O-lit:TER I I CAREER ChOICES 179.

180 PART IV THE PROFESSIONAL KEYBOARD TEACHER

tacha deveiops a partnership with the anadear and parcat :o accomplish main apead
opon pais the piano. This can be very diffexat from the mirad-set bond it academia,
litera soadenu must, in a worle case eramPic, unquatiorint foilOw thc dinas:ion, of
tenure-protected protestara, howner anaguided, it dtcy wish ro recabe crea: and
complete a &gra. Tau/ling in esa independent :radio, in coropariaon, Sea place in a
marketp:ace where sandeces can stop soidying atwill and achien onh/ to the demee
that Mey cboore ro wor's bard for their own, or for their patenta', masona
There are severa oamponents to a flowishing customer-baud (a mole accurate term for
a piano tachar inight be 'merodea:basada) rdaEonship. Opca ornmunication with the
pupa la enentld, as ir 6.1L participation in the larring pocas by orbe: responsable
timily member:. Both are by no meta a given. Soria madama are uncorafortabk in the
company of adula a come ftona mimes whae the teacher la pnerived as a distar.
=hongo figure, to be obeyed without question ot appeascd. Many patena of toda-y's
piano studans are par. of the getwration that liad little or no �posare te personal
cruje makag during their own eckation. A cm:me:eco teacher vol have ro <danta
faMilits about the hundes of music sn:dy, effecEve practica habita, sultable sella,
time management, and appropriaa divisioa of acommability in all thele arcas. The
tacita mili have maro how m talle ro galena in a insana that elido arcaningful
responses.
�
Mangas riese protesta is esa ongoing operadora, because activitia will changa
saco:dans to a sradenes ase, family situation, and objeceves, factor; that can
changa over time. At all staga of smdy, active studeat-based raatiooshIps delatad
on den-ciat mutually aguad upoo goal' aad toas of measurement ]Cese may be musially
specific�for ir.stance, karaing a cuyas pitee by a speci�ed time, then peaforming
it in a recital or compatidon�a more general, such as improvIng�study habas,
becoming a better sight nade, or learniog more about the music of a certain style.
Sorae may evos be r.onmusical: dareloping overall concenaation, or providing a
relixing outlet from the mena a daily lite. Selection ohne*, teulting 'tubo& and
practica teasniques wW tlow from diese goal:, as wat macutos adjustment and
improvemear. A student-basad philorophy of teaching will find atility at alt auges
of
�
study, and in allsettisge, from the privare atudio to the coaservarory.
182 PART IV THE PROFESSIONAL KEYBOARD TEACRER
~~CyyHyAPTSR 12
Teaching As a Business
In Me 1940 somanta comedy The Phlkdelphia Sor� Ctry Grata desaibed his ex-wife's
lightweight new Cane� in an unflattering light: "Will to hardly know him ls to know
blm well," This can SOMetinief app): ;o new plano teuhers, too. Filled with
idealistic and per-haps overly optimista dunas cOnceived in thei: yema of study,
theykunity know theraselves well er.ough te jadge how to offer the': talenu to the
world most effectively. So the fan step U. as in any new venta�, to rake a hiall&
speci2c inveatory of your own akBls and pala musical and ciherwise.
The Audition and Before .
bu pu grow up tal�n& cate of younger atinas! Perhaps your knovdedge of chitaren can
be ben put to use spe-cializing ira teaching younger students. Do you pitar
exchnaging ideas with membersof your OWn peer poco? TeachIng adulta roas' be the
right choice for you. Do ycu have a unique internt or orea of ctpertiser church
muta, jazz piano, world Emite, or the works of Beethoven? Knowing tisis wat help
you decide how and wbere to posidon )oLuself and what type of students you willwant
to aceept.
It goa without saying that achieving a bi,gh level of knowledge and mastery during
your years of study a enlajad. Piano tenching Is a canina �Tilingo wealth of
information, Iris:aten:the sutapecialty. Fine pianista must kan a higbly sped& set
of tules and guldelinea,which they then can use to esmera thei: own personality
through the muslo that they perforas. Conveying tisis procesa, in whote and itt
detari, 1$ Me cuenca of extraordinary piano teiding and does not come without match
study..
181
An aspirina tacha must have a full know:edge of piano repertoire and technique,
from elementary to advanced; tisis ccpetience masa net be United to merely a
bandfal of standard works.An undentanding of theory and stylistk performance goa
limad in hand with a Fasp of the repertoira But Mese skills in thernselves are not
enough. Knowing and dolng for oneself h net the same as explaining, A pomada'
tachar must drIll lila o: her ewn basic teachingskills and kun to recognIle the
leaming style of each student. At some point a synthesis must take pace between all
these aseas, unique to seis !cacha and variad according to the needs of tbe
individual student. The yeso of college studywv ira�lybeadeguate for a working
widerstanding,If there are some spe� elfie ateas in which the novia macla, is
lacidng, immediate atea reading, study, and workshop attendance is indicated.
Meta compete bwentory of personal aklfl sud knowledge, the prospective tache � will
',sant to gather as macla information as possible about potencial students.This
proas *ten begins with a pbone chi ?lacha, abould cover Mese topia in tisis first
cOntact
� personal background and training
z encelda te:achina phitosophy and goza
a day-to-day expectattons regarding pactice time and parental invoLvement
z procedures tac workshops, recitas, and corepetitions
ta feo
This lag sablea is the ore most ellen jacarea, bu: it shouldn't be. Payrnent is a
met of protessioaal relationship and Mculd be discussed without selleonsdousitess,
in miran�.
if a guaecle4 or ~.1 goais, financia mann, differ signitcantly from the teacher's
expecutions, an audition may be poindas. In that case, it la good lo plan a uct-hal
wryof dbengagIng.Thankthan for the call,say that you do not think you me the right
tesela for tisis particular studou (nena imply that your &chica is ar.y bank of the
atu-dene, and with Mein good tu& in mai< study. les a good Idea to have a List of
zespected colleagues with difteunt Tubito, rata, and gola to whom to rete: Mese
studenu.
The auditor: is a time to become acquainted with tad: abedules chanza and fant.
lly, and for them te han a chance to observe you. Specific activitin depend opon
what skals and penonality tras you yen: to Int. A list of these sksts, and peasilAc
activRies, can be round in Chapar 7. It is important that pro:pece/e studentt sea
tose same valides ar.odeled in you. lt9 post Idc that .a farr.iki may decide not to
meced with lessons siker watchIng you work with dm Studer� in the audition. This is
good, twcause yola do not mana to accept a student who doesok rapond to your style
and penonality.
You are interested in more than praely musical embrides. You want to learn about
cada studenes iiiestya and reumas ter studying piano, atter actvities, and musical
goal,. Direct quationing will elicit �Me of tisis tu, but personal observador is
equally important. Watch closely how students sespond. Same questior.s to consider
are:
u What is their body language tefissg youl
^ How long can they focas on the work?
CHAPTER 12 TEACHING AS A BUSINESS 183
184 PART IV THE PROFESSIONAL KEYBOARD TEACHER
^ Can they fotow segunda' &redimas and apply in:bandas learaed accomplish-in;
one tas� in a new contad
^ How do they relate to authoriy figures?
n How do they lana with their patenta?
^ Do they show good coordinnion, or are they struggling with cyc�brain-hand-
fon-ger coordinada.? If riere la a block, when Es it?
� A transfer pupil is a member of a special subsct of auctinceing students.
Some uanskrs ase kiciang for a new tacha for in.nocuous �casona, a simple Education
by one of the puta or a chango of roces. Having worked bard for their ?mima cachet
din will be able to show their accomplishmenta In performance. But sometimes, an
surtidor. by a trander demcnstrates a la& of success, non thOugh the nudos: muy be
talented.1 have heard stadenu iu dna group callad inunda? Indelicate as Chis �una,
it's m apt taro. nao In:danta are citad, fraying at the edget, and unufe at any
sp�d. 'May are con:mg to you for kssons because there has been some problen:These
cequia e more careful audition, dillIrent in intensity if not in triad (sea Chapuz
7).
Witb all new is important to Identity and diagnose problem arcas as well
as dalla, and to pren�be solutiore. This can be difficult with tome transfer
studenu, ;that problema have become habitual and atezaingly permanent. Whik diese
per. formen are curdos to yeu seeking improvement (if they didn't want to improve,
they would lave gola), titcy can be reluctant and oven rolaba: to danging ingrained
bad hab.tr, hcuever detrLmental.
For example, ira not imponible to kam toread mude, but it can te almost hopeo las
if the andana has played for yeara by guessing Matead of deciphering, and is
unwill-ing to put in the work to impon reading singa. At the ludido�, you wiil have
to find a way to mix ptaise ("Ton are a alentad modem; I love the feeJing of
freedom in your playa() with a fzank statement of the problem, :talan toa detallad
agramen on its zesolution ("Ton have manynote-reading and rhyttunk error, in mit
playing. To sobre dila,/ remake my andada to do reading drills foz twenty minuta
trent day. Are pu Ovilles to do Ibis?"). Often, a student will agree to the plan
without hesitation.You will have to be more specific *bota the commitnaent you are
agilitas (�What time of day
you practkc your reading? Are you willing to keep iwritten record? ( will ask your
meato sign it"). The look In the student's ayes afta chis type of achange will help
you decide the nat step.
The auddion is the place to raodel your Idea bf %int a tusanwith you willbc. How
;va you kandle note mistaba, for instaure? Do you van: theta m stop and Uthe prob-
lem immediattly, to keep piso/Lag at ale costs--or both, dependas os the
chtumstante? The audition is the tizne to let the student Imow. Be kind, but honat,
and ahvays state your Cfellccpectations."That Ovas grcat, but very pidry about
fingerincyou might
aayOr, lea die mood you orate, but it would be beta if you moved your hand this wat
to acate that round." Reitera< your studio rules: fea and billing, practica
sequita� mut, what type of Instnunent you want them to han and iu maintenance, and
anyy thlag tac you Wat the student to do or !mon:
Many r.ewly gradusted young tachen want to apenalire in advanced dudara Keep In
mirad that this is zarely possible a the begtnning of a teaching carear. Teachers
have lo wotk haat to prove their mettk at the level at which they aspire to work,
and to showcuatheir ales appropriately. Your expectationa ha theta Veis
(compentions, pub-lic performances, your policy ora referida) simula be olear to
�donad:Uva students, ton. A know-2p esa or meeting will help sil pardea decide
Whether to mocead, and how.
Studio Policia& and Finances
Once a suden has beta accepted trua ybur atocho, hadas ?dm or /ser a written that
of studio ?olida is mental lea important that this be complete and aovar any likely
eventuility. A thorouglt statement: gima to atudeou in advance, will provide you
with legal protection In case of fumre disagreernenu, can if they liad toa /awsult
Mote pianista choose teachin' g as a vocation from a sincere Ion of mude anda dula
to share thit joy with *there. Vds In itself will rarely be enough to buy a hose
and iake can of
kmily, and to prosea youzself from the disputes that mayuise over le coarte of a
careen Santas tules and fea is an important pare of teaching.
CHAPTER 11 TEACHING AS A 9USISESS 185
There 13 a disturbing lack of accuute information about piano�teaching tete.
Manabas surco by professional organiutiona have bccn hampered by a lack of natkticd
exactitude, and by the fact that many piano tachas do not belong to the
organization conducting the survey and banca remain unpolled.laiced, no ora know,
the enct number of plano tachera working in the United Sato, lea done information
*boa ilwit lame and relatad artivitits. There la murta anecdotal evidente
suggesting that fea vaty width, between geographlc aras, and from studio to studio.
This state-=nido applies to salaries paid by community collegas, uy-iranias and
oor.servatoties, and (reprenden Wagas fluctuate seemingly st v�ll, and are subject
to forces of supply and demora in a market whate the forma fan armada the lana. "Ne
liad over 200 applicanta for a piano job paying $20.000 a mar," a college
adninistrator informad me
1998."The sad thlng is, we probably would han had just as many if it paid $12,000."
A Cacha 'Ming ratea ahould ask many quudorts abad fea bcing curratily peld in the
chosen geographic ama and uta price accon2ngly, in line with Me market but
commanstuate with personal skill and �pariente. The wats ((ladea renal, equiP� ment
purchau and mainunance, insurance) associated with offering your services mara be
factoked loto your calculations, tea. Some independent cochera charge extra teca
for registration, to offset the costa of billing, telephone, and mailing, plus fosa
for the use of computer equipment, for loaned :nutrida and kr rnusic pechases by
Ole
teadwr for atudents.
The audio pollry sheet nould siso indude information about temas of billing (by
amaste; monda, in a lump sum or by payment, and due dates), any discotmt for
atirante payment or penalty for late compensation, and any rebase for additional
fam-iy members viho avista te study. Mides on missed !atelana sbould be rayere&
too. Will your estadio charge for missed knons if not given a twentyfour�hour (or a
186 PART IV THE PROFESSIONAL KEYBOARD TEACHER
fortnight-hour) onda? %%len wili malee-up ituons take place otly onSaruzdays, in
another student's cancelad time, or nevar?
A studio policy �hect musa �free dearly suted guidelines on every factor afeaba
student babador. A po!icy on eatly anivals and late stays is sometimos important.
for example. 'There have beta some court ndlngs that suggest that the plano taches
is responsible for the safety of students eran wee May an waitingoutside to be
pialad up, and even Lc the posen mina late. You ntight want to Inda& information 00
your
pollcy sheet to remirad tia; you are not providing a babraitting servia. Stated
polilla about a dren code (fe: luso= and for recital:), on-time requiremer.ts, and
competitions are important, toa.
Communicating with Parents and Students
Quedes are en ongoIng pul of teaching, repetidora and poorly thought out though
they can aometimes be. 1 haven't a�swered so many kliotic quesdons lince 1 Wad to
opto e chuge ;Account at Saks," asid Debbfe Fteynolds lo the 1963 Elm Mary, Mary,
apeaking on Ulule of beleagueted plano Machos everywheze. But all member: of the
student-teacher-parent relationship have a responsibillry to seek ar.d sisare
informa-tion. Quertioning is an important post of this actiVity. A andenes
aspirations and nada, and the commitrnent of study and time tarta student la
willing te snake to accornplish them, will fluctuate over time, as wtil the tumbar
and degree of *baladas. �idee students can oteo communkate about Mese issues on
their oven. Younger stu-dents,though, Mli need some hdp. Patenta asea cesabais best
ally and lauree of latea 'nailon. They seo the child claily and have beta together
a lifetinte.But the relatioaship will sequire some management
Patemetus need to be set from the begkning. A family awning to you for Itasons is
initisting a ventura basad on your ccpertise, cornmunication stiLls, and ability to
inspire. The relationship is emotional�often on both lides�and evenloving, and my
lead toa lifclong estad adora that indudes many other areasof life than just mude.
8ut It's important te remember that it is a business transacticn: your knowledge in
milonga for tele money. IV* important to be friendiy;while radi�n that, in a Eme,
reciprocal sense, you are not a friend, match len a doting osarle o; aunt. Keeping
that boundaries citar helps you ama/ all soca
o( entangkments�ernotiongpsychological, eran socual�thet can block your dudarles
musical developrnent and daraage your carear. Yo u are havolved in this chddis or
adules lile to offer a service. of which tering is an Important pare.
Piano teachers are ladead a resoluta for many arcas ot a Efe cueside of piano
teach� ing, in te narrow sena of tiloso mima-he:lago tvadenu especial need to have
adose rehtlonsblp with an adosa �unida of the immediate family with whan te discuss
prob� 'amagada and ideas. This can be an erriching, even aseada: pan of plano
study.Stili. a teacherk relatIonship with a student musa siways bc professionaL YQU
are being pald tohelp your ata:danta using your musita/knowledge and ahoyo wisdom
as a human being. AL-yr:ling that cepa boyad that role, or causes you to exwed the
bounds of your know:edge er proprieay, is negativos.
?any peopk Mime that piano teaching is a hobby, sanching Olat avenen do in the:r
:pare time, and an uusuitabk anee for a este. Your demeanor and acciona wal lea
CHAPTER II TEACtsiNG AS A BLSINESS 187 188 PART IV THE PROFESSIONACKEYBOARD
TEACHER
o
� "Yesdirnrey's arruare more edad now. But it's not okay for him to precia
ulule sining on an arnxhair, restas lis arma on the supporta."
'Ido^ understand that lis arma are tired afta baseball practica, Init satino
like that hunda bad physioal habito that will be come palatal lata."
as 'Pm carry that you can't afford al arda Mach. la there a stool of the ame height
that he can ale on Instad!'
�
Its
surprislog how taran simple rencration can be, if done without hostility or di,.
rupect 'fty to md each encounter In a m'altive vein, evos if all you can
sayis,"Isee cinc we disagree. Thank you for abatirlo your ideas so honestly."71te
patenta reaction will telt you whether your rdationship with the familywill
combase. Ir it doesn't,that's Ene. You don't want to tetas students who avEl not
fdtow your advice.
:hernio:how that lis sexis:, unprofessional view does r.ot pertainirossur case.
Dress especias, at the beg:nrdng of the relationship, and helare in a businesslike
manta. Return calla prompdy, be oca time, and han& paperwork expedidously. It
amachino happrruto =alce any of this impossible (in en lsolated case) be sure that
the aituadon and les t'aseas are communicatcd dearly. Eam respect by your
self.cortEder.ce, your k.howl-edge, and your methods, and, when necessary, by your
wIlingness :o ases: there. Ask questons and be open to input, rememberieg that you
are tse apta and the ene who must malee the rosal decisions for your caldean atar
conatZting sil concemcd 'parda.
Enlist palentS a4 your amistas by asking open.ended questions, beginning at the
auditloa. Successful open-ended questions are those that active apansive answers,
rather that a simple yes orno. thIng laywords like wIrA tal, and describe is more
effec� :hm chas the more common doce is. Though necessarily biased, patita usually
hace a Lar mote indmate knowtedge of theta affspring than a cachet can achine oven
afta mem raes of teaching. Older students and adula can answer raany of the
followbag questions for thenuelves.
Some things you vasto knew indude tlie follosing:
�
a What aliviaos excitq the student at borne?
n What is the &ademes school background? la che studer.t home-schocied? to What
are lis or ser other school activities? C�ter afler-school lessons? a What are the
mudases favoritc toys, movies, books, *porta, and hobbies? a Waat zesponsdalitics
does the student have at borne? at %/Out an the student's nonacademic sumgths and
vea:marea
^ ?A'hat skills and altitudes would the paren like to set the chtld develop?
^ HOW will :hese be measuredl
Anawering �sese questions will :quia constan% communicadon and reevaluation. res
the cachees job to Milete confereacts and phone ca�a to aliare cenaras and infor-
metion. Problema diecoveced anddiscustsed carky become anal! problema and are more
asily solad. Be flexibk, %tains to try different straugies, ar.d apea to ocasional
reschedtfIng for legit�mate rayara, within the neceando of your own calendar. It la
your job to be an informad son of information, 'elida, and impftatien for studenu
et bala But nene give the verbal or unspoken rnessage that your� the studenes
ser-rant, wilP.ng ea raspead to every whan and request, no nacer how aelfish or
tincasen. able. By behaving in a manta overlyinice,' or by being 'kind" in at
irresponsible way, you are simply enabling dysfunetiond behavion Marc critican
without Warning defensiva, but respectfully reiterate your �pialen if }tu bollero
you are right.
A tuero] technlque durizg such allsousione la catiteatila brokers record!' &gin by
'acenso with what the parcas saya, howevet outlandish Iheir COM.11441S. nen,
leStitt Wut cese, expida your rascas, and offer what you hoye will be a muettally
ageceable resaludan. Counter each objectlon with das patero of
afgreanent�xixation�so:unon. Some cumpla of this stategy indude:
CHAPTEB 12 fEACHING AS A $USINESS
Location and Promotion
The old real auto clich� 'loador, location,locadon" applla with elualtruth to piano
instrucilothalthough no ene type of place EU la typesof petforming and teaching.
The first step Is to bate your madi* dote to prospective atudgr.u. Many students
seeking plano taudy have a long list of other Internos and activitiea. Recame of
these commk-mento, studenu may not be cable to travel long distances m atudy with
you, however strong yola skillo. Furter, school and work schedule can limit the
nuraber of available teaching haus to maktly aftemooru and cvenings. If you Jack
adult students, establish yourseif neo art of ce puk or downtown. Students can tasa
lessons on their way m or from work, or durIng lunch time.
Nemo residencial amas will usually yleld more chIldren anxious for piano lessons
than older developmenu, which may be filled with 'empty nese tamales whose cha.
dren have left heme. However, some of these younger funilie,, particular:y in len-
apensive locales, may not be cable to afford higker losan (ces. Most menopolitan
arcas have �ruin schools or school districts, recognized for having higher uadernic
stan-dard...tronare more Maly to rusd a gresca percentage of hIgh-achieving piano
students in these (astricto. Locations mar chunhes (which often have day are cenen
or preschools) and prfiate schools are good sauces of younger atudenta It mlght ova
be possible lo work mita relatioruhip with the church or school that involvea
refutas or oven ormite teaching.
Tey to selcct an arca that has a genuine necd for new teachen,A meager or nona.
istent school muslo program may mean there is a great ciad for piano lostruction;
It may sLtoslgnifythat no ene is interested.Ralestate nemu and chambas of conunerce
are goodsemces olInformation,although sometima overly posittre. Once you choose
189 190 PART IV THE PROFESSIONAL KEYBOARD TEACHER
a lecale, do everything you can b let peop:e letow about your high degree of cadena
and %tr�nsitos to be a productive put of the local communitya
� Mala a yola of meeting local musicians teaching in schools and music atora.
They can be a ~fui resentir of Information and referraLa
� Have your tundeen glve a benefit concert for a local charity orplotst a
neighbor-ing nunInghome or in shoppIng malla.
� Let your local media outlets know what you are doing, and how It sures the
community.
a Voluntea at your local school; get involved in parent-teacher ozganizations,
chucha, or c�ter neighbothood otganizations.
^ Decora an advoate of music instruction. Alter community ;ambas bou your
pe:altive remarks about the importance of muslo in daily Manad of the bencfitsr of
musiestudy lo other endemois,supported by rneoningful stadsdc. Maus will come to
yolas droves�or at least in potes.
^ Attend leal muslo tache, assoclatIon mectinga. Present yousself modastly but
proudly, and ask for advke and refundo. Established tachen an be competfilve and
selMnvolved but oflon like to help young teachera sebo sean sincere.
No ene type of promocional activity guantees a flote of piano studena But ore thing
is certaln: if you do nothing, yaz can apea to generare no students.
� 192 PART IV THE PROFESSIONAL KEVROARO TEACHER �
5aa
Independent Teaching
1T
Teaching at Home 149
Istablishing a stdio in ruu homo can be the mon ceo-cortica] choice, space and
zonieg laws permitting. There are sorne significan' tu benefits te working at
borne. In addition to the �dudan of r.orrnal business expenses, a home-based
teadter can deduct the coste (mortgage, util-ides, upkeep) of space usad
exclusivery for teaching oc teaching-related cadena Your relatioruldp with your
tccountant is another association that requireS open Mimmunication, because the tax
regulatiors are compli. catar (rauda more so chut can be &wad Imre) and subject to
anual chango. When teaching at heme, you can se e students when you want and asolen
u you want, kee from extra rental charges or distrections, subject to
the nceds of family mentora and neighbon. .
The papencork of nimios a home-based business (which is what you are doing when
teaching in your faldean)can cause headaches, and there are other deawbacks. Ith
importan, fru of sil, to maintain a amorate time and space for family lifoWorking
at borne sometimes males the boundarks between personal and. professional tina too
Luid, bota foiyou ind for yoii: students. Personal cenaras�putting �lamer on the
atove, ?Soldas up youldds' toyion the [loor, answering personal phone ats�can
inter-fere with the professional Image cncia wish to project Boause you are nen:
away from your worltspace, it is tempting to work loo ntuch and nos giyc dan to
your oymlife.
Zoning and problema with neighbon are so:actinia bigger comuna. Parldng la citen
the biggen probkm, rads� than the imite during kuons. Many municipal:des in sao
United Stares have nonir.g coda that bu honac.bascd occupations in general, end
piano tesching in particular. neto laws are orcen hely e:1mnd, and dio only when a
formal complaint is mide to tac appropsiate goverarnent orne. Business limases may
be re quired to teach, but gentes one may red-flag your honre-teaching and leed lo
unwarted inquines.
191
The best advice? Afways check before acdng, without giving away loo muda ido:-
marion. Taik to people in the �dancing department in yous prospetive locality, to
the chtmber of conmute, and to andiations of borne-bond businesses. Read rental or
purchase agreements very carefuliy, opecially the redima on coverants, coda, and
restricdons. These will spell out any potencial problema. Aboye all, cinc to your
neigh-bors and commttnity associations, and stay on good tercos with Mem.
Teaching Outside the Home
Routing space in a local chuzch, school, or business distrkt salves some of the
problems associated with a borne-bond teaching studlo. This can alto be a good
choice for tenis-ere who need more space Sor ensemble, MIDE insmiments,or computer
lobs If the tent is reasonable, machina outside the borne can be a good way to keep
personal and pro-fesslonal ECe amorate. But deductions for business pace ir, the
heme are Ion, although normal business deductions, including Mace rental, still
penain. Good relations with neighbors and compliance with zoning reguladora are Mil
importan
Traveling tu students" tomes la a anotber viable choice, especially in aCCuent
ateas, when :aldeas have muy adivine', adulta are buey, and familles can afford to
pay a premiara to have you come to the hazte. This may be the only option if you
cannot afford your own teaching apee or have no suitable instrument. lbvel expenses
can be deductible (bus check with your accourAant). Be sute (o Indude travel time
in boda your scheduling and your fea.
