Motivational strategies: hearing three sides of the story - Pedagogy Saturday VII

American Music Teacher, Oct-Nov, 2003 by Bruce Berr, Rebecca Shockley, Patricia J. Flowers

Final reinforcement: "You all know those, those are very, very good." (They really don't know them, but they were compliant and modeled as an effective strategy.)

Good that they have fun with it in the next sequence (not shown). "I taught it but did they learn it?" Not yet.., but functional relationships (pitch, fingering, scale degree) are being established.

VIDEO #4

The fourth tape showed a traditional private piano lesson to a fifteen-year-old at the early-advanced level. The lesson was taught by Ellen Flint, associate professor of music at Wilkes University in Wilkes-Barre, Pennsylvania. The student, Nadan, has been studying with Flint for five years.

The tape captures the power and advantage of persisting with a new idea until the student truly understands. Nadan had been having difficulty communicating the rhythmic life in the Bach Prelude No. 3 in C-sharp Major, WTC 1. In a previous lesson, Flint introduced the concept of metric feet (rhythmic modes), since she knew Nadan was studying poetry. Flint continues trying to apply that approach. At first, Nadan has trouble counting while playing and appears politely resistant to the process. The teacher is supportive but persistent as she helps him stick with it long enough for him to succeed. He finally gets it (physically and conceptually), and when he does, expresses an obviously sincere and emphatic, "Ah-ha!"

Pat Flowers's Notes:

Teacher models (demonstrates) and leaves scene, walks around.

Very analytical presentation with many details of meter, accent, phrasing and balance of voices. Consistent with teaching approach used with advanced players or professionals. Focus is squarely on the music, not the player.

Intelligent student, very focused.

His "ah-ha" moment comes when she presents the metric notation system visually. This was more effective than aural modeling or verbal presentation (describing how to do it). Good example of how different students "get it" by different means of communication.

Bruce Berr's Notes:

Teacher doesn't coddle the student at the first sign of trouble--stays with it; motivation through struggle, followed by self-aware success.

The teacher judged correctly that this particular student would indeed be motivated by this content (metric feet).

Student's body language always indicates when he's listening.

In an e-mail, I asked Flint if she teaches rhythmic modes to all her students learning baroque dance music. She does not, but was inspired to do so with Nadan. Her reply to my question gives some insight into how teachers can create opportunities for themselves to motivate: "Nadan and I generally begin each lesson with my asking how his week has gone. Nadan frequently refers to upcoming or completed projects and exams, and we had spoken about his literature class a few weeks before the lesson. I also knew that he had taken Latin in previous years and that he had read some of the classics in Latin. I make it a point to ask about each student's school work so as to find some ground for analogies in our lessons and because the progress of their work in school has a great effect on their lesson and practicing. I need to know as much as possible about each student in order to find the most effective ways to communicate with them."