Professionalism: degrees of separation

American Music Teacher, April-May, 2004 by Deborah Wallace

Have you considered the different kinds of people who teach music? After thirty years of teaching piano and having the privilege of attending numerous classes, workshops and conferences, it strikes me that there are three basic types of private music teachers. Do you recognize them?

Asa P. Orsooner (Type A) meets new students, sizes up their potential and gets them started on the fast track to performing the most advanced repertoire attainable in the least amount of time, preferably for a public recital. Rudiments are skimmed or summarized in the first few lessons. Elements such as music theory will be addressed in future classes specializing in those studies. The focus is on having students ready for performance (master class, recital or competition) as quickly as possible.

Bess Duvall (Type B) meets a new student and conducts an interview to assess learning styles and aptitude. She takes into account past experience, family and personality. Lessons progress at a pace compatible with the student's ability and comprehension. She balances ear training, exercises for rhythm, technique and music theory with repertoire at the sight-reading level. Gradually, with a wealth of reinforcing supplementary materials, areas of weakness will be remedied as strengths are refined. Bess approaches phrasing, pedaling and memorization sequentially and patiently. The focus is on having the student feel confident and well grounded.

Conchita Lott (Type C) meets a new student, speaks with Mother and props open the methods book. The lesson begins with an explanation of the numbering system for fingers one through five, introducing Mr. Middle C and Right-Hand Thumb (a.k.a. number one). The methods book is the same one used for two or more decades. Companion books, if they exist, (notespeller, theory, solo and so on) are not used, to avoid unnecessary costs to the parents. One page/piece will be "passed" each week, perhaps ornamented with a glue-on foil star. If not, that same page will be assaulted at the following lesson. The focus is on getting through the books.

Any of these teacher types may have earned degrees in music at one or more colleges or universities. We will revisit these teachers later. Now, allow me to introduce more of my colleagues, some fellow MTNA members. With twenty-five years in this organization, I have reached the conclusion that there are three parallel types of MTNA members.

Alexis Myssing (Type X) sees MTNA membership as an opportunity for her best students to perform and compete. She pays dues regularly but likely does not contribute to the FOUNDATION FUND and does not attend local or state association meetings, workshops or any events other than those in which her students are "starring." Alexis does not offer to organize, set up, publicize or assist in any physical capacity. Her contribution is to send students to participate; she often is absent from such events. Type X does not fill out forms, access websites or read this publication ... except to scan for specifics concerning upcoming competitions and prestigious performances. The focus is the center stage spotlight.

Wyatt Werks (Type Y) sees MTNA membership as a resource for becoming a better teacher. He attends local and state meetings and supports affiliated programs. He has served, perhaps many times, as an officer or chair in various capacities. He pays dues promptly and donates to the FOUNDATION FUND. Wyatt enters students in competitions if the students (not the parents) initiate the request. He enjoys open exchanges with other teachers and values opportunities to help. If he has not attended a National Conference, he plans to do so. He is open to learning and views teaching as an ongoing educational process. American Music Teacher is one of several publications he receives and reads. The focus is on learning.

Izzy Dover (Type Z) sees MTNA membership as a bothersome obligation. If membership is requited to gain approval from other teachers and parents, so he it. The meetings are an inconvenience. Type Z already is good enough, doesn't intend to change and sincerely doubts there is any value to he gained from trying anything new or different. Izzy has no time to help with programs or events and no interest in attending workshops or conferences. The "magazine" is full of "stuff" for the more aggressive teachers, but nothing that pertains to Z, even if there were any time to read. The focus is on--nothing really.

All the types of teachers characterized above claim to be professionals. Many have music degrees. They are paid for their time and teaching expertise. Most teachers who join MTNA do so to validate a commitment to professionalism. Some members stop there and consider MTNA membership to be a conclusive professional statement. Earning a degree is hard work and is commendable. Each degree demonstrates that basic and specialized requirements of advanced education have been met or surpassed. These are verifiable statements of knowledge and achievement. Becoming a member of the oldest national professional music teachers' organization also is laudable. It implies an intent to participate in a profession in a manner befitting that vocation. But there is no point during active teaching years at which any of us may claim to have done "enough," or our teaching and our learning will stagnate.