the most important motivation. The "you can do it" approach is positive,
encouraging and stimulating. Don�t ask too much, but also not too little. Actually, the best motivation is that you tell the student
clearly how difficult his task is, not to underestimate what he is trying to achieve, and ask him to bring at least a "small sample"
of what he is out to master. (He�ll probably bring a generous sample � a typical reaction).
I try to build a good working
relationship with my students where we have a common goal of learning, making music, and doing the best we can. I use
frequent positive reinforcement and try to frame my comments in a positive manner (such as, "That piece made progress from
last week. It still has some rough spots....). On very rare occasions, I may use a piece of candy or sticker as motivation, but I
really try not to use external motivators. I try to get students to want to improve on their own. Some specific ways include:
using a practice journal for a week where students record what and how they practiced so I can help them practice more
effectively presenting a new idea or technique and asking the students to see if they can work out the technique on their own a
few times a year letting my students play a piece they select on their own for the rest of the group (I've done this in combined
rehearsals as a "Recital Day" or in regular rehearsals as a "Pic!k your own song" day).
I motivate my students to
practice by setting a good example, by being excited when I teach, by making use of audio/visual aides in the lesson, and by
serving as a performance role model. I learned early on that you can't motivate students with grade threats.My students are also
motivated by performance expectations. They must perform constantly in various recitals and master class situations, even when
they are not music majors.
I like to let my students know that I care about them as a whole person. What they are
doing in the rest of their learning life has a direct effect on what inspires them in strings. Also, what is going on in the home
effects all aspects of learning, including strings. I simply try to push them in the lessons and get them going to the next level as
quickly as their minds can absorb it. If they aren't challenged, then they tend to slack off or lose interest.
See #22
below.
Practice charts, music that they are excited to play, hearing older students play.
I ask them to bring in
various sticker charts to show me that they have done something. For example, one child was resisting having her mother help
her, so I had her keep a star chart with a start and end point. Every time she graciously allowed her mom to help, then she put a
sticker on the chart and they both got to do something together when the chart was completed.One student had been ill a lot this
year and for one reason or the other, practicing on a regular basis had come to a halt. The child told her mother she hated violin
(the mother is a piano teacher and should have known what was causing the problem). I asked the child to practice every day for
two weeks, charting her practice. When she successfully completed her chart, she was to get a prize. By the end of the first
week wehad a complete turn around in attitude. By the end of the 2nd week, we were completely back on track, enjoing violin
again. The lesson for the parent was that consistent practice was essential to keeping a child motivated.
Motivation to
practice - by eliminating those things which de-motivate - ie, lack of specific things to do during practice (so I fill out a practice
sheet which has separate sections eg exercises and things to remember, pieces to play, things to sing, games to play), uncertainty
about how much practice is expected (on my practice sheets there are 5 boxes to tick, I usually note how long each practice
should take, and for younger students, parent signature is asked for, and there is a space for parent to comment - many use
thisquite fully), lack of understanding of what is right or wrong and how to get things right (my teaching is based around
training the ear through singing and rhythm games, and explaining theory as it becomes relevant eg tones & semitones)Specific
problems might also exist eg child expected to practice in the living room with distractions arguments arise over practice
because the child is always asked to practice when it is in the middle of something more interesting - the solution is to make a
timetable when you will practise,and the stick to it.I NEVER tell my students that "I always wanted to practice because I was so
dedicated and I can't understand their attitude" - it is not true (there were plenty of arguments over practice and it didn't mean I
wasn't keen on music) and it does not help pupils to have a paragon of virtue to have to emulate ! Even Maxim Vengerov hated
practising, so he says.
Often a problem. Idees: Performances, concerts, working and playing together. No
dryexercices.
Pass out music with different levels and have them audition on the advanced part. Most students will
learn it.I play for the students.
Decide what goals they can actually reach, and how to reach them.
Fun music,
practice sheets, candy for taking instruments home (only those who comeby after school know I do it)
11. Share some of the most successful ways you have found to inspire string students, emotionally
and intellectually. (Competency #5; motivation)
Reading about composers or topics in the Grove's Dictionary at
school.
Again, great music makes kids want to play it over and over again hearing CDs and live professional groups
makes kids aware of the best sounds they can aspire to making recordings of kids (on CD and Video) lets kids see and hear
how they really sound, and motivates them to make improvements.
Praise when due is a powerful tool. For instance
"Very good, but try this � don�t you think you�ll gain by that?" Convincing is the word � not instructing � and the convincing
should be done in such a way that the student feels h e actually discovered the better solution.
As above, I try to
challenge my students to do the best they can. I have had students critique a performance they heard or describe what they felt
when they heard a piece of music. In addition, while I have not done this that frequently, I have had students work on special
projects such as creating a variation for a short melody, creating a story and the musical effects that could help tell the story, and
research a composer or piece.
