National Conference on Keyboard Pedagogy – Saturday 11:30 a.m.

One of the favorite events of the conference was the daily drum circle. 100 djembes from Toca Percussion were given away at each circle.

The instructor began with a solo performance, demonstrating the many different sounds that can be achieved on a single drum.

He went on to explain that there are two different ways to hold the djembe. Resting on your lap:

Or in between your knees. The important thing is to keep the bottom open so you can get a good sound:

The audience members eagerly await their chance to participate!

National Conference on Keyboard Pedagogy – Saturday 10:15 a.m.

Dr. Paul Wirth is giving the teaching demonstration this morning. His focus is on Developing Artistic Command through Technical Mastery

Dr. Wirth took on a project specifically for the purpose of demonstrating at this conference. His student is 14-year old Tony Caparelli, whom he took on a year ago as a 13-year old student. He showed several video clips of Tony’s playing to illustrate some of the technical trouble that he was experiencing.

A funny anecdote: Dr. Wirth shares that he checked Tony for “finger blindness – you know that disease that prevents students from seeing the penciled-in finger markings in their score. He shines a bright light in their eyes and checks for the disease. Assured that they are disease-free, he proceeds with his teaching.

He goes on to share an analogy of a “studio rowboat” with an oar on each side:
1. “Well Spring” of Pedagogical Principles
-Music is a Language
-The Interpretive Process
-Piano=Harp on its Side
-Gravity Based on Technique
-Scales and Chords: Building Blocks of Music
-The Magic of Melody
-Nature’s Clues to interpretation
-Beat, the Invisible Dynamic
-The Thing You Do is The Thing You Learn
-Repetition: The Mother of Learning
-Fingering is Everything

2. “Moving Waters” of Motivational Resources
-Pieces
-Positivity
-Praise
-Peer Support
-Performing Example
-Pedagogical Principles
-Patience
-Personality

Although we are all different, there are specific technical principles that are common to all great piano performers. He identifies two mechanisms in the arm – the upper arm with the biceps and triceps and the lower arm with the wrist. He goes on to explain the primary technique is the ability to play either staccato or legato using no muscles from the first/upper mechanism. Secondary technique is gradually reapplying use of the biceps and triceps.

After demonstrating with Tony standing and then resting at a table, Tony moved to the piano to apply the principle to the piano keyboard. The analogy of walking through the snow was used. We don’t consciously think of needing to press the snow down as we walk, gravity automatically does that for us. Playing the piano keys should be the same. Gravity will apply the weight into the key bed for us. He continued to emphasize the need to keep the biceps and triceps completely relaxed while using the wrist to control the movement.

The beauty of this is that without pushing down or lifting up with the biceps and triceps, we cut the muscle use in half and make it much easier to manipulate and play fast chords and octaves. This is the essence of primary technique.

At this point, Dr. Wirth and Tony transitioned to secondary technique. Five Variations of primary technique were employed:
1. Karate chop
2. Fall-catch and Lighten Up
3. Bounce-off (a lift off the keys at the end of a phrase)
4. Bouncy walk (same as bounce-off, but not coming completely off the key)
5. Relax to crescendo (releasing the bicep muscle to create a crescendo)

Building an improved technique can open the door to a music room full of bigger and better musical pieces. However, it can also lead to bigger and better pieces devoid of musicality. Technical skills are a means to an end.

The demonstration was concluded with Tony performing the Chopin Etude they worked on throughout the year.

National Conference on Keyboard Pedagogy – Saturday 9:30 a.m.

The keynote speaker this morning is Dr. Martin Marty. His session title is Two Strangers at One Keyboard – The Musical Politics of “the Self” and “the Other.”

With a witty sense of humor, Dr. Marty quickly has the audience laughing and engaged in his message. After a brief introduction in which he shares of those in his family who are involved in the teaching profession. He describes himself as a consumer in the field of music, but one who knows a lot about what he’ll be speaking about.

