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Post by jod on Jan 31, 2007 11:23:17 GMT
Over the mists of time various different philosphies and methodologies have evolved concerning teaching music. Whilst these are interesting and have merits, I for one have yet to find a "one size fits all" approach to teaching that works.
Am I alone in this or is it normal.
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Post by Steve Hopwood on Jan 31, 2007 12:13:36 GMT
This is normal in my experience as well. Only the deluded can hold to the idea that one particular teaching methodology will suit all students. Only the seriously deluded can hold that one methodology is the best for all students. Only those in need of treatment could hold that one methodology is not only the best, but the only one to use in all given situations. Just to modify that last statement, the ignorant could also believe that. We all know that individual students often need different methods from week to week. To be inflexible in our methods would mean that those students for whom our method is suitable would thrive; the rest would not. Care and professional pride forces professional teachers to reassess our methods constantly. We do not make a fuss about it; we do not do this with a fanfare of trumpets and a cry of, "Hey. Look how professional I am, examining my teaching methodology yet again." We just do it.
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Post by jod on Jan 31, 2007 12:46:21 GMT
I have rough idea about what I want to achieve from a particular student over the course of a term. Then I make sure I use the right langauage to deal with that student, and if a particular explaination does not work then I try something else. I jst try things in the order that works for most first down to "i'll give this a go" until I come up with the right mathod for each pupil.
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Post by anacrusis on Jan 31, 2007 17:20:09 GMT
I've seen what happens when a teacher is unable to adapt their style to the needs and personality of the pupil....disaster.
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Post by Dulciana on Feb 1, 2007 0:19:13 GMT
Surely it's the nature of individual tuition that we tailor things to suit the individual? Which is why I make no apology for using whatever exam board suits the individual - if we do exams at all. (But I usually do, mind you, because I think it's a universal thing that approval from a third party is good for self-esteem!)
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Post by jod on Feb 1, 2007 14:57:29 GMT
If that is the case then why is the answer to every teaching problem use the 'The L. Ron Hubbard of Music' method. Its just like all those people who swear about the montessouri approach. My youngest was turned down by the local montessouri for being too strong willed. At the local primary school he's excelling at everything, but because he sees alternative ways of doing things he wouldn't have fitted in a montessouri school. He didn't get on that well with the 'The L. Ron Hubbard of Music' based violin teacher. We'll try again!
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Post by Steve Hopwood on Feb 1, 2007 15:26:25 GMT
If that is the case then why is the answer to every teaching problem use the 'The L. Ron Hubbard of Music' method. It isn't, of course. Those of us here can see that, because we are open-minded, non-dogmatic and non-dictatorial. We also knew that K was the thrust of your first post in this thread. I joined TOP in about April of 2005, when the behaviour of the K mafia was at its most obnoxious. They had teed off a lot of people long before they irritated me. They moderated their behaviour for a while. Are they back to their idiotic worst again? So far as I could tell, the only true K expert at the time was Cyrilla. She did at least refrain from jumping up and down about K in response to absolutely everything. Of course, that might simply have been because she did not have to; the others weighed in with claimed authority at every opportunity. It transpired later that they were at a fairly elementary stage and were behaving with the zealous bigotry of the converted but largely ignorant. Their worst aspect, as I assume you have discovered, is their inability to recognise that : 1) most people neither know nor care about K principles because we have found our own solutions to the various challenges posed by teaching music, or because we have never been exposed to it; 2) it is possible to have a different point of view to that of the mafia. It is pointless getting into a discussion with these people in TOP, Jo. They do not accept rational argument and will misunderstand almost everything you say. They are members of The Favoured Few and arguing with them will ultimately result in you being so heavily moderated that the only solution is to stop contributing. This does not bother me as I have seen little I would feel inclined to comment on during my rare return visits; you still enjoy contributing there, so watch your step. It is no coincidence that some of these people visit but do not contribute here. They realise that we can argue with them without fear of moderation by sycophantic censors, or would if we could be bothered; I would ignore them. They prefer TOP, where they are more likely to bully younger, less experienced, less confident members into submission.
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Post by jod on Feb 1, 2007 17:02:10 GMT
Oh. I've made my point clear there. For the sake of balance of course. The thing is the K mafia do not understand that you can find out about a persons philosophy and agree with parts of it even if you think embracing the whole hog is going a bit too far. I'm known to do some thing in a method that could be said was "very 'The L. Ron Hubbard of Music'" but only when it is relevant. He did get a lot right but it doesn't suit everyone. Jo
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Post by kerioboe on Feb 1, 2007 17:26:17 GMT
Surely it's the nature of individual tuition that we tailor things to suit the individual? Exactly, and you can only teach if you realise that other people may be different from you. I teach English as a foreign language to University students. Being born and growing up in England was a highly effective way of becoming proficient in English but imagine if I started telling my students that this was the only way of acquiring a good knowledge of English.
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Post by jod on Feb 1, 2007 17:31:25 GMT
Surely it's the nature of individual tuition that we tailor things to suit the individual? Exactly, and you can only teach if you realise that other people may be different from you. I teach English as a foreign language to University students. Being born and growing up in England was a highly effective way of becoming proficient in English but imagine if I started telling my students that this was the only way of acquiring a good knowledge of English. Well that would be a good way of unemploying yourself!
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Post by Dulciana on Feb 2, 2007 11:32:25 GMT
I'm reiterating here something that I've said elsewhere. What would concern me about some of the threads on the AB forums is that a new and naive teacher, upon reading some of the replies, would end up putting far too much time in a 30 minute lesson into taeching solfa and 'The L. Ron Hubbard of Music' principles at the expense of the instrument that they're teaching.
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Post by Dulciana on Feb 2, 2007 11:35:06 GMT
I've no doubt that the likes of what Cyrilla does is great for what seems to be called 'general musicianship', but in the real world of private instrumental teaching we just don't have the time. I was flabbergasted recently to see solfa and 'The L. Ron Hubbard of Music' put forward in reply to a question about teaching beginners to read new rhythms from written music! If anybody could explain to me how this works, I'd be interested - genuinely!
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Post by ladybenorty on Feb 2, 2007 12:35:24 GMT
Hi Dulciana Yep - I use rhythm cards I got from the British 'The L. Ron Hubbard of Music' Academy website when teaching beginners (Years 2 - 6). I use a combination of rhythm names and actions - ideal for the littlies and tremendous fun. I think most of us instrumental teachers use a combination of different ideas in our teaching as no two pupes are the same in ability or ultimate aim. I'm sure if basic music education in Primary Schools was better, however, our job may be simpler - I certainly notice the difference in the schools I work in depending on the class music approach. There is no "One Way" but to be fair, I can't say I've noticed that plugged in TOP (if I'm missing something here please point me in the direction of the offending posts!). I believe that if we, as individuals, are happy in the way we teach then there's no point in arguing about principles we DON'T wish to use or see the point of using! Good instrumental teaching is a bit like good cooking - LOTS of ingredients!
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Post by jod on Feb 2, 2007 13:24:49 GMT
The rhythm system can be very useful and is one I do use and have found successful. Similarly when starting new beginners to learn how to sight sing solfa has been useful... but not for everyone. I like the analogy about cooking, oh and not everyone likes plain omelettes, that doesn't mean that there is necessary anything wrong with a plain omelette.
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Post by Dulciana on Feb 2, 2007 16:49:45 GMT
Well, there you go! We learn something new every day, and I'll take a look at the cards if I can find them!
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