17 Suzuki - Myths and Magic Jenny Macmillan groups. Actually most Suzuki children receive weekly individual lessons. Thanks to the common repertoire, it is possible for children to play in groups, and this may happen weekly or monthly, and also at Suzuki workshops. Children love learning together – meeƟng other children, playing musical games and making music together. These lessons help develop musicianship, co-ordinaƟon, listening, reading and social skills. Individual lessons for children around the same level are oŌen Ɵmetabled consecuƟvely so they may observe or parƟcipate in each others’ lessons. Excessive pressure and compeƟƟon among pupils Those unfamiliar with the Suzuki approach may feel there is excessive pressure and compeƟƟon among pupils and parents, as children are all working on the same repertoire. CriƟcs may also argue that Suzuki children are pushed into intensive musical training at a young age, potenƟally limiƟng their exposure to other experiences. From the very beginning, group musicianship classes promote mutual support and co-operaƟon. Children are encouraged to work together by regularly preparing ensembles, and parents liaise when planning their children’s book recitals. Typically, every concert is followed by a party to which families contribute refreshments. Children aƩend Suzuki workshops and make new friends. The magic is that many Suzuki children (and parents, too) become close friends who maintain contact long aŌer they have leŌ the Suzuki studio. Of course, some children progress faster than others, because everyone’s circumstances are different. Suzuki teachers are well aware of each pupil’s own pace and interests, and are flexible in adapƟng their teaching accordingly. In my experience, children who progress less fast are inspired by those moving faster – this oŌen moƟvates them to work harder. It is also the case that some of those progressing through the repertoire less fast may be playing more musically than those speeding through – and their beauƟful tone and musicianship will be admired by all in the studio. Through their intensive Suzuki training, children learn persistence, dedicaƟon and self-discipline. These are valuable life skills which they apply to their other studies. They learn that focused work leads to achievement. Far from limiƟng their experiences, their musical training enhances their understanding. Dr Suzuki said: ‘Character first, ability second’ – he believed children could develop fine, strong, determined characters through studying music. The role of parental input Compared with the tradiƟonal level of engagement, Suzuki parents are much more closely involved in pupils’ lessons and in supporƟng children at home in their pracƟce. They are also encouraged to create a musical home environment which includes listening to music and aƩending concerts. Some criƟcs argue that the high levels of support can create an over-reliance on parental guidance and hinder a child’s ability to develop independent learning skills. It may also be the case that the level of parental involvement and the Ɵme and effort required appear overwhelming to some families. ProspecƟve new Suzuki families are invited to observe lessons for several weeks. The parents begin to understand – they see the posiƟve aƫtude, commitment and hard work, and the excellent results and progress. They see it is not necessary for parents to have prior musical knowledge. All parents want the best for their children, and many become convinced that they wish their children to learn through the Suzuki approach. New Suzuki parents receive iniƟal parent educaƟon, including lessons at the instrument to learn early repertoire and techniques for themselves. Parents realise this is the way children learn best – immersed in a nurturing musical environment. The foundaƟons of success are based on starƟng at a very young age with an expert teacher and parental guidance, together with daily listening to recordings of the music they are learning. Children are moƟvated by their own curiosity, and by their teacher’s and their parent’s enthusiasm and love. Parental parƟcipaƟon is a cornerstone of the approach and contributes to a strong bond between parents and children. Time spent together during music pracƟce is not a chore but a creaƟve process which is valuable in its own right. Suzuki teachers give parents advice on how to encourage their children and moƟvate them to pracƟse. As children develop skills in listening, instrumental technique and pracƟce methods (oŌen around the age of 11 – as they start secondary school), they become independent of their parents and want to make music on their own. This phase, too, is rewarding for children, parents and teachers alike. The magic of the Suzuki approach Let me conclude by noƟng some of the benefits of the Suzuki approach. All children have the potenƟal to make good progress on a musical instrument if their parents can access a Suzuki teacher with vacancies. With the support of their teacher and family, all are able to develop their musical skills. Some will progress further than others, but all will benefit from this approach to learning. Children learn to listen carefully and acquire excellent technique to produce good sounds. As they maintain and review their past repertoire, they improve their musical and technical skills yet further, which gives them both the confidence and the tools to master more difficult pieces. Almost all children go through periods of finding it difficult to study their instrument. With Suzuki, however, the drop-out rate is very low because of the commitment of the whole family from the beginning. Children conƟnue with their lessons also because they become quite advanced when sƟll young, so by the Ɵme they reach the age of 11 or 12 and have transferred to secondary school, they are proficient on their instrument and able to share the joy of playing competently and confidently with other young musicians in ensembles. This is a Ɵme when many tradiƟonallytaught children choose to stop lessons, as found in a large survey of young people and music parƟcipaƟon undertaken at Keele University and as implied by the numbers of pupils taking the various grade exams of the UK examinaƟon boards, which decline substanƟally with each rising grade. Training Europe has a rigorous training system for Suzuki teachers. PotenƟal new trainees are expected to have a degree in their chosen instrument. Suzuki training courses are demanding but fascinaƟng, requiring extensive study of how to teach and play the repertoire together with a deep understanding of the philosophy. The magic is that the best Suzuki teachers send pupils regularly to the junior departments of the major music conservatoires. Generally, criƟcism of the Suzuki approach comes from those who have never observed lessons. Wouldn’t it be wonderful if all Suzuki teachers could become ambassadors for the Suzuki approach – engaging non-Suzuki teachers in conversaƟon, inviƟng them into your studio to observe lessons, and encouraging them to aƩend your pupils’ concerts!
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