Revitalizing our Pedagogical Lives as Teachers
by Angela P. Y. Chan
As music teachers, we hope to inspire creativity and individuality in our students. However, after long years in the profession, we may realize certain ideas that once seemed original and innovative may have become routine. Although the practice of these ideas may still achieve the intended goals, we intuitively feel that they have become less effective or impactful. The initial sense of vibrant ingenuity that came with the germination of an idea may have faded.
There has been a misconception that more experienced teachers are generally better educators. From my perspective, I find that mostly depends on the personality and experiences of the individual. I know artist teachers who have groomed generations of students, helping them fulfill their potential in becoming outstanding musicians in the last 2 or 3 decades, who are still enthusiastically transmitting their passion to learners of all ages and levels. On the other hand, I have also met young teachers who suffer burn-out after barely a couple of years in the profession. Unlike vintage wine, time spent in the field equates neither productivity nor creativity.
Part of the difficulties in maintaining a consistent level of inspiration while running a private studio is that teachers work in an isolated environment. Unlike chamber musicians who have frequent opportunities to network with fellow musicians through rehearsals and performances, private music teachers particularly suffer from the “isolated soloist syndrome”. The reality is that soloists mostly practice and perform alone, while running private studios and grooming students to be soloists.
Despite best efforts in extending our lives beyond the teaching studio, trying to infuse ourselves with fresh perspectives by attending concerts and workshops, exploring methodologies and new repertoire, listening to recordings, watching performances; we revert to our well-established routine as soon as we return to the context of the private teaching studio. In this case, teaching has mutated from an interactive and creative endeavor to a cut-and-dried oratory of pre-packaged ideas. We find ourselves riding on a pedagogical treadmill, offering similar solutions to students with similar problems. We confine ourselves to teaching repertoires within our comfort zone. In essence, we have turned into dispensers of static information rather than a model of inspiration.
We recognize that, the reality of a busy schedule prevents us from dedicating time towards practice. Understandably, after spending a full day teaching, a change in scenery is necessary. However, it is only through sustained practice that we can maintain a renewed sense of discovery and remain genuinely connected with our instrument. It is only through our demonstrable enthusiasm towards practice and music making can we truly motivate our students.
To provide an incentive for ourselves as teachers towards resuming a practice routine, we may create realistic performance goals for ourselves. Apart from playing two-piano or four-hand works with our students, chamber music recitals provide excellent opportunities for artistic interchange between musicians. Short performances such as demonstrations at students' concerts can also offer an an incentive to acquire and rehearse new repertoire.
Forming a joint piano studio with another musical colleague may also spark new ideas. In the last year, I have the privilege of collaborating pedagogically with a highly regarded concert pianist. Besides sharing our teaching, we also exchanged our views on musical interpretation and performance. In our spare time, we recounted antics of our little ones. In the process, we developed a better understanding of the psyche and the unique needs of each student. We then co-developed strategies to best harness the strengths of each student accordingly.
The additional benefits of a collaborative studio arrangement are that, intermediate and advanced students have the opportunity to learn from two teachers simultaneously. Students are exposed to a diversity of perspectives, which oblige them to think critically and to make sense from apparently disparate comments. This encourages students to reflect and formulate their own aesthetic decisions rather than becoming exclusively reliant upon instruction.
Admittedly, this joint partnership requires individuals sharing compatible visions and aesthetic ideals. For me, I find that working closely with a studio colleague prompts the re-examination of pedagogical assumptions and approaches, which spurs a renewed sense of artistic inspiration and growth.
********************************
Excuses for cancellations of music lessons
These may qualify to be some of the lamest and strangest excuses in the Guiness Book of Records for cancelling a music lesson. One may perhaps need to use Rube Goldberg's model to explain how these reasons can be justifiable...
These cases are not fictitious. Students did call in our music school to cancel their lessons with the reasons given below!
(1) An adult student claimed that her piano disappeared! Later on when we followed up with her, she claimed that she did not realize that her father sold it while she was away!
(2) The student's mother is pregnant – the family was probably too happy to come for a lesson.
(3) The student needed to have supper with her anorexic dog – out of “humane” reasons, we accepted it with a pound of salt...
(4) Student went back home on his way to his lesson, because he forgot to bring his musical instrument – but the student registered for voice lessons! Did he forget to bring his vocal cord or lungs?
It is without a doubt that these students have other priorities!
Posts
No comments:
Post a Comment