Tuesday, November 26, 2013
The Art of Practicing - Reading Together
Welcome to the newest Reading Together series. I'll be posting a summary about our reading each week on Tuesdays. Come join us!
We'll be reading The Art of Practicing by Madeline Bruser. This book is available from Amazon.
There are fourteen chapters, and we'll be reading one each week.
I'll post about the first installment on Tuesday, December 10. That means you have two weeks to get a copy of the book and to read the introduction and the first chapter.
The great thing about this program is that it allows us to read works together that can help us in our professional development as well as providing a level of accountability and the added interest of comparing notes as we read together.
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Tuesday, November 19, 2013
Sheet Music - Autumn Waltz
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| from Pank Seelen (flickr) |
It includes some hand position moving for the right hand and a standard waltz pattern for the left hand.
To order, click here.
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Tuesday, November 12, 2013
Music as a Language - Reading Together - Suggestions to Students on Leaving a Training Department
Home concludes her book with some suggestions to new music teachers and how they should approach their first years of teaching at a new school.
“Above all, the young teacher must remember that it is of the first importance not to lose her enthusiasm for the work. She must keep herself up to date by being in touch with general musical life outside her immediate circle. She should belong to a musical society, and take every opportunity of attending lectures, etc. She should organize musical clubs and meetings among her pupils, and encourage a healthy attitude of kindly criticism.” (loc: 707)
“And, finally, she must be always working at something to do with her own music, for directly she ceases to put herself, from time to time, in the attitude of the learner, she will cease to be a sympathetic and stimulating teacher.” (loc: 710)
“It is a good plan to keep a musical diary, in which our own progress and that of our pupils is recorded, together with notes on current musical events—concerts attended, and so on.” (loc: 711)
note: I'm reading this book from through my Kindle app, so quotations are shown by the location in the Kindle document.
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“Above all, the young teacher must remember that it is of the first importance not to lose her enthusiasm for the work. She must keep herself up to date by being in touch with general musical life outside her immediate circle. She should belong to a musical society, and take every opportunity of attending lectures, etc. She should organize musical clubs and meetings among her pupils, and encourage a healthy attitude of kindly criticism.” (loc: 707)
“And, finally, she must be always working at something to do with her own music, for directly she ceases to put herself, from time to time, in the attitude of the learner, she will cease to be a sympathetic and stimulating teacher.” (loc: 710)
“It is a good plan to keep a musical diary, in which our own progress and that of our pupils is recorded, together with notes on current musical events—concerts attended, and so on.” (loc: 711)
note: I'm reading this book from through my Kindle app, so quotations are shown by the location in the Kindle document.
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Tuesday, November 5, 2013
Music as a Language - Reading Together - The Teaching of the Piano
In this chapter, Home addresses how to teach piano. She is of course, assuming that this is after the students have had the music training she has advocated for in the previous chapters.
“From the very first [the student] will be taught to analyse a piece before [he] begins to play it—[he] will find out the key, time, cadences, sequences, passages of imitation, modulations, etc.” (loc: 606)
“Every child, however apparently unmusical, should be given its chance, at any rate up to the age of twelve years. During this time, the stress should be placed, for the unmusical child, not so much on perfection of technique, but on the ability of playing easy pieces really well, and to read at sight such things as duets, song accompaniments, etc.” (loc: 621)
“What we want, if we have an educational end in view, is not so much to give the few musical children in a school the opportunity of gaining experience in playing in public, and indirectly of showing their progress to an admiring audience, but we want to give every music pupil in turn the same opportunity.” (loc: 654)
note: I'm reading this book from through my Kindle app, so quotations are shown by the location in the Kindle document.
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You just finished reading Music as a Language - Reading Together - The Teaching of the Piano.
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“From the very first [the student] will be taught to analyse a piece before [he] begins to play it—[he] will find out the key, time, cadences, sequences, passages of imitation, modulations, etc.” (loc: 606)
“Every child, however apparently unmusical, should be given its chance, at any rate up to the age of twelve years. During this time, the stress should be placed, for the unmusical child, not so much on perfection of technique, but on the ability of playing easy pieces really well, and to read at sight such things as duets, song accompaniments, etc.” (loc: 621)
“What we want, if we have an educational end in view, is not so much to give the few musical children in a school the opportunity of gaining experience in playing in public, and indirectly of showing their progress to an admiring audience, but we want to give every music pupil in turn the same opportunity.” (loc: 654)
note: I'm reading this book from through my Kindle app, so quotations are shown by the location in the Kindle document.
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You just finished reading Music as a Language - Reading Together - The Teaching of the Piano.
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