Polyphony

American Music Teacher, Feb-March, 2008 by Jane Magrath

Q Do you believe that one truly can learn to teach, or do you believe teaching is an in-born talent?

A Many of us are acquainted with natural-born teachers, but that does not mean these people did not consciously work to develop various aspects of their teaching. In truth, many we believe to be "natural-born teachers" undoubtedly worked, studied and analyzed their teaching to develop those talents, knowing that they, in fact, are not instinctual teachers and that most skills can be developed to higher levels.

I am even more firmly convinced that teaching can be formed and further developed in a conscious way after recently experiencing changes in student teaching. I observed a number of graduate student piano teachers teaching segments of two public master classes one month apart and witnessed the effects of conscious changes in teaching style between one long Saturday class to the next. Since the teaching is in public and the students are video taped, incentive to present a meaningful and effective class segment is enhanced even over teaching in a private lesson.

The changes in teacher effectiveness between the two classes were striking. The interesting part is that during the month-long period between the two classes, the individuals had not had time to grow extensively in terms of musical intuition, and yet, the act of consciously making several changes made it possible for enhanced communication to the student of what was needed to come through in the classes.

Simple issues such as looking a student directly in the eye while speaking following a performance and avoiding fiddling with the score on the music rack or moving about the room while initially addressing the student provide time to connect genuinely with the student and to be heard directly and clearly. The connection with the student, and the student's knowledge that the teacher cares about the performer and is skillful in knowing what needs to happen next in his practice, are at the core of any teaching relationship. Sometimes the teacher may appear to the student to be doing several things at once and thus, to be not totally focused on the student while speaking in the lesson. Continuing to look at the student during the discussion is important and central.

These teachers were most effective when consciously weighing the importance of what they were about to say before it was spoken. "Is this in fact the most important point to make right now--the most important thing to say in the scheme of things?" "Is this the most helpful comment that you can make at this point?" The direction was to speak only to the most significant points, leaving side talk out of it, unless it was deemed to be important by conscious evaluation. Most of us find it easy to say too much, to provide too many points and to contribute comments that, in the long run, are insignificant.

The master class teachers found it helpful to imagine what they would look like to the student during the lesson or master class. This is a way for a teacher to "move outside of himself" in an attempt to see (perceive) one's self as the student sees him.

It can be easy in some instances to over-praise a student. The student probably has some idea how well he performed and wants to know from the teacher's standpoint, the next step in his personal progress.

Acknowledgment of what the teacher heard is the best way to provide feedback, rather than providing a subjective evaluation with excessive praise.

The most effective lessons were ones during which the teacher continued to work until the student demonstrated through his playing during the lesson that he understood. It can be easy to comment, then to ask the student to try something once or twice in the lessonand then to ask the student to practice it at home. Alternately, by working with the student to change that point during the lesson, the student learns to practice and the teacher determines that the student probably can then continue to change in his home practice.

What I have not discussed at this point is the actual content of what is stated or the issue of the teacher's perception of what to do first with this student at this point in time. That is reserved for a later discussion. The above-mentioned factors are techniques that can allow the teacher's perceptions and teaching points to be received clearly by the student.

Teachers can try the techniques above, but also several experiences and activities to lead toward growth in teaching skills include: video taping and observing one's own teaching, observing several private lessons of several other teachers, participating in a discussion group that meets regularly to discuss and share teaching techniques and literature, and studying piano regularly with a master teacher. Certainly growth and change in one's teaching skills and effectiveness is a life-long journey, and the process can be stimulating as well as provocative.

Q What advantages are there to using single-composer music collections instead of generic anthologies?