There are sorne negativa to teaching loa:norte eh& borne. You may boa be in control
Of the setup be the unge of the space. The piano may be poor and located in a part
of the borne subject to rnany din/aedo:U which yeso cannot preveas. It may be &Mal
te maintala your Irme of professiooalism, teso, amidst bullas dogs, TV-watching
�Unge, and the lile. lf %cochina in a aniden* borne is yoar chasca source�f
revenue, ascuas III of 'hese Ihings at the as:Ilion, set 8:m polides in your atudio
state-ment, then alinde by them.
Precollege teaching In the employ of others can be a funjas; alternative. Mwic
mores often arfe: a curriculum of lessors. Some big atores ron full.fidged
conservatorios, �hen only a smattaing of guitas and accordion know. The onlyway to
fiad out is to ase. If the situadon Moka promising, ~bit a resume highlighting your
tenla. ing experience. Offer to give a demonstratiort kuon, g there la no
esmblished huing protocol.Vety oP.en atores requise leachento Lica instrumeou and
sheet musk in addl-don to their teaching dudes. Be rue that sr.y cornmlulons ate
pan of your written
employmen contract .
Some young teachers atan out aiatulitantsto more estabibh� luchara. Ibis is r.ot
ars opportunity to be mertooked. Adule Mucus and Denothy Dein; two legendary tetan,
of the gusten acomnplishment,}tened !Seis careen as assistanu. Working in a MUJIC
propias ron jointly by .a parece tescher and o publlc or pivote school can be
Eruitful, too.lbcre ts a great deal of variation in laws and reguladoras from state
lo state, and evos disutct te distriet. Some entes require nn dementa:y or
secondary educatlon tetabas entificate (or even par�-time tenidos; rnany �o nos.
Otees exempt printe rausk mechen from suda a requirement Some distrito wekorne
piano lessoin on
CHAMA 13 .NDEPENDENT TEACHING 193 194 PART IV THE PROFESSIONAL KEYBOARD TEACHER
school premisa and will oven provIde free space. Othen will allow you to give a
semi-nar on some topic of interest to district teachers and studenls, wbich can be
mala as a sauce of retarais Sane pelma nahing, but will allow you to post or
&tribute Ibera
Tcaching in a commurity school ia another satisfying option foz precollege teach-
Mg. Contener:II �kat, rango In aire from two part-time instructora teaching Susuid
ViOlin In a renovated garage to renowned instlestions Ida014 imante win prisa in
internado:val competitioda. Baty of the more professional and atablished conummity
*dunas han chal roots in the uttlement schools of.the early nvantleth century: low.
con, naighbothood-based,service-oriented organizations designad to better the Ihns
of immigranu through eduettion. Today's coranunity schools have retajad that focas
on community service and cducation throtigh the arts. Ilieir offezings caen Matilde
a full curriculum ranging In lael from novia to octremaly advanced, and can Maude
other arcas *ah as dance and &tater aras.
Each ef Mese employment opportunities hae its markt depending on how a young
professiond santa a carear to develop. Those saches to own their own rent atablish-
ment miga chane to begin (achina in a music atore; ochar* wantIng to become
arta/tachas might belfa as an amarando. to one of thek Mentora Thehing for santona
che an be an acallan way of getting sanad and gaining students more quickly !hora
would be possible on once own. la can be athnulating to work wlth like-mInded col
eagues. and an opporturdty to lean from those more exparien�d. Perc�bala,
instrumenta administrativa services, and a pool of available students are usuaty
assured.
There ate diadvantageo too. Pay la often significantly len than that donad by
independent traben (who have te provide sil their own backup servias). Teachers
working for cibera will often be requked to teach a prandained medica or tu:rindan,
or at a presa! time. This could be unique to each school, or sane commetcially
avail-abk mune sea II Yanytha blusk Schools or Kindennusik This is net
necessarilybad, but may net cortespond in creer particular to each teacher's
personal style; Yeady exams and publk performance, aro alto a norm. Teachers are
usually expected to anend, often whhout pay. 1Vhile a banda to students, such
events do require extra preparation and invoke posskly invichous comparisons.
Many young prokssionals han found utal satisfaction in combining rental carear
optimo You atad, for exarnpk, make a cen�is amount of money nadaba& pan-time at a
collazo another sum tourIng wiM a chambee group, and more money coachingpdvate
students at borne. Thae are roa reutuaty exclusive endeatioa A combhation talored
to your own �pedal skilis can load to a amar of sedsfying diver-
sity and wat opportunity. �
Business Practices
MI pianista, whether worldng for thamseives a for another persona institution,
sbould victo (heir adivina as businesses, and :heir canees as a ventura that muss
be managed by busineslike practica Thc era of the dreamy, impractical musicisnlitng
ordy for are Is ova. The skills, knowledge, and expedence that you worked so hatd
to gala are van-thy of being reinunented (ebbe-Your personal and family
responsibilities reqttire you to do chis in the most effident way, to maximizo
recuso by the high quality and acuite pricingof mur work, and te minimiza risk by
careful management. Youth need to ano-cate resourca for dahy necenitia, of cause,
and aso sin for vacationa trae!, days off, and redrement Ifyou utak for an
institution that haridles some of this for you, so much the Setter. But ir. today's
fut-changing world a is UnWise to depend toully on othen to ma.nage the financial
pan of your lile the finen it too uncenain.
76 plan chis, you will often mead to seek high-quality and up-te.date profeasional
help. Any achica in a book of Mis acope annot be complete or comprehensivo. A spe-
dalist in a :Isaac ama of ir.quiry can provide more and information. Professior-al
halo it often las expansiva han you rnight expect; it cae pay for ard� in time
iaved in a professionalpen business. A latee, for instante, can review your palay
rnateriah to make sure that your ara protecting 'tund� as much as possibk from
Utigation and complying with al relevar dm nato and federal coda. A lawyerla advice
will alio be necessary if legal salan le contempla:ad to obtain payment orco dad
with ame Other problen that is insoluble by other mean:.
Aaountants can *bis< you on the laten chango in the tu code and vaya that you can
minimiza your obligations in Mis arca while folla...1ns the laso They can help you
set up your books to keep accurate tacada and recabe a foil ranga of &dation, and
'to make quutcrly tu parran% If necasary.An insutance agent can kelp you plan for
health covaagoliability ins�.vance, aod protectioa in case of disability Those are
amas that piano cachees neglect at their pea A single adderx can wipe out a Medina
of aavings in a matter of days, as can da-nage to unir.sured equipment.
Plains may siso war.t to consider genios pro-feniano] help on publidty, so that
photograplu,fiyers, brochtues, business carda, ads ir. local papen and Yehow Pages,
and rasurada !cok appealing, profano:id, and curen Al of that are te importan
parto( your profaslonal presentation and are worthy of special cate. A *nao
newsletter. too, can be a good marketing tool but requises prole:sienta help to be
done wat.
CHAP TER U INGEPENDENT TEACHING 1.95
Other types of protessional help will depend on te teache?s own skills. Do pa plan
on rencling out proas rebases about your oven or student accotr.plishments? Will
you notifyommunity cateada� about your plan', along with local radio and tdmision
mations? You may and to eroploy tome clerical help to get mil (Sis infotmation to
the right perno. Thls same anillan( may belp you get cenitl up on track Ming and
return-ir.g phone calla Are you interested in investbg pare of tbe spiendid incoo�
you are rer.eivingdue to your carnet') management and high skill levelt if you
don't have time ro study imaginan for yourself, a stockbroker may be b arder. A
broker can siso adr.re you on redremm: planning, financing options, andexpense
management.
STOP AND FINK
, � -���,-:
beddejdn:iteedin;Se
cOstRe mere More cost.jesttr'n (tul 1319h1Jaily)
, .
Ahn'c n eaor Inp4vt ts dote,ttlo rnake in rei man,- t
6eeeinfnIx� effecrsie prbd �
� 199 PART Irg THE PROFESSIONAL KEYBOARD TEACHER
CHAPTER 14
,fr2liwirrgrIty&
Teaching with Technology
think the clarket putshould repeat the theme hese.� � "Why?"
"Well, the Liste playa the themc In the B section, vid 1 just keep listening for it
to come back in the clarinet. Besklealknow that Anna :any !lbs playing it�andshe
told me that she'd like to npeat the terne with s thicicer piano section. Sol can
write that part, too, and have it ready before our next rehanall'Ileven practice my
wc-tiorr�promistr
Jama! ares back to the computer sanen. As he gires to add the extra darinet pan,
the taches turca to greet he: next 'Indult NO> the student s pitan ready to play,
the teacheithinks about how much the pelaste piano sacadlo�and her teaching�have
changed. When she fue surtid, diDdron are In, one by one, to a estudio tains where
the piano took cenia nage. Sute, there were peinas of musicians and perramus,
tamices about upcomIng conecta, Aclares &red with books and music, apalees and a
:temo system. But the room was designed to accom-modite one child ata time, and the
primary goal noca to wad( cada chikl to play the piano (and rasaos the plano meant
mastering Ose works of European compotas to some son of conservatory or competition
standard). There was no doubt of that the minute you enteredthe room. �
What message don the studio givc nom with ib electronic keyboard and computa, CD-
ROhts and videotape', CDs, books, tape recordee and scquencer, peinad mores
hutily fusa to the valla, African drama in the cornee, mulle stands thrtatening to
col-Lame with the wcight of quartet paras piled on each other, an supplies rpilling
out of candboird boxee that have been covercd with leftova walipaper sanarles,
and�yes�a piano in the cornee it looks hin a place wherc things Lampen, wherc
things ore meted.
197
And it is a place where creation happens in communitylearnIng to play the piano
hap-pena here, ton, but maldng music is the:priority.
This room nalght represen; the estudio of the non canany. Although it is, a f�at
filma, quite different toa the typical twendetla-century piano radio, some thinga
remain unchanged. The electro* keyboard has not repland the acoustic piano, but has
joined the radio as its compasaron. The CD-R0b4s, computer software, and Internet
link: have not n'Osad the books and mude, but have entiched the opportu-nides for
students asid tachen to suppkment the ten-bond library with flash and unknown
possibilities. The mixed-rriedla ut creatlons depicting miden; Interpreta-ticos of
some of the 'muten:orlo" have not seplaced harmonic analysis, but enrIchll 'Crin
preser.ce of other instraments and musiciarts has not dirninished tse impgradc� of
private piano study. but has given it s more ineariingr�al musical and social
context
klost important of all, the piano teacher has not beca �placed in this technologi-
cally tatua studio: the role of the piano tachen, ton, has breen expended. The
piar.� taches still taches scudents to reaistandatd notation, but alto takcs into
account &erais imented notations. revealed u &Lidien notan their own composizionso
The piano tacha still taches about the diferentes bdwcen Batuque and Classico!
�rna-MelltgiON but siso expiabas how the harmonic structures of Bach fugues lend
durar
� selva so bautitly to jan intaprnations. The piano teacher sal( taches :luden
to atad �emplea rhythrnic :tractores with accuracaut the abLlity to keep time is
given a new cantan wen each student is apected to perfora in ensemble. And the
piano terraza san enjoya privileged relatimships with students�a "gourmet teaching"
situar clon where, over a number of yaga, the piano teacher is instructor,
confidant con!), sapPorcer, and Itirned frien&
The Teacher in the Tikenty-First-Century Studio �
In teces years, we have witoeswd che indio tacho as someone who is increasingly
ellen to learning with and ora stadents. When ;cachen Fun bogan to introduce
computen and syntheiners to the acedia in the mist198Cs, many expected that they
would have to k n to oponte' �sese pitos of technology befase they could "roe the
students to me duna. Of coarte, tachen soon discovered that they, toa, would be !
ea:oers. Sor some, ibis was disorienting, espccially if they telt that their
authority rachas was dueatened. rodad, often the opposite o�urs. In a
technologrrich audio, the taches comes to be velad more intensely as the students
explore che tedmology. It is the tacha who tan often answer the questions about wby
50115t rounds are more pleasing than others, why sorna forma work better with
accatic (han with digital
instrumenta, and how certain timbres might bat be combines!, �
The second Oil:trence beugen studios of the pass and :cure is not so maula the
presence of technology, but the variety of uses for whieb technology is ecnployed
and the availabilityof nehnological tools and support The stndio of the twentkth
century was marked by is own teclusology: the piano, the surco system, and perhaps
a compute: usad by the tacha for mitin lettas and keeping licor& But studios now
have more sophistrated forms of twentieth-ceotu:y tools (better equipa:tent for
plarlag recordings, for extunpk, sino LPs and audiotapes han beca repliced by
comisan diga)
CNAPTER 14 TEACNiNG wITH TECHNOLOGY 199
and rae forms of teancbgy.A computer with a MIDI keyboard and a woolth of related
software, kr example, is likely to berma standard fan. Also, some relared toda that
han not traditionally had a place in the mune studio (an supplies, for instaren)
ore likely to be featured as the multimedia aspecto of music meeting bocome more
decpty embedded in the atudio aperiences.
A thied difference is that creativa activIties en botad to play an anemia*
prominent role. As s:udcnu explore mude technology, �Km-mitin for improvisados and
composition are presented, even if the aoftware a atudent Ts using miaja not be
designedspecifically for music creadas Por instante, some software programa for
ninfo rcing note-reading skills in young pianista also have bulle-in composition
gama, encouraging students to `doodk" with musical paneros sed ideas. Other
programo, of cottrse, ate daigned to >.elp modelaos improvise and compase music,
and these pro� gramo can be used in conjunction with whatever inprOvitatiOn or
compation activi-tia the alodio teacher might ira:oda< on amustie instrumenta. lo
fact, u &anead points cut in a 1998 dissertation, Compasen in Eutfoni: Miden� fue
the nadan Books, Foriodicals, and Cataloga), soase tachero have begun to experianen
with onlIne composidon program, in which tachen and ladeas Intente- with
"electronic cona-posees in ruidencer aubmitting compositiona in proceso and
rec�lving feedback from componeos as they craft their works.This reten; the
considerable range of une of tea� nology in mune studios. What sume tachen have y�
ro vature tato the world of cornposiuon propasas and taimarse, rnany are airead),
using technology ro enllante [heir telaing in ways that were unthinkable toca a kw
years ago.
Pinally, the nudo teacher of the twenty.first century bemore lllsely to encolar-age
gaitas to workwith ora another in the contera of a lupemude conununity.This will
emerge, in pan, as atudio taches adapt cha setdngs to include technology. When it
is ouggested that iroprovisation and composition abur nicii instrumento and com�
putere be para of the "piano lesson �pedem: some seudo tachera commene,�There is
enough to do in the lesson aa it ia.1don't �en have time for theory, lec aloa com.
positn cr technologyr One solution to the problem of "roo much to teach in roo lit-
de time is lo crean apacea for students to work or, composition activicies outside
the regular ksson time. That an be done in the way Anchad in the opening sanado,
where students work on dada corr.posidons or arrangenents while waltieg for die
(cachee ro finish a luan with another =mida le can alas be done ouuide the studio,
at sclitool or in the hora. As 'casa to technology incrusto, students may are theta
dista or Cbs with diem al che ciad of the Insola and edil Meir work away from the
studio, returning to the notar having nade advances in decir coz:Tosido�, with
questions ready to ask. � '
Ore of the advantage, of booadening the muslo studio experiences in :hese ways is
that muda incidental learning occurs duough the Inferasiona students have with ose
anothet. Tela algo has the effect of reducing the isolated sature of learning to
play an histrumont, partialarly for keyboard playera. Young piano students wIto
have used 11,0DI kyboards and compu:ers will be far leas lso:ated. They will mece
oler
cima, and togetheo experimem, play, ar.d pelo= with vaginas combizatinno of
aeoustic and digital instrumenta.
200 PART IV THE PROFESSIONAL KEYBOARD 7EACNER
STOP AND THINK
Students in the Twenty-First-Century Studio - Just as �orne qualitieacf machas
ate bound ro remain constant, so too oval some &melte of lamen. Aithough childnn
and young adulta bring difforent experientes and okills ro laraing environments how
than ley did a hundid nave ago, they are stillattracted
� to musie, and edil watt( to play lt, and MI struggie ro master decir
instrament of
;�;" 11/4;.:4.` �f.2n rrnr 3"'...'fobetlybab5ut benv rOJch "kds nrnt .
, � �
1921.1.10S9S9 n'et�;1.;.),
41115
CHAPTER I< TEACHING WITH TECHNOLOGY 201
. 202 PART IV THE PROFESSIONAL KEYBOARD TEACHER
clto ice�nyhether that arruman is digital or ecoustio�regudless of how far technol-
ogy advances.
in some significan Yaya, though, curasen will be different, and it will be impor�
tent for the studio teacher to aeounmodate tose differeares.Adult caregivas and
ch2� dren load increulr.gly complex Uva In an increuingly utbanaed socia/ and theta
changa are accompanied with a pace of living and learning that is rapid and
relentlew Ttchnolow is e arvative element la our lira Some of the forros that ere
most atm-mon in the Eva of thildren�television, electonic gama, recordad muslo--
will alter the way that studans process information and lean. Teachers are already
noting that young lamas can grasp and respond to graphic Muges at a speed that lea-
es most adulta farbehind.The ability to procesa graphic imago is, in pan, dase to
the prevalente of those imago in children's Watt� studio teacher who �cognacs te
power of
imites can &tett cha: power to motivete and support children and young adulta to
become musitan Much of the technolory and software discussed in this chapar retes
heavily oct visual images. Por ~pie, round recordings of some of the "rr.asterworke
that are produced on the CD-ROM forrad malee it possible for students to hete
guality reto:clima of a composition lilte Stravinsky's Thc Rice ofSprint' while, at
the ame time, analyzing the acote or wateling e performance of the ballet.
Pingly, wt:ile computen and digital instrumenta atina chUten with the sighu and
sound' they produce, which, in guro, often lada to hours of exploratory irnprovi-
salions, it remain' trate that, in arder to play the electronic keyboud or any
instnanent well, the atad .1W has to leca note narres, sornething about intenals
Ind hannony, and a fele <haat progresabas, to improvise, and toread muslo. Parche;
that skiLla ase acquired for any insuument in asentially the same wat': by
zelatir.g the theory and :matice to the sound and tahniga of the instnunent through
explorad�, exercises, repertobe, and with guidance on the put of the teacher anal
prenda on the pan of te nade:anee thingswill not �funge nomatar how sophisticated
technology becomes.
Casting Mide Some Myths
Even that who have relnctantly adrnowledged the role that technology plays, and
will confina to play, in education now reabre that te tizne has come to karn what
technol-ogy hiato alfa. Conanely, tose who embraced technology a dende os two ego
with whok-hearted acceptance now malla that even the most powerful muga techaoiogy
can limar �place tachen and the aestetic �peden�. Williams and Webster malo sis
sirongly in Experimcing Musir 7kehnology (1969): "Itchnology la a tool. It has
aducid historia:1y to rapport the muslo �peden� and it continua to bifili that role
today. No amotnt of technology can make peor musk bata. Prended muslo red the
aatheti: experience that sturounds it can only be enhanced with technological anis.
tinte. ?hose who underttand the potencial in Oda principie stand to gaita the mesl
peopte are the Tal: important component of eny music tedmolnysystanThe magk happens
when we use our creados abilities to malee emanas expresare of feclingf Many studin
hachen, of mune, have already inouperated technology in that mude teaching.
Although some tachen may not Link of audiotape or CD playera as technology�partly
beause tea systems have become so commonplam�the idea of using a CD player a
century ago would have b�sa jun a: fatiga lo pianista as it la now for sane
machas :o imagine having a computer (l'alearon Ic keyboard nexo to the 'indio
piano. Many tachas, in Set, s&eady use computas for verbas upa of that practke: to
write ler.ers to patenta and students, to keep track of schedule/ and ItC0:41fitS,
and to trate posters for yeas-end recital:. is basa a madi leap to use computas for
rousic-nuldng as well. Sometimes the fallare to sleap" comes *oro misco:;-ceptions
that, utile once (morded in tacs, are no tonga aupported in practico. Certainly it
Ls tinte that some of che instructional muslo software of the early.1980s wat
entirely unsadsfaaar audio exampies were often poor, the software would frequendy
cruh if the wrong tumor. wes pushed and students' work would be lost, and
communicating
cornplex musical ideas to the computa was often daca% if not imponible. .
But Cese are no longer reasonsto avold using technology. The production of software
and hardware has :cached martagona, standards.lbdutology evo:ves. Indeed, the
instrumenta now taken for granted were once the new and scornartechnotogy." When
Bach first Med Crbtofori's pianoforte in 1726� he pronounced it a irise,
predican :kat the insintment wmdd nene betune poptdar. 'Dm decadea later, he telt
differendy. Similarly, technology is nowboth acatable and religa:e: wan of coding
and en4ding nnuk malee sea�, sotmd qualityis ploating, electronic keyboank are
sttisfying to play, and programa for ese, gght, and theory are acemite and ~id.'
In Experimeing Mude Technology, VII:llama and 'Webster rake good suggestions for
tachas approaching new mg& technology for the first time:
se Investigue a torna of mtuic technology that interesa yonTalle to others when
mak-ing choices about vital to lato.
et Plan a project and planga right int
^ ALlow pknty of time for cmerimentation (anota way of sayingpeden?).
a Trynot to judgc the technology ceo quickly. Develop your views alter a :zumbe: of
experiences.
� keep your focas on te muge and the wachiog pou�bilities. Use tear.ology to
enllante the aesthetic experiertu.
Electronic Keyboards
� When tachera first Introduce electronic kat:arda to their swdios, sometimes
complete with a MIDE interface and personal computa, they often find that students
spend a good deal of time "playing mond' with the different special-effect sou.nds.
Both tachen and patena may wonder if te studentr are karting anything shrougila
sucia play, a forro of experimentatIon that sectas tohold stadents' fascination for
some time. Watched closely, you can ate that &a kind of 'Pim' � often, in fact,
quite roethodical and, in many tenses, musical. Some tachen vrill therefore set up
free time for Chis kind of play, timeswhen encienta can emeriment and record ir.
addition to :heir regular :tu-dio !cima time. In kis wat', the students are
motivated to experiment with sound (and paren� ase pleased that their childun are
exposed so mulo technology, bu no: at the "expense* &regular muga teachingl.
CHARTER ic TEACHING syrrii TECHNOLOGY 203 204 PART IV THE PROFESSIONAL
KEYBOARD TEACHER
Over time, machas are likely to incorpoate N'ID! hutruments and the computes more
hily intc, eheir rousi: mailing, tabas a more active role is tachen of composi.
clon. So me teachers aleo use dectronic keyboards to
^ reir�a:ce <erais techa:cal skills (for example, using the 'carraca of the
ekaronic keyboard to entona evacua of touch and o ther articalation issues)
^ highlight musical ekments (for cample, playing o rniddle volee of a Bach
fugue with a different iratrumental timbre than the other %Tices)
^ encentase precia baween luso= when a good piano is no: &venable
When purchasing an electronic keyboard or syntheizer (a relatively casy way to
begin to secos musle IclutelogY).it is important to purchsse one with bODI cepabil,
idas, caen if you are oncena:� about incorporadas the computer with that snob at
the outtet. In this way, the electronic keyboard can "stand done" until you and
your na-denes ate ready to use the MIDI and computer. When the time comes b expar.d
finto cOmputer-based applicatier.s, tb.� electronic keyboard witi have the capacity
to do so.
In ming digital (nonacoustic) instrumente, as well as hybrid or "reproduting"
pianosstich as the Disklevier (Yarnaha)or the ConcertMater (Baidwin), it is
important to neognin that it will un time to karn to play that iestruments weli.
jun because are in:tramen: has terhnolotpcal bella and whistles doten mean that it
takes any lela time to !ara ea play :han the acodille plana�or the vialin or Match
hora, for that reatar. Evidente for the "serioveness" of digital and cm:ir:nal
acoustiddigital instrumenta reste net only in the time that it cakes to lean, to
pay scch instrumente but alto in te towing chulees of repertoire beim; composcd for
diese insto:men:5.1'7w Carden Keyboard Ensembis Seria by Ogihy and Puase (Hal
Leonard) and Music dtru MIDI by Ah:Kander, Gordon, and Thunnond (Alfred) are taco
cumpla of repertoire designed specifically for MIDI keyboards with 128 or more MIDI
sounds..Theee compositions tenme the *peda! sumas of the MIDI keyboards just as a
Romantic composition for piano featura the special especia of the piano-1&e a vide
zar.ge of dynamic possibliities�as contrasted to, ny, a harpsichord where he unge
of dynamic levels is distinctlylimited Studio taches han a role in reinforciag the
idea that chis repertoire deserves to be pedorreta in fila own right.
Pot some andan, the inatant music-making possibilnies offered by a mmthesizer
may;providc no: oniy the Mida! motivado� to play but eho the sustaining motivado�
Playing ri syntliaize: den giras children the feding that they ate 'mi:sida:1s"
because they cae able to mella inpreashe rounds at the touth of a butto� nide is
what it takes ea tal thatpina are a musician,thca the synthesizer has time a wat
service, because the Sise step in breo:l�es amusiclan Ea to believe that you are a
muelan.
