Over
the past two weeks I have been reflecting on and comparing my experiences in music
education as opposed my experience in traditional public schools. My sub topics
have been: the role of a teacher, iterative learning, certification and
qualification, enrichment, availability/accessibility, the concept of practice.
I feel that my experience is an effective case study particularly for
educational motivations and iterative learning styles. For this build, I have
included two sections: The Role of a
Teacher, and The Concept of Practice.
The
Role of a Teacher
In my music education, I have had both teachers who take a
dominant, authoritative role, as well as those who acted more as guides.
A one-on one teaching model has taken a primary role in my
musical education. Most commonly, I met with my instrument teachers on a weekly
basis for at least one hour. I would play
for my teacher and receive verbal feedback, profiting from the opportunity
to apply knowledge in a new environment with a critical audience. Commentary
from my teachers was specific to my level of understanding and playing ability.
Many exercises assigned for reinforcement were tailored for a specific
technique or musical layer in a way that would help me develop. I would also play with my teacher in order to
comprehend and internalize new musical goals or concepts. I would listen to and watch my teacher play passages in yet another dimension of
learning.
There have been many “teacher figures,” each with different
perspectives and areas of expertise. I have learned in one-on-one settings with
cello instructors, improved my ensemble playing and general musical knowledge
with conductors, and picked up other pieces of technique and knowledge from
section coaches, guest artists, and fellow student cellists.
The
Concept of Practice
There is a pronounced element of self-directed learning in
music education. A teacher may give specific assignments for practice,
especially to younger students. To continue progressing past a beginner level,
however, the student must learn how to direct his own practice time.
I have always been drawn to music over other academic
subjects because a performance equating to a high grade can’t be “crammed for.”
A culminating performance, whether with an orchestra or in recital, has always
seemed a true representation of effort and mastery. Definitions and formulas
can be memorized short-term and regurgitated on a test, but a piece of music
cannot be learned, analyzed and polished in one go. Five hours of practice
spread over a week will always produce better results than five hours expended
the night before. It is easy to determine when a player has not engaged in regular
practice over a period of time, but it can be difficult, on the basis of an
objective evaluation or a paper (read only by the student and instructor) to
assess true mastery and understanding of academic concepts.
If we agree to compare musical performance with traditional,
graded academic evaluations, we can consider a method of evaluation in light of
its power to motivate action.
Was I more motivated to practice diligently over time
because I would be playing for a teacher with whom I had a meaningful
relationship, and didn’t want to disappoint him or her? Did I feel obligated to
prepare more carefully for my music lessons because I knew how much money my
music education was costing my parents? Did the fact that music education was
as important to my parents as school work have an effect on my practice? Yes,
yes, and yes.
These factors, and probably others, yielded more quality
practice (read: self-directed learning) and as a result I developed the ability
and desire to make music for its own
sake.
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