Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy: Challenges, Solutions, Reflections, and Suggestions for the Future Melissa M. Slawsky, Ph.D. Candidate Center for Music Education Research, University of South Florida
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GP3 Piano Pedagogy Presentation- Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy
This is my presentation for the GP3 Group Piano & Piano Pedagogy Conference taking place August 6th in Austin, Texas. I will be presenting the results of 2 pilot studies in preparation for my dissertation. This research focuses on the pianist's transition into the teaching role including challenges they face, solutions/resources they find, reflections and suggestions for the future.
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Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy: Challenges, Solutions, Reflections, and Suggestions for the Future
Melissa M. Slawsky, Ph.D. CandidateCenter for Music Education Research, University of South Florida
BackgroundBackground
*B.M. piano- *B.M. piano- Florida Southern CollegeFlorida Southern College
*M.M. piano pedagogy-*M.M. piano pedagogy- Univ. of S. FloridaUniv. of S. Florida
*Ph.D. music education-*Ph.D. music education- Univ. of S. FloridaUniv. of S. Florida
Performance Performance Pedagogy Pedagogy Research Research
*Professional development is not *Professional development is not mandated mandated (Heisler, 1995; Jacobson & Lancaster, 2006)(Heisler, 1995; Jacobson & Lancaster, 2006)
*Quality of instruction is unchecked and *Quality of instruction is unchecked and uncontrolled uncontrolled (Heisler, 1995; Wolfersberger, 1986)(Heisler, 1995; Wolfersberger, 1986)
*Piano teachers operate independently of *Piano teachers operate independently of professional structures professional structures (Jacobson & Lancaster, 2006)(Jacobson & Lancaster, 2006)
Master-Apprentice ModelMaster-Apprentice Model““TheThe master is the modelmaster is the model who who
demonstrates, directs,demonstrates, directs, comments and comments and inspires and theinspires and the apprentice is the apprentice is the discipledisciple who watches, listens, imitates who watches, listens, imitates and seeks approval’. This is still a and seeks approval’. This is still a powerful universal motivating force powerful universal motivating force particularly in conservatoires.particularly in conservatoires. It is also It is also a a firmly established modelfirmly established model for the for the teaching of music in many private teaching of music in many private music studios” music studios” (Uszler, Gordon, & Mach, 1993, (Uszler, Gordon, & Mach, 1993, p.584).p.584).
Master-Apprentice Model?Master-Apprentice Model?
• An apprenticing An apprenticing electricianelectrician studies with an studies with an electricianelectrician to to become an become an electricianelectrician
• An apprenticing An apprenticing pianist pianist studies with a studies with a piano teacherpiano teacher to to become a become a pianist (performer)pianist (performer)
(Then has to learn how to teach)(Then has to learn how to teach)
Research problemResearch problem
• How do pianists How do pianists make the make the transition transition from student to from student to teacher?teacher?
• Advocating for piano pedagogyAdvocating for piano pedagogy
An Uphill BattleAn Uphill Battle
• Piano pedagogy is Piano pedagogy is not not valuedvalued by some institutions by some institutions
• Tension between roles as Tension between roles as performers and teachersperformers and teachers
PurposePurposea.a. Explore how piano teachers learn to Explore how piano teachers learn to
teach from and independent of piano teach from and independent of piano pedagogy coursework,pedagogy coursework,
- - overcome challengesovercome challenges, and, and
- continue to add to their pedagogy - continue to add to their pedagogy knowledgeknowledge
Purpose Purpose (continued)(continued)
b. Explore topics that would be b. Explore topics that would be most most usefuluseful in a in a ppiiaannoo ppeeddaaggooggyy course or course or programprogram
Qualitative ApproachQualitative Approach
• PhenomenologyPhenomenology“…“…there is an essence or essences there is an essence or essences
to shared experience” (Patton, to shared experience” (Patton, 2002, p. 106). 2002, p. 106).
