Author: Publisher:
ISBN:
Category : Music teachers
Languages : en
Pages :
Book Description
Pamphlets on Training of Music Teachers
Transformation
Author: Harlow D. CurtisPublisher: Forgotten Books
ISBN: 9780267917891
Category : Music
Languages : en
Pages : 54
Book Description
Excerpt from Transformation: A Brochure on the Teaching of Music to Children See illustration on page 47performers on the piano are eternally smoothing music with their foot! Why not play with your pupil and run the pedal yourself and thus make him smooth it with his fingers? It is a wonderful way to lay a foundation for a musician; much better than the umbilical strangulation of your pupil's nascent talent with the groundwork of the prestidigitator's art. Many a musician can be developed at the pianoforte to whom the major piano solos are and always will be a closed book, and many a pianist there is who never was and never will be a musician. Let us have more musicians. Everybody gains. Nobody gets a stone for bread. Real pianists get a broader and more finely adjusted technic at the sacrifice of precocity only, and teachers will retain many more pupils and will take real delight in playing good music wit H them all the time. Such would be the immediate gain, if all teachers who under stand and love the works of the master composers would play nothing but their works with their pupils until the fifth or sixth year of piano study. The ultimate gain, on the other hand, would be to confer upon the art of music teaching the greatest boon possible - the elimination of the quack. The quack does not fatten on the masterworks of genius; except for a few pieces, usually very well known by the public at large, which she has acquired by imitation, these master composers are a closed book to her. To put her hors de combat it is only necessary for all her opponents to use this music which is Greek to her and use nothing else. She can teach scales, and old sonatinas (not the splendid new ones of Sibelius and X. Scharwenka) and the transparent Czerny and his ilk; theory, ear training and rhythm exercises are her delight. I do not mean to imply that all teachers who use this material are quacks but that many quaclm are quite adept in using this material. If all teachers would play with their pupils nothing but the works of the great masters, they themselves would see less use for this material and they would put the quack out of business. They would discover the nearest thing to a panacea that I know of. I speak with the conviction of years of experience with young children when I say that if you will start your own pupils yourself at seven to eight years of age and play nothing but the greatest music with them for five or six years, you will discover that there is only one thing left to do, viz. Lead them to play the same composers' works for two hands. You can burn your scale books, throw away your Czerny, forget about ear training, rhythm, etc., and your pupilsin toto will be superior in musical intelligence and appreciation to the pupils of any other teacher. With such material such a result stands to reason. That they will be able to sit down and play from memory a more brilliant piano solo than certain few pupils of other teachers is very doubtful, as you will learn from the article Transformation. However, you will discover the profound truth that it is not necessary to study technic so as to have good music, but it is necessary to study good music so as to have a technic. You will easily establish a correct technic and you will never have to correct an established technic. The refinement of advanced technic should be left to the initiative of the mature player. It should be his delight to discover etudes by the great composers that appeal to his mind and at the same time improve his means of self-expression. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
Learning to Teach Music in the Secondary School
Author: Chris PhilpottPublisher: Psychology Press
ISBN: 0415158338
Category : School music
Languages : en
Pages : 270
Book Description
Learning to Teach Music in the Secondary Schoolis intended to support student-teachers, newly qualified teachers and more experienced music teachers in their professional development. Topics covered include: the place of music in the curriculum the nature of musical learning planning, managing and assessing musical learning school examinations and music music outside of the curriculum. One of the main premises of the book is that music needs to be taught 'musically', with specific reference to both the nature of music itself and its metaphorical significance. It is important that music itself guides what goes on in the music classroom if we are to motivate our pupils and help them to fulfil their potential as musicians. This book will help student-teachers to develop their subject knowledge, teaching skills, understanding of the wider issues and their ability to reflect on classroom practice.
