Is the performing teacher a creator or artisan? (dedicated to all teachers of instrumental classes)
Musical and instrumental pedagogy is a very strange science. Only someone who has gone through a system of music education can answer the question: “What is it?”. Studying at a music university is based on two pillars. On the one hand, a specialist teacher receives a “vaccination” of knowledge, consisting of methods, techniques and various ways of working with students. This knowledge gives the teacher the right to work with children and teach. On the other hand, the future teacher gains experience in performing. The musician develops his experience over the years of musical performance aimed at the study of polyphony, plays and studies, large form. Having played a bunch of “academics” and exams, the teacher-musician receives his treasured diploma, in which one more “attribute” is added – “ARTIST”! Dear colleagues, have you ever wondered how many years you spent on your education? 7 years – at a music school, 4 years – at a music school and another 5 years at a university. Total – 16! That’s the figure! I wonder if any other specialist can boast of such an education? What is the result? Do you get satisfaction from your work and your work? We will not talk about the financial side of this issue! Choosing this profession, you knew what you were going for! The question is whether you get joy from the process of pedagogy, joy from the children’s eyes devotedly looking at you, from the delight of the first children’s performing successes !? Unfortunately, not all teachers experience such joy. For many educators, the learning process has become hard labor. Today you can hear so often: “Children are not the same! They don’t want to do anything! ”“ A mediocre student, doesn’t understand anything! ”“ No matter how you teach him, he doesn’t succeed! ”“ Again, exams, but nothing is ready for us … How tired of me! ”“ Again, choosing the repertoire ! What would he let him play? “” Well! I failed the exam again! Ignoramus! ”Well !? Topical, isn’t it? Unfortunately, the craftsmanship approach in our profession is not fiction! WHY IT HAPPENS? Pedagogy is WORK! LABOR to the highest degree! To teach is not only to tell what you know. To teach is to present and interpret knowledge so that the student can use it independently. Knowledge should be part of the student’s experience! Musical and instrumental pedagogy is ART! ART, the secret of which lies not in HOW YOU PLAY, but in HOW YOU LEARN! Often a young teacher with a red diploma from the conservatory is completely unprepared for pedagogical work. And all because he knows how to play, but can not teach! The teacher is overwhelmed with ambition, in his hearts he shouts at the baby: “How it doesn’t work, but it works for me!” And he is right in his own way! For 16 years he taught Bach, Beethoven, Chopin, he taught and selflessly performed! But in training, it’s important to explain how he does it. Not everyone can convey what is “in the hands” – “into the hands” of the other. Teaching is talent! It also happens that an experienced teacher is tired, “exhausted”! You accidentally look into his classroom, and there a grief student sits and teaches a difficult passage, and the teacher looks thoughtfully out the window! There are worse things! This is when a teacher sees students as a “conveyor belt”: the same programs from year to year, the same mistakes, the same complaints! WHAT TO DO? To teach a child to perform is to teach a child to understand music. Through imagination and creativity, you can reach out to any “most mediocre” student. Redefine your vision of the world of musical pedagogy! Why teach, if you can co-create !? The student is a canvas, and with what colors he will play, depends on you! The student plays as taught, how they demand from him, how he is allowed to perform! Music is one of many types of world art, types that complement each other. Create musical fairy tales, write poetry to music, draw pictures, compose and improvise, attend concerts together, organize interesting forms of academic concerts. The most difficult passage becomes easy if, when learning it, fantasy and ingenuity are used, and most importantly, interest! If it will be interesting to you – it will be interesting to the student! Talk with the student, talk about yourself, your experience. Become a student a friend, a senior mentor! Overcome difficulties together! Your own desire to create, fantasize, experiment will become contagious for your students!