Take time to talk to them. A couple of minutes discussing life and how things are going
makes a good emotional bond.
Since I teach mostly privately, I use whatever method works to fit a students' needs. It
could be songs from the Suzuki method or sometimes it could be some basic information as presented in All for Strings or
Essentials for Strings. And I always, always supplement with music that I think they will enjoy! They need to like what they are
playing. I have never had too much problem with this and most of my students are happy and successful with what they are
playing or learning. I rarely have a student who quits lessons. And by the time they are ready to go on to college, they usually
plan to continue cello as either a major, a minor, or as a strong avocation in their lives (school orchestra, community
orchestra).
The most important is to establish an understanding with the students that no matter what, they as human
beings are accepted and understood. Once this is established, honest and constant feedback in constructive ways about their
accomplishment of the lesson material, and aid in the development of their approach to practice are the most beneficial to their
success.
Praise their progress.
Group lessons twice a month. Workshops and festivals. My teenage son works
from time to time with some of my more advanced students during group lessons and then they come back in the group lesson
and "perform". He is very motivating. I use my son to mentor one of my young boy students. He helps him with his orchestra
music and sometimes with a piece prior to his lesson.I think if you are teaching consistently, the child is progressing, that
provides the inspiration. I educate the parents.
The only true way is to examine why I think music really matters and
why I love stringed instruments so much. Then I can speak genuinely to students, and always they are caught up by my genuine
enthusiasm.
Inspiring by the music itself (incl. analysis): Different styles: Baroque - Classic - Romantic - Modern - Folk
- Jazz - Improvisation / Playing together (+violin, +piano)
With advanced students, work on a piece such as the Bach
Adagion and focus on musical line.
12. How do you feel students respond to various teaching methods (traditional methods,
student-centered methods); have you tried different methods and what were the results? (Competency #4, 8; how learning
occurs, instructional strategies)
Kids seem to respond well to my traditional directive style so long as I (a) know
what I'm talking about (2) don't talk too much (3) give them a voice whenever possible and (4) listen actively when they voice
their opinions
Every student is a world by his own. You have to adjust tuition individually. No one is equal,
fortunately. Otherwise string teaching would be boring. Some students want more technique before trying to make music, others
want it the other way around. You have to learn how the student reacts and behaves, and give him what is best for him, at a
given moment. Time cures defects, if there is interest to get better.
I think different students learn in different ways and
that it is important that I try to find ways to meet the needs of every student. Most students have been enthusiastic about at least
some of the methods I have used, although some students have had definite preferences for one way and not another. For
instance, a student who plays extremely well, reads music pretty well, and started in the Suzuki method, excelled in traditional
methods where I told him what to play or how to play it. However, he was resistant to a more student-centered method when I
had each student create a variation to a short melody. On the other hand, another student who played well in more traditional
methods, also excelled in the variation creation. She really enjoyed the freedom to create and work on what she wanted. By
using these methods, I think I did help every student
I have tried may different approaches to teaching in the last 30
years and probably will continue to evolve until I quit teaching. I think students respond to any method you use as long as you
are consistent and do it well.
I think I must somehow apply this method. However, I don't sit down and think about it
before each student walks in the door. I do, however, keep notes and a folder on each student that tells what went on in the
previous lesson, what they were to work on, what was new, and what was a review. Then I always review, review, review. And
I always have a plan for the lesson. What I want to hear and work on first, etc. based on the past week's work.
As a
private teacher, my approach is essentially "student-centered." This method has worked very well for me and to be honest, I
don't believe I have tried another one (unless I am doing so unintentionally).
I have seen traditional methods, and
Suzuki. Suzuki, if done properly is in my opinion the way to go. I think that the listening skills are developed, the ear training is
wonderful, and the social interaction in group is very stimulating and inspiring.
The best results I have had are with
teaching solfa and rhythm alongside so that students know what sounds to expect.(Sorry, no time for a fuller
answer!)
Each student has an individual approach. I must employ different methods.
Each student is
different.
Better not to change methods
Student-centered methods have to be extremely structured. It is time
inefficient with the performance deadlines. (I do use it in tutoring situations or if I have a hotshot kid.)Some Fridays I have 3
students teach class (10-15 min. each) and give them feedback.
13. How do you apply the notion of
scaffolding, or building on prior knowledge, in your teaching? Do you apply this method? (Competency #4, 8; how learning
occurs, instructional strategies)
Yes I do. Am too tired to tell how except to say that I might rehearse a difficult
sixteenth-note passage, for instance, in one-measure segments, slowly at first, gradually increasing speed.
I attempt to
do this, but it is not natural for me. I am a hyper-linked learner, and I enjoy students that get a bunch of information in their
heads and start putting it all together without my help.