Multimedia Tools
Mustela a multimedia cupe:jeta. In the traditional musie audio, students are
invited to
R listen as the sound% they are producing '
^ relate those sound.: to graphic representations munan cumpla physlcal ano
kinesthetic skiUa
. �
^
thftik about the intera of the composer in the comen of the historiad and ' cultual
wird
a feel the ernotional impact of the mude as le is plmtd
s Technology can support diese aspecu of mude teaching by appealing to variase ele-
meras of dre music experience through clifterent senas and intdhigences, thereby L-
tte-grating different media in exploring rads& making. Multimedia technology mean
ske-ply that the expatria potentially includes inunda, papilla, ten moving and tul
images, and kineathetic iniciad:ces with the subject being atudied.
ChIldren are condenable vida multimedia pruentations. Seckty in general has bceoine
leas Miau or. ten as a manis of oommunicating information, and more reliant or. the
combination of ten with graphics, sound, and kinesthetic media. Television, video
gamet, and computen rdy heavity on static and moving imagen' As a Intik of apostare
to these media, <Midan are cable to lean and acate through diese media in yaya that
involve iraeraction not only with the media thernselves, but with their t�itch-era
and peca.
Some of the powetful multimedia tools that can be used lo support mude lenta-
�stg videos on the Uva and music of compotera and mudara, interactive CD-ROM.
enviconments whae playas can explore Foperties of instrursents from �round the
wcrld or relate the acotes of mtstconrks to performances, and high-quality record-
ings of worlu that the studr.nts are karting to play. Many chi:tiren who have the
privi-lege of taking piano lassom hora a audio tacha aleo have computa technology
at heme that can be used to rapport what they ere learning in the audio. Some of
the momees listad at che er.d of dais chapter can be rara Sin borne computen
(Macintosh or IBM) without any additional hardware. Odien requise that a MIDI
inarument intance with the computen hachen who haVe computas and MIDI keybomds ir.
rack truenos have load the inatment well worth it, not (m'y for the kinda of impro-
VitaliOn and expeamentation already desctibed, but for multimedia experiences,
dril!. and-practice for mural training and theory, and performance and composition.
Software for Conventional Teaching
One of the most intuitive vaya for a studio teacher to bcgin integrating computer
tech-nology with mere uaditional pedagogy la to �lance conventional teaching with
ates. tooh. The plethora of computer software programa designed to Mg with
aun( trina-ing, theory, sight radios, and music hiato: y all f.11 under thie
category.
Drill.and-practice programe are daigned for atudenu of all ases and skill levels.
Soniof the software ((or example, Early Mwie Skills and Militad Music Adaiiture)
engages young atudenes lo piactice compasad skilla suca as note radias, sale ante�
tures, dynarnics, key rignemzes, and the aural identiSestion of triada and
intervals through enticing tupido and a predicable Iceson o: gime forma. Other
programa, sud, as Muria4e4 Meran Sobarack's Making Music, and Explorations, alto
include built-in composition featirme.
CdAPTER 14 TEACHING WITH TECHNOLCGY
There are parallel software prOgrams ave:labio for older lean:sets as well MiBAC
Mwic Logran; for example, provides a comprehensivo seria cfon such things as
note medias intervab chords, and �cales. like many programa for atad trabas and
bas� concepu is music theory and rase reading, Chis software can be 2db:eta for
individual �camera (the student o: tacher can set dffEculty levas, or Acose defs
and interval rango ro indo& in the exercims).The abilityto setdifferentparameters
for che vadous drills is onc of the ways that technology provide advantage over
traditiond methods of teaching. addition, the tacha can be working with �theta
while the student h challenged by the computer program. Also, many software
programa keep track of student progresa in a systematic way. pinaliy, it is oftcn
more motiva:Mg lo practice basic ski% in a computer forma.
There is now so =eh good software entibie at a reasonabte oca that the teacher
who,usesminic software to relatora or tal skilis ara be assured of a constan supply
of high-4udity inateriaLs.Sorne of the periodicals Usted in the momee metion offer
regular mien of software, both for studio purposes and for borne use. �
Software for Improvisation and Performance
Synthesiters Invite experimentatMn, posolly batanee peopie apta ro experiment (and
make mistakea) with technology. In ODIWIS; pcople apea to perform (perfectly) on
aconsejo instrumenta. This is often particularly true for older �cunees vaho might
be alloonseious about rnaking <mon. Orce of the bese ways to encourage students to
improvise on digital instrturients is to encantase improl.sation on acoustic
instrumenta. For example, one an improvise on the piano keyboard using only a ftw
hes,
nts:tt
Computen and keyboards are good ge-rogethers in a prhateyaslfo. asirte�, o�1011410M
Music Studios
205 206 PART IV THE PROFESSIONAI KEYBOARD TEACHER
experinaent ming poetty as the Uds of a composIdon, or incomorate other
material& with the piano (for example, malos a ball long the plano kelt a lame&
forro of' multimedia). 'hese ejercites, in combhiatlon with Improvisador. on
chist:cote instru-Mente, can help boda young and older sradentsdevelopconfider.ce
ii improvisstion that extends to sil sorts of musle enterprises, including
freeingup performance of master-work* on amustie instrumenta. It ir aleo a way to
reinforce the idea In irriprovisation is not tantea to electronic Inedia. Studlo
tachera can offer a great lit by provkling Ondeada with the mean M'improvise on
both digital and acoustic.instruments. The 1111lIk that children arete is a
rootivator for conilmued expkrations and sldll building.
Maker way to enconase students to experiment with keyboard playing and to
develop ekifls is duough perro/runa programa thatoffer MID1 wad computer lacen.
paniments to some of the standard indhod books. Especialiy vdth adult beginners,
there is often considerable hesitation in the sido canteo eco experimerx (ando
malee mistakes).Sornedmes adult helamos will sak tachera to demonstratemmething,
then

CHAPTER 14 TEACHING W ITH TECHNOLOGY 207

208 PART IV THE PROFESSIONAL KEYBOARD TEACHER
tell the tachera that they'll poetice it at borne (in privacy), rubel. than try the
particular maulee or interpretation in the macho", presentante MIDI accompaniments
to many current ntetods (sea Chapen 1, 2, and 3) offer just such possibitties.
Adult (and yo unged studenu quickly discovcr cha the MLOI-baxd instrucuonal manda
for performance arel), reptare a "live taches. Bu� used in combinadas with studio
teach-in& they often load to quicker sr.d more satisfying resulta.
Software for Music Composition,
Notation, andPrinting
Pertupsone of the mast revolutiontry, and potentally mata powerful, ways to use
compute. tetnology in the studlo is to support ampo:Monhl contras' to the laxe
1980s,
is now a relatively simple matter to combine a personal computer with a MIDI nutra-
ment and appropriate software to rapport composition and the related enterprises of
socying arcangag, and printing musical scares.
Mcny compotera play Mei/ compositions one MLDIkeyboard, which is then rep. :escoced
by standard notation on the &creen. �there entera linea volee at atine using ara
input device such as a Mouse or iraca bel Both of theta melada are labor inten-sin
in.their men waya. Ente ring a voice note by note is a slow meten, but an acatase
one, particularly if te �etapas� miles use of the playback lucre of the progrant to
monitor :he pitee as It unfolds. Flaying a composition or a single voice nough the
MID1 izatzument gives the compases the saSsfaction of having the =sic Latead as
os:1day as it an be played, but the dowruide is that often many edite will be
necessary, because the software will nos allow for the complexities aad nuar,crs in
humera performance. For example, if the compota play: fosas quarter notes but
emphasIzes the Srst
one by holding it slightly longa than miar the�, the notation snay �nage as a
questa note fotowed by three dotted eighth note/sixteenth.rest palta. As software
betunes more sophisticated, fhete problema ase diminishing,it is �anlikely that
cite
software sv�l ere: "undernandm exactly whe coas intended by che compaser. Moreover,
ese are onlybegiar.ing to me che possibilities in musa composition in the studio
senas that insolare breaking mvay from the dominan� of Western notation and forro;
some-thing that �chotis punible and "natural" ming electronic toda for composition.
?alcen students are ming composltion software so support �catire endeavon, tachen
can offer maay suggestions te enhance the compositazu thernielves and co Cake
advantage of the tenia of the technology. Por example, if a teacher sea that a
atudent is (rastread by che computer% "interpretad�d of hin or her MIDI
performance, the sachar ter. enconase the student to play the ideas reasonably
accurately, then use the mouse to make edita as the notation is cometed and ideas
are &n'opta (tuthe:. As the composition is modified, che teacher r..ay suggest that
the aluden make �global changa' to the work (for example, tanspose the componen
into e dalerent key�at the push of a buttonl). Otee tiznes, the macha might suggest
a caleta:1 vega-by-volee Ming (for example, when the different voico �matra
clIfthrent acoustic Instruments). Teachers may alto tecomal-4nd that students leave
the addition of such Maga as dynamict,lyria, and tempo tanga until they han settied
on the peches and �urations, in order ro cave work in the atter Yaga of editas.
�
Fardar, luchen may suggest that.students refr�n from orina.; drafts of cheir work
until che bul of th�diting is done on-saeta. It is nos umenurnon fiar studenu to
print early verdea of �mis compositions, net boxea� they are, in any cena;
complete, bus because of the tatisfaction of seer.g :heir work notated on papes.
For beginning
compotera, tise value of �tina a composition peine it tac to be underesrlinated�
it reinforces the idea that the musie is'reaI and that ny are compren.
Sume of the ,nota romp�a man software fila tanda the categocy of mutic congo-*ilion
and Ming technology, particularly date ;rogaras that are used by profeational
compotera to explore and develop a:nomina and toprint and arrange acorte (Personal
Composer, Sibelisu, or Finale). Generally speaking, the more powerfial the
software, the longer it alees to lean Like word procesara, howeven if you kan lo
use a music edftnit and prineng system for composition (Sor.gworks or Mude Timo, it
wW be casi� to lean an additional,perhaps more compite, system It b alto true that
you need nos muta sil funciona of the software before nsaking good use of ie kat as
you.don't need to know �aran about a word pocas:un (like using different font alzas
and males) before you can out co Wilte and print lettere, so too you don 't need to
know how te, use composition software a arrase a symphony before using it to enftr,
edit, and print a composition for viola and piano. This type of software will
accommodate inaeasingly complus uses u tachen and studentsbecome more familiar with
iza faturea
As you work through programa, cr experiment with lncluding teaching eomposing as
par� of your studio approack, you may be encouraged by some of Lewis Carreira idas,
as �pasea In Anee in Wondcrland."There is no use tying," cala Alict "one un't
believe imponible things.*1 dure say you haven't had Inch practica, In te Queen.
when I wat your ase, l always did it for hall an hour a day. Why, sometima l'ye
beiieved as many as tia imponible chinga before breakrast�
Sequencers and Drum Machines
As the mune implica, a sequen� allows che mudan to toar and manipulate a series of
musical ideas in sequen�. Some sequencers ate stuadalont that is, they do nos
requise a separata computer and software. Regadlas of whether the sequencer la a
standalone andel or para of a computer s�:quena:11g program, the underlyitg
principie and makod are the lame. The composer begins by �latina' recua� on the
sequencen ten mona to the digital ir.stnunent to play the first pastase (or track).
Then the con pose: retums to the �vencer or computer (WhiCtu In many stsutes,
sImp:y meas swiveling the chalar away from the Ice)boatd. towud the computes),
etapa the recording, and pechaps playa it han Some edita might be :nade ti chis
'lege, or the campos� may choose to record another track to layan top of the fan
track In some ways, beingable to layar the mude la bke having the ability to record
andrun severas andlotape recordara simultamoudy. Hut M other ways, the sequencer la
quite different. Una a tape record�, a �apenar that is linked with a coMputenditing
system atows the compras� to edit each track, smoking the ame kinds of changa' that
are possible in an editing/pinting prograrn. Some compotera perforan dmi
cornpositions directly from the sequencen Ohm use the sequumer to genera� printed
mores for aman instrumenta at a tater date.
CHARTER'14 TEACHING Wall TECHNOLOGY 209 210 PART IV THE PROFESSIONAL KEYBOARD
TEACHER
A dauco machine is a special type of MIDI sound-genetating devine that a:lows the
compasa lo acate and :mance percnssion sound*. Although there are o the types of
MIDI sound-generating &rica (for example, sampler: that record and play link
digital version, of acoustic juin:monis), the drum madftle is Par�ularIT aPP"ImE ro
chlhicen and teenagers (and *uva non only as a motivator te explore mude and tech-
nology, but alto as a good kttroduction to acquenelng). Muy plano students bccome
optivated by drum mochines and use them (mosdy et homo) to acate templa per-m'aloa
picas. Gomal-nes they acate percussion accomparnments to piano repertolte
(unorthodox, but fan). Tisis han the added ?penca of honing students' sensitiviry
to rhythms and to the underlying pulse of a composition.
it should be noted that, in recent years, studio and borne technology has reached
auch levet of sophistkation that programa that ware once sur.dalone are now being
replaced by programa that include the combined functions of drum mochines,
loquesca; and editing and printing systems.
Using Technology to Communicate
Many Mucho tachas spend teja days aeeing ene student aPut anoche; and met with thek
peen only ere ~Ud regional meeting, or at recital* and pedomuncts. For some audio
teachers, dais isolation has becn counteracted by the use of dectronic mall (e-
melt) and other Interna possibilides. The use of discussion moups�including bulkfin
boarda, clut MOZOS, and listsents--has proliftrated over the pase rae years, and
diese discusslon grcups maks it postible for people with related intueststo shue
information, ideas, frusnation� and SUCCUSeS. There is no charge to join rnany of
the listserven subscriben merely nad to be latensted in the topic at hand (piano
podagogy,kryboud lit-erature, nuuk software, or clusical anude, to Dame but e few).
Many students also joto listsezves and contribute to the teacha conversations from
a student's penpative. (This is yet mother way that teclutology encourages tachera
to lean from and with studenis.)
In many cases, usen cf ekctonic ilaturves neves mar fue lo face, but �Muge
information only Mrough cylunpace.Often a suliscriber to a litterae will pose a
qua-don lo the entre discussion group, and Mose who active the message have the
op:ion dr replying to the entice group or to the individual who posed the quesdon.
Another advantage of behnging toa listsent is that collagutswho contributeto the
listserve are bound to tare Web ates of interest. Music Web Mes on the Internet
indude displays by publishers of their products, &melones, curricuhun and teaching
resourcea, photographs a5dnuning imagen, muslo exceapts, standard MIDI Ele
performance* that can be downloided, match papera, !camote addresses, shopping, and
borne paga pte-sented by individuals. Again, hete is a place when teachers might
lean; trent lauden% consulting with students who have already set up a borne pan on
the Internet.
�t,'
Making Choices
The same linda of criterio that gravera choosing instrumems and music acota should
siso be applied to choosing technology. When searching for a new mallad or
collection of pieces, a tacha looks at presentation, depth of contot, virtud
appeal, accuracy, price, and accessibility to students; it is no different when
you evaluate a pica of ir.structional software. When belping parean huy a new piano
fot their chiftl, tachen pay attention to the qudityof sound, the action, and
whether the parda-alar instrument is suitable for the student; similar �tecla
should be used iq pitidos an electonic key-bond. Does ft �fru quality sound? Does
the action malee the instument appealing tp play? Ase there special effects that
:right setve to motivan the student t� experiment,r but that alto could be used for
pattrnarxe with other mundana?
tic selection of mute technology should duo neta a balance of the possibilltla
available. In Me l'well-tempered" mude atudio of the twentr first cer.tuy; we
should expect to find theory and eantsaking provocas, seques/ceo, electronic
keyboards with MIDI interfaces to computen, videotapes and CD-ROMs, notation and
compositiori programs�together with a piano, books, Loores, CDs, tapes, percutUan
suf� papa; posslbly �ring and sozodwind knut-nen:4 and posters and artwork.Both Ole
cid and new, Morelia! and practica!, can�and should�be munally enhancing.
The issue for the twenty-fint calma witi not be whether to use technology and
multimedia in mude teaching, hm how to use it effectivdy. Uvera if tachera do rue
equip the': studios with sil of the forms of music technology, the students they
nada will encounter technology In dock own 4pto-6yliving and will bring (hose
techtsol-ogy-rich ceperience.s with them to Lheir lasons. Teachers must constuttly
ask them-adra how they can use technology in ways that will motivare students ro
Impronse, comprare, praetice, experiment with sound, play music with orhers�in
short, to get Envolved deepiy enough in muna itself so that theybecome lifelong
middens.
Resources
The monees Usted Itere fall finto fuer bread categorkst (1) books, petiodicals, and
cataloga; (2) videos; (3) computer software; and (4) software publishing comparta.
That briety ~moled lista are by no meato., tabas/ate, but are intended to movida an
overview of the rango of resotures to suppozt the use Of music technology in the
studio and to identify some of the key retomas used by diese teachers and mudcians
who take advantage of there kinds of toda.
Many of (hese rtSOUTCES are Usted and described in detall in two books: Sound
Chelas by Mima Madtover and Maiennethrler (Oxford University Press, 1996) and
Experiencing Music Whnology, second edition, by David Williams and Peter Webater
(Sehirmer Books, 1999). flete tau are described akng with odie: books on music
:achina and technology.below.You w�ll alto fir.d reference (and different
annotations) to some of Mese remaras in other chamen (lee especiaily Chames 9, 15,
16, and 251.
Books, Periodicals, and Cataloga
BOOKS ON LEARNING
Annstrong, T. Multiple Intelligences in the Cfassroom, Alekruadria, VA: Association
for Supenision and Curriculum DCVC:Opnll13:4994.
A puudeal approach to teaching. based on Iloward Dardoer's theoryof multiple
intitulas, that recogniz.es &flamas in the ways that ctildren procesa and construct
'CHOTEA 14 TEACHING WITH TECHNOLCGY
211
� 212
PART iV THE PROFESSIONAL KEYBOARD TEACHER
knowledge. Although the book is Written for classroorn madura Me suggestions can
readdy be incorponted in the private musk nadie. Amutrong :raes:atea theory into
useful and accessible ideas, and he indiada sections on taching strategies,
assessrnent, special :sedo children, and cognitive slas.
Beckstead, D. C,omposen in EJectronic Residence: Mude, Technology, and Textual
Prasma. Doctoral dissertation,Simon Frota Universits; Vancouver, S.C., 1998.
This dinerada:y d�allithe experiences of da 'tudesco and tachero in four secondary
schools fin North Austria and Europe) w�ho took par� in an orina intenedve
'Composer: in Electronic Residence' conferenee. Sude* dura ideas about compo-sidons
and actual ocupaste:u with onb atabes, and with compones who :ook pan in the
conforma by commenting ora student work rho dissetation describes a Nend of huata
including the kinds of ementena offered to n'ademo by the coruposen, the wayis in
which musical ideas wat appropriated end expended, and how the electronic midium
affectcd issues of curriculum, artoonnity, and ~nihil, of idas.
Elklesd, D. Tia fluir Stress� 712e New Parnib, briba:ante. Cambridge, MA: Harvard
University Press,1594.
A sensinvely miden book by e wet-lcnown child psycEologist arad educator. Elkind
explores contemponry faroles, indicating how North American aulety has changed in
rocen: years and how that changas have afrentad family Life and rodal, emocional,
and intellectual growtb in chitabas. Although the book snakes no bona about the
dif-Brindes many fem�es Pace, the overol' message is hopead. 'edad, afta and:mg
ibis book, it will be dear that mulo teachers han en importaste role to play in
helping to reestabialt balance for familia and society.
Gardner, H. FtilMt3 ofMirad: The Theory of Multiple Intelligente.. New York: Basic
Books,1983.
This arda exploration of k.ncoving and thinking honora the many ways that pcople
malee moutbsg. Gardner describes how the various laten:luneta including music intl-
ligase*, relate to oree anoten and cites compelling rencas for thinking of
intelligence norsonly in global arma, bu in terma of the specific categories he
identifica
McDonnell; k. Kid Culture: ChIldren and Adulta and Popular Culture. Toronto: Second
Storey Press,1994.
An examination of "boy atare" and "girl canuto." McConnell suggests that sido and
boyo espmss different preferemeo and intereso as exponed in their play, with gula
being interesad in "friendship, fairy princesas and talking a�nala" and boyo
showing interese in "blood and gore,fighir.g and death, gond guys ar.d Dad gays."
The implicatans of boyfgitl preferenceawith nopal to technology; software, md
samedesignare discussed.
Wlodkowski, R., and J. hartes. Baga m Learn: Itelping atildan Recome Motiva red and
Love lanang. San Francisco: TosserBass, 1990.
As otploration of how motivador olfato kaening. Although the book and accompa-
nying videos are aimed a: helping Madsen bccome and stay nlotivated to lean, there
are sensible suggestions hete that would apply to Idee lean= as mal
�
BOOKS ON MUSIC TEAC.IfiNG ANDTECHNOLOGY
Birkenshow-flernIng, 1. Music for MI: Teaching Music to People with Special Needs.
Toronto: Gordon V. Thompson, 1993.
The bool: is out of orina but it can be phcto:opied, w!th peonission, from Gordon
V.
nominan. Phone: (416)443.3131 or wcrocat/inforamp.cont
nis is a comprehensivo and 'ensalce guide to music teaching, useful for sodio and
clanroorn teachers alike. The authoft ouggesnons are pounded fui theory aod
researt, and muslo estampa are appropriate not only for mudenco with special nado
but for allatudents of mude.
Madama, W., and M. Unan. Sound Cholas: Galenos Your Child's Musical Expirienees.
New York Oxford University Presa, 1996.
This book is n'ama-han? for patota ond it is of value to private and classroom
music teachers as well. It provides many practica! amaras to questions often asked
by patento about thcir chEdren's musical development, and the answer' ore grounded
solidly in theory. The ar.notated collection of momees alome malas Chis book a
cotizable lefa-enea The bdok not only helpa guide palma and teachers in the early
stages of music develounent (for example, "How do 1 Osad a qualified tacita"; "What
instrument should my chic' playli,but by' the foundation for Meteos m'orzara of
music.
Upltis, R. Can E Play You My Song? The Comoositioru and Invented Notations of
Children. Enflautad', NH: Heinemann,1992.
The autor uses a narrativo aport�, Oled with stocks and exorno:es from the work of
chddren, to hdp both dusroo:n and ',sicote :nudo teachers recostare and Costa
children's atropa to notas music so they engase in improtisation and composition.
There are many ideas for individual composition pral; and smalgroup composi-dora,
Incorporales tradicional instrumento with computer technology. Pbotographs imnasate
mar.y of the *divides describid
Williams, D. B., ar.d P. R. Webster. Ecperiencing �mit Technology: Software, Pata,
and Hardware. 2d cd. NewYorle Schinnee Books,1999.
A comprehensivo introduction to mufla technology that includel both information
about software and hardware and an engaging analysis of the principki underiying
technology and music milting. This extensivo volume is organiud int* modules des!.
Lig with various aspecto of technology, with croa-referentes to other modules.
Eig.ht professional musicians are remoled throughout the bookproviding persono:tad
kaki
CHAPTER 14 TEACHING WITH TECHNOLOGY
at the va timas tontas of technology. This is an expansiva refeience textbut worda
every penny: it k hard to imagine a more comprebersht or accesrible look at music
technol-ogy. Because the authon concentrare ora the experience of muric malas
itseJf, the text will be relevan for raarry years.
GVIDESTO THE INTERNET
Held; A., and 1, StIlborna. The Ttacher's Comprase and Easy Guide to the Internet.
Ibtonto:Trifollum, 1996.
Thla is one of the bat guida to using the Internet as a teaching usuree and teso(.
Although the book is ames-elle to teachers who have limitad experience ur:ng
computas and the 1r.temet, retaran computer usen and Internet "surten" will alto
fiad Chis a valuable resource.
Kennedy, A. J. The Internet and World Wide Web: The Roiagh Guide .20. New York:
Rough Gulden Ltd., 1996.
Hese is al accessible pide to the Internet, m'al:ling the basica of Net use,
including sarcbing for Web sitas, using e-mail, and creadng borne mea..
PERBODICALS WITH REGULAR BEATURES ON
MUSIC AND TECKNOLOGY
American MUSIC nAChir. (513) 421-1420
The offidal journal of the Muslo Teachers National Association. Bach imite contable
artides about variousehallenges of music teaching, both la studio arad dassroom
con. tegts. Most times indede artides about the use or mude technology and
evaluations of new products. �dvenitements of mude technology are al� fosad in cach
�S'Uf.
BBC Music. (800) 284-0200
A British mune magazine devoted t� dasslal music, accempanied by a CD. Contains
aztkles, revieres, and information on creating and expandan a Listening Library.
Ci�tica: Ces. (908)531-4990
The Americm equivalen% of BBC Ana*, taso acedmpanied by aC.D. Pownbrat. (708)
4464550
A magazine on jazz that is ideal for the keyboard teacher with limitad background
in jazz. Can be usad with nenas< students.
Electronic Musician. (800) 843-9086. umbeltful/PaoLoorn
'A mandil . magazine that speaks to a broad rango of musicians intaested in
technology. Botta miura and ads aval kap you in touch with the laten products.
PART IV THE PROFESSIONAL KEYBOARD TEACHER
Family PC. (800) 4134749 �
Contains artiela on family-testad software (muda and odiar subjeds), akng with lin-
ings roe both Macintosh and PC platforrns.
