Welcome to 2021Thank God last year is over. Not a fun year.
I have been absent from the blog for ages. That is about to change. More making stuff. More thinking. More practice. That kind of thing. One thing I will say: this year, I solemnly swear I will not hurt my back! I have spent too much on physio and the like. NO MORE! It is all walking and back exercises at the start of the year. Perhaps one thing more: I have suddenly realised that trying to practice only the hardest stuff that I have moderately under my fingers is not improving the length of time that I can actually play for. I think the solution is to play a lot of low and intermediate stuff to build the muscle capacity in my lower back and it is also less depressing. ANYWAY.... Welcome All to 2021. May we have all have a better year this year... eventually.
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Just spent the last six months reorganising! I finally recovered from the numerous colds that winter brought. Then I took a deep breath and have really started figuring out what I'm going to do in 2018.
Coming this year:
Hi People,
It has been a while since I managed a post. The colder months have hit and I've been sick for the better part of April, May and June on and off. Four colds so far. Yuck. I'm posting a talk from Richard Gill on RN. It gets to the heart of why I did not complete my Graduate Diploma in Music Education. I decided to cut my losses and just take the Certificate, because the state of Music in South Australian schools is abysmal. I would rather teach music, performance, theory, aural and analysis from my home than be in a school. There are so few people in the system in SA that I could relate to, that I felt like there was no hope for change. Anyway, I hope you listen and enjoy. https://radio.abc.net.au/programitem/peWD0lK1pD?play=true Music theory - it is been on my mind in the last few weeks.
I have been asking myself why it seems to be a 'bridge too far' for a lot of CLASSICAL students (ie. not necessarily Jazz/ contemporary/ traditional). It seems to me that (in Adelaide at least) there are a few perceptual problems that music teachers, both inside and outside of schools are facing. The first, is that music is not an 'academic' subject- it is a purely practical subject...apparently. I have been told this in a University lecture by a visiting Principal of a South Australian High School. I have a news flash for her and every other Principal out there- music IS an academic subject. The study of Western music (Classical) is called MUSICOLOGY. The study of non-Classical music (which includes contemporary forms) is ETHNOMUSICOLOGY. We have all sorts of journals and academic paraphernalia that go with that. Musicians do degrees, Bachelors, Diplomas, Masters, PhDs- the works. The second comment is 'why bother anyway- they aren't all going on to study at University'. No- most people are not going to study music at University. Those that do, that do not come from music specialist High Schools, struggle. I know, because I have been a mature aged student. I've watched these young adults fall by the wayside, unable to keep up and not coping with the analysis of Classical music. More importantly, music is about critical thinking- figuring out the solutions to problems. This is a cornerstone of effective practice. The more tools students have to do this by the end of high school, the better. A student that has been learning music since they were in year 7 or 8 should not have to use a mnemonic to memorise note names of an unfamiliar clef at the first year of University. The third aspect is that 'music reading/ theory is far too hard- they can just play by ear'. Let me make this VERY CLEAR- playing by ear is a VERY IMPORTANT SKILL. But reading music is not hard. You have to start at a simple level. You have to give lots of encouragement. You make it as fun as you can. But you need resources to do that. Sometimes, students need chairs, tables and computers to learn how to write music even at Primary School level. It isn't solely about playing an instrument. It isn't just about producing a concert or a musical. It is about learning about learning. I would be interested to know what you think. Feel free to write a comment. So it is heading toward the end of Term 1 in South Australia. I have to say, that it has been a pretty good start to revamping my home teaching studio. I just wanted to give a big thanks to those that have helped my put my site together:
Linda W. for putting the idea in my head Grant W. and Neil W. for their helpful feedback in preparing the website Rosemary and Louise - it is great to have such supportive parents of students. They are amazing women! Lastly, to Beryl, just because she is my Mum and she believes in me. I think that this is the most important video for all teachers, regardless of their subject , to watch. Ben Zander gives a brilliant talk about how to encourage and build student confidence. Please watch. This video is the inspiration for my own teaching.
Here are four questions that I have been asked often throughout my years teaching violin and viola. The answers I have given are based on my experience of various schools etc. There may be some schools out there, and some music programs I don't know about that doing things differently. If so, please let me know! I'm always keen to stay up to date.