Yes. The advancing by small steps is particularly indicated in
string teaching. It is essentialthat the foregoing step is well assimilated, before proceeding to the next one.
I always try
to link new technique or ideas to past knowledge, because I think that this helps many students make important connections. I
do not always verbalize the connections right away as I sometimes see if the students can make the connections on their own
and then I confirm the connections. I think that almost all the skills and ideas we teach in music connect to other skills and ideas.
For instance, rhythm and meters aredirectly related to math. Music reading skills, music improvisation, and composition are all
parallel skills to reading and writing skills. I try to use these types of connections in addition to the obvious linking of musical
skills with one another.
I use analogies a lot to explain physical concepts. We also fire up the kids with TEAM
ORCHESTRA rallies.Attendanceat rehearsals is like attendance at soccer!
All teaching is built on this model. Careful
choice of etude and solo progression is the key.
Speaking from a private teacher standpoint, I base everything on what
has been accomplished and what needs to be accomplished in the upcoming year. I have a mental plan of where I think each
student ought to be in their development and act upon that inmy mental planning. Everything I do is customized to fit the needs
of the student. Do I need to work the bow arm? Is bow distribution a problem? Can the student successfully play extensions?
Choice of technical studies and pieces are built around the specific needs of the student.
As described in 15 below, I
use essentially a "spiral curriculum." Every concept is revisitedagain and again at ever-deepening levels of
understanding.
The Suzuki method provides an ingenious set of building blocks. Book 1 is the foundation, by providing
a proper set up and then each book builds on different skills. Ido supplement with scales and etude books later
on.
Essential. I hate teaching students who have insecure basic knowledge. I make sure my beginners understand
everything so they can build on secure foundations.
This is extremely important. It is difficult to go on to a new level
until one has confidence with the basics.
Point that out whenever you can
Yep. I constantly remind them when
they learn the concept... 5th Grade, 6th Grade, 7th Grade, Last week and etc. Sometimes I have to reteach, but usually
not.
14. What sort of non-traditional methods have you used which you have found to be successful in
teaching strings? (Competency # 4, 8; how learning occurs, instructionalstrategies)
Singing, dancing, painting.
Get the students to express themselves creatively in as many ways as possible.
Can't think of any, offhand.
If a
method works, it becomes traditional. Therefore, I am not using non-traditional methods.
I have mentioned some of
these above. I have found the following methods or activities to be quite successful:student exploration, student
composition/improvisation, linking writing and composition students create a story and then compose music or sound effects to
correspond to the story which is an idea based on a conference presentation by Shirley Mullins), providing students with choices
some of the times concerning exactly what we work on or how we work on it, etc.
I don't really think I do anything
that is non-traditional.
I assign students a "scalemap" for each key. This is a (albeit hand-drawn) blank map of the
fingerboard with all of the possible chromatic pitches notated in finger-tip-sized circles in their appropriate "geographical"
locations on the strings. (At the top left corner of the page, the student writes the name of the key, the number of sharps or flats
in the key, and the names of the notes which are sharp or flat.) For each key, the student must "color in" with a highlighter pen
the appropriate notes for the given scale. Once the scale is "mapped," the arrangement of half- and whole-steps becomes visually
obvious to the student.
Suzuki
Improvisation, variation and experimentation as a method to cope technical
problems an questions of interpretation. Playing together with the student: familiarisation with musical behavior
Using
improvisation.Having a pops ensemble.Having special chamber music sessions.
15. On what do you base your lesson plans: pieces to be learned, technical
studies, some other criteria? How, in other words, do you plan your week, the term, the year? Are your plans based on
concerts? (Competency #6; planning)
We have conservatory exams and a syllabus as a guideline. I ask them their
goals and try to find material suitable.If they are performing a concert, I try to find related material.
Pieces to be
learned. Scales and studies kill orchestra for kids. Great music contains enough scale-work, passagework and technical
challenges to use as educational material without further supplement.
Our plans are ideally based on exit
competencies:what we want the students to learn before they get to the next level. We try to coordinate what is being learned in
the content lessons with the music we will perform.
The overall plan depends of the pupil. If they want to pass an
examination, everything is directed towards that goal � not necessarily playing only the examination pieces, but acquiring
technique towards facilitating the job. If they just want to have fun, or play for their pleasure, a piece is chosen, and the
necessary technical exercise suggested to get that right. If concerts are programmed, the material should be ripe at least 3
months before, letting to rest, and taken up again a fortnight before the event.