Keyboard. (415) 358.9500
A magartne peztainIng specifically to keyboard playera, particularly those in the
ente:. tair.ment and commerclal worlds. Contabas hardware asid software xvicws, u
Si as MIDI information.
Malo and Computen. (415) 358.9500
A usen--friendy mula technoiogy magazine gestad to the novice.
Piano and Keyboard. (800) 233-3690
httpd/www.pianoandkeyboazd.cora
A bintonfraly magazine fa platales and playera of digital keyboards and
synthesizers. Peinares at kast eme artkle on sane asma of mak aitd technology la
tul issue.Tbpics are as far.ranging as setting up ara electronic studio to
usinge.mall to cozernunicate with contagian. Ifyou ara only afford to subscribe to
one periodical, pick chis orad
RECORDING GUIDBS A.RD MUSIC CATALOGS
M'out Music A Catalog. (203) 453-9794
hilpdfagoraluageom/audioforumlatml
Canillas titla of audio- and videocasseUes featuring music theory and history,
rauda education, compota:, and world muna.
American Record Guide. (513)941-1116. rightstarizaol.com
Pa:bailad bianonthly, this magazine includes extensiva recoid revieWs (listad
elphabet-ically, by compases� as well as anides on majar international premiares
and mude-relatad cvenu.
CD-ROM Direct Catalog. (800) 9S0-3513
httprfnnnneolumblahouse.comireplicdfunplefloin_castalog.htral
Lista a full ranga of CD-ROMs and equipment.
CD-ROM Warehouse Catalog. (800) 237.6623
httmliwynnwarebouse.oarn
List; a Culi ranga of CD-ROMS and equipment
213
214
CHAPTER ;4 TE aCHING WITH TECHNOLOGY 215 216 PAR' IV THE PROFESSIONAL
KEYBOARD TEACHER
Coi:atoes Choice Music Catalog. (800)923-1322
CD listings of dasical, blues, folk, jazz, pop, rock, and country musk.
Computen and Music Report (800)767-6161 (toli free munber U.S. on:y; Catalogo
computer hardware and software from Atari, IBM, ar.d Ma�ntosh.
Great Plains National (GPN). (800) 2284630 http://gpn.unledulindec.htod
A production comparo: Produces thirry-minum videos on an impressive variety of
instrumeets and musical alee.
ffel-)1 Recordings Direct (800) 222-6872
A yearly catalog, newsletter, and bimonthly jan publication. Canina lisa of musk
CDs, laso, diste, VI-15 cassettes, collections, arad budget collections
International Piano Quarterly. (Pan) 01144-181469-8404
This British publicatioman offshoot of Gramophonc, provides esteran record reviews
of piano recoidirtsps and in.depth, often reuospective. anides on e body of
recordad plano repertoire.
Listen! The Bestin PandlyEntertainment (800)668-0242 (toll free number only)
A catalog of cassette, CD, arad -,deo rece:duna for childroa of all ases.
Music Technologt Resource Guide for Bducators:AdrancartchnOlogies. {800) 348-5003
http://wwvolvandbw.com
Descdpdons of software for scoring, sequencing, compoting, rito:inedia. and course.
ware instruction; hardware for MIDI interfaces; computa and primer �casarles.
The NPRGuide ro Building a Classico! CD Collettion.NewYork:Workraen,1994
A guide to 300 cistitis! works. Categorice include chur.ber and orchestral mune,
con-
cestos, solo keyboard works, atarea choral mude, atad Apera.
fe Penguin Cuide to Campad Disks and Gassetter.l.oudon;Penguin,1992
Critica( and comparativo commentary of chulea) mude on CDs and cassettes. Ir.cludes
critiques on boda old and new recordings.
Rolling Stont Album Guide.New York: Ladran House, 1993
Guide to country, mut gospel, rock, pop, rap, blues, and jan. Offers one- to
fine.
star ranga
The Voyager Guide to Interactive Media. (800) 446-2001
Com�n, CD-ROM and general software reviews. Includes books published on floppy
disks.
Videos
Manyof the v�deos Usted betow can be round thrsough local video olores and libre:
es. Others must be ordcred, such as :hoce from Great Plains National (GPN) or
Teldec. if you ale ordering from a video producir or distributor, ask for the
catalog. 'nitre are countleu videos available that cut tare to support the work of
the studio tachen The videos can be viewed by siudents between Inane and add a rich
dimensior. lo nitusic understanding. Sonar portray Ectionallzed atacante of
composere tires; others are more factuany accurate. Previa-nig the videos is a good
kna.Although much
appmi-
tejan about the struggles of living a lite asa composer or musidan can be gained
from viewing the videos, a ccrnment about the accuracy of the por uayal is often
warear.ted-
Again� the Odds: Ludwig can Beethoven. Filme for the Humanan& (800) 257-5126
Amadeus (Bctionalized blography of W. A. Mozart: hishinality marraran pro. duction)
Beethoven Lives Upstairs (avallable in CD, audio, and video vendo�. Devine
Entertainment (416) 364-2282
Chirle Corea: Keyboard Vlorkshop. DC1 Video (800) 628-1528
Digital /tratad butruments and the World of MIDI. Red Pardos Productioru, 1621 Dote
Street, Honolulu, HI 96822
lame (depIcts the struggles and moceases of ara rdente at the New York City HIgh
Schoolfor the Perfonning Ara)
�
Four American Compones: John Coge. Mystle Pire Video (800) 292.9301
fn Celebmtion of the Piano: An All-Star 7146 ute to the Steimeas Mude in Mol�an
(800)445.0649
Leonard Bertuteires Young Peopit's Canees-ti Serie twith the New York Philharmonic.
Music in Motion (800)485-0689
Madama Sourataka (the *tory of a plano tachar and her &)fted aniden:) Orchutra:
Introduttion to the Orchestra. Pinos for the Humanice (800) 257-5126 Rluipsody. in
Blue (fictionalized blography of George Cerebelo)
CHAPTER 14 TEACHING WITH TECHNOLOGY 217 218 PART IV THE PROVESSIONAL KEYBOARD
TEACHER
A Song te Remember (fictIonalized blography of PrU�dc Chopin)
Tapir? to Get Home: A Hbtory of African American Song. Heeble Jable Music (510)
548-4613
Compute Software
SOFTWARE POR ADRAL TRADTING,
BASIC MUSIC SMITS, MUSIC THEORY, AND MUSIC HISTORY
Admito:1s in Mossirland (Mac), Electronic Courseware Systems, 1995
A ut of Mur gentes, Which can be played by tWO playera o: one ?Ayer with the
amputen The gimes enconase practico in aura! trair.ing (for example, identifying
single matchedpitchn, intervals, and triada). as well as practico in note reading.
This is a pro� gram for young begInningmusic students.
Harry Mark SkiRs (MaciD311), Electronic Coureeware Systems, 1993
A drilhand.practice program for very young studeras. Pomos on relationships
bonote:lizos and maces en the staff.
ExploraSons (Mac), hlayBeld Publishing Company,1991
This program indudes driland-prectice exorcista for note reading, rhythm paneras,
inttrvals, scales, and chords, as mil as a built-in composition tool.
YuiSfara Music Advmture.
http://am1140.musicaducedufprojectsitbmiffacilitieskaifeal_evd/powlesscalltrul
A program for young musicians,filled with problem.solr:ng chal:cases and adventure&
as well al mude enripia played by Juilliard.mauitians. Eraphasizcs nanciardinusic
theory and aural sklIls.Por a comprehensiye Look st chis program, the Web cite
provides many detallo.
I .
Liderar Mlat),ImaJa, 1996
Helps students underdand the relationship betwun standard mude notation and the
piano keyboard or guita.
MacGAMUT (Mac), MacGAhlUT Music Software haternetional,1994
A drill.andpractire formal for helping students learn about rationa aspecto of
inter. vals, sales, chords, and the Ilke. Also has a molodie dictatIon Future.
MiBAC Mude Lessem, (Macf18M),MLBAC Music Softwarc,1994
A serles of drills :engin from note resane to intervalo, chords, and saos The
student can set difticulty levas, chame clefs, and ask for omite help.
hdraloArs (MarlIBM),Harmonle Vision. 1994
A program for young students that provides flexible dtill.and-practice options for.
leaning about note Nadine., deis, dynanda, piano keyboard mixture, int Gignatules,
and theUkt.Thert bolso a composition future,"Doodlo Pad," giving studonts achance
tomate their own music patterns.
Mwic History Revino: Composers (Mac/IBM). The cantan le based on the Grourend Pata
test, A History of Western Mak
As the neme implica, Mis prcgtam anon students to quia thernsolves on arreen of
mus(c history from the RA0111111.1CC duough the nventich century wing a muldpie-
choice format.
Piante040M), PG Musk,1993
Alkwa tIu user to listen to severa/ bondad piano "masterworks," manipdating am�ts
of the performar.ces like tempo, volume, and key. Basic information about the
compasen and music are gine for each work.
Play Ir by Bar (IBM), Ibis Software, 1990
Macar-tralningdrill.and-practice program that allowe the student or tache, to
control var�en, patarata to altor for selpscing. Lila Listen) fea- the Mac, che
ear�training cuidan are linked to keyboard graphics.
Practica Afuska (Mac), Ara Nove,1989
This program combines aura/ tiaining with raudo theory and ellotvs for flexible
s'II-ped�as for the more expaienced acuden& It las comprehensivo program that
induda stales,Intenrals,chords,and melodie and rhythmie dictation.MIDI
capabilitiossupport sight.reading exerdses and allow ihe student to choose er.ong a
variety of timbra.
neY MailiC Carnes (Mac), ORAT,IIIInels State Universiiy,1988
A program for beginning muskians, designed to help chitaren develop mude memory and
tonal perc9tIon. Chiltinen or teachers can aelte their own music exacepki using the
bailbin editor. Exarnples can alto be edded by tains recorded mune or CDs.
SOFTWARE FOR IMPROVISATION AND PERFORMANCE
The majority of the curten piano and keyboard tcacbing methods provide &campa.
nying software that complementa and enllantes both pueda and performance. L-s son-
CHARTER 14 TEACNING WITH TECHNOLOGY
eral, thia software futures orchestral or band accompaniments for pitas, ear-
training and rhydtrn drilla, and music theory exercius. Sometimos the
accompaniments oven aupport improvisation. Raer to the reviews of selected methods
in Chapters 1, 2, arad 3 to identiff the methods. The qualiry of there software
programa is mixed, and the atews in :hose &Apura offer dues about which styles and
special (catares (I any) are associated with cada methed.
Only software net connotad with a method � listad below.
liand-isua-Box(Mtelf8M), PG Music,1992
A program that al:ows the playcr to create 40:0 improvisado:u whae aceompanied by a
muna ensemble supported by the competer and MIDI devices. Standard pop and jazz
stylcs can be set by the player, u can chord progressions, tempria, and so ora.
A�ompaninunts cante Fintad in standard notation.
MIDIsaursa, Volantes 1-6 (Mac/1U1), hlusicware (www.musloyardnecom)
This cas:y-leval program la appaling and effective. There is a guat &al of
demonstra. :ion and ver! link talla rae interactivnies are arcade-style gamos.
There are supple-numen MIDIsourus valumes on compbsers, Instrumenta, nota:ion, and
rhythm; (hese can be usad m supplement alMost any morse, al any age.
Mirado Piano Waching System (hladiE161), Jumpl Music Software (Poi: 415 9174490)
A program, usad with a MID1 kcyboard, to support learning the basia of keyboard
playing. This system coas �catad for borne use and can enllante studio tuching.
Morton Subotnicies Making Music and Morton Subotnick's Making More Music
(IlactIBM), The Voyager Company,1995, 1999
AEows the player to draw:nene generes on the maten and manipulate duma according to
standard muna transformations. The playerkomposer can siso adjust dyr.amies and
tempos. Ideal for earlyexplorations in.iinprovisation and composition, particu/ady
for youog campasen.
Piano 0134. MusicwardTAP, 1993
A MIDI-bascd Interactive program designad to help bcginning pianista kern about
fin. gc posftion and read pitcb from standard muda cotillean.
RYOnici0"(11116),14usicware/TAP,1994
As the neme implica, ibis program is designad to help studerds practica rhythmlc
acatar-uy for Keyboard plarlg, in conjunction with a compute with MIDI capabItics.
Has sevcral melodies and multiple difficultylevels.
PART IV THE PROFESSIONAL KEYBOARD TEACNER
SOFTWARE POR M1J SIC CONPOSITION, NOTATION, AND PRINTING
Concertware(MIKOM),Iumpl !dude Software, 1994 .
A powerful composifion,notation, and printing tool. A mol that is aocesdble to
compasan with soase ecperience, and ant that voll grow with the compota as he or
sha becomes more sophisticated.
. �.
ancore (dsclIBM).Passport Design,1993
A comprehensive composition, notation, and ',tintina tool, teces:161e lo compasen
with sorne experience and almo usad by professional arrangers and compasen. Use<
both aborda and frota.
Final* (Mocill3M), Code Music lbeltnology,1994
A comprehensive system for composition, notatkn, azranging par�s and lyrics, piad
printing parta and acotes. Usad by professionel compasen and drangers.
Nightingale (Mac), MusicvearenAP,1993
A powerful system for contemporarycomporitkonand notation kr conced standuds.As
with other compite composition, notation, arel printing program: (such as Pinole
and Iknond Comparar), In arder to taita advantage of the reiteres, yola vriB need
to invest a considerable arnount of tinte (and patina�) in Iearning the program and
wlut it can do.
Personal C.ompeur(IBM), Personal Composer System, 1994
A compraba :sive system for composition, notatien, arranging par�s and lyrics, vid
printing parta and [COM. Used by professional composers and arengas.
INTERACITVE CD-ROM MULTIMEDIA EXPLORATIONS Compasa Quctt (BM), Dr. Tia Mude
Software,1991
Ar. introduction to the lista and historial and cultural comedio( the best-icnown
compactos of Western music Music from the scventeenth thtough the brandal:
is ilhastrated through performancts, artwork, and biovaphies. High.qualary round
and performance& offer mtkement for ayudanta to and text, view images, and listen
to the muslo of tho pan fose centuria.
Microsoft Musitar instruments (IBM),Microaoft Corp. and Doellin Ki�rlereley, 1594
A series of CDs designad to mootarage youog and beginning nutricia= to explore che
various futures of instrumenta, including the construction, timbre, arad origina of
the kutmounts. This seria Includes both instrament familia and geographic origina
of instrumenta (for example, tho CD South Aa1i aliows the usar to learn about iodo>
ments such sa the sitar, pungi, and tambla).
219
� 220
CHAPTER 14 TEACHING WITH TECHNOLOGY
MultimediaSemi:1*y: The Rita of Spring,1992, Microsoft (800) 457-9530
These CD-ROMs are temporarily out of prior; they can be purchased through SutPlua
Software (800-753-7877) or CD'N Computer Discount Wanhouse (880.451-3259). An
extensivo study of e complete performance ef the ballet The Rite of Sprint.
Includes infortnadon on Strayinskyk lite and times, the ballet acote, and a
muldple�choioe quiz.
Options indude liatening to parte o: the estire adiestra and sed:chi:1g back
and forth between variases rima of the work. Offier atudier inelude Muirimedi a
Beethown Ninth Symphony, Multimedia Mozart: fi Dissonant Quartet, and Multimedia
Strauts: Three Tono Pcems
The Musical World of Professor Piccolo (MacII3241, 1994, OpCode Systems
(415)856.3333
An intelectivo CD for young ITIUSICLEIS that encourages playa to explore vario=
aspects of mtuic theory and knowledge by entezing buildings (like the libran. or
sym. phony hall) in a fictional sacias called Music Town.
The Orchestra: The Instruments Revealed, Tizne 'lamer New Medie (800) 482-3766
A CD designed to encoueage young niusicians to explore nrious futures of the
instrumenta of the �cheuta. Males professional desktop musca production cuy and
afford-able. This combination of powerful MCDI sequencing and direct-to-disc
digital audio recording lela the use: combine MID1 syr.theds with mala, acotado
butruments, sound effecu, and red-wat sound!.
Rap 'n Rol, (Mac), Viscoso New Medla, 1993, Paramount Interactis�e (915) 812-8280
An lote/art.= environment that allows the compases to acate composhions from dig-
itized sound sampler. The musician selecta from a style (such as blues, zap, or
soul), then constructs th�omporition by chamizas ale order for telt:coces, playing
back the remitir% composhion and inscribas requences of hit or ter own creation as
desired.
SP5OUENCING SOFTWARE .
Mt(sictimP (Mac), OpC.ode Systems , 1993
A icquenci.ns program that allows the onmposer to vicie bis or ter compositions in.
both =dijera'. notation and piano-roll forms.
PowirTracks (IBM), PG Mude, 1993
A secuencias program for Microsoft Windows that alio= the componer to use an"event
list" to Identity and manipulate each MIDE event (pitclildurationfthntne) by
number.
Traz (�USW. Passport Designo, 1992
A sermonar% program that allows for both real-time and step rimo:dios and editing.
PART IV THE PROFESSIONAL KEYBOARD TEACHER
Software Publishing Corapanies � .�
Many of the software programa Usted in the previeras sections are distributed by
the publishen Ested More 1f you are Merina a pitee of software, be acre to sale for
a mudos. Some of the software distributors (Poland and Yamaha, for Lineare) alto
manufacture hardware; in diese cases, be atare to sale bx ir.formation about
electronie � keyboarda and other firma of mula hardware as well.
Ala Publishing. Competas 16380 Roncee Blvi, Van N'aya, CA 91410. (818) 891-5999.
http:Mornswalfredpub.eom
Ars Nova. Boa 637, lekland, IVA 98083. (206) 889-0927. lutp://www.arsnova.com
BroderbriMI Software 500 Rearmad Drive, Novato, CA 94949. (415) 382.4400.
hupliwiervebroderbund.com
Dr. n Mario Software. 100 Crewent Road, Suite 306, Needham, MA.02194. (617) 455-
1454. htlp://www.tile-netIvendonfdrtsluml
Maestro Music, Inc 2403 San Mateo NE, Albuquerque,NM 87110. (505)881-9;81.
Mark of the UriCOM. 1280 Massachusetts Ave., Carnbridge, MA 02138. (617) 576-2760.
httplivnaremidiferra.tomtroidifarmimotu
MiDAC Box 468, Northforid, TIN 55057. (507) 645-5851. Mtp://www.rnibac.00rn
Microsoft (800) 457.9530. httPlArwarnsicronift.corn
Notable Software. Box 1126�MC,Pheadelphia, PA 19105. (215) 736.8355.
hrtp:lleornrseaa.upenn.edut�meroiritnotabk.html
OpCodc Systems 3950 Pabian Way, Suite 100, Palo Alto, CA 94303. (415) 726.0280.
haptitwww.opcode.com
Passport Designs, Inc. 100 Stone PLne Road, Hall Moon gay, CA 94019. (415)
726.0280. http:Nwwwpassportdosigns.com
�tofrind Corp US. 5100 5. Bastan Mente, LOS Angeles, CA 90040.2837.
(323) 890.3700. hap://wWw8adnetcomtpcnag/issum/1501/pern00102.hon
Wave Tone Systems. (803)234-1171.
http://weydsvosoton.acultiPeople/ccbiCakewildlntotxPress.txt
Yamaha Music Corp 6600 Orangetboope Avenue, Buena Park, CA 50602. (714) 355.4901.
bninfiwww.yarnalm-networkcomhrorld.hunl
hl
222
PART V
THE WELL-INFORMED
KEYBOARD TEACHER
Varios; teaclang acriolles can support and tnrich pian3 and keybzard irutrustion.
Courttsy of Kathy Nafitss, Yamaha
226 PART V THE WELL-INPORMEO KEYROARO TEACHER
V^.70r.'.11
CHAPTER 15
About Learning and Teaching
Two Vays of Teaching Scales �
Tachingone sale ata :Une isstandazd pedegogical strat-egy. Mos:students spend a
week or more perrunos the %tering for the .Csmajor sale, especially the aura
crossing.This is followcd by applying the same principies to the poetice of the
Gimajor, O-mejor, A-mejor, and maidr soles, generar in that order. Perhaps et Mis
point the F-mdor acate is presented. Ahhough the left-hand fingeragia the sama the
right hand must now adjun. Or, instad, aten:ion is direc:ed to the B-mejor tale in
whkh the right�hand fingering remadas and the left hand adapte. Ar: awarer.us of
the need for alternase finguings besito, and tisis awareness gran as the playa
explores soda with black-key beginnings. (See "Stop and Think" actora en pase 226 )
There is ara ahonative way to teach sale fingeringt.
' =�,
What is com:non sil s'andad sane fingeringsl TI.e '
all2ViCT is simple. Within each OCW.re, you use a group of dote and a group of
four. The groom always altemate.The Afth Inger is the turn-around fingen That's
I.Thats the basic Kbill idea" of successful sale fingering. Teach that first,
den /ave the miden: apply the common principies to each new mala in whichever order
they might need to be lea raed.
taches might presea! the B-mejor sale fint. Not oaly are che fingering paneros
buir,buithe physical ser.sation is comfortabie brome the longat fingen on the
bia keys and the chumbe play on the white keys. (The ame is trace, of comse, for
the Fat-rdijor and CO-rnajor sales.) ln terma of visualization and keycomkrt, the
C-major sale La :he moat difficult; there are no black keys to sun as orientation
points.
Ths way of (achina and learning is also based on catain premiso about what is
centeal'and significan to the educacional process. (See 'Stop and Think" section on
page 227.)
225
STOP AND THINK
911.
^ vW�10'. at oasiDr�ruprit45.ellvkirtf
t'ea�I;;4:4;c:ertig5 Pvi
s,v
� ka�tc her -:, a iriG ,c-1:41,1crskt. rIts qtt
114i .a �;:r,duce;
C^ c�-rca rnad
on a d ^iext
� , cpr neci;crs In, prt�ry'dainrxisecv5.,:ci � � � '
^ Cyr�'dr e'rbsyrnec '1,5-21 2t11: o
57c,ci;e:�ot anizSi
<2:ed triiaw-Tnct t Icemcrs ha; i^zd$941 d ;Yygii.).f.Vrit.e;C1b1;;;..'ne4913
>11fr'�;�; ^`2
Pe.4:03.1ei
r1t.
Before beganr.ingto rad Chis chapar, it is importan for you to Size not orly Etat
knowing about lamina Mudes is profitabk per ea but tbat the application of Mese
theorles, coordously or not, defeca ynur day-to.day cochinos deCiSIODS and
adivines. The more you study the lamas poma and amo irr the hypotheses of
educacional psychologists, the more yotu teadning will be infused with insista:.
You wiLl be abk to malee more informed judgnents when choosing strategies,
exampies. moho& and rintierids not only incaute you will do so with (penco
assurance, bus aleo because you will have explored a huy number of possibilities
and variables. Ycu will have a more con:peche:salve and much deber perspectiva
One w.y to approac1i the subject of how to mesh is to conoideo whe it means to
learn:
^ How das learning tales platel
^ which atase is the lenta beso solad to letal
^ How is the learner stiroulatcd both extetnelly and internally1
Annan to :hese questions are non simple, of course. Midler is it punible to compile
a lis: of responses to these quertions with whicb everyone would be completely
confortable. Educationa2 psycholog�sts are no: ataran in agote:nem oil the
conditions associated with succeasful leonas.
Playing the piano, Inhumano, is a complicated act. Learning to play the plano is
che result ef smoking and perfecting meros difieran buz interdependent Teaching
sorneone to play che piano, ;bufarais neither simple no: undemanding. The toldar
mut.: know which skilb relate and how they do so, and be cable co cornmunicate that
understanding w echen are lcd toachieve their ovo synthesis of interdeptr.dou
IN THIS CIJA PTER
....p.:, 215[11...71.,
Jil
5T�
.14917:71.744W9
. "C
�IMITES :5 A80JT LEARNING AND TEACINNG 227 228 PARE v THE WELL�INFORMED
KEYBOARD TEACHER
srop -7: ANDRUNK
. .. , . � . . -- ..., .....,..,�-t.'e ..
es Consider tne earner:The k D'Ir las: C15:32 :" noSsession o 3'whonscOc,'?
�soy 3md1 lifflt ?-1. t:,
, ,:l_...,,___. .. ,.
v,co nes to sx r�ailet ea s: ti.sols:re;0571S4iled IP Ir�itf9tutt
0.191:14130411.41,e9�151;:l
,t. a 01.1011ftgo t11111:,Irr�stg11,11( Vg. ,* � � ttyWAiiet,' ;
' � ' 4,�belwy/ 91e" laga Iiil 15: tl::
esefirl 4
'1;540 0;44'. . *3/45iisSilibli..,-1"1-1~
4 .6911.11.9.1i5 .- �� ics hareilffliosluir49 a- s
''' Wili b; - ileyst,tallirf-�
:rob rg8r- �I'Vlo ivi:
e�1;
J1. i141S;:n�t 1111�1,,01111109419(11
....i';11.4>'�4�41-11hit151YitI.:44.111/4:411.111.119,1119119
�glAtnili".11/iVitHS111111 14. 11.d. #10,
1919306:th V/1.,... ' *Yrnyls13...
