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A Week of Reflections: Pedagogy in Practice

In an effort to get back into posting on pianopedagogy.org, I challenged myself to write “a thought a day” about basic pedagogy principles that inform teaching decisions I made this week. Each day, I added a new thought.  This week-long journey took me in unexpected directions, including a bit of research on learning temperaments.

Day 1: “DOING”

 

An adult student was playing “Celebration” by Roger Grove, from Music Tree 2B (Clark, Goss, distributed by Alfred Publishing). I was so pleased with her preparation. She mastered the left hand moves in one week and played at a completely steady tempo. There was just one thing to improve: she was lifting the pedal prematurely, therefore, there was a gap in her sound.

 

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The Makings of Musicality by Elvina Pearce

Photography by Raeleen Horn
Photography by Raeleen Horn

 

It’s probable that many believe musicians are born, not made.  Certainly  some individuals appear to have an innate “talent” for music-making and sometimes develop into superstars at an early age.  They somehow seem to acquire technical prowess and the ability to play expressively — but not necessarily because of how they are taught (sometimes even in spite of it!).  In this article, I am not writing about this type of “gifted” student.  Instead, I want to address music-making in terms of traditional (“average”) pre-college level students – the kind that I and others who teach at this level spend most of our teaching time working with.

 

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Dead Space

Looking up the definition of “dead space”  on the internet, I find a video game. When I think of dead space, however, I think of times in the private lesson when the student has nothing to do. We teachers sometimes expect that the student will wait patiently during these times. Often, though, dead space becomes a time for students to disconnect from us and from the experience of the piano lesson. We later wonder why the student cannot sit still, why the student is unfocused.

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Self-Directed Practice and Student-Centered Lessons by Elvina Pearce

Photography by Raeleen Horn
Photography by Raeleen Horn

Back in the 60’s I was stunned by the results of a survey indicating that the majority of students who begin piano study have dropped out after no more than just two years of lessons. Since then, similar surveys reveal that this high dropout rate continues to exist.

 

Some Reasons for Student Dropouts

Perhaps two of the most common reasons given for student dropouts today is that children are so overly-scheduled with extracurricular activities that they simply don’t have time to practice, and that sometimes even parents seem too busy to provide the ongoing encouragement and support needed for a child’s success at the piano.

One reason which students themselves give for wanting to discontinue lessons is a dislike of practice. Because it is usually a “do-it-alone” activity, the “fun” element seems minimal, especially when compared with participating in group events with peers such as sports activities, singing in the school chorus, playing in the band, etc. In addition, when practice consists primarily of mindless repetition — just doing time at the piano and playing through pieces over and over again, often at too fast a tempo, and with few apparent goals or strategies for fulfilling them, the resulting pianistic and musical rewards are rarely satisfying enough to stimulate a desire to continue on with lessons.

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