My general response is that I try to
focus my plans on helping students meet their needsand show improvement in their playing.In school rehearsals and group
lessons, I base my plans on the outcomes I need to meet by the end of the year. I try to make sure that at least some of these
outcomes are met directly or indirectly by the pieces the groups play and usually perform. My normal yearly break down would
include starting the year with a focus on outcomes related to technique needed for later pieces (based on method books or other
exercises). When ready, I introduce the concert pieces and continue work on the techniques or skills needed to play the pieces
and the related outcomes. Prior to the concert, I focus more specifically on concert preparation and getting the pieces in as
goodshape as possible. The cycle continues throughout the year depending on the number of concerts. Obviously there will be
times when concert demands dictate certain aspects of my plans. There are also times when the concert preparation will be
interrupted to provide a more student-centered activity (student run sect!ional rehearsals, group practice time where I can help
those who need it, a complete break with students playing pieces they have been working on alone, etc).In my private studio, I
base my plans on a combination of pieces to be learned as well as skills that need additional work. For instance, we mightbe
working on a piece, on reading 5th position notes, and reinforcing a relaxed vibrato at the same time.
Each semester I
discuss goals for the semester with each student. Then I choose the etudes and repertoire which will realistically allow those
goals to be accomplished.
I generally follow a type of "spiral curriculum" which addresses varying levels of technique,
style periods and practices, theory, musicality, etc. I accomplish this throughuse of scales, etudes and a gradual order of piece
material.
My plans are based partially on concerts, and partly around the method book and thescales we cover during
the year.
My plans are based on the next step for each individual child, technique building.
For older pupils, I
use one of the three exam systems here in the UK. Pupils perform in concerts when such opportunities arise but I don't (yet ?!)
have specific termly pupil concerts. They do a mixture of scalework, studies and pieces. I have long term plans of what is
achievable in a year, combined with what speed the student is learning. I don't write specific lesson plans.
Fischer
BASICSA fundus of violin pieces. Weekly a folk-piece as prima vista exercice. No year planning, but planning of concerts,
performances, Class-teaching a.s.o.
The plans are based on learning music for a concert but I try to focus on specific
items in the music like a particular bowing or rhythm.
Better to think where successes can be achieved, instead of
inviting failure.
We meet as a cluster (1 high school, 3 middle schools and a ton of elementaries) anddecide what skill
we want learned by 6th, 7th, and 9th grade. It is our job to make it happen.I would like to say it is based on the TEKS... but
anyone who has read them know it is not specific. (No difference for Band, Choir, Strings, or General Music.) Our curriculum
guide is 20 years out of date and we exceed its standard anyway.
16. About how much time do you
spend on non-instrumental, verbal instruction in music theory and music history? (Competency #7;
communications)
Almost none. My kids won't have it. Plus, I speak more effectively in short, metaphor-laden,
humorous bursts in rehearsal. They remember those much longer than they'd remember a lecture.
Very little and not
enough. I would like to instruct the entire orchestra on a weekly basis on such things as scales, finger patterns, practice
techniques, etc., but there is not enough time.
As little as possible. It is preferable to have the student assist to theory
lessons with another specialised teacher, if this becomes necessary.
For me , thisvaries depending on the age of the
student and the setting. In my elementary school groups, I spend an average of 5 minutes out of 40 on theory and history usually
related to the material for the day (linked to idea in method book or pieces). With older groups, the amount of time would vary
with more than that percentage when introducing new ideas and skills in pieces or books and less time when focusing on
preparing for a concert. With my private students, I usually strive for a couple minutes out of a 30 minute lesson to betheory or
history linked to what we are doing. For instance, I have students play a sight-reading piece every lesson and will tend to
question them about the piece (key and how do they know, form, etc.). I also tend to introduce the historical ideas when first
starting a piece or when needed throughout the work on a piece.
About 10 to 20%. In Canada, most serious students
take theory courses through the Royal Conservatory separately from the instrument lessons. The RC courses are offered in our
school at two different sessions each week, and we have about 60 theory students at any one time.
Not much. Most of
my students are in good orchestra progams or study piano. I may ask them to listen to recordings of several different performers
of a piece that they are working on. Or I may have them look up the style of the music orcomposer they are playing. It is all
done in the context of the regular instruction. I, of course, teach scales and arpeggios. And if, for some reason, they don't seem
to understand how these are constructed, I take time and show them.
I talk about the pieces we are doing in light of
chord structure with demonstration at the keyboard as well. I always ask the student to analyze the music within limits of their
knowledge. Historical perspective is touched on as necessary for a better understanding of performance practice.
I play
piano with all students....the accompaniments as soon as I can so they can hear the piece as a complete work. I also play with
them on cello, particularly at the beginning of learning of a piece. Mostly to establish fingerings, bowing style, rhythm, key, etc.
And I am speaking as a private teacher.In a classroom setting I have used a student's instrument or brought my own to class to
demonstrate and then I verbalize what I want. Usually it has to do with bow distribution and style.