• Heuristic Inquiry Heuristic Inquiry " " . . In heuristic research the . . In heuristic research the
investigator must have had a investigator must have had a direct, direct, personal encounterpersonal encounter with with the phenomenon being the phenomenon being investigated. There must have investigated. There must have been actual autobiographical been actual autobiographical connections” (Moustakas, connections” (Moustakas, 1990, p. 14)1990, p. 14)
Research QuestionsResearch Questions
1.1. How do piano teachers make the How do piano teachers make the transition from student to teacher? transition from student to teacher?
a. What a. What challengeschallenges do they face? do they face?
b. What b. What solutions/resourcessolutions/resources do they do they find?find?
c. What c. What learning experienceslearning experiences (formal (formal and informal) helped prepare them?and informal) helped prepare them?
Research QuestionsResearch Questions
2. What 2. What current challengescurrent challenges do piano do piano teachers face?teachers face?
a. What a. What solutions/resourcessolutions/resources do they find do they find to overcome these challenges?to overcome these challenges?
Research QuestionsResearch Questions3. What do piano teachers suggest for the 3. What do piano teachers suggest for the
future of:future of:
a. piano pedagogya. piano pedagogy
b. the piano curriculum, in general?b. the piano curriculum, in general?
Closely Aligned LiteratureClosely Aligned Literature
Colleen Conway- Music Education
Dissertation:
•Interviewed preservice music educators
•Goal- inform music methods courses
Induction ChallengesInduction Challenges
Challenges included:Challenges included:a. Classroom managementa. Classroom managementb. Routines for Learningb. Routines for Learningc. Finding & choosing a curriculumc. Finding & choosing a curriculumd. Re-establishment when moving to a new d. Re-establishment when moving to a new schoolschoole. Advocating for music educatione. Advocating for music education
(Conway & Hodgman, 2006)(Conway & Hodgman, 2006)
Implications for Beginning Music Implications for Beginning Music EducatorsEducators
• Handbook for the Beginning Music Handbook for the Beginning Music Teacher Teacher
(Conway & Hodgman, 2006)(Conway & Hodgman, 2006)
Implications for Mentors & Implications for Mentors & AdministratorsAdministrators
• Great Beginnings for Great Beginnings for Music Teachers: Music Teachers: Mentoring and Mentoring and Supporting New Supporting New Teachers Teachers (Conway & (Conway & MENC, 2003)MENC, 2003)
ImplicationsImplications
By studying the transition from student By studying the transition from student to teacher, Conway informed:to teacher, Conway informed:
• a variety of music educatorsa variety of music educators
(from students to administrators)(from students to administrators)• The framework for teacher educationThe framework for teacher education• The field for which they will be The field for which they will be
enteringentering
Haddon (2009)Haddon (2009)Studied the experiences of the Studied the experiences of the
beginning applied music instrumental beginning applied music instrumental instructor:instructor:
• Commented on lack of support & Commented on lack of support & pedagogical training in the UKpedagogical training in the UK
Ranked as Ranked as mostmost important- important-• Traditional aspectsTraditional aspects
Ranked Ranked leastleast important: important:• ImprovisationImprovisation• Computer-assisted instructionComputer-assisted instruction• Jazz and rock musicJazz and rock music
IronyIrony• Participants age 55 and aboveParticipants age 55 and above
• 30 years of teaching experience30 years of teaching experience
ParticipantsParticipantsPhase 1-Participant Age Education Teaching
setting Teaching experience
Thomas Chang 21 B.M. in progress
Private studio
3
Lisa Crawford 28 M.M. piano
Private studio
10
Susan Liszt 70 M.M. piano pedagogy
Private studio
25
Dr. Autumn Van Arden
65 D.M.A. piano
Collegiate studio
40+
ParticipantsParticipantsPhase 2-Participant Age Education Teaching
setting Teaching experience
Sarah Ford 28 M.M. Private studio
3
Caitlyn Smith 24 M.M. Private studio
5
Ellen Page 29 B.M. Private studio
13
Chelsea Ash 29 B.A., B.M.M.A. in progress
Private studio
12
Synthesizing the DataSynthesizing the Data
StudentStudent
Applied lessonsApplied lessons
CourseworkCoursework
Circumstances that led to teach
Circumstances that led to teach
TransitionTransition
Emulate + ____(developing teaching style)
Emulate + ____(developing teaching style)
ChallengesChallenges
ResourcesResources
TeacherTeacher
Current challengesCurrent challenges
ResourcesResources
Reflections & suggestions for the future
Reflections & suggestions for the future
Applied LessonsApplied Lessons
Piano teachers took an Piano teachers took an average of 12.5 yrs. of average of 12.5 yrs. of piano lessons before piano lessons before embarking on teaching.embarking on teaching.