Dr. Marty next goes on to share a “cast of characters” of transformative thinkers whose ideas might be helpful to us:
* Emmanuel Mounier – personalism; a philosophy of service and not of dominion
* Martin Buber – “I and Thou”; all life is meaning
* Gabriel Marcel – “esse est coesse (to be is to be together)”; the other not as a problem, but as a mystery
* Jose Ortega y Gasset – “I am myself and my circumstances”
* Max Scheler – “ordo amoris”; the ordering of affection, not only intellect
* Eugen Rosenstock-Huessy – “respondeo etsi mutabor”; response to the student
* Michael Oakeshott – “conversation” as opposed to argument and dominance
* Emanuel Levinas – discovery of “the self” and “the other”
* Arthur Frank and Marcus Aurelius – “have you learned how to live?”
* George Smmel – the self and the stranger; stranger brings qualities

What bearing do these have on our subject?

“It is not my intent that you go to the library and look up these authors. I’d rather you make music.” Just consider how you are relating to your student, the learner. “The concentration is on doing. The circumstance or setting speaks of ‘at one keyboard.’”

Why the subtitle term “the musical politics” of the self and the other?
“If you didn’t have politics invented, you would have chaos and violence. The opposite – totalitarianism – is a dominant order. Politics – an invention that minimizes the violence and maximizes freedom. Historically many teachers were thought of as tyrannists.

Who is this “other,” in the light of what we have said?
“Someone who attempts to recreate the subject in the student’s mind, and his strategy in doing this is first of all to get the student to recognize what he already potentially knows, which includes breakup the powers of repression in his mind that keep him from knowing what he knows.” Northrop Frye

Reviewing our thinkers in this situation:
Dr. Marty shares an illustration from one of his grandchildren to reiterate his point that students should be viewed as a mystery, not as a problem. His granddaughter exclaimed, “I’m glad Jesus rose from the dead. He sure was a nice guy.” “Where do children come up with these things?” asks Dr. Marty. It’s great!

The student, child or adult, as “mystery,” not “problem”:
Spend time to think about your students. Assume and promote technique, but advance “mystery” of the student through wonder, imagination, empathy, story, play, etc.

Why relate this to “the stranger” and “self” and “other”:
Dr. Marty shares that he has spent a lot of time studying the conflict between different religions in the world. Many people say that “tolerance” is the key to getting along. What they really mean is “If I can get you to believe as little as I do, then we can get along alright.” He asserts instead that hospitality is the key. People should continue to be who they are, but appreciate what others can add to their life.

Addressing “the stranger,” again, psychological, spiritual, esthetic, and behavioral “hospitality,” xeno+philia in a two-way transaction within a larger context.

Bottom lining: “get real, M.E.M.”
All this is to happen withing regular half-hour or hourly music lessons? Yes. It may even be time-saving. But it doesn’t mean psycho-analyzing students. It’s just a way of viewing the whole student.

National Conference on Keyboard Pedagogy – Saturday 8:15 a.m.

First up this morning – another publisher showcase. There are three to choose from each time and this morning I opted for the Kjos presentation. Primarily because while visiting with Charlene Zundel (of TCW Resources, which is now being published and distributed by Kjos) at the Kjos booth yesterday, I found out that they would be giving away free money. :-)

They started out the session playing several of the games they have created and now have launched into an overview of their theory books.

National Conference on Keyboard Pedagogy – Friday 8:15 p.m.

Dr. Richard Kogan is the evening concert artist. He is doing a combined lecture/recital of George Gershwin. His musical program includes:
Rhapsody in Blue
Fantasy on Gershwin’s Porgy and Bess arr. Earl Wild

Right now, he is sharing biographical information about Gershwin.

Interspersed with his lecture, Dr. Kogan is adding other musical pieces. Here he plays Swanee.

National Conference on Keyboard Pedagogy – Friday 3:30 p.m.

Robert Duke is speaking at the next plenary session and the topic is Beautiful

“For many years of my life I’ve been working with people who teach children about the arts. I’ve come to the conclusion that I don’t hear the word Beautiful enough from people in the arts.” He proceeded to play a recording of Cecilia Bartoli singing Giunse alfin il momento…Deh vieni, non tardar from Le Nozze di Figaro, Act IV for the next five minutes while he sat in a chair and the audience just enjoyed listening. He follows it up by saying that every human being ought to have an experience like that every day. The problem is that we’re busy. Most of us in the room got into the music field because of that.