Again, this is
simply part of the "conversation." If a new concept comes up in the piece or the etude, I discuss it with the student.
not
enough
Incidental time as it applies to a piece a student is learning. For example, the May Strad had an article on
Minuets with pictures of people dancing the minuet. I brought in the article and shared the pictures with some of my young
students and then had them play gracefully so that the women with tight dresses and men with tight pants wouldn't split their
teams.
Theory: I get pupils to work through theory workbooks in their own time and I mark them in my own time - we
only discuss problems which arise. Music history: I give as much introduction to new pieces as possible. Very rarely I might get
them to look something up or find out about a composer.
0 - 30 %
About 25% of class time.
Very
little
Not enough. We are going to double blocked scheduling next year. (Orchestra 90 minutes every day!!!)I plan to
really work it in.Again, when you have 45 minute classes, there is only cram time for all the activities associated with
strings.
17. Do you use a piano to demonstrate ideas during rehearsals, or your own instrument, or borrow
a student's instrument? (Competency 9; materials and resources)
Yes, a piano especially for scales. My
instrument is they are having problems with intonation or bowing.Their instrument if they don't like their sound.
I
demonstrate on one of the violinists' instruments, or I ask a senior musician to "show me what I mean" (puts a smile on the
senior's face and earns additional respect from the younger ones).
Borrow, or bring my own.
I show certain
details on my own instrument. If the student doubts he can get this out of his instrument, or he produces unsatisfactory sound, I
show him on his instrument that it can be done.
In my school groups, I tend to demonstrate ideas with my own
instrument (I will sometimes use my own violin or viola or one of the extra cellos or basses at my schools depending what is
available and what I think will work best for the situation) or with my voice. I will use the piano for some other demonstrations
or to play multiple parts when I want students to hear multiple things at once. I think I have borrowed a student's instrument at
most twice in 10 years of teaching, because I really do not want them to feel like I am taking advantage of them or that I don't
care enough to have my own materials ready for my use.
All of the above. I find for tone production itis best to use the
students instrument, as you may otherwise ask for something that the instrument cannot do. Also this allows the student to hear
that their instrument CAN make a richer sound, ring on pizz. and so on.
I don't take my viola to rehearsals so my bad
habit is occasionally using my principal violist's viola to demonstrate a technique. I will then run an impromptu master class
teaching methods of mastering certain techniques required in the music.
Yes, I've done that when I felt it was of
value---both as a private teacher and as a class teacher.
I usually demonstrate on my own violin or viola. As students
begin preparing for recitals, I often will play a "violin reduction" of the piano score along with them to help reinforce style and
"vertical" listening.
I use the piano and I borrow a student's instrument.
I use a piano, my own instrument
andborrow a student's instrument
I always teach with a piano. I have my owninstrument to hand to demonstrate, or I
might use theirs if I want to see what sort of sound they could get, or prove to them that their violin will sound ok. Actually I
try to play their violins regularly to check for set-up problems (bridge leaning or moved over, strings sinking into the bridge,
rattles and squeaks, and amount of rosin on the bow etc.)
Piano and my own violin
I use a small keyboard and
my violin.
No
I demonstrate on my instrument or a student's instrument.
18. Do you
spend time listening to recordings during class time? (Competency #9; mateirals and
resources)
Yes.
No.
No.
Sometimes yes, but just for some particular detail, i.e., for a
few minutes.
I will have students listen to recordings during class time if I think that the recording will be a useful tool
to help the students play better, but I don't spend much time with them. I tend to use recordings to help students hear how parts
fit together in pieces they are working on, to help them get an idea of ONE interpretation of a piece, or as a demonstration of a
particular skill, style, or technique.
No
Generally we don't listen to recordings during the lesson time, but I do
try to provide students with (at least loaner) copies of the pieces on which they are working. I also encorage them to listen to
the local classical radio station and to begin to develop personal classical music CD libraries.
19. How do you feel about your students' parents? The
administration at your school? Supported? How important is that? (Competency #11, 13, 14; professionalism, school-home
relationships, school-community relationships)
Parents of children need to be involved.
I love the support
I get from my parents and administrators couldn't do my work without it! And, seeing how some colleagues elsewhere struggle,
I feel fortunate in my situation.
A very complex question. Good about the parents, but with a price -- they want a big,
top-notch quality performance, which sometimes comes at the cost of meaningful, long-term instruction. The administration
does not support us with staff, but says that it is important. Our program has grown, and we need more staff. .
Without
parent support, nothing can be done. Learning a string instrument is like a music stand, i.e., a tripod. The three legs are the
student, his parents, and the teacher. If one of these fail, the tripod falls down.
I think it is pretty important for a
teacher's sanity to feel supported by the parents and administration. I think that the parents of mystudents realize that I am a
professional who is working to help their children achieve success in playing a stringed instrument and more broadly in music.