Pamphlet
Author: United States. Office of EducationPublisher:
ISBN:
Category :
Languages : en
Pages : 940
Book Description
Pamphlet
Author: Becoming a Music Teacher
Author: Donald L. HamannPublisher: Oxford University Press
ISBN: 0190245085
Category : Education
Languages : en
Pages : 457
Book Description
Becoming a Music Teacher: Student to Practitioner is the first book to make connections between the college music classroom and public school music classroom transparent, visible, and relevant. Award-winning music educators Donald L. Hamann and Shelly Cooper offer here an ideal and versatile resource for music teacher education.
Teacher Education in Music
Author: Music Educators National Conference (U.S.). Commission on Teacher EducationPublisher:
ISBN:
Category : Music
Languages : en
Pages : 72
Book Description
Pamphlet, No. 1-
Author: United States. Office of EducationPublisher:
ISBN:
Category : Education
Languages : en
Pages : 620
Book Description
The Training of Music Teachers. A Report, Etc
Author: Standing Conference of County Music Committees, afterwards Standing Conference of Music Committees (England)Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Transformation
Author: Harlow D. CurtisPublisher: CreateSpace
ISBN: 9781500525101
Category : Music
Languages : en
Pages : 48
Book Description
From the FOREWORD: AFTER leaving college my natural desire to teach was frustrated by my unwillingness to put up with certain restrictions, especially in the way of initiating innovations, imposed by the entrenched system of secondary education. So many were the features I had no patience with, that I saw a lifetime of unsuccessful agitation staring me in the face. Since then I have been happy to read, principally in the Atlantic Monthly, article after article pointing out the very faults that dissuaded me from joining the ranks of the teachers in the secondary schools. The teaching of music offered the chance for initiative and independence, but it was a question whether my limited ability as a performer would interfere too much with the realization of my teaching ideals. I was well aware that financial success is easily obtainable by any of a hundred advertising methods as this profession is more full of successful quacks than any other, but the financial side alone never made any stronger appeal to me than technique alone does. Josef Hofmann once said to me: "Technique is to the pianist what financial resources are to a business man; money does not improve the mental quality of the latter." If there ever was penned a more trenchant sentence, I have failed to find it. It took but a very short time to discover that the teaching of music is in about as chaotic a condition as possible and that my limited ability as a performer need cause no uneasiness. I have been in home after home where the music teacher has failed and gone away. The first thing I do is to go to the music cabinet and find out what she has left. And right here is the surprising thing: I find stacks of the conservatory's pedagogic material bound in the familiar yellow paper covers of the Schirmer Library; almost invariably Czerny, and much Burgmüller, Loeschhom, Bertini, Clementi, a sonatina album and a scale book. Then there will be a few pieces by men who should have been strangled soon after birth - music that is a mute witness to the ineffectiveness of the conservatory's stuff and to the desire of the teacher not to lose the pupil. Thus have hundreds and even thousands of people been "stung" by never getting any inspired music by the great composers, never getting anything for their money except disappointment. This is all wrong. It is the purpose of this article to show why. This teacher failed because she couldn't make a pianist. Bless your soul, you don't have to be a pianist to play the inspired works of the great composers, you simply have to be a musician. A child may have such a type of hand that it will never be able to play piano solos of any difficulty. Its sense of rhythm or sense of pitch may be so undeveloped that the usual pedagogic material will result in immediate failure, but if the teacher has sense enough to throw this stuff away and sit down with the child and play some of the simplest chamber music, like some of Schubert's,* these serious difficulties will melt like the snow in spring. The wealth of material for this purpose is astonishing. Neither will it be necessary to carry on any separate work in ear training, rhythmic drills or specious and spurious transposition exercises. Transposing pieces of considerable difficulty into remote keys is no child's play and the playing of simple and silly child's music by ear or otherwise in half a dozen keys "by request" is not going to lead one single step in that direction. Time is all too short and altogether too precious for this kind of thing when better results can be secured without deflecting the child's attention for a single moment from inspired music by simply playing with the pupil....