• 4 taught in high school4 taught in high school
• 4 taught before or during 4 taught before or during graduate studygraduate study
Pedagogy CourseworkPedagogy Coursework
Coursework in Piano Coursework in Piano Pedagogy:Pedagogy:
• 4 took 1 undergraduate 4 took 1 undergraduate coursecourse
• 4 took graduate courses4 took graduate courses
(1 had 1 course, and 3 had (1 had 1 course, and 3 had 2 courses)2 courses)
Circumstances that led to teachCircumstances that led to teach
Piano teachers listed several reasons including:Piano teachers listed several reasons including:
• 4 were asked to teach4 were asked to teach
• 2 were required to teach for graduate study2 were required to teach for graduate study
• 1 self-motivated during high school1 self-motivated during high school
• 1 obtained employment during college1 obtained employment during college
Transition:Transition:Emulating former private teachersEmulating former private teachers
*communication of ideas to *communication of ideas to studentsstudents
*techniques of tone *techniques of tone productionproduction
Transition:Transition:Emulating former private teachersEmulating former private teachers
Piano teachers:Piano teachers:
• Took the positive aspectsTook the positive aspects
• Left out negative or Left out negative or counterproductive aspectscounterproductive aspects
Transition:Transition:Emulating former private teachersEmulating former private teachers
Piano teachers:Piano teachers:
• Developed teaching style Developed teaching style based on what other teachers based on what other teachers left outleft out or neglected in the or neglected in the piano curriculumpiano curriculum
Transition:Transition:Emulating former private teachersEmulating former private teachers
Piano teachers:Piano teachers:
• Developed teaching style in Developed teaching style in OPPOSITION to former OPPOSITION to former teachersteachers
Challenges faced in beginning to teach:Challenges faced in beginning to teach:
• No curriculum No curriculum (Choosing methods, technique & theory books, and literature)
• No guidance or supportNo guidance or support
• Dealing withDealing with discipline or discipline or behavioral problemsbehavioral problems
• Enforcing policiesEnforcing policies
• Acquiring new studentsAcquiring new students
• Not knowing what to do…Not knowing what to do…
Not knowing what to do…Not knowing what to do…Lack of education on how to teach:Lack of education on how to teach:• ““I had not studied how to teach, I had not studied how to teach,
only how to play, and had no only how to play, and had no guidance at that time from guidance at that time from experienced teachers… I had to experienced teachers… I had to teach myself how to teach” teach myself how to teach” (Susan Liszt).(Susan Liszt).
• ““I wish there were more resources I wish there were more resources to prepare me in teaching music, to prepare me in teaching music, rather than just picking it up on rather than just picking it up on my own and learning as I go, and my own and learning as I go, and getting it from other people” getting it from other people” (Thomas Chang). (Thomas Chang).
Overcoming Challenges as Beginning TeachersOvercoming Challenges as Beginning Teachers
• Gained more experience Gained more experience
(trial and error)(trial and error)
• ReadingReading
*Composer treatises*Composer treatises
*Resources on *Resources on performing different performing different stylesstyles
Overcoming Challenges as Beginning TeachersOvercoming Challenges as Beginning Teachers
• Discussed issues with other Discussed issues with other teachersteachers
• Developed professionalismDeveloped professionalism
*Joined professional *Joined professional organizationsorganizations
*Went to college*Went to college
• Improved communication Improved communication skillsskills
• Gained skills in recruiting Gained skills in recruiting additional studentsadditional students
Current ChallengesCurrent Challenges
• Transitioning students from Transitioning students from method books into method books into intermediate repertoireintermediate repertoire
• Time management-Time management-
Cramming everything into a 30 Cramming everything into a 30 minute lessonminute lesson
Current ChallengesCurrent Challenges
• Helping studentsHelping students develop an develop an individual styleindividual style of playingof playing
• Sustaining motivationSustaining motivation • Competing with other Competing with other
activitiesactivities• Students and/or parents don’tStudents and/or parents don’t
value the piano as a serious value the piano as a serious endeavor (hobby)endeavor (hobby)
• The The economyeconomy
Current ChallengesCurrent Challenges
New populations of students:New populations of students:
• Preschool agedPreschool aged
• Special needsSpecial needs
• Adult hobbyistsAdult hobbyists
Solutions or Resources in Overcoming Current Solutions or Resources in Overcoming Current ChallengesChallenges
• DiscussingDiscussing issuesissues with with friends and colleaguesfriends and colleagues
• New forms of advertisingNew forms of advertising
• On-line music resourcesOn-line music resources for pop music and other for pop music and other motivating music for motivating music for students students
Solutions or Resources in Overcoming Current Solutions or Resources in Overcoming Current ChallengesChallenges
• Fake booksFake books or methods to or methods to help students play by ear help students play by ear
• Taking an eclectic Taking an eclectic approach for individually approach for individually tailoring the curriculum to tailoring the curriculum to the needs of each student.the needs of each student.