They know that I am open to communication with them whenever they have a question or a comment (even if not all of them
take advantage of my willingness to communicate). Likewise, I think that the administration at my schools respects me and
supports me due to my professionalism, high expectations for myself and my students, and my willingness to help my students
improve. I think that these are important areas and that many beginning teachers don'trealize just how important parental and
administrative support can be for a teacher of any type.
I teach at a private music school. The school pays the coaches
(three of us), supplies the room, the stands and the music. Orchestra is free to ALL students, not just ones at our school. Its the
parents who make it work on top of this. They all come to rehearsal, they all stay through, they put the stands together, mark
the younger children'smusic, take Ronda to the bathroom and bring the teacher's coffee.
Myadministration is very
supportive of my program. Administrative support is an absolute necessity for any successful program. Parental support at the
university level is relatively less obvious due to the circumstances. They have already shown their support by virture of the fact
that their children are now university students and still involved in music.
In my private studio, most of my students'
parents are highly supportive. And it is crucialto the success of the student that they are supportive.In a school setting, if your
administrator is not backing your orchestra, then you've got recruitment problems and possibly other problems.
Most
of my students come to me through referral from their school music teacher.I believe that in our schools here, they have a
published list of the private instructors in the area.
As a private teacher, I feel that regular contact with the students'
parents is necessary for mutual support and for the support of the child. Parents are more likely to help the child achieve musical
goals if they are aware of what those goals are.
My parents and the administration are supportive.
Very
supported. It is extremely important
It is very important for teacher and pupil to feel they have parents' support and
equallyessential for the support of the school.Parental support for my current pupils is above average - nearly all seem to have
supportive parents. Support of schools is sometimes good, more often average because the director of music does not know
enough to know
Administration OK, Support OK, Organisation: in my own hands
It is very important to have
parent and administrative support. I have been very fortunate to be in a system with excellent support.
It most
important to keep in contact with the parents.
I am at a low socioeconomic school. Historically, parents are
noninvolved in these situations. I really haven't gotten to know them.The administration is great and supportive.It is vitally
important to be supported. Otherwise, you'll feel like you're all alone.
20. Do you have any specific methods
to encourage parents to provide private teachers for your string students? (Competency #13)
I am only a private
teacher.
No. They either do or they don't sometimes it's an economic problem and sometimes the student doesn't want
lessons. The most brilliant clarinetist I've ever worked with spent four years in orchestra without lessons and by senior year he
played more musically and at a higher technical level than any of the lessoned clarinetists I've had in 16 years. Not all students
can accomplish that, but lessons aren't the key factor in all aspects of student growth (many people don't want to hear this, yet I
say it as a longtime violin teacher too).
Lists of teachers, making our own contacts and hooking them up, HS students
to help younger beginners.
Explaining that string instruments are the most difficult to master, and therefore private
tuition is mandatory if frustration or impotence is not to cause havoc.
I try to provide parents with a list of area private
teachers (or of music stores that have private teachers who teach at their stores) with a note early in the year discussing the
benefits of private lessons. I think this helps parents because they have a list of names without having to do any extra
work.
All our string students are private students. The wind players, with a few exceptins, like our Tanglewood kid,
don't. And we (at our school) who rent hundreds of band instruments a year are totally stumped on how to convince parents that
private lessons would help maximise the investment on that $3500 sax.
When I taught public school, I encouraged
students to study with someone else....felt 5 days a week was enough for one teacher. Study privately with another person for
other musical and technical ideas.
No, I need to develop this.
My students are all private. UK system - largely
private tuition in any case.
I try to call the parents of students when they are starting to really make progess and show
interest.I send home a form letter about the importance of private lessons.I have a private lesson teacher list ready at all
times.
Point out where the stident needs individual attention.
I talk to them 1 on 1. Mostly its a dead issue....
no money and no realistic opportunity for scholarships.
21. Do you teach private lessons? Are there ever
any conflicts with your private teaching and your public school teaching responsibilities, if you have private students in your
classes? How do you handle that? (Competency #12; professionalism)
I teach, but avoid conflicts.
Yes.
No. But I've seen conflicts arise elsewhere where the public school elementary teacher was not a string teacher.
I never
had that problem. The German Government ran the public school I taught at, and string lessons were private, although they lent
the premises.
In my current situation, my private students are not in my public school classes. In a previous situation, I
did have a few students who I taught privately also in my school classes but did not really have problems with conflicts. I have
had a few school students who have studied with private teachers with whom I have not completely agreed. In general, I have
told the student that as they know teachers don't always agree. We sometimes have different ways we do things just like we are
different people. Depending on the specific cause of the conflict, I either try to find a way to make both ways work (sometimes
contacting the private teacher to work on this) or have the student follow the private teacher's advice (since they see
the
See above. In all of British Columbia there are only 4 string programmes in the public school system.