One of the things that Dr. Duke hopes for all of his students is that he will be able to make them intellectually uncomfortable…because that is when learning takes place. He hopes to accomplish the same today.

How often do we work to include something beautiful in each lesson we teach?

A Vision of Students as Accomplished Learners

Dr. Duke states that he is always thinking about what his students will be like when he is finished with them. That helps him determine how to spend the time each week. We should teach every lesson as though it was the last we would ever teach that person. Will they leave having experienced something beautiful? He share a list of his favorite kind of student (and tells us not to write it down… :-) ):
Attentive, Diligent, Inquisitive, Skillful, Literate, Patient, Thoughtful, Meticulous, Discriminating
They don’t come like this, though. They have to learn these things. He then shared a list of what we desire musically in our students.
Excellent Position, Beautiful Tone, Intonation, Note Accuracy, Rhythmic Precision, Clear Articulation, Dynamic Variation, Expressive Inflection
“With the exception of beautiful tone,” says Dr. Duke, “all of these are easy. Consider a child telling a story. They don’t need instruction on how to apply inflection in their voice. It comes naturally.

Dr. Duke shares about his work with young children and their inhibitions and desire to participate and answer questions. He goes on to tell how these same students come to him years later as doctoral students and are unwilling to participate, don’t want to answer question. Why? What turns these kids into this? It’s not part of the natural growth of human beings. The only common denominator is that they all went to school. “School does that to kids.”

Teaching Like Beauty Matters
Knowledge of Subject Matter
Learning Environment
Instructional Goals
Sequence of Instruction
Assessment
Feedback

The least assessed of all the above is the first. Knowledge of subject matter.

* From outside your expertise – “We are the products of university and conservatory educations in music…and that’s too bad.” We must forget the way we learned to play the piano and remember why we learned to play the piano. He exposes the absurdity of degree programs.
* Fundamental structure of the subject
* Broad underlying principles that are
…intellectually interesting and
…functionally valuable

This is not a unique phenomena in the music field. In many fields, the teachers forget the point.

Dr. Duke says that on his mind all the time is the realization that he is conveying something to another human being. Beauty takes time. Quality takes time. Excellence takes time. The goal of teaching is to help our students experience beauty in as short an amount of time as we can so that we don’t lose them. We can be really busy and do lots of teacher-like stuff and not get anything done.

What’s the Point Again?
Next, a video clip from a graduation ceremony for graduates of Harvard and MIT is shown. Graduating students are asked, “Do you think you could light a bulb with a battery and wire?” Almost always the students respond affirmatively. However, they are not successful. They are asked if they know why it didn’t work. Most are unsure. This clip illustrates the fact that all of these people have reached a very high level in thinking about scientific concepts and physics, but you hand them a battery, a wire and a flashlight bulb and they are stumped. But they have missed the point entirely. Sophisticated teachers set students up so that they look like they have a deep understanding of their area, but they really don’t.

He shared how he gave a graduate level student a recording and asked her to share for 10 minutes about the music. She couldn’t do it. Students may be able to identify keys, form, point out the theme and recap, etc. They know all the right answers, but what’s the point? Students can identify key signatures, but have no idea why it’s important to know that. We spend a lot of time teaching this sort of thing because we believe it’s important to a student’s understanding of music.

The Process of Learning (A.N. Whitehead)
The first time we approach something we want to know more about, we have a romanticized view of it. This eventually channels into Precision which leads to generalization, which is when you can actually do the thing you set out to do. You can substitute other words to see that romance must give way to struggle to eventually produce beauty. Beauty is the goal, the final aim of the struggle. However, we tend to over-emphasize the struggle and place beauty as a distant objective.

Find out what your students’ motivation is and tap into that. Help them reach their goal and experience the thing that has motivated them in the first place.

How Difficult Can We Make This?
Prerequisites lead to prerequisites which lead to more prerequisites, ad naseum, until eventually we get to the good stuff. Why not experience the good stuff now? Start with the idea. The motivation to play beautifully will drive technical development.