Piano Pedagogy Coursework-Piano Pedagogy Coursework-Helpful AspectsHelpful Aspects
(7 of the 8 participants had at least 1 (7 of the 8 participants had at least 1 undergraduate and 1 graduate course in undergraduate and 1 graduate course in piano pedagogy)piano pedagogy)
• A forum toA forum to discussdiscuss experiences experiences with peers and experienced with peers and experienced teachersteachers
• Writing Writing lists of literaturelists of literature & & examsexams appropriate for various appropriate for various ages or levelsages or levels
• Developing a curriculumDeveloping a curriculum for a for a group college coursegroup college course
Piano Pedagogy Coursework-Piano Pedagogy Coursework-Helpful AspectsHelpful Aspects
(7 of the 8 participants had at least 1 (7 of the 8 participants had at least 1 undergraduate and 1 graduate course in undergraduate and 1 graduate course in piano pedagogy)piano pedagogy)
• Writing aWriting a philosophy of philosophy of teachingteaching
• Surveying method booksSurveying method books• Developing aDeveloping a studio policystudio policy• ObservationsObservations of experienced of experienced
teachersteachers
Piano Pedagogy Coursework-Piano Pedagogy Coursework-Helpful AspectsHelpful Aspects
(7 of the 8 participants had at least 1 (7 of the 8 participants had at least 1 undergraduate and 1 graduate course in undergraduate and 1 graduate course in piano pedagogy)piano pedagogy)
• Setting up a piano studioSetting up a piano studio• Practicing in editing and Practicing in editing and
• Special populations of Special populations of studentsstudents
*Pre-reading/Pre-school age *Pre-reading/Pre-school age
*Special-needs *Special-needs
*mature adult hobbyists*mature adult hobbyists
Aspects teachers felt Aspects teachers felt ill-equippedill-equipped to to teach from pedagogy courseworkteach from pedagogy coursework
• Dealing with students as Dealing with students as individualsindividuals
• New forms of advertisingNew forms of advertising and and thethe business aspectsbusiness aspects of setting up of setting up a piano studio (taxes, etc…)a piano studio (taxes, etc…)
• Non notation-basedNon notation-based teaching teaching methods (improvisation, playing methods (improvisation, playing by ear, etc…)by ear, etc…)
Piano Pedagogy CourseworkIneffective Aspects
• Inauthentic teaching or Inauthentic teaching or observation experiencesobservation experiences
““The class at (omitted) was hilarious The class at (omitted) was hilarious because I was assigned to teach because I was assigned to teach (in front of the entire class) a (in front of the entire class) a “student” (actually my boyfriend “student” (actually my boyfriend who was also a piano major) a who was also a piano major) a piece of music. It was silly – like piece of music. It was silly – like being in a play…it was sort of like being in a play…it was sort of like play-acting. It was just sort of silly. play-acting. It was just sort of silly. It wasn’t real” (Susan Liszt)It wasn’t real” (Susan Liszt)
Suggestions as toSuggestions as to thethe Future of Piano PedagogyFuture of Piano Pedagogy
• Piano lessons should Piano lessons should allow allow students to make students to make independent decisions,independent decisions, such such as choosing repertoire or as choosing repertoire or harmonizing familiar tunesharmonizing familiar tunes
And the Piano Curriculum in General…And the Piano Curriculum in General…
• More time on pedagogy, More time on pedagogy, less on preparing for less on preparing for recitalsrecitals
• Even performers need Even performers need business skillsbusiness skills
Future ResearchFuture Research
DissertationDissertation• Large scale surveyLarge scale survey• Follow-up InterviewsFollow-up Interviews
ReferencesReferences• Chronister, R. (2001). The National Conferences on Piano Pedagogy: Whither and
Wherefore. American Music Teacher, 50(5), 30-34. • Conway, C. M. (1999). The development of teaching cases for instrumental
music methods courses. Journal of Research in Music Education 47(4), 343-356.