I am
strictly a private teacher.
I teach privately. I teach some of my students and no problems have developed.
I
only teach private lessons.
Yes, I teach all of my current pupils privately.
No
No.
Yes.
No.
It is a violation of the Texas Code of Ethics for Teachers (or whatever it is called) that allteachers sign before
receiving their employee contract.I charge $100.00 an hour for private lessons if they're willing to pay it, I'm willing to teach
them. (Not my own students, of coarse!)
22. What characteristics do your "best" students possess?
How does this relate to their parents, these students' other activities, their grades, or other factors? (Competency #3,
13)
Love of music high intelligence or quickness of mind. Not sure this relates in any measurable way to factors
you listed above.
Focussed, respectful, work at home to learn what they need to know, listen, never give up. Their
parents are the ones that you know.
My best students had either outstanding intelligence, or an extraordinary charisma.
The ideal would be to have both, but that doesn�t happen so often. In both instances, parents collaborated generously, the
intelligent students sometimes went for other professions (law, architecture, and medicine) and the charismatic went after music,
since they were not that brilliant in other fields.
My best students are ones who listen, follow directions, work hard,
give their best effort,and in general do what I expect them to do. I'm sure that these same characteristics are ones that their
parents also support and encourage. I would also think that these characteristics would yield success in other activities and high
grades.
Desire and a good attitude. Talent is a requirement in my situation.
Best students are usually self
motivated and with terrific parental support at home. And they usually are excellent students in all other subjects besides. Choice
of friends revolves around this too!
The best students are the ones who have goals of their own. These students, then,
are motivated to do the work required to achieve those goals. My best strategy for encouraging students to practice is in helping
them to set those goals. (Of course those with strong family support are generally more confident people and tend to believe
that they will achieve.)
Intelligence and musicality are their best characteristics.
I don't have a "best" student.
I try to look at each one as special.
REALLY interesting question ! Mostly, enthusiasm and readiness to apply their
minds to problem solving. Bright children often make good string players. The very best students also have larger than life
personalities (often, are good at drama and are not shy,or handle shyness well) and good co-ordination (often, are good at
sport)
Motivation, intelligence, curiousness, broad general education, ambition
Determination, Willingness to
learn, Respectful, Adept
TALENT(quick learners)
Two words: Self Motivated!These students are usually
very active in many school and nonschool organizations. Their parents take an active interest in their child. These students
usually make all "A"s.
23. What is your view and philosophy about seating? How do you handle
auditions? (Competency #10; assessment)
I try to rotate seating unless there is a player who everyone
acknowledges is strongest. I don't have auditions I watch and determine the level of my players. I also ask people to play out in
rehearsal (alone or in groups of two). I avoid asking the weaker students to do this alone, but the strongest get asked to play out
alone all the time, to increase pride (I praise their strengths, or else we all just applaud).
Rotate within sections until
two weeks prior to the concert. I like to keep a core of strong players at the first two desks.
If you know all the
students well, it is a good idea to pair rhythmically strong ones with weaker ones, good readers with worse readers, etc If you
form an orchestra by auditioning, watch out for strengths and weaknesses, and pair those.
I think that seating and
auditions vary based on the age of the student. In my elementary groups, I vary the seating frequently. I have students make a
name tag to hang over their stand on the first day (while I learn their names and for substitutes) and then each time they come in,
they find their seats based on where I have put their name tags. Sometimes I set them up with weaker players next to stronger
ones while other times I put the stronger ones together. Usually I keep the sections separate, but sometimes I sprinkle the violas,
cellos, and basses, in with the violins. My seating plan is based on what I want to accomplish that day. When the concerts get
close, I use the same basic seating over and over but do not put them in a "ranked" order. With older groups, I try to vary them
somewhat or at least do some type of rotation (sometimes with the first stand or two not moving) and I try not to have them
sitting best to worse. I don't hold real audit!ions, but rather I find out how students play at all school levels through my regular
assessments (playing tests alone or in groups, playing a piece of their own choice, etc.) Another teacher I heard say something
similar to this with which I agree: At school we are a team and we need to work together to help us sound the best and learn the
most. We are not trying to compete with one another but are trying to help everyone succeed and do the best they can. Outside
of school, at contests or festivals, is where you may try to compete with others and get a feelfor the very competitive nature of
some musicians.
They have supportive parents or grandparents. They're interested and participate in other things -
soccer, Odyssey of the Mind, Scouts, church groups
One of my favorite topics. I hold auditions only for the principal
chairs in the orchestras. Then I place students in with partners to assure pretty even strength throughout each section and rotate
stands each week, except the first stand. I also rotate violins in and out of the different sections for each concert, keeping
thefirst violins just a bit stronger than the seconds. I am very fortunate to have excellent string players, especially violinists and
violists, so both violin sections are very strong.I find that students are very happy with this type of arrangement since all the
students know they will get equal treatment.
