It's all your business: work stations: enhancing the independent studio

American Music Teacher, April-May, 2004 by Beth Gigante Klingenstein

Teaching music in an independent studio has changed drastically over the last thirty years. Students, who at one time primarily received instruction on how to play an instrument, now often receive a more rounded approach to music education. The independent music teacher of today focuses more on additional areas such as music theory, music history, ear training, sight reading, world music, ensemble playing or composition, as well as the traditional emphasis on performance. One of the best ways to successfully integrate a broad curriculum, as well as increase studio income, is by incorporating a work station into the independent studio.

A work station can be simple or elaborate, "low tech" or "high tech." A small space within the existing studio may be used, or the work station may expand to a whole new room. The variations are limitless, and each teacher can decide what is best depending on budget, space considerations and musical goals.

One misconception about a work station is that it is expensive and requires high-tech equipment and skills. In actuality, an extremely functional work station can be built with only three pieces of furniture--a table, a chair and a file cabinet or shelf with dividers for folders and books. Each student can sit at the table and open an individualized folder, with the assignment for the day included in the folder. Perhaps a music theory workbook would be included in each folder or a reading assignment for music history. This means certain books must be purchased, but individual workbooks can be charged directly to the students.

Although many teachers are familiar with music theory workbooks, they may not be using music history books. A small library of student-level books about music periods or composers can be purchased easily and may be deducted as a studio expense. A few to consider are They All Sat Down--Pianists in Profile, by Leonice Thompson Price (Willis Music Company) and Student's Guide to the Great Composers, by L. Dean Bye (Mel Bay Publications, Inc.). Workbooks also can be purchased, such as Famous Composers and their Music, by Henrietta Atkin (Hayes School Publishing Co, Inc.); Music Alive! Great Composers of the 20th Century, by Jacquiline Wollan Gibbons (Hal Leonard Corporation); Let's Meet Famous Composers, by Kinghorn, Badman, Lewis-Spicer (T.S. Denison & Company, Inc.); and Meet the Great Composers, Books One and Two (with or without CD), by June Montgomery and Maurice Hinson (Alfred Publishing Co., Inc.).

Add to this basic set-up just a few more items, and the possibilities expand. By purchasing a tape recorder/CD player with a head set, students can be given listening assignments. World's Greatest Composers (five sets of six cassettes) by Brad Thompson (available through musicedmarket.com) has a series of stories about composers and musical periods. A larger program, Excellence in Music (seven sets of twelve cassettes, also available through musicedmarket.com) by Thompson, has a series of twenty-minute lessons designed to teach a broad foundation in music theory, harmony, ear training and music history. Individual workbooks can be purchased to accompany the sequential cassette lessons. CDs, such as the Classical Kids Series by Susan Hammond (available through childrensgroup.com), tell stories built on the lives of composers, such as "Mr. Bach Comes to Call," "Beethoven Lives Upstairs" and "Mozart's Magic Fantasy."

CDs and workbooks on world music can be enjoyed at a work station, as can recordings of great music. Listening assignments can include a piece by a composer the student is studying, or examples of symphonies, trumpet concertos or operas that may provide a new experience.

Assignments can be organized around a theme, such as Beethoven, baroque music, opera or jazz. The theme can change every few months, gradually building a broader understanding of the many facets of music. Many teachers already have a CD library of great music, but even if materials must be purchased, they will be a business expense, a tax deduction and a great asset to the studio.

The possibilities for a "high-tech" work station are limited only by money and space, with far more uses for technology than I can do justice to here. On the most basic level, a high-tech work station needs only include a computer with music software. The potential for varied assignments increases with the addition of a MIDI keyboard and an Internet connection. This type of work station also can be incorporated into the studio space, and takes little more space than a table, chair and bookshelf or file.

Computer software exists that teaches music theory, music history, ear training, world music, composition, rhythmic dictation and aural dictation. One thing to look for when purchasing software packages is whether the programs are tutorial or drill. The tutorial programs will teach the student new skills; the drill programs will drill areas that have already been presented. Some programs are games with colorful pictures, while others are similar to black-and-white worksheets. It is important to decide in advance which you prefer. Many of these programs log in students individually, test them as they go through the drills and record their scores for the teacher to view later.