Polyphony.

Q How do you instill in your students a desire to change their habits so they can become better musicians?

A Students must know that we are on their side as their supporter and biggest cheerleader, and they must know, too, that we remain their teacher. Many psychologists say that several steps are involved in making a change. The first is the decision to make a change in some habit, and that decision should be accompanied with a decisive experience or moment. The decision should be a "big one" and should be accompanied by a strong commitment on the part of the individual. Some believe that the next step should be to make a slogan about the change that is positive and that affirms exactly what it is that is to be changed. The next step is to seize the very next opportunity to work on that change. Do not wait, but immediately work to make the change happen at the very next opportunity and consequently with every opportunity after that. Finally, be relentless in practicing the change at every single opportunity that comes about. This is the key: to practice the change that one wants to make. The teacher will be actively involved in helping the student find these opportunities to change, to practice them and to help the student experience the positive feelings that come through these practice steps.

Ultimately, if someone else does not want to change, we cannot make it happen. It is up to the individual. A decision reached together as teacher and student can be a powerful one, and the teacher can be the conduit for finding opportunities to work on the change and at the same time providing support for the person while a new habit is being formed. The teacher may be able to convince the student of the wisdom of change, and often the teacher can be a powerful resource in bringing about many changes in a student's work habits through the years with the power of conviction and/or high energy and perception that are part of his teaching style.

Q Many teachers begin teaching careers with high expectations, and then after the passage of some number of years their interest wanes or their studio size drops. What are some things to avoid in teaching and to keep a teacher growing?

A As adults we continue to grow and change throughout our lifetime as we move through various stages of life. Our interests change, and we evolve in many ways on this life journey. For most music teachers, one's passion for music and teaching music to students remains at the heart of their being, even if other circumstances appear to hide it. They see music as a fundamental opportunity and gift in life that has the power to infuse and transform human lives. This philosophy remains steadfast and central to a teacher's whole being, whether they realize it consciously or not. Personal changes and growth do not affect this belief, and teachers who believe passionately about the power of music in human lives often are quite successful in dealing with the changes in student and adult populations. The purposefulness of music study often can override many of the cultural changes, and music teachers are able to convince those around them of the value of music by their actions and their attitudes in teaching.

Teachers who are fascinated with music, or piano literature, who continue to listen to concerts, recitals and recordings, and who are passionate about people can often pass through more difficult times by losing themselves in the music and the literature. They too are moved by a love of sharing music--or perhaps they are sustained through a commitment to sharing with a group of like-minded teachers who support one another. Support through teachers' organizations and local MTNA teachers groups is critical, since individuals can help other teachers with problems they may have also encountered. Teachers who remain isolated without support of peers may reinvent the wheel when dealing with certain studio problems, feelings about student interest and involvement and techniques for motivating students. Teachers must have their own support systems outside of the studio, and often it is the musical involvement and the teacher support systems that sustain so many independent teachers. Teachers who remain balanced and centered can then objectively examine the situation to see exactly where the problems lie.

John Holt was an early advocate of home schooling and author of the powerful book How Children Fail (1964). (1) A classic book on how children learn and why they fail, it was based on his observations of children in the classroom. He believes that children often fail because they are bored, confused or afraid in the classroom. Students fear humiliation and that affects their ability to learn. They are afraid of failing to please the anxious adults around them. External motivation such as grades and gold stars, he says, only reinforce children's fears of failing exams. He also discusses the fact that children often must perform dull and repetitive tasks that bore them. An obvious extrapolation can be drawn to encourage music teachers to provide meaningful ways for students to practice.

While Holt criticized schools for providing a "cookie-cutter" education, private music teachers have a golden opportunity to teach each student as an individual, creating a curriculum and creative activities for each specific student and molding a creative musician in varying ways for different students. Holt believed that real learning occurs when a child develops his or her own gifts and talents; what a great experience to have as music teachers, when we treat each student as an individual, when we take away all fear of mistakes in the lesson and performance arena, and when we make the learning, practicing and the full experience meaningful. The book is easy to read, consisting of many of Holt's observations of the classes, and will elicit a profound response on the reader. Too, it can provide parameters to examine our own teaching in a different way to evaluate whether any of these non-desired student situations are part of our current teaching situation.

One additional short book deserves mention at this time of the year when new habits are being established and conscious changes undertaken by teachers and students. Todd Whitaker's brief book What Great Teachers Do Differently: 14 Things that Matter Most may prove to be inspirational and motivating for many teachers striving for renewed excellence in their teaching and communicating with students and parents. (2) The book contains lists and discussion of behaviors that the best public school teachers exhibit, and while many of the behaviors seem to be practical and common sense, the actual rendering of them in a conscious way can lead to important changes in teaching styles and communication. For example, Whitaker suggests that teachers consider how they treat their best students, and then be aware of treating all students in exactly the same way. Perhaps it seems obvious for Whitaker to state the following: "Great teachers consistently filter out the negatives that don't matter and share a positive attitude." (3) Nevertheless, following this tenet could change the lives of many teachers and consequently their student interactions. Whitaker's discussion of the power of expectations in the third chapter may re-validate and support many teachers' new goals for a year. His discussion is affirming and helpful, and can be invigorating for a teacher to read in the weeks before returning to a season of teaching.

Q What role should parents play in their childs music study?

A The parental role is critical to the student's success. Parents interest shown in the child's growth and ability to create music is essential for the teacher and the student. As a means of respecting the teacher and the learning situation, the parents need to assure that assignments are completed well, students practice effectively and regularly and they make good progress. Teachers usually will need to remind parents of their role in the parent-teacher-student triangle, and help them learn of their responsibility. Parents may be asked to attend all or some lessons of a younger child, so that they know the expectations for the practice during the week and can help the child practice. Parents need to understand the teacher's philosophy, and support it with for the child to be successful working in the studio.

Children need the respect of their parents, and this can be demonstrated simply by listening to their child play between scheduled lessons and by respecting the child's difficulties and triumphs at various stages of study. The role of parents is arguably the strongest link in the Suzuki method  of study, and certainly is a crucial element. Parent and child bonding can be enhanced when young students are aided daily in their home practice, as Suzuki philosophy requests.

NOTES

(1.) John Holt. How Children Fail revised edition. (Massachusetts: Addison-Wesley Publishing Company, 1982. Originally published in 1964 by Pitman Publishing Company, New York).

(2.) Todd Whitaker. What Great Teachers Do Differently: 14 Things that Matter Most. (New York: Eye on Education, Inc., 2004).

(3.) Ibid., p. 127.

Jane Magrath, NCTM, is internationally known as a pianist, author, clinician and teacher. She is professor and director of piano pedagogy at the University of Oklahoma in Norman, Oklahoma.