• Conway, C. M. & Hodgman, T. M. (2006). Handbook for the beginning music teacher. Chicago, IL: GIA Publications, Inc.
• Conway, C. M. & MENC, The National Association for Music Education. (2003).Great beginnings for music teachers: Mentoring and supporting new
teachers. Reston, VA: MENC, the National Association for Music Education.• Fu, H. C. (2007). A status and vision investigation of US university piano pedagogy
programs (Doctoral dissertation, University of North Texas, 2007).• Gordon, S., Mach, E., & Uszler, M. (1991). The well-tempered keyboard teacher.
New York: Schirmer Books.• Gray, M. E. (1998). Teacher or performer: Role identification among piano
majors. (Doctoral dissertation, The University of Oklahoma, 1998). Digital Dissertations, 59(04), 1104.
• Haddon, E. (2009). Instrumental and vocal teaching: How do music students learn how to teach? British Journal of Music Education, 26(1), 57-70.
References (continued)References (continued)•Heisler, P. K. (1995). A theoretical comparison of certified piano teachers’ claim to
professional status with the sociological definition of profession. InternationalReview of the Aesthetics and Sociology of Music 26(2), 239-249.
•Houle, A. (2004). 5 minutes with… Marienne Uszler. American Music Teacher, 54(2), 65.
•Jacobson, J. M., & Lancaster, E. L. (2006). Professional piano teaching: Acomprehensive piano pedagogy textbook for teaching elementary-level students. Los Angeles: Alfred Publishing.
•Maris, B.E. (2000). Teacher training for the pianist in preparation for the 21st century. The American Music Teacher, 49 (6), 33.
•MENC (2010). Society for music teacher education: Professional literature project.George N. Heller (Ed.), Retrieved May 31, 2010 at http:// www.menc.org/resources/view/society-for-music-teacher-education-professional-literature-project
•Music Teachers National Association. (1990). Pedagogic training of music teachers: Asurvey report. Cincinnati, OH: Author.
References (continued)References (continued)•NASM, National Association of Schools of Music. (2007). Higher Education Arts Data
Services (HEADS): Music Data Summaries (2006-2007). Reston, VA: HEADS
•National Conference on Keyboard Pedagogy. (2004). Task Force on Pedagogy Curricula. Retrieved June 22, 2010 from http:// www.francesclarkcenter.org/NationalConferencePages/resources/curriculumResources.html
•Schons, S.M. (2005) Piano teachers’ attitudes on piano pedagogy course topics. (Doctoral dissertation, The University of Oklahoma, 2005.)
•Sumpter, T. L. (2008). Professional status and the independent piano teachingoccupation: A study and analysis of demographics, training, business policies,and studio practices (Doctoral dissertation, University of Oklahoma, 2008).
•Uszler, M. (1993). Research on the teaching of keyboard music. In R. Colwell (Ed.), Handbook of research on music teaching and learning: A project of the music educators national conference (pp. 584-93). New York: Schirmer Books.
References (continued)References (continued)•Uszler, M., & Larimer, F. (1984). The piano pedagogy major in the college curriculum: A handbook of information and guidelines. Part I: The
undergraduate piano pedagogy major. Princeton, NJ: The National Conference on Piano Pedagogy.•Uszler, M., & Larimer, F. (1986). The piano pedagogy major in the college
curriculum: A handbook of information and guidelines. Part II: The graduatepiano pedagogy major. Princeton, NJ: The National Conference on PianoPedagogy.