Two Keys to Excellent Teaching:
1. Elegance and simplicity about everything
2. Matching musical intentions with outcomes

Our students have a tremendous potential that almost every educational experience they encounter underestimates. The “meaningful stuff” must come first. Let’s help them experience beauty at every level.

Dr. Duke suggests a homework assignment: Record the next four lessons that you teach and see how many times you can have the word beautiful come out of your mouth.

National Conference on Keyboard Pedagogy – Friday 3:15 p.m.

Today’s mini-recital includes three young performers.

Andrew French, age 8 is playing:
Minuet Op. 14, No. 1 by Paderewski arr. Faber
Theme from Symphony No. 1, 3rd Movement by Mahler arr. Faber
Prince of Denmark March by Clarke arr. Faber

The second performer is Mary Hilding, age 9, performing:
Scherzo by Diabelli
Spring from Four Seasons by Vivaldi arr. Faber
Finale from Carnival of the Animals by Saint-Saens arr. Faber

The final performer is Agatha Kielczewski, age 17, performing:
Impromptu in E-flat, Op. 90, No. 2 by Schubert

National Conference on Keyboard Pedagogy – Friday 2:00 p.m.

James Goldsworthy presents Keeping the First Lesson Open-Ended

Mr. Goldsworthy has posed a question, “What if you could start a new student and then four months later could start again?” He has experimented with this idea in his own teaching. In fact, he has even explored the possibility of “beginning three times.” He encourages teachers to think outside the box.

He is having the audience sing “Hot Cross Buns” with him. About 15 years ago, he determined that he wanted the student’s playing to be on their voice. He wanted them to go to their playing with their singing as the impetus. He has rewritten the melodic notes of “Hot Cross Buns” in a variety of rhythms to demonstrate one what that things can be done “outside the box.”

Mr. Goldsworthy discusses for several minutes the importance of having students take repeats. He says that this helps prepare them for the music of Bach or the first movements of the Classical sonatas. He also led the audience singing the song again, but this time incorporated an appogiatura on the second beat. He is emphasizing that many skills and techniques can be taught in the very first lesson even though the student is not consciously aware that it is taking place.

“We are not just teaching a piano lesson. We are teaching life.”

First thing Mr. Goldsworthy does with a group of students is sit down in a circle with everyone and begin introductions. He states and repeats names in a sing-songy rhythm. He shared an illustration to highlight the fact that teachers should maintain the flow in their groups, not being too eager to correct students for mistakes when in reality the student has responded correctly – perhaps it just wasn’t in line with the response the teacher expected.

Mr. Goldsworthy just introduced a term called “springing the scanscion” by saying that he no longer has trouble with his students playing dotted quarter followed by eighth notes. How is that possible? They feel the eighth note. He spoke a sentence (“Why are you crying?”), placing the inflection of his voice on a different word each time to show that there is the potential for 4 different meanings to the same words.

Einstein said, “The fairest thing we can experience is the mysterious. It is the fundamental emotion which stands at the cradle of true art and science. He who knows it not can no longer wonder, no longer feel amazement, is as good as dead, a snuffed out candle.”

Mr. Goldsworthy tells his university students “I’m not interested in answers. I’m interested in the possibilities.” “Because who knows the answers anyway?” He asks rhetorically. He added that he is convinced that one of these students could be the one who solves the Middle East crisis…or makes sure that people are no longer poor, etc. That’s why our teaching matters.

He goes on to discuss the theoretic elements contained in Hot Cross Buns. The most important notes in the key are: Do, Mi, Ti, Fa (in that order). These principles can be taught from the very first lesson. He performs an object lesson with coins, illustrating that what’s bigger is lower if it’s made from the same material. One of the first week assignments he gives his students is to drop two objects of differing sizes that are made of the same material and write down what they dropped and the resulting sounds. Nothing glass or sharp, he adds. If students understand this principle and see the different lengths of strings in the piano, they will more readily understand the concept of lower and higher sounds and ends of the keyboard.

As teachers we can create situations that make things come alive for our students.