.41.� � ' ' 2P)
11W
00900.11(4 14.1#111'
-sthre9:iir, � �tls - 15
Skla51.13WISiL-1
Tne proceso of becornir.g a tacha is the process of developing a riel: accumula-
ijon of insights and the manato share them
loba Dewcy (1859-1952) proyidea a nado' platform room which tobsgb an mem-inition
of learnhog diaria In Experienee and Education (1938), he points out that 'the
hinory of educatonal theory b marked by opposition berween the idea that educadora
is developir.ent from withIn and that it it formation from withote One rr.ay inste
either with the phlicoopher:ohn Locke (1632-1704)�that the newbom inhnt is a tabula
rase, essentlaliy paha and reactir.g only when stimulated--or with the philoso-
pitee and zr.athematician Gotifried Leibniz (1646-1716;�that the human intellect is
self-propelling, rearilpodatng its environment aaordingto is nature. Locke ho!ds
that what is externa' and vls:ble isnoore fundamental Man what is not. Accorchng to
Leibniz, whgt is interna] is of primuy irr.ponance. These are erikingly differan
viewpoints.
'Fo�smation from Without
Thiepertmenis of the RussUn phystologist Ivan Pavlov :1849-1936), who conditioned a
dolso salivare at the sound of a bell atoa than when smelling food, vare champloned
hi Artbrica by some psythelogists.The dog in Pavlov's experiment was passive no
talan or moyernent on the dog's pan was resabed. The response (salivado:o) was
e:id:ad by the experimenten Such conditioning is referred to as dusicaI
conditioning Padov's principie of s'amical conditioning lcd to the emegence e( the
doctrine of belvaviorism, so narned by �ion B. Wation (1878-1953). Watson, an
American 1)3115013:1814 wat induentlai in erablishing the importar.ce of
objectivity in psycholosial studics,because he considQed psychology to be the
tr�e :ce of observable bebaror. Although he is regarded as da founder of
behaviorism. ~son dld not denlop learning tbeorles basad on that idee.
Edwud Thomdike (1874-190, a prot�g� of the gua Arnericanioyehologist WL11111311
James (1842-1910), was another pioneer whose ICSCOICh also In:Vetad the ideas of
baaviorists. Thoradders experimenta (he trained ata, dogs, and el:tickets tot
escape from problem boxee) convinred him that trial-and-error learning Aras inflo-"
eneed by envaras (the animal was (cd) for effecrive responses (the animal esaped
from the box). Tlial-ar.d-error repetitionwas an asentid factor in causing the
learnbyg of the connections (or associatlons) between seimuhu and response
Thorndike wohed to establish lava of �camina that were patterned after the lava of
physical aciente, artd Ibis lifetirne sarro led muy to view Thorndike as the first
American learning tharlot
OneofThorndikrs laws�he tened it the elaw of effecr�boften referredto kl the
pleasure.:min principle Although Thomdikea experimento involved only animall the
iaw of etre� mas elso regarded as influentid in conditioning humero
learning.Thillaw state* that if a response la rewarded with somedoing pleasurable
(sudo asa gold ata} or mala), the tendaey to respond In that particular mumer is
strengthened lf,howe'ver, the response is folowed by di:plasme (perhaps by critidam
oi soolding) or no rewird bloc response is ignored), the tendency :o rapond la
weaker.ed. Psychilogins uae the term reinforament tudescribe ever.ts that The<
ndike alled the law of effect. It is appar-eat that, in many cases, the use of
positive reinfoxement (reareis) mayprove effetive
in a lamine situation. ft tr.ust be questioned, howevenwhether, positive
minforcernent
is oufficient to motivare and main humea behavior in corniola laminasituados:o.
The theories of B. E Skinner (1904-199C) recelad a gua: del of ettention after the
publiation of his boola, The 71A rsolgy of Teaching (1568) and Be and Freedom and
Dignicy (1971). As a behn�orist, Skinner er.dorsed the scientifie study of
observable behavior and derived his the:arfe from animal experimento involeng
nonius response ($.11) conditioning. Ski:mera condumio vas that teathers and
textboolcs should condidon atudents by meara of S�R associations, thereby ahaping
student reponse by ceefully cometed step-by-step presentation ar.d retroforament
Although his tbeories bullt on earlicr behaviorist experimenta and premisa,
Stinnes: Vit." on conditioning and reinforament vare different from those of his
pred cc-exoro. Por S'ion.; renforament W89 net necessorily dependen on a reward,
but it was "the :time for a parilaCar arrangemat of srimulus and response
conditions that bring about the learning of a new associatiorr? The learner load to
do somehing, load ro operare in some ny, to bring about the response. Heme Skinner
refereed ro chis as operaste conditioning. Moreover, the marines in which the
karate operated was con-trolled, so that only a particular response was reinforeed.
Ir. progranmed instruction (in a comPutet Programo for cumple), the response must
be corred In *arder for the lamer to proceed.
This liad of instrucdon alto Involva aking the karate through the program in a bese
nuroberof nry aman stops. Basase the !sanees progresa is dependen: on carees
responses, and becsou the attainrnent of thae arrec� responsa is Itself minforcing,
Skinr.er apea that suco a mode of instruction maximiza positivo rcin(orcement and
minimiza possible negativo feelings and altitudes ranking from hacerme responses.
3C
ti ho en
Na
at
np en;
g. id
Nk
de. km Kn ara
�15 esa tsi ml k. iad
TS, ara( �Ti rece nd
re,
11 he alit
al
gt
r�a ely
lo:
CHARTER 15 /MUT lEARNiNG ANO TEACHING 233
Developmentalists and Huinanists
Cae cf the current debates or. the �Lutonal cene involves the atraen:ring of educa-
tiene: programa in relation ro varioua theories concerned with readinest Readiness
describo that optimum moment at width the learner is prepara todo ad�n thlogs or
cornprehend main conceptsifiraditionally, <hilabas (and other l'unen) have been
grouped by ase Level; and educationd gesto have beca planea worclingly. However,
betune individuals of all ases vary so greatly, some educators feel that leones
ought te be alienad:o lesm atacir uwn pace.These educators favor :espect for nannal
'<adinera and would allow considerable Freedom, for example, in satina the time at
which a child rnight be apead to formal instruction. �tiara fed that thb
procedurels inefficient and. therefore. choose to prime readiness in childan by
apeaba nem to concepu (such as reading and number esperances) at very early asa,
nearly from infancy on.(More about ah debate, and its implications for muda
education, may be round in Chapar 2.)
A number of theories conceming readiness are based on criteri* for determining
critica) acoomplishmeau and adjustreents that mut be nade by nets individual. fiase
are :eferred to as devclopmcetal theotinbecause progresa to the next leve) OT auge
mina be made unta the individual has satisfactorily resolved the particular
challenges of ate preceding leva Man of these theories are not lamina beoda, nor do
they attempt to relate Me-lamina maks ro N'alfa eduoationar pamba. Hoyen; because
each lomee may be tima as moving through theta life cycks, no el:camal pro-gram can
afford to overlook the implications of what theta acodes demonstrate.
l'he work of lean Piaget (1896-1980) recosed on the intelketual development of
children. He believed that children think in different ways than ubica. One of his
mon famous experimenta involved a d'ad' compreheruion of enmonta of liquida in
<entallara of verbos Mies. the and ja first shows the some amount of liquid in two
identital lasas; because the glauca look the sama, the child agua that the amount
of liquid is tesarne. Next, the liquid from ore gima la poured into a vea, rail,
don gius and the dild is talad if the oil alela dan contaba more liquid. Piaget
aunad that mear afithen younger than sis ansiar that the tal] gima hes more liquid
in it. They are unable to retan the invadan propala' of something if ita apparanoe
is clunged in some way, a principie that Piaget afees to as conservation.Young
children Liso have dif-ficulty in imagiabg rentsa ef a mental tulio� (for example,
mentally pouring the mear from the teaalas, back into the tanaller alas, In morder
to �yds the quantityof
ilq-
uid); For Piaget, Chis is the concept of operation, and it U the ;ny by which the
ander-. stuo4big of conurvation is schaved.
Fisga describes Jour devc!opmental st�gcs through which uta child multase
1. the aer.sorimotor stage (birth-2 years), the child bufids up 'tachera?
(organiza thought and behavioral paneras) through direct physkal contact and
manipula-Non of chinas. (Ball throwing, for cumple, is a behavioral aclama katning
that the'� ate different kinds of ball; h a cognitive achine.)
2. In the preoperational itage (2-7 years), there is esa anemia of schemes te
incluido lengua., but the <Hal is not capaba of revening mental actions. 234
PART Y THE %Ven-INFORME!) KEYBOARD TEACHER
3. In the concrete operational atage (7-11 yate), the child is capaba of !alteraba
mental actions, but only as C�ese are applied to things that are concrete ato
presta.
E. In the formal operational stage (II yeen and older), the childgains the abillty
to gen-tralla and deal widaypotheses by way of &rupias the torro, or munan, of
things.
The afanan pald to inner nonata pecan :alter then jun observable behavior! the
stress on the importante of the perception of partan and embute, the value placed
on dircovrry through *carry and direct apedace are di cognitivig cor.cana Like
odiar cognnve theorins, Piaget bateyes that inunde motiation is the most dffectiva
achieving a state of 'match:al balance Is the atrongest and most natural
Mnfoiannern.
For some theorists, however, no lamina theory ir adequate it it aloes not talio
into considerntion how the lamer jeels witlie learning. They belleve that a more
141i.stic approach to the undersunding of learrdng must siso regad the affective
field of that are pan of caca leaming situation. There psycloologins look at kering
wilipre-erninendy hurtan acrivity. For raen, die idea of education is very bread,
incialling muda more than what ir, might be, karma in formal lemming d'anotan�,
They peine out that each learner has ara tuxonscious seIE the hazas thouihts, and
daba (of which the leuner is unaware) rray motivate and determine belAvion Such
reclinas, &cuaba, and dalas arfa, if theydo not altogether determine, what and why
the lanar letras, There are dso :he multiple derenses that each pasen tres to
proact the telt; and there may hinder lemas at any given moment Teaching cuy
betune, in sane emes, a matter of beiag able to work atonal, the karma rabonees.
PInaily, there is tac puta of the individuar: sehAesteem, width hm enormou Impact
on what that individual perceives !dinar ce hendf capable of karting.
Abraham Madow (1908-1970) wat a psychologist and ara antibekaviorist (cuca though,
eulier, he had been a research assistant to Thomdlle), whose Iheory of psy-chology
was ara augeowthof his lifelong studyof mentally healthy and creada people. In
Toward a Psychology oncing (1964, Maslow made the cree that need gratificadora is
"the most important single principie underlying all deveiopment" He distir.guished
between "deficiency" neta (prima:y teas: physical confort, ateto; leve and bilong-
ing, and encera) ar.drbeing" needs (higher neta: alf.actualization, the fulfillment
of one's dcsire to know and understand, and anhela netas). A penon wotks coger rid
of deficiency nada, theray aitaining raer or satIsfaction. One riat the ilustre of
standing to being (ce gtowth) needs because bese activities tad to the fully rake&
completely humeo, pernio.
While was nota learning thcory, Mas about education art s'un through mira of Ida
satina. Por hit, the funetion of education is to encaurage each retan to become
�ir-actualiza. In The Parte, Puches of Xumae Notan (1971), Muna induded a section
on educadora in tibia he drew a alear picare of ways eari learrer mur intensa with
the self that caves ssfety and case, and with the seif that mur stretch and risk.
�
Carl Roger: (1502-1987) advaatcd the nao of bis psychochaapy t�bniques ar teaching
sosiegas. That tedv�ques were lamer-cenared, involvina bah tender and muden in
intensiva group experiences by means of which boa tache: and student duna, adapt,
and dadora. In Freedom ro Lean, (1969), Roger: detened bis opinan; on the
aucalional procesa. Thex is karting that is 'from the nade up"(witinout involve-
TABLE 15.1
COMPARISION OF BEHAVIORIS AND
COGNMVETHEORIES ABOUT LEARNING
Behaviorists Cognitive theorists
� Agply methods of the natural and e Regard hernies as a thought proccss
phuical Menees to the study of of a penen in an individual situation,
Maman bMavion subject to the influences of that par
cicuta: environment.
CHAPTER 15 A8OUT LEARNING AND TEACHIMC 231 ' 232 . PARE V THE WEIL-INPORMED
KEYBOARD TEACHER
5.TQPfl e'
�.,�rvr '�;1;.5
4V0Pis-'11.
1r .f.1;:`
u Achote that only dkectiy observable behavior is proper to scientik ready.
^ Re�a: to the lir.k between a stimulus (semethingoutside the learber) and a
esponse (reaction of the leamer to che stimulus) as ara "association," or seria of
asseciatiom.
^ Rely on laboratory experimenta with aniquila as Me soma and ten of theories.
� U:al:dein that learning must be
� controlled le order for it to be � efficient
^ Believe that mychologists should concem ihernselni with underlying menta:
p:ocesses (that muse behavior) rather than with the study of observable behavior
only.
^ Meintain that learning is a result of the rearrangement of thought pat. tern:
lending tu new paneras, or
� Relyon experimenu with higher-arder armnals and humana, often in mote natunil
situation% tiran laborotories.
^ Feel Mal learning can be eneouraged, boa not (entrenad, by arrangement of the
emhonment.
^ SUE$C3t lee coger:ion and erraron. mental hetera interect In iriluencing
behavior.
tt
s.
CWAPTER 15 ASOUT t. E ARNING ANO TEACIUNG 237
Computadora] theorists potnt out that the entire cycle may be govemed by 'con-no!
procesas? The learner's ab�ity to alta whichstimuli are to be pelechad, to deter.
reine how information is to be encoded, te scspond to chis rather csun the t sisal
in the maieval of information, and to choose different mona to demos:mate that
haming hes acune] afluente chis cycle. Beyond that, what larnos intend to
accomplish, or assume will be accomplished, fur.her influences all pisases, or any
pisase, of the ir.for-matlors-pwassing avale. Awueness of control�proassing la
retened to u meteco gni� non (f rom the Greck meta, transcending, and cognitior,
thour.). Metacognition describes Icnowing that l'in knowing" and "knowing what rm
knowir.g,
Tlite roa fertile men�' emersing f:om computatIonl theorbts canana the abil. nes of
human rumory and the par� that memory plus in the voceas of leaming. butruction
chut supporta roheanal techniques misa the lean� b group or "chunr separate bits of
information bao mote unif.ed whotes. The use of danta (S before e xePt afta 4,
acronyms (H01413.5 as a way to remember the names of the Great talas), molas (carry
good boy dota fine to ternernber the limes of the treble surf), and ami-lar
innemocic (memoryaiding) dertees may latinice storage in short- and long�tenn
reernory by schunking- and reducing the intenta:ion "wholes" that musa be retained.
For le compotational theorist, the n* importan mpect of instruction is that it
supporta, directa, and con che learner throughout the nacen pitases of learning.
lostructien is not sImply a matice of presendng information, os of providing
feedback to a response chic indicates learning has taken place. The bol type of
inmuction directa o: chancases the lamer Mamase, focos, solea, anticipare ad
relate. In lis rr.onner the lamer finds *he way to sdf-irutruction.
CHARTER :5 ABOUT LEARNING AND TUMBO 235 236 PART V THE WEtt,:iNFORMED KEYBOARD
TEACHER
ment of personal mailing: or feelings), and there is experiential turnios
(involving the whole penen, both feeling and pagnition). He maintained that
education has, for the mon par:, beta iefi-brain oe1enxd.1t haspreceeded only
logically and in a straight lile: step by step, with careful atienden to details,
ideas. concepto. Roten stressed that karting involYes right.brain activides. Growth
of che whok penco can be brought ohms: only :f theta is allewance for and
developrnent of intuitien, creativa); (tetina, and 'meg-ination. As he mid in
Freedom to Learn in the 80s (1933),"Sto ificent kern ing combines the logical and
the intuithe, the intellect and the fedings, the concept and the tupen-eta, the
idea and the meaning. When we letra in that way, we are whole:
Both. Rogers and Maslow mute frequent reference to the sube and importante of
making choices-BaA uf theta was a supporter ef les:pina rituations that allow Ihe
stu-dent options.When a student chooses when nuy have personal appeal er veloz the
reir. chosen activity �feo becornes les own researd. Reinforcement, then, mires
from within the lumen entice !han from die teacher o: other external source.
Information Processing
Noting the Irisad= of opetant condidoning with regard to the de:don:nem of mol>.
lem-solving skiiis.and unsatisfied with the practica' use of discoveryonethed
techniques in manylearningsituations, some oducatbmal psychodogistadevelopman
top:aniden of learrdngbased on che principies of what has come tobo kncwn as
intonnarion prseerrilg. The impele for tris acose atter World War 11. Research
psychologisti moved from activ-ido dircctod to trainir.g military personal lo
intereat in electronic informador. toas-sr:t4on, retened to in the 1950s and 160s
as 'interinato:1 thcoryr This reenrch cuas pri-ma:1y concenudwith effective asad
efF.cient communiation. (Ameno:Un:o:u rescamh, in tuca, began w examine kuning as
human infonnadon processing.
The emergente of the computer ur.d che prolifera:ion of ida use in neady every
aspen daily lile were farthex cause for interest in the processing of information.
The comparison of the humea mirad with the computer was inevitable, and information
procesal:413nm� comrnemly re temed to as the compvtational theoryolthe mind. A key
factor in studies concemed with Mis comparison is the hinction of human memory and
how information comes to be ulected, proussed (encoded), and recalled. Referente to
storage, retrieval, ce:calina, input, mima, and routines (computer lar.girge) is
charactesistic of chis theory. As Steven Pinker points out in How the ,Mirad Prbrks
(1997), "Computation has finaliy demystified rcentallstic lents. Beliefs are
inscribtions in memory, tains ere goal inscriptlons, thlnking la computadon,
perceltions are inscriptions criggered by asures, (and) Uying is atoadas operations
trigge(bd by a goal." Despide the meehanistic and mienta": language cornmon to that
discuslons (mal in ir seemasjf clase paralkis might be dtawn to behavioral
timones), inferir�:ion .processing modas are more closelyallied to eognitive
duory.evert though atiendan has Oifted from investigation of discovery arad
problem-solving strategiet to examinador: of the operations and fumtions of menor/.
At the heart of tisis theory is the contendon that !earning i3 a ser of processea
loformation is tansformed (proponed) in a number of ways, and in different pluses
(loutines). :entina completes a loop. The atinan rcceived from the
enviroemetdat the <tett of the cm:e is internalized andireCened back loto the
environment by way of a response. Although the sama Mando and response ase used la
chis conexa. atienden itere Es Comed entbely ora the inner"processing."
At che outset of the cyck, information is receimd by mearas of selectiva attention
and la then transforma int� nana! information. This information caten the short-
term memory, which vtry limitad (soma expon dairn that onlyseven bits of ;dor-,
mation can be heid from two to Eve secunde). The Information may be rehearsed fort'
immed!ate me (for example, to memoria a telephone number for as long aa it caes to
dial the nimbe�. Because �ha limitad capacity, the ahormen) memory maycipose to
"Mude" the Information to reduce the nwnber of notad pan: (memorizba a alead as a
dominan-seventh, for example, rather than as D-PI-A-C). From the shoTterm memory
the information moves to the long-tan memory, a procesa referred,o as "encoding."
This is the critica! point at which che information becomes meaniay mentad, d'en by
meas of relating the new information to information allady ato:ad-The capacityof
the long-Terrnmemory is enormes. (Some dabn that the caro. Ity of che long-term
memory is bah nazi' ited and permanent)
Proof of leaming is the reviera' from long-term memory. Revine] may be lig-gered by
'emes: signals that allow the long'cerm memory to carel fo: the information desired
o: requ:red. 1f wlut la zecalled needs to be applird to neve situation, or prob-
lems,"transfc of lemming" cakes place. Continued Mansfonnation of the inforrnation
unto a response. The response generator determines whether che outso:ne will be
directed te muleles involving :path or mover:tent. "illiina" or "doble (something
that can be externally observes� rollo," The lasa link of the loop is the feedback
pro-vided by the lame* awareness of the telling or dein.
Figure 15.1 ollera an exampk of an information-processing modeL
Input EnvironmenUStimull
Sensory Register Attention/SelectIon
Short-Terco Memory Possibte Rehearsal
1.ongibrrn Memory OrganizationfEncoding
Retrleval Strategles Cues/Search
Response Generator Neurons/Muscles
� Output Tatling/DoIng
Feedback ReInforcement
Figure 15.1
Information-processing Moda:
CHARTER 16 PUTTIeIG THEORT HITO PRACTICE 241 242 PART V THE WELL-INFORME fa
KEYBOARD TEACHER
Stage di
motor leudas Teacher's role temerlo role
Practice Providea mlnimal feedback Reptan tb.e skill, refiring
and yerfating the interna! ateing-and-feedback system.
Achlevemen: Out of the picture. Can perforen the tan
withourthinking" of what to do.
The goal of tlais procesa is for the learr.er to develop an interna! cueing-ard-
feed baokaynemto Maitu, control, and judgo the performance of the skill so that the
dkee-tion aro support of the tetcher are no longer necessary. The korner alto has
no Cunha need to reheane the interna/ cuelas system; that ft the lamer no longer
nada to think what to do whik performing the motior.(s). This phase,while final, is
not stadc.As long as the kerne/ continua to perforen the motion(s), smoothness and
praision ore fin-ther padeced and confirrned.
TI.e mddie suges�the :tasa at which the lamer practica and develops an inter. nal
cueintand-feedbeek system�are celdal. Robert Gaga, in Condizior.s of Leanling Ora/
spels out what this mean:
By apeadas cite esseraial noventona in successive triada of practico, the leamos
�roan tuoverl the kinothetic caes whkh signa/ the differerxe betweeo error and
error-free performance. lacrad cuas (mut) come to control and regulate the
performance, (thus ladinai to increasing desteta of precision and timing accurscy.
Predice is necessary, then, because Only by moradas the asentid moved entes can the
!comer be provided with the cues that regulate the motor performance'.
Por mut peopk, leaming a motos skill la a gradual proass. Occasionally one coma
acusa a korner (such as a musially gifted student) whose interna! processing and
clubs are transferred so quickly from an externd atinadas that the acquisitlon of
dm motor da seems 115tantUWOU3. Yet even the qui& lamer masa perfect and confino
the abll by remados it. In all ases, thespced of kurdos depends on the !colonia
ability to correa and elan che rr.overnent on the bada of interna) feedback.
Gulding the korner to develop and trust an intetnal actos-and-feedback system is
tbse teacheris most important role in the nacidas of moto: altillo. Too often the
teacher regaras the telling and showing ("This la how you da in nage as the
essendal farde of instration.This first nage lasignifican% of COlinC, because
inaoeurate or dls. �gallina telling and showing himno the entire leaming rocas al
the outset. But even4vhea the teacheris verbal adrice and virad and aural
demonstration are supetbly prnegted, motorskill karning will be mechanical untas
the lamer la da* guided to establiah ind trust onect interna' cueing-and�feedback.
The leacheria ability to ser the lamer through Chis importara atase dependa on the
amdenesiof the teacher's diagnouic si81,. Percdving what fa going wrong la ordy one
part of de diagnosis. Understanding (o: nen second-guesaing) why the lamer is not
maldng, or cannot mole, the transfer to interna! cueintand-feedbadc is the real
crac - �Cebe matter. Once chis is determined, the cachee it thervin the position of
podridas
auntary advice elther to aid the karr.eris Interna! processing or to modvate the
learn.
es to activate can matee aleblVand-fiXdble4 system.
Match of the time a plano.playing gestare s not a single motion, bu: a series of
contecutive moiloru that forro a "toutine Making a evo-non slot 'Sor example,
�
requires the player to
ta :rama the ann ce the lxyboard
^ mien the finger that will play the fuer note of the sisar
^ drop that finger to the key
^ depress the key �
^ nansfer weight from the finge: that playa the first key to the finge: that
deplases the second key
^ release che mond key
�
^
mon the hand and atm up from the key
�
This deacription of what mane pianista, wou:d :and es a single sature points ola
the
fue complexity of that genme. ft hellis to underscore the many nepe dong the way
that resulte discrimination and adjustment if the exalte routine lato be antooth,
pm,
dee, ara musical.
How the student letra lo diserirrinate among the many movements that am pos-
. tibie (and eith�r selected ornot)is, fuella sophisticated achievement In
drawing a let� ter, fin cumple, it it che oye that informa the hand whether ro
adjust, because the eye "reporta" whether the letra is beir.g formed acturately. En
the makingof a piano-piar ling gema, horma!, both oye andar my bamish �alance to
help the playa malee the proper motion. Mote arly-kvel pianista musa give
considerable mundea to visual con�watthing both the taches.% model and their oca
performance�in the eirly auges of learning a new gestare. Uttimately, however, it
should be the ear. re�ne than the eye, that is the final judge.
As technical development advances, kir.esthetic response provides a cueing.and-
feedbadt system of fas atm reporting pata or unsion, cc the sensation of freedom
and case. Movementrmade ady.during :he ;rocoso( technical training, however, will
doro be of suffieient or prolanged intenta)* to produce pala o:
discomfort.Kinenhedo feedback :my so"unreportee for many yema. The player may not
have been guided tu develop Llar awareness in the first place. my have beca
distracted from paying aten�en to ismer feedback, or may have choteo to ignore it
Maus, bad lechales! habite acqulred at the beginning of study may zenit in pea,
tension, os stiffness at a later atase, when the pierdan is pedan:ling more
advanced repertoire or is playing for lonja. periodo of rime.