Many thoughts on this. My past philosophy was tohave the best players
in the front, but also to rotate the sections so that all had the opportunity to sit up under the directors' nose.I never had
auditions. I placed the students where I felt they belonged. Very few complaints. They all know where they stand, pretty
much.
As a private teacher, I deal with auditions from the standpoint of preparing the students for them. I try to help
them prepare as though they will take a professional audition. When the results are in, I am proud of them regardless of specific
placement.
At the middle school level, I seat students as partners, a strong student with aless advanced students. There
are as many strong students in the second violin section as in the first. This allows us to play more difficult music, and it doesn't
leave the least advanced players stranded in the back of the section, not knowing what is going on.
I don't teach
orchestra, but I think that seating should not only be based on audition performance, but leadership skills as well. A couple of
students--one very talented boy quit the youth orchestra I work with this year because he wasn't placed in a principal position.
He clearly played rings around anyone in theorchestra. But I understand the director's decision. This student had missed/left
early a number of rehearsals the prior year and a principal needs to be there. So it is not just on how well someone
plays.
If the expectation is that it is done on standard & ability, then this must be adhered to and objective decisions
made - this is not easy.If standard & ability do not apply, for instance if older children are asked to support a younger ensemble,
it should be made clear that itdoes not matter where you sit
I need good musicians in the second v. too. They alternate.
(No auditions)
I do not have auditions for seats in school. There are opportunities for competitive seating in our region
and area orchestras.
Look for a variety of factors in the playing.
I've always tried to seat a strong player with a
weak player. This year I am changing it we will be in chair order.All auditions are live during class. My students learn quickly
that we are a performing ensemble which means everyone must play in front of each other. Also, it squashes any rumors of
favoritism when I do grades.Students who had a bad audition may come in before/after schoo and make up the grade.
24. How do you support the exceptionally talented students without inspiring jealousy or a sense of
injustice from the ones who will probably go into other fields? (Competency #1, 3)
Each person has their strengths
and weaknesses. Make sure they focus on their strengths.Encourage love for music and to cooperate with each other. We learn
from each other. Discourage competition.
I give exceptionally talented students solo opportunities and leadership
opportunities. I also quietly ask their opinion all the time (trying not to arouse public jealousy, tho it has happened). As for other
fields, everyone in my orchestra goes in to other fields except the one girl who just went off to Juilliard, and many who go into
other fields are exceptionally talented as musicians.
Provide for the needs of the others as well. Orchestras need to be
viewed as a team the fabulous violinist at the front of the section would be nothing if it weren't for the other 13 that support
during FF sections, sweeping melodies, tremolos, etc. we need them all.
The fact that some students will become
musicians and others wont, helps to solve this: The future pros play to survive, the others don�t. This is usually understood, and
a certain protagonism is allowed for those who will become professionals. I have had no problems with this.
I try to
stress that we all have our own strengths and weaknesses and that we need to work to develop our strengths and improve as we
can our weak areas. I also stress that we, as a group, need to work together so that we are all getting a chance to do our best.
This may mean that some students will play a special part in a piece or participate in special activities related to orchestra just as
other students may have special activities for academics, sports, theater, or any other area. Most students seem to find this
reasonable especially if I don't over-emphasize how wonderful or what special things the very talented students have
achieved.
I ask them to play in my chamber music programmes. On July 8 I have three violins and two voice students
performing in From My Garden, with music by Ursula Mamlok, stephen paulus, Gershwin etc.
I just try to instill the
idea that everyone has talent. And that these talents can be choices as to which direction a student wants to go. Just because it
may or may not be music is no reason not to do the best they can do.Also, I try to have the students focus on themselves and
their strengths and goals rather than on what another student may or may not be doing.
Generally, I give extra time and
extra opportunities for performance. I keep these "extras" very low-key and I also let every student be assured that I am 100%
behind him/her.
Many learn to play a second instrument in orchestra.
I feel that all students are talented.
Talent Although some students have an easier time, I look for areas in which that student is talented and try to develop that. I
have no sense of jealousy or injustice in my studio because I appreciate each student individually.
I haven't found
instances of such jealousy yet, perhaps because I remind people why they are playing in the first place, also that everyone has
different strengths, and simply encourage people to give of their best - that is all that is required.
All students are taken
individually and become the same devotion. (At least, I hope so...)
I give them solos to play and use them as role
models.We have a cadet teaching system in my school.
Keep them IN the group.
I get them in the local youth
orchestra and involve them in outside school orchestra activities. In class, they are treated as an equal with the other students.
