The Private Music Instruction Manual: a Guide for the Independent Music Educator

American Music Teacher, Dec, 2004 by Patricia Taylor Lee

The Private Music Instruction Manual: A Guide for the Independent Music Educator, by Rebecca Osborn. Trafford Publishing (23333 Government St., Ste. 6e, Victoria, B.C. V8T 4P4), 2004. 266 pp. $34.95.

Rebecca Osborn, a former school music teacher who now operates an independent music school, offers in this book a gold mine of ideas for any teacher who wishes to place his or her studio on a more secure professional basis. This is an eminently practical, systematic and detailed outline of business practices that benefit piano, instrumental and vocal teachers. It should be read by everyone preparing to enter the profession.

In a sense, the title is somewhat misleading, for there is little in the book that deals with actual music instruction. Only one page addresses the format of a typical music lesson. Criteria for the selection of method books are mentioned briefly. There are no suggestions for teaching technique, theory or musical interpretation and no hints on fingering or lists of appropriate repertoire. But organizational and promotional ideas abound.

The outline format of the book makes all suggestions both clear and concise. A table of contents and a very complete index provide easy references to topics of particular interest. Where alternate organizational ideas are proposed (as in home studio versus itinerant teaching), pros and cons and advantages and disadvantages of each are offered. At several points the reader is asked to assess values and rate personal attributes.

Used in combination with a text that addresses musical and artistic issues, this business manual would provide a solid foundation for the aspiring independent teacher. But it also will spark new ideas for the experienced pedagogue. A full twenty-seven pages contain detailed information on advertising. There is an exhaustive list of office and studio supply needs and a comprehensive timeline for organizing recitals. The author suggests that studio policies be outlined in a contract and signed by both the teacher and the person responsible for payment. Five sample policy statements are offered. Osborn also provides constructive advice on budgetary, legal and tax issues.

Included in the appendices are useful samples of Guides for Parents, a Studio Brochure, a Practice Log, a Publication Release Form (necessary for photos taken at recitals), a Recital Certificate and collection letters (for those lagging in payments).

Recognizing the need for incentives to musical achievement, Osborn suggests numerous awards and rewards and gives ideas for special events and activities that will make any studio a lively musical center. Reviewed by Patricia Taylor Lee, NCTM, San Francisco, California.