There it an abundance of books oc technique that foil lato the how-to-do-it oc how-
to.teach.it category, and sorn. e of dese are very tad. (Seo Pan VI for a historial
overview of books ora chis subject.) Almost al of them, however, conantrate com.
pkte/y on the instructIon pitase of technical tenidos. Vade they do, of morse,
receta-mend particular practice ler:rens, they pay Ltde, if any, sttention to
suggesting ways in which the korner may be led to the esublishrr.ent of can
interna! cueing.andfeed-beck system. Rceendy, howner, inlereat fn biokedbaes
techniques, information-pro-ceuing thoorks, and holistic eme:termes es applied to
the teaching of movement has
240 PART V THE WELl-INFORMED REMARE) TE ACHER
1P-TFIN K n-4
,,-5401/411:
�tln
,�
FtJ
e ifia /1..�
rfileneMeeeTrSisltee.-OrtirOV
1'6mt.419,5�alo'cmic116; ,s51e6�ttena6
.71'01"s'ariwiti (54 -:""Ilezijt.ki
st
1111'.6Vi�r:II6edy �".":
0.�15,66:1.
LI
of mostnaents required in Me performance of eters a short, simple picor is �asga
ing if cae considere how rnany sepulte timba, mudes. and neurona mur, mor trate in
the "skilifd asedian of piano-playbg gestares. This Aill it often refened to as
tothnique-Although tedmique is muda more Osan the conuol of movements, the word is,
nonetheless, comraonly traed to apply to the sentid category of motor skills.
All motor ddlls depend on the preciaban and timing of :nownent, and the teach-ing
tad kuoing of a motor taskgenerdly mover through ceriain stages.Table 16.1 presente
(hese ataja, along vrith die student's and teacb.eria role in each ruge.
TABLE 16.1
Stage of
motor leaming Teachers& role Leamer's role
Instruction and Provides verbal be-melca with visual and rural dernonstration.
Lama 'that lo da
dunonstration latmides feedback � lbles out the new atril.
Experimentation Imenalization Adra questions to determine if the lamer is maldng
corren judgrrente. Knowt independently if the atril is !tened corred�
CHA? T It 16
Putting Theory into Practice
once again, comide the tesching of state. Thit time raen on what it is you teach
when you teach scales, not how yen do iblf you viere asked lo define what a sale
ti, you wouid point out that a &cale is a patero, an arringement of ascending and
descendlng Intervale that bellas and ende (esually) on the same (fundamental)
pitch. It helps to establlsh a key. e a mode. A particular cale patterr.�for
example, die ;ab rern for the major scale--may be expressed in note remes or played
on the keyboard,but the penen itseii is aSormula that ir confitd on different
beginning plebes A sede pattern, the:dere, ir a corros.
In the example out at the beginnitg of Chapter LS, attention was paid to the
teaching of sales u an activity, the attainment of a set of ales that a pian:�
acede and finas urdid. The focas was on the teaching and leaminl of Engering
pattems-Although the player rice& to kr.ov. which keys are appropriate for which
scale�and there fott the playa muat either know or be shoym the sea:, pattern, the
concept�playing the scak ir a motor skel
Once again, you val find that knowing about leer.. ing iheorke, and knowing hostia
apply what you know Se plctical. This isk.formation youact on every &tuyo'. tea .
ln tundas your attention to difforentiatInt bettlen teaching concepts and teaching
motor skills, yo. will 3ecd to consider other implications of "knowbg> The kiOdy
has man ways of grasping ideas, unsing re: a-tionsliips, and providing feedback.
Teaching Motor Skills
The ente body partiddpates la the act of playing the piano, and a great deal of
piano teaching and learningis dlrected to the goal of guiding tad controlling
mesements. The
IN Tifs5 CHAPTER
j�ath n ��
17541.eQbc -4&d.
kj)4,
^
111
239
touched, or for ardor.; observed and experienced. Traditionally, formal education
(especially before the twentieth antury) has reversed that proseas, preunting first
the
definirion, then the defined. Muy teachers still put die "can before the horst?
Even tachen who are cogniunt of developmental theories sometima fiad thernselves
tenias the learner about something the learner has nevar experienced�and becoming
frustrated when the larrier doce not kern. The thing before the shp, the experience
before the definition: that is the natural learning route. Even adules, who are
ateos-tornad to dealing with conceptual definitions and are sonklimes more
confortable tallen; about a thing dan doing it, kern more quickly and securely when
working from the experience to the aymbol.
A concrete experience, however, don not necessarily load to a conceptual grasp of
the dilas experienced. Responding to piteh, foz example, is not an inxIlectual
activity. &entran of pitch is not the same thing as knowing na-nes for pitaba, or
understand-ing how pitches may relate to one *notitar in conceptual groupings such
as sales or chords. Pitch perception is an aura experience even when this relates
to the sound of sales or <horda, wherein the ear recognizes a acose of association.
It 1s not unta the � pilches are mam�, or the relationships are defined and
perceived as sales or choza, that intellectual Aida ire invoived.
Reading music notation is filnher complkated by the fact that a note representa
both a pitch neme asid a rhythmic value. Discrirninatlon, therefort, includes
distin-guishing arnong tose parta of the note that designate ita rine value and
tose aspects of the note dist specifypitch nema and relationships.Rhyttunie
discrimination berlina by distinguiting between sounds that are long or short,
proceediag thereafter to the gradual perception of an infinita variety of
long/short combinadonal Here, too, the per-neta:Ion of rhythm is an aura!
experience, having no necetary tiritase between merely hertring rhythm (as sil
people do d'Uy, whenever they hear muele on TV, in supermar-kets, or in elevators)
and being atan of relationships among the longhhort combina-tion, long wit a
perception of tose relationships as groups or patterns.
It is important to diatinguish, however, between learning the narra for something
(or learning a fact about something) and learning the concept of te thing named (or
the fact to be remembered). Learning that "quarter note" la the neme for a
particular graphk symbol la not the nene as understanding the concept of how a
quarter note fits in the scheme of notational rhythmic relativity. Learning that in
4/4 meter a quarter note receives one entine may �n'ay be the 'curling of a fact,
not an indication that the Maznar kr.ows how to play quarter notes accurately in
that meter.
Learning names and facts is verbal information karning. Verbal ir.formation
eriables tomeone to talle about�verbalize�things, facts, or ideas. Some nachere
disparbge such learning, claiming that the real aim of education la the fostering
of the placeases of understanding and creativa thinking. ratee latter procesan,
however, are more e9fiaje:10y accomplished if the lamer has a storehouse of
readilyavailable infor-
,
matiort to be usad in higherorder cognitive processes. Teaching that encounges
verbal informttion learning will be helpfid, but the teacher must Cake cace to
distinguiste between:the student's learning a neme for sometbing and karning the
concept itself.
The inikence of punk psychol�gy Fermentes many explanations of pitch and
rhyduniclinception, as well as many contemporary presentadora of teaching pitch and
rhythmic reading. Often this is not the res* of the writer's os teacher's
deliberate choice of a particular learning theory ea much as it is an outcome of
that individuare own experience in learning. Teachera, for example,ishose fodus in
te teaching of muslo reading le on the perception of the interval as the Imanen
building block, and on the utablishrnent of the reading procesa ti the perception
of ongeing in:braille :dation-shipa, have already accepted the fact that an
interval inelf fa a gesult.
Grasping the idea of rhythm as the experience of relating to patteMs (nther len
duration values for individual notes) is also basad on the acteptance of grouping
as a primazy building block. Asa piece of muslo unfolds, its rhythmic structurbis
perceivcd not as a series of discreto independent imita strung together in a
mechanital, addith1b way lile beads, but as an organic pronas in whIch smafter
rhythmic motives, while possessing a shape and structure of their own, also
fimetion as integral parta of a largar rhythmic organization. Growth in rhythmic
perception is the reorganMation of amada penen� hito larger groupingt.This kind of
awareness fostere, and is fostered by, attention to structure. Larger rhythmIc form
evolves (zona the organized grotiping of smatersubunits.
Ultimately, the :mal and phyrical perception of gacha or rhythms rase be cou-pled
with conceptual understanding of a proas of readingpitcb and rhythmic syYrbols
before the interaction of these two moda of knowing can result in a performalace bf
what Is read. Most learners go throughphases of learning in arriving set
the"ownenhip" of a concept, as shown in -fiable 16.2.
TABLE 16.2
LEARNING A CONCEPT
Stage of concept
learning Tuche?. role Learner's role
Experience or arrugo the learning Something-ra sound,
Definithin Sfimulates the experience, rhythmic patees, or sale �
Internalization ft experienced.
Reinforrement situation lo cause the
�
aperience.
A narre is given to the
Provides the neme or
apalease, or a definition
definition, os chooses a
that captaba a reladonship
teacbing tool that does so.
or procedute involvIng the cope:lenes.
The experienee is internalized
Shows how this new
and cornparedkontrasted
concept compares and with similar experiences.
contrasta with already � estabEshed once.
The concept is "practiced" by
Provides ocasional externa'
using i: in different contada
cites and afliges as:tablea and measured by the interesal %tenia the !
carnee con-
al:ring-and-feedback system.
tinuas to use the newly
defined concept
Ownership Out of the picture. The concept is 'temed; the
individual no loger r,eeds to tefe( to the internd cueintand-rehearsal system in
applying the defined concept.
CHAPTER 16 PUTTING THEORY INT� PRAC-ICE 243
244 PART V THE WELL-INFORMED KEYBOARD TEACHER
nimulated the development of minen and visual sida that either concentrare on or
inda& usuta of how to gain Inc. control and awarenett. They ofkr mechera and lamas
practicad advice about genios; in touch with de inner sal� that develops the
personal e:ming-and-feedback system. En a general unte, dese books, cassettes, and
videotape, help the lamer become "arrue."
E:014 Ristad produced a reroarkably infuential work when Me wrote A Soprano on Her
Head (1982). Dime:4 to al) musicians, Instad': book, including its cornmentary on
the ludge a" (the tener volees that are aitkal and cautionary), her rommer.endadon
that you dar.ce the picea you are playing, and her suggatiom to use vinalkation
tech-niques in ocde: to tense actual macular impulses, aun practicad advice on how
to
ten to, and aly or., che many wayn Ln which the body 'reporte
Muela work wat similar to the approach usad by Tinadm Gallwey, who created a mild
tensa:ion with bis books about the "lime; Game,' especially The lanar Game o�
7:naif (1974). Galiweft lene: Game" techniques are esprttally uttful to mtuicians
because be dala so direaly with how to track moverrent It suma Inevitable that
itere shotdd be ata !mur Game of Masaje (which Gallwey, tagether with Barry Green,
produced in 1986). Callwey and Green apeak of leareing to reach a date of "adiad
concentrabon," in which"awareneas,"will," and "trust� playkey roles. The
"awareneas" that (ley advocate is the opposite of the besty and judgmental �do'
bstructioos that alise from che critica: inner ulf. Latead of thinking.`Now P.a
comingto that hand pee where I really mear up the right-hand arpeggioaf they segun
that your inner dialogue zun something more aleng the has of "What within chis
passage dors the atuendo peak? llave I :ceded as great a despee of forte as I
ylannedr By 1995, Green, together with ?byte Lehrer, produced a workbook (with
cassette) apecially designad for soso piano. The workbook contaba music (at
dile:cut devela) corlad withsuggetted activ-ida and appropdate"Inner dialogue."
There haya been other notable contributiona to dais get-in-touch-with-yourulf way
of approaching the testadas and leaming of keyboard tednique. Seyrnour Bernsainis
With Your Own Two Honda, both a book (1981) and late: a videotape, dots not
advocate "mareas? techniques per se, yet apeado of leaming un approach to play-lag
the piano in tramanistic terma. In Bernsteb's latea books, frian in Keyboard
Choreo:re* (1991) and Sfuri-Physi-Cality (1991), the language and suggestions are
much met directly re".atedto puntos the usa in touch wid. feeling and licening
while attending te technind exercises and playing short etudes and pitas lo which
the "les-son" is concretized.
In snah the mune fashion, Seyrcour Firids Mastering Piano Tabique (1996; there it
alto,a videotape) and Barbara 1-Hut-Sis�is videotape Freeing :he Coged Bird, (1997)
hely, piaran to regard the development of techaique as a 'whole-body" pocas. Risk
believ�s strongly d'atilde role,d and the body:r.ust be sabed
togeher.Studentsahould develo' aireen serie of physiad self-awarcness, one that can
read and respond to inner Metal etc signals." (Thete technical approaches ate
examined more thoroughly Chapteb.23.)
Eachof theta resouras, in its own way,helps the perfumes focos on awareneas of the
kir.athetic "feer ofmovements mide prcperly, as val u suggesdr.g ways in which the
tachad may Ud the student in chis internad cueir.g-and-feedback pronas. )(Salariada
ocie ;hese re a fu ay from the "techrical" books from other eras in which the
empha-sis veas mostly on rnechanks, fingerings, and exerca s.154 sarn to be
approachiag a neto parlad pf enlightenrnent with regard to the learning and
teaching of moverneni
Teaching Concepts
Laucting to play the piano and leamirgto read music at the piano are two separate
skills. Leuning to read is conceptual kuning, oven though the puto! of being able
te read reune resulta ir. macar attivity. Conceptual learning begins with
discrimination. You wat be able to telt the dilTuence between one thing and anoten
6:w exampk, the dif-(trence between a notcon a line and one in a space. Perceiving
(un-11er differences hay-ing to do with the direction and diatana of one notehead
from anadee U aleo the result of being tibie to discrintinate.
WhOe 211 of chis is tzue�even ie no pitch le played�the lamer will gratp theta
concept: more surely if they become something concrete, aornething the mutar can
physkally experience. The more unte aya:caces brought lo bar la hedping to estib -
bah the concept conactely, de more certainly and qukirly will the concept be recog-
alud and temernbered. Whlle it it mimacily the young kerne who proRts anon from
mulliple lente expedenca in the establishment of cor.cepta, learnens of sil ama are
Mocead in t'ab way.
The importarla of the concrete enajena le ita role in the natural ocde; of learr.-
ing as demonstated, foiexample, in the developmental levele deurbed by Piaget. The
young child first comenten de enrsonment, then )aros ruma for objetas leen and
Problem solving involves more than mezely frad.r.g answer, to conventional prob-
lems or providing answen to organizad questions. True problems are "solved" by the'
application of Neviously]earr.ed rults.The rse of a role in arrivrag atan answer
Noves that the role i3 undentood and has.been sele--ted and applied
correctly.Aetual problem solving s ara extension of role !cerraos. As Gagnd notes
in The Conditions of Learning (19771, problem solving "is a procesa by which the
learner discovers a combination of previmuly learned tules which can be applied to
achieve a solution for a novel situa-tion. When (the !urna) finds a particular
combination of ralea that tic the situation, [the lamer has) not onlyboNed the
problem but has siso learned something r.ew."
What is newly learned may be �ida: a higher-orclet Tule ora fresh way to salve
problema. The learning of a higher-order lile enables the learner to use that role
tq solve similar Nobkrru. The learning of the new way to sobre problems, however,
3130 testes the leatnet someraing about his or her own cognitive strategies. The
lamer has gained insight loto how he or sha can respond in otee problem solving
situation*. Soraething individual has happened that is not merely ara awareness of
another tale.
Tale 163 presenta the atases of problem solving along with the student's and tutees
roles in it.
TABLE 16.3
Stage of learning
to solve problema Teacher's role Leanter's role
Discovery Presenta the problem, but chis Undentands that
is not absolutely seeessary. there is a Noble/o.
The korner may discover the
problem independently.
Awanness Offers further cues to help Defines what the
student define the problem. problem h. �
Planning Parraran cues without Decides how to
offering specific solutions. search for solutions.
Tris& Suggests ways to experiment, Experimenta with
if necessay, or movides modela possible solutions.
Decision Offen feedback. Setdes on a solution.
Confirmation Out of the pkture. Sras that the
solution wozb.
fh order to sobre problems, the learner must have aquilea a fund of verbal inter-
maticin, concepts, and tules on which hypozheses for solving the problem can be
baste. Ther�fore, teaching strategies involving problem solving are more
appropriate for use with larners who han a sufficient repository of prerequisite
knowledge to salve a spe-cific problenOccasionally, however, a learner without the
necessary preknowledge to salve a problem, or without sil aspects of that
Imowledge, may be challenged to arrive atan orblinalsolution in a situation
requiring one. In such ara instan�, the learner must fi l in the gaps and "tdach
the set', those concepts er n'Inflada to solve die prablem. While Chis mar be
stimulating and exciting fox certera students at catain timea, a teach-Itg plan os'
piezhod based on frequent use of such challenges may frustrate the korner o: cuate
a lemming armosphere suffused with teasion or fear.
Suggesting that a student work out original fingering solufions for a new piece of
music is one example of how problem solving techniques can be used as part of piano
instruction. If the new piece is a assical sonatina (for example, Beethoven's
Sonatina in G Majar), the technical and fingering p:erequisites would include
^ the ability to extend the range by rotas of thumb crossir.gs (in urea:. d
ts ?mil as downward passages)
^
an understanding of fingering pamema associated with the performance of tan-
' note slot*
^ ara awareness of the efficacy of a fir.gering change on repeated notes
� the experience of fir.gering chorea] patterns in both five-finger and atended
positions � t
The presentation of ene problem la te assignment of the Mece with instzuelons to
work out the fingering, asking the student to pencil In special fingerings ;Mere
char.ges, shifts, or abra do not lie saldes the hand. The deflnition of the
problema by the emdent occurs when the madera actually hesitas to play and Cunee
the piece, at thlt time becoming asare of exactly which situattons might revire
ftngerir.g adjustipents. Exptrimentation takes plan as the student tris out
fingering combinations in vaciaos places, eventually selecting tose that seem to
suit the pica and the hand. Per foz-ming the piece, noting that the selected
fingerings work, La the verifteation to the student that the choice: are practica!
and vise.
The value of the learning ir.volved in fingering the sonatina is r.ot the
aocomplish-ment of havbig antera any particular panage;although i some cases
specific finger-ing solutions miy sirve the learner Lo filme pitees where similar
punges actor. The significance of tira experience is that it teaches the karmr, in
a concrete and personal way, why successful piano performance requires employment
of efficient fingering and, . further, how fingering choice� are determlned and
notated for personal remembranee or for communication to olas. Although the student
needed to play the punges in order to arrive at fingering solutions, the
analytical, critica], and judgmental processes that controlled the entice �pericote
were interna]. The nudent was lemming, in a gen-e:al way, why and how sil pian are
futgered. in addition, the student was �ware of the self as the controiler of Mese
interna] procesan; achieving thereby not only the cdzila-ration of solving the
problem,but siso the ego-supporting reinforcement of leaming to
trust the self. . .
You might questipn the efficacy of using Mis type of teaching itrategy. Can prob-
lem truly be taught? Aren't some individuals bora problem solvers, curiously
sifting, measuring, and choosing information and ideas that they reshape in
original ways? Prora the opposite perspectIve, you might questionwhy educitors
don'c gend sil thei: time involving students in problem solving, so that time spent
in formal educa-tion would be concenuated on the highest goals bastead of on the
accumulation of facts, skills, concepts, and roles.
� Evidente indicates that the better the karner's foundation (th� storehouse of
facts, slcills, concept!, and mies), the more likely it is that the lamer will be
able to solve problems and arrive at original solutions. ft alto sarna reasonable
to bold that unless some students are challengedor encouraged to solve problema,
they may never discov-er within thenseives the power to think and judge
indraendently. The teacher's respon-sibilay with regard to the use of problem
sola/lag techniques, Men, is twofold:
Difficdties for the lamer may arise at any of Citen rases. If the Munes has no
prior ornare experienceof the Ming delined, or if the debaition precedes the
concrete apenen�, the lamer may be szt possession of a fact hui may not know how to
use it. It is no: mough that te learner has experieneed the concept sometinte in
the past, although that, at least, may be a remete aid. fe is much more efferive if
the experience immedately, or almost inunediately, precedes the deftnition. Thus,
the experience of hearing ard playing tegvlarly recurring pulses should come &fere
the expostue to the concept of notes as symbols for pulses. Likeviise, experience
with whole ami hall steps � should occur prior to leudo& how they relate to forro a
mejor 'cale.
A della-aloa should be actuase, but it is most truly effective when piamos'
without exceptions and tangential refrenas. The teacher, who has an abundan� of
knowledge about the subject, often carnes refala from including information that is
hot necessary to the leunet's mornentary requirerr.ents in dealing with the
concept. A satisfactory definition is one that distills the essence of a concept to
its sirnplest compo-nents. The defines must not only gresp the atraes= of the
concept in order to know taus the asen� is, but MUR aleo be able to relate that
asen� in words that can be understood by the lamen
Definitions may be inaccurate even when thehumeare tontea malta them seem wue: Ir
tiemple, when a dotad half note isdefined as a note that recelas atarte
Beause that is only true when the quarter note is the uait besa, the delnition is
ulti-enately inideading.An accurate definition is one in whiclith relativity of the
dotted half note to the quita note is citar regardless of the metilo cc ntat It is
more 2CCII-tate to say that a dotted hal? note laso as long as chite quarter notes.
That will always be nue. :he effoctive definision is ene that anticipates film�
exceptions but does not prematurety arterr.pt te iaclude them.
The reinforcement auge in conceptual learning may be the most rnisunderstood.
Althougha concept may be grasped completely in a general serse, it is pilen not
secure until it has been applied in contera similar to its original presentation,
then tened in more challenging coman. lisias the concept in similar circunstantes
alosa the !carnet to begin to develop the internal meing-and-rehearsal system. The
teacher's moat innpotunt role at Chis stage is to supply supportive material', or
to organizo reinforcing activities. The learner alto neects to encounter the
concept in osntextethat requise greater differentiation between the newly acquired
concept and alatgek assortrnent �f already 'carne. d coneepts. At this stage, the !
carne is moviste toward relance on the. interna! cueing-and-rehearsal:system in
recognizing the concept readily with new appreciation of its place in the scherne
of things. Por the most para, caten:(al cueing ftorn the �Eller should be
unnecessary.
Teachers should keep la mirad that mere repetition of a concept lo only mininully
reinforcing. Repeating the use of the concept in exactly the same context tends jo
chdl the interna! cueing-and-rehearsal system, because attention is neither
provokid nor stimulated. "Ibis is quite unlike the repetition necessary in the
evelution of motot,k1dUs, where the movement ascii is not really leamed until afta
many attempts. In conceptual learning, the concept is generally thise ir, its
complete forro in the early atases. What is needed is not so much priori� in
deve:oping a concept to a perfect state, but prkctice in differentiating the new
concept foro sil others.
When the interna) cueing.andiehearsal system no longer needs to operan in order to
use or recopile a concept in any cordera, the concept is owned.. The cueing-and-
rehearsal system is not discarded. however. It may be retsieved and activated
whenever a new situation requises remarnination of the concept. This is ofien the
case whenever a concept acede to be expended or sabed to a higher or more �supla
leve'. A fundamental understanding of the telationship bmween tenis and dorninant,
for instante, =ay remain usen tially unchanged for a considerable period of tinte.
At the poir.t when the use of secondary dominaats is introducid, the tonia dominant
concept may need to be reinspected to enable the lamer to grasp the. new idea. The
cueing-and-rehearsal techniques used to establish the toniodortanant concept are
then retrievable to fluir in fixing the new concept If the learning of the original
toniodorninant concept had not advanced to the point of ownership, or bad not
generated any interna! cueing�and-rehearsal system, then the concept of the
secondary doinir.ant would not be grasped until both lents of understanding viere
achieVed. Beause cueing-and-rehearsal systems are retrievable and reusable�intact
or with minimal adaptation--eduatots 'who teach their students to interoalue the
learning procesa regard Chis teaching strategy as productinand efficient Moreover,
any teaching technique that stimulates students to "know how thcy know" alto
pronto:es independent
Problem Solving
Problem.solving skills are not used as much as thcy should be in learning to pliy
(he piano or in learning about mude. Sorra tachen belleve that they are using
problem-solving teaching manigua because they esk many questions ot use more
operbended, awarenus-provoking directiva. However, �Mg a dlicoverrinethad approach
is not neeessarily the same ling as asing problem-solving tea :ligues. Discovery-
method teaching strategies may include accentuation of centrar, emphasis on
structure, stini-ulation of informed guessing, ardusal of tWeD153, and encomagement
of participa. don, as well as the solution of probknu. The seuch for a solution,
however, may leed to a miden liad of leatning, and that is why it s regarded
separately he�.
..;Tintr,rvInzt>tii-ny vzsrwirreWilwees~ 11
.;:ip �
.; .
e 11
rax
55:11
pd iiik-;�15�111:315114534111.,...-.1
i0 dale:the/0p
might be redected in teaclungilearning encounter,. Since then, vedous educatora,
psy chologists, and suelan have priposed desaiptive peraocality type hypotheses
that grouped and named types in various ways. Whatever the number or diles
suggested, however, inca personality descriptions have their roots in the medieval
idea of the four "humors7 physiokgic conditioas usually described as sar.guine,
phleratie, choleric, and rr.elancholic, azincirbody conditions that predispose an
individual to act and mut according to that person'ainnate "nature" (are Table
16.4).