1. Why should I send my child to a private music teacher like you when they can learn music at school? As far as I am aware, very few public schools in Adelaide will be offering music at school. Many that will have music classes that only run a term or semester of music at school. Most of them, I believe, will not be able to offer many instruments (and I really hope I am wrong). Some primary schools do offer general classroom music. Most of the time, I think this tends to be fairly basic because there are always children that do not want to learn an instrument, and these students have to be allowed for by teachers. Some private schools do offer a lot of music. There is a current fashion for 'all year 2s do recorder/ all year 3s learn a stringed instrument' etc. The problem is, that to become proficient at either a stringed instrument or the piano, it takes a few YEARS. It also has created a culture of students becoming 'jacks of all trade, masters of none'. Nearly all of the lessons are also, in groups. There is nothing wrong with that. I like to teach beginners in groups. But within 2-4 months there is always a difference between students abilities (based on talent, how much they practice etc.). The students at the top of the class are always impatient to go on to something new, those at the bottom always feel they can't do anything right. In any event, I think it is fairly safe to say that music is treated as a 'practical' subject. I have found that almost no child I have taught has ever done any basic music theory at primary school level. I have also seen some staggering gaps at high school level (like senior music students not knowing the difference between a crotchet and a quaver). As a private studio teacher, I can tailor everything I do to each individual. This is a luxury classroom music teachers often do not get much choice in. 2. Why should my child learn music theory? Isn't it hard? Music theory can really important. Some children go absolutely fine without it. Some children just want to play for fun and do not need to do a lot. But if you are fairly serious about music, it helps with being able to analyze pieces. It means that student's understanding about the style of their music improves much quicker than without doing theory. 3. Can't they just do theory online or on their own? Yes. This is fine...until they have a problem. AMEB materials are frequently pitched at high school (or higher) level, even from the early grades. Also, in a small group, I can give immediate feedback to a child if they are having trouble. Problems get solved early. Sometimes, students perpetually get something wrong that a few simple words of explanation from a teacher can fix. As for music theory being difficult? There are a few myths that reading music and doing theory is difficult. Sure, if no one is there to explain it to you, or you don't learn step by step, it can be really confusing. With guidance and help students can learn from as young as seven or eight, provided that the materials are simplified for them. For example, if five lines of a stave are confusing, why not just start with one line? Under the line can be 'do', on the line 're' and above the line 'mi'. Once I find a level to start from, it is relatively easy to teach most children. 4. When should my child do music theory? Answer; as soon as they can manage. Some kids can start at seven, some at nine. Talk to your music instrumental teacher- everyone is different. I like to see students complete at least grade 2 music theory (AMEB) before they go to high school. Students can then usually 'coast' in school music lessons, allowing greater time for other homework in the big change to high school. It also means that they have a good chance, if they are really keen, to complete up to grade 4/5 level in music theory before year 11 and 12. A lot of teachers these days, including myself, use a technique called 'flipping' the class using a learning platform. You may have heard of it before, you may not.
So what is it anyway? In a standard classroom students turn up. Teachers spend the bulk of class time explaining new concepts and tasks. Typically, anything unfinished is then set for homework. In a flipped classroom situation, the process is reversed. Homework is done before coming to the class, usually sent online explaining a new concept or task. This can take a variety of forms- reading a section of a workbook or watching a podcast is fairly typical. Students then usually contact the teacher (again before attending the class) and let the teacher know if they understood the explanation. Sometimes, this can be conducted using a simple poll, again online. Then, upon arrival at class, students who understand what they are supposed to achieve immediately get on with the work, so that the teacher can spend time with students who are struggling. There are a lot of advantages, even in the little groups of 3 or 4 that I teach. I can post different materials to each student. This means that I can teach a variety of standards at once. It also means that students can ask for help when they are doing the task. I can check on their progress and give them feed back on their work straight away. They don't get home and then discover that they really didn't understand a concept leaving them unable to do the homework. It also means, students that are time poor do not have to get a lot done in an already busy homework schedule. For music theory groups, it is great! Nearly all of a student's time is spent working steadily. They can get help straight away when they have a problem. Students can go at a pace they feel comfortable with and there is very little 'homework' as such, leaving more time for practice. Why add a blog onto my website? Very simple. It is an easy way for people to understand what I am like as a person and instrumental teacher. On this blog, I will write about my current thoughts on music education and answer some of the questions that I am routinely asked by parents and students.
To that end... For little kids, I like to start about the age of 5 and use a method developed by Geza Silvay called 'Colour Strings'. I don't teach the Suzuki Method. I do not have a problem with those that do- its just not my thing. Give me a little time. I hope to include links on the website...when I figure out how to... No, I do not currently play in an orchestra. I have never played at full professional level- I would be under that standard. I play about 8th Grade to Associate level at present on violin. On viola, I am about 7th (???). I hope to be practicing a lot more this year. At present, I have been teaching myself how to play the piano. To be honest, orchestral playing isn't my thing at the moment anyway. I'm more into teaching students from beginners up to (and including) about grade 7 AMEB. |
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News, ideas and views about teaching the violin, viola and classical music theory by Rosalie Westphalen. Archives
January 2021
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