When you do hold a music lesson, you need to have a structured lesson plan that pushes the student to new levels without letting him or her get comfortable in any one area. Rather a constant building process is needed. Music teaching is not always easy though.
The art of music teaching comes with many difficulties and problems along the way. One of the most common problems that arise, especially from young children, is a lack of will. Some children are actually forced to get private lessons by their parents making the students difficult to teach to.
Another problem with some students is frustration. It is most likely that sometime in a student's music career, they will become frustrated by a particular part in a song or a playing technique. The role of the teacher is important at this moment because this can often be the moment at which a student quits or decides to really pursue his music dream.
When handling the difficult moments of teaching young students, the teacher needs to be patient with them. Patience is a key to alleviating the stress. A music teacher also needs to give constant motivation for the student success. Without much motivation, there will be a lack of practice and skill performance from the student and this will not help your case for gaining future students.
In conclusion, music teaching is more than simply teaching a student how to play an instrument. It involves patience and teaches a student how to have motivation and desire to do the best you can. It can be related to coaching a sports team, which is more than just trying to win games. Coaching sports also teaches respect and team etiquette. So make sure that music isn't the only thing the student learns.
Music is not a theoretical subject like Science or Math that is why it is arguably more challenging to teach such. Music teachers must then tap resources to further augment, enhance and improve their teaching competence. Instructional strategies, methodologies and materials, including various music teacher resources have been developed thru the years that most music teachers use for their lessons.
One such approach is the Kod'ly method, which stresses the benefits of physical instruction and response to music. It resides within a fun, educational framework built on a solid grasp of basic music theory and music notation in various verbal and written forms. Trademark methods include the use of solfege hand signals, musical shorthand notation (stick notation) and rhythm solmization (verbalization).
Another is the Orff Schulwerk, which begins with a student's innate abilities to engage in music, using basic rhythms and melodies. It encourages improvisation and discourages adult pressures and mechanical drills. To accommodate the requirement of the approach, a special group of instruments was developed from modifications of the glockenspiel xylophone, metallophone, drum, and other percussion instruments.
The Suzuki method, meanwhile, uses music education to enrich the lives and moral character of its students by creating the same environment for learning music that a person has for learning their native language. Love, high quality examples, praise, and a timetable set by the student's developmental readiness for learning a particular technique make up this said environment.
Swiss musician and educator ?mile Jaques-Dalcroze also worked out a method divided into three fundamental concepts ? the use of solfege, improvisation, and eurhythmics. The last, the method's trademark, teaches concepts of rhythm, structure and musical expression using movement. It allows the student to gain physical awareness and experience of music through training utilizing all senses, particularly kinesthetic.
Other notable methods include Gordon Music Learning Theory, which provides the music teacher a comprehensive method and resources for teaching musicianship through audiation, the developer Edwin E. Gordon's term for hearing music in the mind with understanding. Another is Conversational Solfege, which views music as an aural art with a literature based curriculum. The scheme consists of rhythm and tonal patterns and decoding the patterns using syllables and notation.
The Carabo-Cone or Sensory-Motor Approach to Music, on the other hand, involves using props, costumes, and toys for children to learn basic musical concepts of staff, note duration, and the piano keyboard. In Manhattanville Music Curriculum Project (MMCP), meanwhile, students are given freedom to create, perform, improvise, conduct research and investigate different facets of music in a spiral curriculum.
New methods for community music education in urban setting are Applied Groovology and Path Bands. It advocates parents encouraging their children to more freely experience the natural joys of improvised music and dance though ?grooving and dandling?. Path Bands, in particular, use improvised multicultural brass bands for active lifelong participation in music.
New methodologies and strategies are sure to arise. These will be welcome addition to the accepted set. Yet, no matter how many choices there exist, any noble music teacher would choose only what he thinks is best.
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