TOLE 16.4
COMPARISON OF PERSONALITY TYPES
Personality Student
.type neme Characteristics
Sanguine Jos� Intuitive, adventurous, quid; realistic, and curious
Pides:natio Jenny Factual, consisteat, dependable, accurate, and
conventional
Melancholit fama( Logia!, deliberate, thorough, analytical, and pensive
Choleric Cad�& Sensitive, idealistic, perceptivo, empathic,
sentimental, and spontaneous
The students. described in the "Stop and Think" sec:ion (page 251) are loosdY
equivalen to esa of the'huniortas summarked in 'rabie 16.4. Sanguina students like
Jos� want to act, to try things out for themselves without, however, reflecting
�much on what they do, except in the 71103C inunediate ways. They might be
tharacterized u intu-
achrenturous, quick, realistic, and curious.These students chafe when asked to
follow proadures, analyse, explain, or remain on task They are confortable taking
risks, but often they don 't wish to be held accountable. Thry dopit lilce to be
bothered answering questions. The question they ere most likely to uk:"Is this
rally necessary?" Jenny represente the phlegmatic persondiry type, someone who
work: well within who enjoya set routines, and who "warzs to mala cure" before
venturing into new territorio. Individuab likethis tend to be factual, consister.t,
dependable, �carate, and conventional They are genendly uncomfortable when asiced
to improvise, innovan, o: solee problema on their own. These are the students who
wish to have the "right" answer, and who are often confused by open-ended
questions. The questions theya re most likely to ask: "How should I do id" and
"Mien is it duet"
melanchohc personality type like Jamal can be as impatier.t as Jos� with foliow-ing
rulos, but reacts this w�ay for a clifferent reason: Learners of this type want to
work throtigh an Lame for themseives: they want to make the ndes, and they will do
so only after having weighed the variables and possibilities. ?hese are the
students who ere logia), deliberate, thorough, anairical, and pensive. They are
muera and researchers, peopk who leve to work on individual projects. They
generally know the "right" answer, but want to know why they shottld answer. They
are apt to replicase the qua-tion, prefesring to respond to e paule of their own
making.The question they are most likely to *sic "Hoz> do I know this is cruer
Carlie is the dolerle type whose actionsInd responses are colead by ernotion.
;carnea like Carlie are sensitive, idealiatic, perceptive, empathic, sentimental,
and llpontaneoul They fina it hard to accept criticism (it is semi as a personal
duck), and they are disturbed by worlring with unfriendly people, or people riel'
regar� u Ignoble. When asked a valiera, t'uywant to givethe answu that will pese
the apker. The), els� mal� worry a bit about why they were asked the question. The
question they are most likely to ask: "What does this have to do with met"
Evea this brief and generalited discussilin of personality typeslhoulkbe enough te
stirnulate a tache: to look ronda kanes peroeption (and, perlups, with more sympa-
i. thy) mt student "personalities." This awareness wJ often help to encovar and
coplainr �nein student behavlors, actitudes, and motivadoras. ft is, mostrara,
important to remember that the teacher also is a certain personality type: prone to
present new concepto and das, chorote reaforcing activities, and provide feedback
in keeping I�ith that type. ft gima another huasa istic dirnension to
teaehingEearning interactions:
Multiple Intelligences
The theories of Howard Gardner, though not Jeaming theories per se, have plalred a
major role in redefining educational gotas and methods sin� the publication df bis
seminal work, Frames of Mind (1983). Gardner's positioa is "that diere la
pera�uisive evidente ter the existente of sevual relatively autonomous human
intel:ce;tual competentes." He identifica thue competentes as
^ linguistic intelligence
^ musical intelligenCe
^ logia!-mathematical Intelligente
^ spatial intelligence
^ bodily-kinuthetic Intelligente
^ personal intelligences
Gardner challenged the time-worn naden that "intelligence" be resultad to's
*quotient" that ~mes orly vedialsmathermiticai das and talenu. By Slim; ^tten-don
to the research bchind the development of a theory of multiple intelligences
(Gardner does not daim this as an original idea), he has stimulated a reevaluation
of the many ways of elmowin,g," according each intelligence an equal weight in
describing Untan activity. Recatase particular proclivities may be noticed at an
euly age, educa. tion can, and ought to be, albar' to tostes and er.hance [hese
particular taients.
While ibis is certainly not the same thing as saying that "intelligentes" are "pu-
sonality types," nonetheless the attention given to specific, individual
differences and how [hese might be observed and supported in the teachingnearning
proceas Union-simas how the focus of investigation has broadened its acope exoro
coman with general theories to how individuals might d'abre (or nos) as these
theories are played out in day-to-day educadonal environments.
lo numerous subsequent bocks, Gardner has expended bis idees and influence.
Farticularly in Multiple Inrelligances: The Theory in Practiee (1993) and Hm
Linschoolrd Mirad: How Clifdren Think and How Sehools Should nach (1991), Gardner
suggests ways in which bis idear can be applied to eduational practite and
curriculum design. ln To Open Minds (1989), he explores the differences betunen
tradition and progres-sivism by describing bis observador: of and reacciona to
education as prictited in China. To emphasize tic role of the teacher asa model of
behavior, as well as a Plana and instructor, Gardner notes in the final pages of
the book that "students have always
1. To determine when the time is right, when there are enough appropriate mataials
in the nudenth information stockpik to ?ronde authiple and workable hypotheses that
may be used in particular acto of nobleza �hilas.
2. To solea and arrange an appropriate problem that val develop the leamer's capac-
ity to arrive at original conclusions.
Some psychologists have notad, and most people have arperienced, that in solving
catan) problems there is a period of seeming inattention (at times quite long)
duzing which the problem,pernaps together with severa! hypotheses, Just �sita
there,' The inch-botica period may red abruptly with so "Miel caperience a suddert
awarer.en of what die solution ia. todo teacher and letra� must respect this
ruminating tims. The teacher cannot dways cue the korner cannot always jump to die
right oanclusioh. The silent miraste (or week, or month) is cecessary so that quiet
sifting may cenar. Teachers wk� forever insist on immediate resulto ti* the
elimInation of efforts (en the par� of both )cerner and teacher) that might leed to
valuable insights or urtusual interpretatior.s:
Problem solving is a route m independent thinking. Gagn� once more confinas that
when studentspractice solving novel problerns, they praumably learn not Only culto
applkable to those problema, but aso general ways of accomplishim problem salvia&
That is to say, they learn ways of exerching cor.uol ova dieir own thought
processes: how to seek relevant !batutas of the prohlem, how jo keep in rnind what
has been triad previously, how to weigh the probabilides tjf their hypotheses, and
so on. That capabilities of self-control are the cognitite strategies of thinking.
Personality Types
2aeh student has a di aren persondity and behaves in keeping with )unte usas:and
tendeacies. Personality typeo are easy to recegnize and are often the nuff of
cariature. Behaviors associated with epersonalitt manffeot thenuelves in hundreds
of ways in our del:y kfe and experience. les valuable to keep in mirad that riese
Innata tendencias infiu-ente how, when, and why someone karns.
It's not that a certain personality typc can be pointed to u the bate:, or quicker,
learner. Bach type prefers a certain way of processing information and lo more com.
fortable with �cejas kin& of presentation. Soma people `jume right in,* othen huid
back unta they ^know the mies." Sorae leamers need to be �inspired's or 'moved' in
order to uy out new ideas or skills, while others are interested primarily In
'getting to the bottom of thingf or want almost inunediately to "test th&watersr In
the light of only this bit of insight about personalities, you might be able to
predict which penen-ality types ovil be more coger to solve problema; be more
attracted to a step-by-step approach; prefer to intuid respond more as emotions
dictare.
Pasonality driven dieses about teaching and learning. are anchored in the same
principia as tose that u nderpin the humanistic and develoinneatal approach
espoused by Run Lewin's `lite:pace" concept, as well as by the theories of Maslow
and Rogcrs. Books and seminars on tino subject han becorne quite popular in the tan
kw &cada. One of the m'y pionera in this field was Katherine Cook Briggs, who, with
ha daugh-ter, loaba Brin& Myers, developed a personality inventor basa] on Carl
Jung's arate-typea, that identified s'aleen personality types. The Myers Briggs
lype-Indicator Manual has had International influence, int only in education (where
ir has been usad to �test' boda mudada and tachen), but also in the fiada of
business, management, and apiritu-ality. Books by Isabel Briggs Myers�introduaion
to 27pe (1980) and Cifits Delring: Vnrientanding Personality 'upes (1993)�have
extended the conaprehension and entre-dation of whit role personality pian in Efe
situation' and dee:islote.
Please Under:tem! Me Character and Temperanntra �per (1978), e book by David Keine?
and Marilyn Bates, buil: on and amplified the validity of the Myers-Briggs per-
sonality types.This, in tuno, directedattention tO how personality bond
considerations
..STOP,ANPJHINK
..� �
� � --0111,.�tdd
Isf�lniops s nd ex a;111 chuce
(notes lr PySr fin.
'11
ilstiti511 QIY:t1Old 1'10 fkneSuldIPPIP9 0191013,
o,t)inelod�o:otneeffSpItiblnigy!ryiaki:Sek eltitietaluf4sLis
li5"FIL1/411111115114111,491141'.-1hallea(PLe61 e ke;Pli.theotberlquelke
calleIgha`t.4.&;
1.4,..(t,sywRIrn efti %i.
t� el .e
JIPA a.
Iv', Oral
ws:try.
� . thf '994,
teil(sow
ida"/7.NA&,,
:b3e'rAtilth (is
1,41.12A4 Sfj;11;; 21;teei`.3
. ).
iuderns 6sked tttest ad nrA( :�
Ik115111CW e r e..sik(((i? 11,j - - -ffr S eh
'04StOTIS?
,
. 7 Kinds of Smart Identifyinjand Developing Your Many Intetligences. New York:
Plume/Penguin, 1993.
Armstrong Sten& chis to be *your own personal cognitive selfaenewal kit," a book to
support the resder in * match for how he or ohe besa respor.ds to the processing of
information. It U radia lile a layman's guide to Howard Giudner's dasslfication of
"multiple Intelligens& Each kind of "aman" is dIscussed in tura and�In every
case�thereaderlaapprisedoftwentyfive ways to develop that particulannuet" Latee
chap-ten diseno how to deal with [hose aras in which you might be weak, and snggest
ways to deal with relatIonships in which the partners may have "conEicting smartsf
Annstrong carita in �ken and simple language, but the ideas themselves carry
weight.
Bernatein, S. Lame in Keyboard Chareography. Mllwaukee: Hal Leonard, 1991.
Bernstein discurses the piano ar.d.the hurnan "mechanisms." Nonlegato, dna legato,
touch is presented in a acijes oflessons, soplete with photographs and step-by-step
sus-gestiono, ata of which load the leamer toward a tense of bcaly awneness and an
asso-ciation of movement connected with and resulting In tone. itere are many
musical cumples (some abbreviated), mostlyat the intermediate level, in which Ose
kumis may be applied.
�.Musi-PhysiCality: ~bija Physicai Connection ro Musical Fiaba: for the Beginning
Pianiss. Milwaukee Hal Leonard, 1991.
This is a child's version of the nonlegato and legato sectiona of Lessons in
Keyboard Choreography. The book uses simple aaalogies and example, related toa
young child's experience, to get actos the same physical and musical principies
found in Benutein's other hocico. Many of the directiva to the use: are given in
what might be called "aware-ness" instructionihey help diseca attention to what the
playa feelswhile moving, and they siso help the plan' judge the tonal outcome.
There are many photographs,
t rations, and musical cumples, these tase not advancing beyond late elementary
leve!.
Bieldes, R. R, with J. Sampan. Psychology Applied to Teadang, 5th ed. Boston:
Hougbton Mirillas, 1956.
This is an excellent overtiew of al! theories of learning. Editions vary
considerably; the 1986,edition contains a 39one:updated chapter on information
processing. The book is deiigned as a textbook Each chapter apene with liso of ley
points cosen& Wide margina 'avith highlighted summary s'aumenta mole it easy to !
acate main ideas. Rach chao-ter alio cautelas suggestions for teaching that are
subst�ntial and procelal. A sepuate glossky defines "ed psyd? words and phrases.
Tito writing style is simple and din& AttraCtive pictures, homely analogies, and
useful cumples add ro the book's effectiveness.
Bigge, M. L Lamidos Theories for �licher; 9th ed. New Yodo Harpa & Row, 1982. (This
is: ,a slightly revised version of a larger book by Bigge and M. P. Hunt.
Psychological Poundations.of Education, 2d ed. New York: Raspes &Roan1968.)
Bigge emphasizes the nature of contrasting psychologies of learning and placa them
ih semi-Mstoric context Each learning theory is presented as if the ambos was eso
adherent; crificism is only ocasional. Bigge defines toro majar familias of
learning theory but devoto separate chapters to Gagn�, Bandura, and Lewin's
`kfespace" con-cept, as well as to Slduner and Brunet The book reads easily and
�tempo to be both practica! and briet The styie ls that of ara encuive cateddsm;
all, even 'tubordinate, headinga are phrased as questions to which the text p
tonelete annum
11! �
�rimen'. The Procese ofiducation. New York: Ruidosa House, 1960.
This short book actuaRy reporto temes and tentative condusions of a 1959 confieren�
of natural scientists, psychologists, and educatou that Bruner chaired,hut the
liook has become identi5ed with Brunet': own views. It Is frequendy quoted not oniy
in reflrence to Brunet but atoo in reference to cognitive theorles in general.
Chapter l is enanito. duoion to Bruner's overall perapective on education. Chames 2
reveas Brimer's thoughts about the importune of understanding and teaching
structure. Chapter 4, on intuitivo and andytic thinking, is perhaps the most
interesting, even though it dee1 not offer pat conclasions or clima advici.
Thwani a Theoryof Instruction. Cambridge: HarvardtinUersity Press, 1966.
'(hese are Bruner's most practica! suggestiona for implernenting discovecy-method
teaching. la chapter 3, Brunet' defines the maje feattues of any theory of
instruction; the chapter �Su further insight loto Bruner's attention to the
importance of teaching atusare and contains interesting sectieu on ninforcement and
problem solving.
Csiltszentmiludyi,h1. How: T/ePsychologyofOptima( ForperienanNeWYork: Herpes & Row,
1990.
Tse book is �atended for a general audier.ce,even though it condenses stearin
sesea/eh "on the positive aspecto of humea experience" that the subas callo "flow."
There are Copious endnotes for those naden who wish to delve more deeply. The idea
is that the "optima! experience" is one that la en end in itstlf, satisfying asid
meaningful beyor.d anything that might be accomplished by doing a particular thing.
Csilinentrnihalyi explores and discusses just what it is that malta such an
experience ideally hurtan. The book �a replete with examples, atarles, and models
that f.e.sh out the ideas.
Piala, S. Mastering Piado Tr.dinlquo A Guide for Studenn, Teachers, and Performers.
Portland, OR: Amadeus Press, 1992. Videotape avallable.
Pink presenta ara organizad approach to the understanding and teaching of piano
tea-nique. Betune he believes that the mirad and body musa be trained� together, he
U always careful to provide examples, modelo, and exercises that ask the uses to
anead to kinesthetic responses. He speaks of `movements shaped by the piano"
(postura and motions os related to the instrumen0 before he �els with the acciona
and interactions of spedfic physical pares (sItoulders, upper era, (orearms, han&
and Upe). The test section discutes synthesized mcnuments and coordlnation.
Although Pink is ciearly cognizant of the long and varied history of keyboard
techrtique, ido aportad: to it is original In that it representa a practica!
teatment of a ven, compita subject.
'comed as muh or more from the ways teachers present thenuelves�their animas; their
bebes; their moral codea; their daily mode of dinking, acing, and, aboye all,
being�tan from a coniculum."
Many educators have been infiuenced by Gardncr's ideas, or are presenting theo�
ries that might be considercd complementar/ to his. Thomas Armstrong, for cumple,
refiera ten and suggests activities that are in keeping vith :he idea of multiple
Intel-ligences and personality-based theories. Most of bis books are directed to
paren, so they are written Lz fricndly, nonacademic language. The expound sound
pssultology, and they are replete with helpful advice, much of it apressed in pithy
paragraphs and bufleted lists. In nen Own Way: DIscorering and Encouraging Your
Child's Personal learningStyler (1987) maks clearly about "atoen ways ro bloom" and
points out that many children develop better if more learning ~dolida are tapped.
Armstrong refcrs to the imagination as an loner Mackboard," and arpes strongly that
'Intelligente bcgins in the body."
In 7 Kinds of Smart (1993), based on Gardncr's andel of multiple inteiigences,
Arrastran& provides useful suggestions that parents can ose to stirr.ulate and
enconase each kind of intelligence. Eacb "Intelligente," renamed informally ("word
unan: "piden s:r.ast""peopTe amare and so on),is exenined with a view to
identifying that particular mode of knowing in practicai, everyday cumples. In an
extensiva :espolees section, Arrnstrong offes lista of books, organizations,
computer software, and tomes appropriate for each "smartr
Mihily Csiltnentinihalfis Flor: The Psychology of Optima, Experiencc (1990; has
also been highly inducida] on theories of karning and motintioa. The "optima: �pe-
rience" occuzs la conjunttion with a saeontained (autotelic) activity; the activity
is so rcearding and pleasurable that the experience of doi:g it is itself the
reward (even though the activir/ may have another specific goal). A pianist
practices and perforan, for example, for the purpost of giving pleasure to
listenes, but often the experience of playing u the apure of the p:anist'a own
deepest satislaction. The pianist would play (cften daca play) can though there is
no audience, formal aneen, or nionetary gain. lArnat the pianist experiences at the
momean of most faused o:mente:don and raptora la what Csikszentmihalyi delinca as
"Ilow." Ir. a sera, it la similar to what Ivlaslow described as a "peak
experience": an intense involvement and a special kind of coreen-traed avareass pes
you in touch with a higher sense Pf self; you experience yourself in anole
dimer.sion.
liVinle the notion of "fiar" is deady not en idea assodated directly with leandra&
it is.equully citar that there are strong associations with the experience of
learning. Awakeness, concentration, and Izlirected psychic energy do indted "flow"
when sorne-one ks totally engrossed in perfecting a skill or considcing an idea.
Csikszentmihalyi
and Igs coneagues h�ve, via their int� how "optbnum experience" uans-
lata Int� dally Efe, oontributed books that illurainate aspecto of personality
dnelop� menkilat might be played out in the educational reaten. 'lactar with Kevin
Rathdfide and SamuelNilo:en, Csikszentmihalyi hasproduced 2hlented Temagen: The
Roots bf Suecas and Paiture (1993), which reporta, in a direct and friendly manar,
on a study of over 200 teenagers, examining why some meced and others fail to
develop their abanica. Teachers will also gain insight by reading a book written by
Csikezentmihahd and' Red Larson, Bdng Adore-scene Confite, and Growth tn the
Teenage Yerno (1984), much of tt expressed in he so:intimes humorous, but doran
levealing� words of ter:igen themselves. The "flow" expelente is a currer.t
expression of a psychp]ogy in tune with the irme seff
Cognitive psycbology seems *live and well today even though many educators still
proceed la linear fashion, doling out bits of informados incrementally, step by
step. This is especially true in plano study, which has largely followed aa
autloritarian �caches knows bestiteachez shows how) instructional mode. Although
Chis is not quite the same thing as saying that most piano teachers acibere only to
behavioriste principies (consciously or not), it is dozer to a realisdc cmlanation
of what goa on in man), piano studios and clanes. Both students and techen wouid
benefit if greater use were � mode of discovery-method and problem-solving
techniques, and if there were greater understanding of what must take place in the
teaching of motor ddlis.
Knowledge of learning theories is not necessary in order to be a goal noche:. Many
inspiring and acellent tachen posesa eeemingly innate instincts to do, uy, and
dernonstrate what helps others ro learn. It ls alvnys tempdng to apee that
teactiers are han, not mode. Yet if that :ate the total truth, if effective
teachers did not theduelves learn from outside somas (whatever there might be) how
to besase diagnastil aco-
rnen develop cornmunicative or succinctly �fracture a presentation, theySyould
likely not be regarded as renuakable educators. Successful teachers are
abvsyslouidc ternera. Theyonerringly pick up on and use any information, device, or
technique that finases theic own capacity to understand the catire
learningfteaching process.
It seems Malta], therefore, that the more you know about how learning takes place,
the more you will increase your own capacity to Jean. Information about variaras
learning theories, and ideas that support or are derived from these theories, may
fur-nish insight as you observe yourself learning. Whether the incrusta awareness
is only for your own benefit or, L1 turn, is usad to help othera become successful
learners, the time and effort spent are practica'. The inc:eased awareness may alzo
be enlightening.
A Reading List
the foliowing lid will help yace son through books on the subject of learning
theories. Some books ?zooide general background, soase focos on certain people and
ideas, and some deal with manen closely relatad to learning and yeaching. In most
casa, there are books that will introduce you to a subject, not volumes that will
overwhelm you with scientific or psychological data and te:rninology.
Bach book will be especially usad for its own bIliography. Be sun that you look at
theta resources, because dura how you begin co uncover the paths that lead to fur-
ter, deeper, richer information. When you fiad an idea that interests you, dlg
finto it. Tuse are notaras frito which you can clip lightly and emerge weli
informe" (much leas wise). Xeep in mirad that lis 'ad of research w li enrich you
at least a much as will benefit your students.
Armstrong, 'E lis fluir Own Way: Dircovering and Encouragini Your Child's Personal
LearningStyle. Los Angeks: yeremy 'Ruche; 1987.
There is an opening, critica] section in which Armstrong dedos the tollina of a
one-tad:, standard curriculum apploach to teaching and learning. The atrength of tx
book, however, is the way he helps parents (prestan:Lb:y tachen, too) to perceive
and support the different ways in whichchildren learn.Amutrong accomplishes thia
not by narrativa lecturing, but by supplyiag hundteds of useful pannt-child
activities that leed to these kinds of disooveries. The solid information Ir
delivered la small, manageable doses.
Piaget, I., and B. Inhelder. The Psychology of the Child.Ttanslated by H. Weaver.
New York Basic Books,1969.
The number of Piaget': books and anides is extensive; he published consistently
dur-ing a very long rice. 'Ibis short book, written by Piaget and bis anociate, is
a summary of severa! Muna Each developmental Level is described, together
vrithsoine support-ing documentation of experimenta. A helpful suor.ary, 'Pacten in
Mental Development;Iglves some idea of the link between Piagetian developrnental
theory and the preces: of education.lb Piaget, learning theories are too concerned
with teaching and not cancenud enough with children. The writing la cien and
effective, concia yet thorough. It *fiords an opportun�ty toread Piaget in Mi own
terma.
Pinker, S. How the Riad Works. NewYorld W. W. Norton, 1997.
This is a big, sedous book written in an engaging style. Pinker confronts assorted
pan (he states unabashedly that Skinner was wrong) and piasen% ideas about what the
brain is and dos, and he ultimately proposes a workable way to &scan human
learning.He explains the computatiortal theory of the mirla without minimizing the
complexities, but, at the same time, he hada you down jun tose paths that encourage
you to believe that the search is noiinsuPerable.Because he makes so many
connections toacverymana day-to-day experiencea (including TV, movic, and r.artocin
�corta), it is euy to follow where Pinker leads.
Pulaskl,11.A. Understanding Piaget, ser. ed.NewYorlc Harper & low, 1980.
Pulaski offen apractical guide to Fiestea research. She presenta basic Piagetian
principies, provides an ovenriew of developmental stages, and disecases the work of
Piaget's associates. At the end la a chronologial list of Piaget's worka and a 3ist
of E,oglish trans-lations. Pelad:ti shows how Piaget's ideas are affecting
parenting, as well as education. The bookis highly readable, intended for a general
audience. The last section on edu-cation discos:es Piaget's ideas about and
critidsms of education.
Matad, 1. A Soprano on Hit Read: Right-sido-up Reflections on Lije and Other
Perform:inca Mortb, In: Real People Press, 1982.
Pistad writes for all =debas about how to confront the "demont la their perform-ing
and practicing personas.This is a direct and personal book, written in a casual
style, but .it pecha a punch.Each dtapter (acuses on actual episodes in which
Pistad and her students mude discoveries about how to "talk to thennelves." It
abates some aspects of Galiwcy's "Inner Game" teclmiques (because it dala with
recognition of kinesthetic scuations), but it 9130 examines deeper psychological
issues. Ir can put you in toucb with'internalization" techaiques quiddy and
attract�vely.
Bogas, C. R. Preedom to Ltarn for the 80s. Columbus, OH: Charles B. Marfil, 1983.
This is a revision of the book that first appeared in 1969. In the earlier version,
Rogen stand his ideas about learner-centered education but offered little har�
evidente of such in predice. The 1983 revision is substantially bolstned by ample
deseriptions of ilchools adiar clase:clama i7 which Rogerian theory can be asen la
action. The most valuable chapters cc real for an explanation of Liget* views on
lea.-ring are 'tic Chalienge of Present-day lbachIng" and "Researching
Pinot.Centered lames in Education" Although the latter is repleta with data and
tablea, it helps to darify some o� the procesaes used in learner-centered teaching.
�
` An early chapter, "As a Thacher, Can I Be Myselt7" and a section of five
chaptbrs, cailed `Por the Insulten" provide direcdon and cncouragement for thon
interestecpti trying the Rogerian approach to teaching. The eramples (often in
the ;s'exila of teachirs or students themselves) are effectivn and affecting,
modela of leamer�centered teaching.
Shockley, R.P. Mapping Music: Por Raster Lean:int and Serure Memory, A Guide for
Plano Teachers. ka Editions, 1997.
