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HomeMy WebLinkAboutThe Wingham Advance-Times, 1984-06-20, Page 13• 4. eisure, features an entertainment Serving over 24,000 hdmes in Listowel, Wingham, Mount Forst, Milverton, Ariss, Arthur, Drayton, Harriston,Wooretield, Palmerston, Bloomingdale, Breslau, Conestogo, Elmira, Heidelberg, Linwood, Maryhill, St. Clements, St. Jacobs, Wallenstein, Wellesley and West Montrose. Wednesday, June 20, 1984 Child comes first in new music - teaching approach by Ivy Reeve For some children,, piano lessons are an ordeal. Pain -o lessons, one youngster sullenly calls them. One week she spent hours on a primary piece with a coy title, "Bunny's Birthday", trying not to foul up on fingering, straining , her small hands to reach the bottom note of an octave -long chord, fumbling with grace notes, struggling with the mysteries of sharps and flats. She played the Bunny number for her music teacher who, before going out to the back porch to feed her spaniel, performed the simple piece with flawless brio, leaving the child in the music studio, humiliated, on the verge of tears. And there had been a figurative slap on' the wrists because the teacher suspected the pupil was committing the vice of playing a couple of bars by ear, the penance for which was three hours of sight reading at home. To make matters worse, the child had overheard her teacher telling her mother, as tactfully as possible, that a silk purse can .not be made from a sow's ear, a Liszt from a musical klutz. NEW APPROACH • Disparaging a pupil's effort is not a means to the making of a musician in the Suzuki 'teaching technique. This relatively new approach was developed about 40 years ago by Shinichi Suzuki. Now 86, Suzuki, an • accomplished violinist, spent his youth studying music in • Europe. When he returned to his home in Japan, he not only fumed a string quartet with his brothers but also devised teaching techniques which have as their main ob- jectives the pleasure and satisfaction of the child. In contrast to traditional methods, the Suzuki approach emphasizes first, the love of the child; second, love of teaching, and third, love of music. The child always comes first, All aspects of the lesson are geared to the .child. The length of the lesson, its pattern, pace and material, and material assigned for home practice are chosen specifically for each child. TALENT EDUCATION The approach — Suzuki referred to it not as music teaching but as "talent education" — has been used for several years by Brian Emery of Stratford. Mr. Emery, who holds Bachelor of Science and Bachelor of Music degrees, and id director of music at Knox Presbyterian Church, Listowel, has pupils in Listowel whose ages are four and up. Every one of them can play the piano. Not one of them can read music. This represents another departure from traditional methods. For Suzuki pupils, the reading of music is delayed until aural and digital skills are well established. The assumption is that because children speak before they read, they can play music before they are able to read musical scores. Music, like the language they learn from their parents, can become a "mother tongue". As with language, the musical "mother. tongue" is learned through con- stant listening and repetition. Mr. Emery uses another analogy: Children learning to dance do not need Arthur Murray footprints to follow. It has been •found that if the difficulties of the traditional music reading requirements are delayed, pupils can begin to develop musical talent at the age of three or four. When he is giving a lesson, Mr. Emery often sits beside his pupil on, the piano bench, playing along with the student. He never intimidates the child by playing a polished rendition of the piece. If a small finger strikes the wrong note, he sugar-coats correction with praise. "Very good — you have a nice tone on that. But I'd like you to play this note in- stead. Let's play it six times." And if a child attacks a key with a flat - fingered thrust, Mr.. Emery shows no chagrin. He smiles. So does his pupil. He asks her if she has looked at her dog's paw. "You've nice, soft pads on your fingers, too. That's what we play on." Although the child is treated af- fectionately,, respectfully, and receives plenty of praiSe, Mr, Emery emphasizes that the Suzuki approach "is not laid-back; it's really very structured." • The child plays music and,listens to music "hundreds of hours a year" and "two notes may be two weeks' work." Susuki "talent education" is not predicated on the idea that some children have innate musical gifts, while others were born with tin ears and wooden fingers. • It is believed that ability' is learned, not inherited, and that if music is as much a part of the environment as words, almost all children can become musically fluent. PARENT INVOLVEMENT Creating a musical environment is one of the ways parents participate in the Suzuki approach. They see to it that children listen as often as possible to records and tapes of the pieces being learned. This music is played at regular times daily, as well as when children are relaxing, playing or eating their meals. One mother says her children like to have the tapes on while they are watching television. "It's almost a subliminal thing." While their youngsters practise, parents do not put out the garbage, mow the lawn, visit a neighbor or put on their earphones. ,Parent interest, Mr. Emery says, must go beyond merely "exposing the child to music lessons. "It's lonely practising the piano; that's one of the reasons far too many youngsters give up far too soon." Parents, usually mothers, attend classes, and if they have no musical training themselves, learn with their children. During the lesson, they jot down notes while Mr. Emery makes suggestions. "Watch her left hand — she's lifting it too high. She'll hit the wrong notes that way." At home, parents sitdown at the piano and practise with their children. "But I can't carry a note in a bucket," one mother protested. "Don't worry," Mr. Emery replied. "You can play if you're willing to cut those nails and learn 'Twinkle Variations'." Parents, Mr. Emery says, can become effective teachers if they are willing to devote regular time to their children's musical education, work closely with the music teacher, and with other parents. Parents meet with Mr. Emery to talk about their children's attitudes, their role as teachers and to give each other encourage- ment. "The support among parents is ex- cellent," one mother says. TIME TOGETHER Besides developing a child's ability to memorize music, perform with confidence and enjoy playing the piano, the Suzuki approach, Mr. Emery says, can be a focus for family life. "The assumption is that you want to spend time with your child, so that both of you can enjoy and understand your relationship better through music. "At a time when so many homes are shaken by so many things, it's an op- portunity for parents to get to know a child as a person." ENCOURAGING WORDS—Teacher Brian Emery praises the accomplishments of 'four-year-old Jodi Lee of Listowel, one of his younger pupils. Suzuki pupils learn to play music before they learn to read music. Reading is introduced after.aural and digital skills are well established. YOUNG PERFORMER—Five-year-old Mathan Van de Camp plays with confidence at parent information night. Besides the hours of practice expected of pupils, they listen as often as possible to records or tapes of the pieces they are learning. • • PARENT INFORMATION NIGHT—Serena Van de Camp, 8, of tmbro, performs dur- ing a recent parent information night. Parents of pupils who are learning to play the VAIOS=.1110.. AttailneMe0=g1111.1.1.11M=6,16, piano using the Suzuki approach, give ,each other encouragement. Those without musical training learn to play the piano with their children.