Shockley advocates and erplains an unonhodox approach to memorizing uniste. The
idea is to use arrows, dots, dashes, chord synxbols, and whatever graphia pro,/
mean-ingfial to the memorizer to create a personarme' of the music. In order to de
tbis, a caretal study of the atoro (done away from the piano) must precede and
accomPany the "mapping." The "map" thus serves as a visual representation of the
elemento and pat-tern: in the acose. More than fify temple mapa, covering
literature from elemenlaryzo advanced revela, treat various chaiienges. Shockley
siso provides practice ideas, rnany of which incorporate improvisation or playing
by ear. This approach might work well for anneone with a anoria visual prodivity.
Skinner, B. F, The Technology of Teaching. NewYorla Appleton-Century-Crofts,1968.
This is Skinne?s most concia' book. Chapuz 3 details Skinner's Ideas on prograrnmed
ir.struction; it algo explaIns and Wustrates the use of teaching machines
(Information that milstern obsolete in viewof what wenow know abone computen). In
chapter S, Skinner points out why be feels that teacters foil Bis views on personal
freedom and determin� Len are discussed in chapter 8, which derds with die crealive
student. The book la &n'ad, but it is vintage Sldnner.
WIngfield, A. l�tunan Learning and Memory: An Introduction.NewYork: Harper & Row,
1979.
Wingfield c�nsolidates views on learning theory with studies of human memory, an
examination of cognitive procesos, and a discussion of the conceptual devetopment
of � children. In that sensetlds book is useful, since most orbe: texto conceatrate
on only orle of :hese arcas. The book is textbooklike, however, and rectifica
fairly interne read-ing. Of special value is the way Wingfield makes pertinent
reference to the thernim of Sldnner, Bruner, Maslow, and orbes as [hese relate to
information processing in general, or one of its"phases" in particular.
Gaga*, R. M. 77:e Condicione of Learning, 3d tel. New York Holt, Rinehart, &
Winston, 1977.
Gaga describes learnirag ternas of different outcomes: intelectual skills. coritive
strazegies, verbal information., motor skills, and saludes. Specific learning
theoria are discussed in relationship to those capabilities in which they figure
most prominently. The book is designed as a textbook, primarily for students of
educational psychology. Each chapter conchudas with a section on the �ducational
implicatiors of the chapes contar. Alzhough all learning theories are treated in
the boolc, the third edition etnpha. tires an interpretation of learning menta in
termo of information processing. The first chapuz is a worthwhile and objective
treatment of the history of leaming thewies.
Gardner, H. Frames of Mind, New York: Basic Books, 1983.
Gardner presento boda the background and the theory of the concept of "multiple
inteEigenca." The heart of the book is a detened discussion and description of caco
"inteligente." A dosing set-don relates these Imelligences* to education. h is
espedally inzeresting that Gardner does so by examining the educacional development
associated with different culturas. There is a sizable section that discurses the
pros and cons of the Suzuki Wein Education Method.
lb Open Alinde: Orinen Citas to the Dilemma of Contemporary Education. New York:
BasicBooks, 1989.
Ira a candid open:ng chapter, Gardner nonata his ovmearly educaticn, which
ir.cludes commentary on his experiences as a piano student (he speaks of lee as
aavtallizing experiencias"). The purpose of the book is to acunen% Ea tripa to
China, ante, together with his wife, be expirad how the Chinese tea� music and art.
In a suntnary :teflon, he outlines aud cornments on five perapectives that he falo
undemin ene Chinese philos�phy of educan:3n. Ahhough he make some comparisons of
Chinese with Western ideas about educador., his refiections ase more personal tan
professional. TEs is a delightlal and informativo book.
Green, B., with W. T. Gallwey. The Inner Carne of Mutis. New York: Anchor
Press/Doubleday, 1986.
Gres (principal basa of te Cincinnati Symphony) eslains Gallwey's Game' in
tanta of karning and playing mula. Ates distinguishing between'ut r. and "Self 27
Gral) speaks about the posar: of awareness, trust, and syin, and the role that loe
play in learrag to let go and m'escome obstarles while practicing and performing.
In "Teaching and Learning," Green shows how to change "do dais" instruction to
"aware-ness"linseuction. Shon, separate chapters <leal with parentir.g and
coaching, ensemble playing, and improvisation.
Green, B., with P, Lars. The lunar Game of Muslo Solo Workbook for Piano. Chicago:
OLA Publications, 1995. Cassette Included.
There is abrid introduction to te Inner Carne" concept and some commentary about
atoare nwarding ways to pnctice. The heart of this book is the music, and toco
pitee is o:empana by quenions and directions that help the usen to understand and
use "Inner Gamo" techniques. In each "enrase,� there are tan pitees (the patees ate
always complete), at different ptaying levek By the time you have worked your way
through a miraba of pitees (hete Lo some repetitiveneas), you will have a good ida
of the basic "hamar Game" message.
Kelney, Ea, =dial:Bates. Please Understand Me:Character and Temperan:Int Types. Del
Mar, CA: Promecheus Nemesis Book Co., 1978.
Keiney and Bates use the klyers-Briggs type indialors in talking about lacen innon-
ality types: There is a test at the beginaing of the book that allows you to
identify your ovni type. Some of the types describa are extrovert, innoven,
intuitivo, sensinntink-ing, judging, and perceiving. Good professions are suggested
for cado type, and the autora offer nps on dedil with people of various personality
types. The boskl is dista, practica], ad popular.
Lister-Sink, B. Presing the Caged Bird: Developing Well-Coordinated Injilry-
Preventive Piano Technique. ll'inston-Selem. NG WIngsound, 1996. P.O. Bar 10412,
Winston-Sakm,NC 27108. Videotape 160 minutes.
Litter-Sink thinics of technique as a"whole-body" expettence. In this well-planned
and very profesional videotape,you letra about anatomice' concepto from Glenne
Batson, an Alexander specialist, and are ten shown how ListeoSink applies diese to
piano-playing movements. Piano studenn at all levas are used to demonstrate vatious
postores and coordinations. tes especial:y helpful to vntch ante tesa dudosas play
Secante the tape is nade in such a way that you ate the actas as listei-Sink
describes and comrr.ents on them. Great camera work �lustrales te gestases in slow
motion, from wrong to right.
Mulow, A. The Parther Reaches of Humean Nature. New York: Viking-Penguln, 1971.
This is a compilation of anides published afta Maslow's death, and it is largely
unedited. Maslow's philosophy of self-acmalization is Itere aplom� as relating to
healch and pathology, atoes and socicty. Pan 2, "Creativeness7 demonstrates
Maslow's interest in the observation of productive and creative people and offers
advice on how to release creanvity within the self. Pan 4, 'Education," presenta
Mulato view of humanistie
edc-
ation. Hit discassion of peak �pasas contains pestinent reference to works of art,
lite:atare, and mut.
Nye, R.13. What la Skinner ReallySayingtEnglewood Cliffs, Prentiee-Hall, 1979.
Nye is not a dIsciple of Skinner, bu: is fnendly toward his viewsz this book
provides a selatively quick and easy explanation of Skinner's theory. Interestiog
chapan algo discuto why Skinner's ideas are controversia!, compare Skinner to
Preud, and offer Sldnnees criticismo of Roger* (both disparage the current
educational system). The final chapter is a down.to-earth counination of the uno
and effects of Skinnerian the-ory in everyday lite. The book is a good introduction
to Skinner's viewo, or a }Apta
summary and analysis alter having read Sklbner's original writings. �
HISTORICAL OVERVIEW OF
KEYBOARD PEDAGOGY
History tomes olivo as Moblar Bilson works wMz fortepiano performers
Photo by Chris Hildreth. Courtasy of Comen Universa yPhoto
Wingfield, A., and Byrnes. The Psychology of 'turnan Manors New York
Academie Press, I9SI.
This tac is intended for undergradures with Erute background in psychology. Each
<hapset begiru Iwith ara ondina and topic questions and concludes with a sununary
of chapter contenta. Ostral the book shows how manory is interdependent with
learning, pe:mofan, language, problem solving, and reasoning.
Chapter 1 providcs set excellent orie.ntation to information processing in light of
<adiar learning and psychological timarles. Chapter 9 discursa nemory research as
applied to practica] problema In a presentation of 'Inflamemos( (knowledge about
enelewe memoxY), there is oaluable reference tov�st children know about knowing,
especiaL'y as relatad to structure, rehearsal, and cueing techniques. The chapter
con-dudes with interesting insights roto aging and utemory, as well as the
associations beMeen den, and biological rhythms and memory.
.Yet another factor that has influenced keyboa:d pedagogy is the reseatch os intel-
lectual tomas of the period. That recua influences the for:r.at the pedagogy Cake:
and colon its content Sotas as what suma important in approaching a rompiese and
mul-tifaceted subject The cleareat examples of tisis influence are once again in
the nine-teenth and twentieth �munes, the perlada in which the most voluminous
amount of pedagoga.: material vas produced. The overriding research emphasis of
both periods has been it various amas of scientific investigation. Thus in the weke
of the industrial revolutionend the Age of Reason, pedagogues have tocad on
"scientific" approaches, Soraetima that ajena was basad on anatorny, other times on
the mecha:tics and acolada cf physics, psychology, or neurophysiology. Whatever the
underlying field of investigation, the basic assuraption, often stand and alwsys
implied, b that Pedsgogi-cal principies derived from these fields of science are
totelly valid.
Here are a few of the many solentific approaches and how theyke been applied to
piano pedagogy:
^ Anatornical study is meant to teach us how to use our playing appa:atus in a
"nat-tuar way.
^ Mechanics of physia is meant to tata tu about the leven and vector motion
invoked la producir.g tono at the piano, and how we may approach chis action most
efficiendy.
^ Acoustics is meant to melte us aovare of the tonal possibilides (and
lirnitetions) of the instrument.
� u Psydiology is meant to show us somethag of the cause-and-effect
relationship of commurdcating mood and entotior. in music and to revea] how
performers may mar,age 'heir own thinldn in attempting to coequer various problema
ranging from stage right ro playing fast to memoriting.
^ Neurophyslology explains to us how the brain and central nervous system
operate and what may be done to incite desired muscular response in playing the
piano.
Each of :hese ateas of ramal has indeed added to our knowledge of how to play the
piano, and professionalmusiciaa have found help as they have bocease tcquainted
with Chis imptessive body of information. Most, hoyaren have been n'untan: to
attempt to �lleve theirmusiod goals by total comrnitment to *ny one approach. There
are proba-bly'severed rascaras for this reluctante:
�funciona wii seidora stop making mune iOng enough to isolate and pursue any sone
applOach. Thus they confine to combine the study of any approach with an 'ongoing
tamariz procesa that incitados much adapted from traditior..
2. Many musicians ahy away from subjecting their thinking about music to sautiny
and analysis. Concepts rake "profouner and "excita(' defy reduction toa nonsub-
jedive base. Por most musicians, the menee of music's attraction is precisely what
these r.or,definable, nonanalytical terma describe. Therefore. most musicians pre-
ter merely to flirt with what is temed "scientific investigation" to the caten: it
can hdp them over :nobleza arcas in their techniad approach to the piano, but they
hcid back in Ose last analysis as they chape musical concept,.
3. The various "scier.tlfie" approaches themselvrs vare almost all written by
nonsci-canses, rnostly by musicians in fact, and are fitquentlyieCkir.g in bods:
sauna and compieteness.
In the past, when time seemed to nieve more slowly and when most
working, travebsg, and so un�required more of a corrunitment of tinte, pedagogyr,
naturally produced learniniprocesses that siso demanded enorrnous amounts of time.
'nese processes were accepted whether or not they were efficient or effective in
achieving desired resulte. l'his anitude penisted through the nineteenth ceatutt in
the guise of Victorian rigor. Charles Hanon, for instante, probably considered the
bous a day he auggested to play MI �excites from beginning to and a minirnum
conunihnent
to achica oompetency. �
Percepdons of time as a valuable commodity evoked as a result of industrializa-tion
and its emphaslson production within as short an amount of time se possible. This
concept has indeed changed our attitude toward leaming in all fields. Thus it is
tija:0st axiomatic today that beba able ro leen somedzirtg ast is, in fact,
desirabk. Asa renal; pedagogy has adopted the premise that It ii good to ase the
borden of long pradice houra as much as possible, and that the more rapidly
technical and musical develop-rnent Cakes place, the lunes. Patience is indeed a
virtu�, but, to be atare, shortcut: are in. Practice of anches s often recommended,
but in fact chis practia is frequendylimit-ed by the urgency to leam and play as
manis concert repertoire as possible. And why not, it is reasoned, if indeed
avallable resauch suggests---as it doa�that much of the benefit of traditional long
prenda routines is questionable at bes: and physically drun-aging at watt. Thus
changing philosophical concepts regarding creadvity, work, and osar relationship to
the world around tu have influenced our actitudes toward 'camina, including
learning to play musical instruinents.
To the influences just discussed may be added three concept, to which almon sil
keyboard pedagogicel writings subscribe. These concepts ter.d to be somewhat lila
the "Go& rnotherhood, arad apple pie" tenet attributed te pendejo:u' , in that,
once sub-&cabed to, what follows in orto treatise msy leed in a totally different
direction from what follows in the nen. Still, the frequency with which ebbe ideas
sopear malas It worthwhile to focos on them:
The first of these concept. is the belief in the efficacy of the pedagogy being
taponad. Each autitor sets fonh bis or ha materia) as law. Indeed,belief that
resulta are surefire la good psychological therapy; conversely, once a rigorous
program of *nueve-ment has beta insticuted, apecially if a high degree of pbysical
response la a goal, it might be disastrous to question its effeedveness midstream.
On the other hand, when one compara diffuent pedagogial material, one'is faced very
mon with contradice dona: sones of these approaches may be good, but all of them
cannot be. We are thus led to the cone:usan that what is right for one person may
not be right for the nen, or what may be helpful ata given stage of development
rtiaY be a waste of time at some other stage. Such variabfiity in human response
and reaction is casi!y observable and acepad in oler professional endeavors. What
physiciar., for example, can prescribe the same medicine for all patients can when
treating the same ailment? Individual reacciona differ. So perhaps we must mate
allowances for Mese differences In Me ares otkeyboard pedagogy as well,
notwithstanding the chau of individual suthors.
CHAPTER 1 7
LtIO
!N THIS CHAPIEB .
1
�agora nehmen oestneracc� alfa ipra1
iluss,:ch�streaut
Influences on Pedagogy
consider the relationship between authetia and function in music The more
utilitaria mak is�that is, the more muslo serves lo enhorne some other activity--
the leas likely it is that it will acera soplada:a ccpressive velas or complicada
techad
demanda that requise explanaban, clarifiation, and direction through pedagogical
writings. One has to v:ew Chis generalization t'a some degree of caution, buzad
musicians seem :o posada en krepressible creativity that �In stant:y emphesizes the
art of the music.
The mon cbvious ccample .of da tutof-war reta-tionship h the body of music written
foz reliPous servias. The opirions of church . administ ratera or clegy as to what
is appropriate mute for worship seri:ices have been, more often than r.dt, Evadan�
with those ef the musicians providing the mude itselt As the musicians acate music
that shows its exprcssiseness or its virtuosity too power-foil, they are accused of
misdirecting the focus of the twist. To a lesear extent music wdtter. for nobility
as entertaininent has also bcen infineated by its function. Thus light, Pada music
that enhanced pleasant moods was often preferred over havier, sesiona music
1 Music that la limited te a perfunctory role aguas but lime explanados), ar.d what
is required can usually be tr usted to the tradition panul from taches ro studcnt
in the studio.As music begins to burst forth�either as Service mude in those
anadeas where casposas' creativity prevails or institutional liberalisin permita,
or in the concert hall, where listening ro mude is the focal point�musical creador.
becomes more complex, mor� expressive, and almost always more virtuosic. Ir. the
wake of this rise, after one or two generadora, come the pedagogicalwritinp pared
ro helping the aspiring musician achievd the asilla necessary to perforas this
muele.
Tisis relationship may be seca clearly in dm niceteenth century, when muele was
being Ilstened to for its own salce in the set dag of the concert hall, and when
muth 2 pa preciation cenara on the physical sitia invelved in producing that music.
267
Writing', explanations, exorcista, and regateos of variases types abound from Mis
period, as a byproduct of music written with complex and expresslve Pa.
Nen the pedagogical writings of the twentieth century tea to apply to the worlu of
the nineteenth centuzy. Aithough today's methodology may often employ.
physiologial,psychological, and oren electronic terma, the audience this
nitthodology adatases se-consista by and Urge of sac�dalas sao wish ro play
nineteenth-century, atuoso-oriented music. Vety few pedagogues have addressed the
past eighty man of serias piano music. The one- to two-gcneration gap by which
pedagogy has foliowed the demanda of musical literature thus sama to be wideaing,
because audieraces and oven perfornaing musicians llave beca slow to accept the new
definidos� of aesthetics evolved by the musical thinking of twentieth-century
compasen.
Pedagogical writings for keyboard instrumenta have been influenced bitthe physical
properties of the hastcument theradves. If indeed Johann Sebasdan Elach wrote music
for the harpsichord and davichord, then treatises of the pesad 'that explained how
to play Mis anude deaiwith how to snake tisoseinsraurnents speak izahe desired way.
Some of what wu written may apply to the modern-day piano, some skay not. Some
instructions may adapt well, other instructions not so well. The piano is yet
anothe[ initzu.merd with physical specifications that are quite different from
either the harpsichord or the davichord, and it has to be handled differently no
manes what music is to be played on ft. By the same token, early pianos tale
demanda diffuent from late: remirara of that instrument. Thus every pedagogical
tretase must be studled in dae contat of the instnament for which it was written:
its material, construction, and contposite sound.
If these treatises ase nube intended to help us play die muele of the period, then
we may be led to ask some touP questions el �nisch'''. For example, if weight
technique is indced a concept espoused by late-nineteenth-century pedagogues and
one that is directly applicable co nineteeath-century and twentieth-century pianos,
is itthen prop-erly used in eighteenth-century music, music omiten set a time when
the piano was mide of diffesent materia, constructed differently, and sounded
differentlyt A logical answer is that, because we are playiog muele of the
eighteenth century on a twentieth-century instrumeat, we can use raids a technique
if we adapt it la :some way to suggest eighteenth-century aesthetics, sound, or
both.Yet not everyone wotild apee, some mg-gesting that such adaptados is
unaecess,try, otees arguing that cae should in fact sea out eighteenth-century
instrumenta and apply period pedagogy if we intend to dee] with this music. Even
advocates of the middle-of-the-road approach al! diles on the degree of adaptation
and dm way it ahilad be effected.
The changing physical chaneteristics of varlous keyboard instrumenta have aleo
affected pedagogical writings. There are some obsious relationships: that the
pedagogy of the pedal dcveloped only o�'� today's pedal had become a standard part
of the instas- � znerst or that dse pedagogy dealing with rapid repeated notes ame
alongonly after doga-ble escapement had beta invented and perfected. On the other
hand, manyreladonships archa; cleacut whether or not the pedagogy of the hIgh
finger aoke, espoused luto the twentietb century is Maui a tradition carried over
from pedagogy of a formar time; or whether the pedagogy of the repeated note,
developed in the nineteenth century, is applicable to the so-called accelerated
arden of some modera instsumenis.
CHAP TER 19
From Diruta to C, P. E. Bach
Early pedagogical methods were developed for use with the fornrunners of the piano,
essentiary the harpsichord and the clavichord. The directions given in diese eacly
rnehods are appropriate to playing eady music on instruntents of the time, and much
of what would concern pianista in the nineteenth and twem tieth centuries is simply
not addressed. The first impor-tant treadse was written by -Girolamo Diruta (ca.
1554-a. 1610). 11 7}arullvano was cast la the forran ora ninversairmtlEin an
imaginary Prince of Transylvanic it was published in twa par�s, which appearecl In
1593 and 1609 (recent English edition, 1984).
� Diruta distinguishes between organ playing and claner playing, although much
of bis advice is applicable to both. He discusses hand position, recommending that
the hand be held at the same leve) as the ami, that the En-
gess be arched, and that the atm act as a guide for the bond. Slayping the keys is
to be avoided,and the hand is robe heyliooselyandlightlyon thellyst1n fingering,
the miel-
elle duce fingen are deemealiore useful tan eitheithe Ium. b or the Urde finger,
and crossiag-over oornbinations of the second and third fingen or the third and
fourth fingen are frequently used. Ruin are given for notating melodies, mitin);
oounterpoint, trnprovising, transposing modes, and accompanying a chore�
humoniedly. Musical example% are drawn from pitees (mosdy tocata!) of Girolamo
Diruta,_Ilymanni___
Gilbrieli, and Claudio Menda
. Almorta renta-y laten, in 1716, L'Art de toucher le ciguato (The Art of P)aying
the H.a�psichord) by Praneois Couperin (1668-1733) was published (recent English
edi-don,1974). The work contrata general aiivieilitlyscoaching the instrumenta a
system of fingering, directior.s for the execution of ornamenta, and ella preludes
as illustra-
tire material.
Couperin, like Dirtga, suggcsts that elows, mists, and banda should be on one
levet Ha atudent continuas to huid one wrist tno high, he suggests using a una!'
flexible
273
7 stick to corren the problem. The stick would be placed over the high wrist
and passed under the other wrist Exercises are recommended for scanning up away
from the key-board as well as patterr.s to play at the inserir:tent, Fingering
Isdiscussed In sosnadetail, and fingered exampks of Couperin's works are given.
no�finger cressovers ar� etc-ornmended; also the use of Me same finger on a givea
key when the repetition of the key marked the end of one pitease and the beginning
of the nen. The thumb was:used with surprising frequency. and fino- substittaion on
a key to enllante legato la ofren encountered. Finalls Couperin devotos a large
sectlen to the plum execution of embellislunents.
Jan Philippe Rameau (1683-1764) published two treatisexon :echnique: Mtehode sur la
mecanigue des dolos sur le davessin (Metilo(' for Fulge! Mechanics at the
Harpsieltord) in 1724 and a somewhat more general guide entidad Code de musigue
prosigue (Puntal Music Guide) in 1760. Rameau suenes Independent finger andan,
regularity of action, Wang the fingen as high as possibk in early stages of trill
practica, freedom, and fiexibility.
Priedrich Y/inch Marpurg (1718-1795) published his two volurnes of Die Kltsit das
KIM� vt;IWehArti(. e --fliying Keyboard Instrumenta) in 1750 and 1751 and a later
work, Anleitung zuot Klavierspielen (Introduction to Playing Keyboard Instnunents),
in 1755. Thai< works woidd probably he regarded as more significacit from a
hlitorical standpoint were it not for the rant that Carl Philipp Emanuel gach�s
volumes on the same subject were published at approximately the same time and
esseatiaL'y eclipsed Marpurg's contribudons. A remarkably forward-looldng
observation that Marpurg =sises, however, is that pkylng coriectly requises that
the playerk nerves be kept entirely passive and the fingen feel perfectly free, al
if chey had nothing at a/1 to
do with the pta./Lag. . . � .
Johann. Nicolaus Forkes (1749-1811) description of the pedagogy of Johann Sebastian
Bach has been questioni�TI,r it representa a stand- or third-handaccount minen
fiftyyearsafter Itach's deathifiratappearing in'1802.Yet it is the closestwe can
seem to come to karting about the warning of chis supremely infiuenfial musician.
rkel's obunadons are interesting, Sta lila ernphasis on legato and tono produc-tion
suggest that latee pedagogical doctrine may be mirad in with earller practice.
Forkel describes a huid position with fingen bent so that each finges can remaba at
the surface of the key when playing. Fingen should play with oval prestare and draw
back toward the palas of the hand. Pressure is to be transferted fr�m amor to
finges and is � desaibed in a way that suggests complc:e legato. Tone quality is
salid to be enhanced bv Chis approsch,especially if the ftngers glidealong
thelreyTriltresure. The fingen are :o be sabed very link from the vasta of the
keys, and when one finges is in use, the others remain quietly in position.
Tne second concept 1.1 the disclanner that technical achievemen: is an end unto
Use:�.11.15 discialmer is alrnost always acoonipanied by a reaftirmaUon of musical
goals. Many authors point to the inseprability of the technical mean and the
artistic ends. As ore examines what foliows, however, one is Lavad: by the �Fun
sustained focos ea mechanics and an hubiliry in the heat of che argunient to
continue to relate technical goais to the previously acknowledged musical ends.
This is trate to greater or lenes degrees in vartous works. This obsenution is not
necessarily intended to be an indicunent, but tater to point out the diffievIty o�
bcusing or. detailed analysts or processes for any length of time, especially
tivose centering on physiological respobse, without losingsight of odie/ gosls--
notwithstanding intellectualallegiance to dtimate antsicatty. In chis conuxt, inncr
processes (inner !leasing, pulsing, and suuctural Concepts) tend to be neglected in
pedagogical writings, especially older ones, partly because these processes are so
difficult to deal with ora the printed pase.
Finally, a kir number of treatises acknowledge that the complaity and variability
of playir.g keyboard instruraents are so great that graspir.g the proezas is like
trying to put mercu-ry in a bottle. This is not co say that trying fati t worth the
tizne and t:oubte involved, but rather topoint out that everything should be
sautipizedto see howmuch an be helpfuliztany given case. The late Cedle Genhart,
the tearher whose mmrk at the Eartman School of Music psoduced so many fine
pianists, used to my: "Never belleve anything until pu hear how it rounds.'