Improve Your Teaching! E-Book

Paul Harris

• Herausgeber: Faber Music Limited
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2017

Seitenzahl: 124

Beschreibung

Improve your teaching! is a must-have handbook for all instrumental and singing teachers. Packed full of comprehensive advice and practical strategies, it offers creative yet accessible solutions to the challenges faced in music education. It outlines Paul Harris's innovative strategy of Simultaneous Learning: a method that encourages the development of musical insight by making connections between all aspects of musicianship and discusses topics including lesson preparation, aural and memory work, effective practice, improvisation and composition, sight-reading and group teaching. Cleverly fusing established teaching techniques with fresh and exciting ideas Improve your teaching! represents a modern and holistic approach to musical instruction. This is the full eBook version of the original edition.

Leseprobe

Paul Harris

an essential handbook forinstrumental and singing teachers

includes Paul Harris’s innovative strategy –‘Simultaneous Learning’

Cover images courtesy of The National Foundation for Youth Music –

a UK-wide charity set up to provide high quality and diverse music-making

opportunities for 0 to 18-year-olds who would not otherwise get the chance.

Also thanks to Emily Behague.

© 2006 by Paul Harris

First published in 2006 by Faber Music Ltd

All rights administered worldwide by Faber Music Ltd

Bloomsbury House 74–77 Great Russell Street London WC1B 3DA

Design by Susan Clarke

Printed in England by Caligraving Ltd

ISBN 0-571-52534-2

To buy Faber Music publications or to find out about the full range of titles available

please contact your local music retailer or Faber Music sales enquiries:

Faber Music Limited, Burnt Mill, Elizabeth Way, Harlow, CM20 2HX, England

Tel: [phone]   Fax: [phone]

[email protected]    fabermusic.com

Contents

Foreword 4

Introduction 5

1  We can all improve our teaching 7

2  Simultaneous Learning 10

3  Left and right 26

4  Using the right brain 31

5  Practice makes perfect … or does it? 42

6  The first lesson 49

7  Sight-reading 51

8  Group teaching 59

9  And finally … 62

3

Foreword

Paul Harris believes that teaching music should always be a joy. This book brilliantly communicates the remarkable energy and enthusiasm that has made him one of the great reflective practitioners of our time. Within these pages his fascination with the teaching process proves to be truly inspirational. Paul proposes a style of teaching – ‘Simultaneous Learning’ – that allows both tutor and pupil to embark on what he describes as ‘an invigorating, untroubled, absorbing and stimulating journey’. Teachers are invited to find the courage to ask self-searching questions, to look for new ideas, to adapt and change and to take a real pride in their work. In turn, pupils will gain a new understanding of every aspect of what they are doing. The music lesson becomes a voyage of discovery, where a pupil’s spirits are raised and confidence increases; thus the teaching and learning experience will always be positive and effective.

Paul encourages problem solving from as many different angles as possible, taking into account the preferences of different types of learning styles. The breadth of this holistic approach has the potential for rich rewards, as pupils begin to think musically for themselves. Operating an instrument counts for little without musical expression, creativity or imagination. During the course of his exceptionally sympathetic text, Paul emphasises the importance of creating confidence – an empowering self-belief that develops slowly but surely and results in poise, humility and self-assurance.

It was during the generation before Mozart that the great German flautist J. J. Quantz wrote that many musicians of his acquaintance had agile fingers but were reluctant to use their brains. Such sentiments have resonated ever since within the senior common rooms of schools, conservatoires and universities. This book contains an exciting and convincing agenda for redressing the balance. It will surely revolutionise the teaching of music at all levels.

Colin Lawson MA (Oxon), MA, PhD, DMus, FRCM, FLCM

Director, Royal College of Music

4

Introduction

I’ve always loved teaching. In the professional world there can be few joys greater than unlocking potential and helping aspiring musicians develop their abilities. And I’ve always been fascinated by the process of teaching, which is where this book comes in. It’s a book about teaching. In particular it is about ‘Simultaneous Learning’ – a style of teaching that engages both pupil and teacher fully, removing all obstacles along the way to allow both parties to enjoy an invigorating, untroubled, absorbing and stimulating journey.

The ‘Simultaneous’ approach permeates all areas of teaching, whatever aspect of music you are working on – from your first lesson with a new pupil to your most advanced students. Once you’ve digested the main principles outlined in chapter two, you’ll discover it becomes the major driving force behind all areas of music teaching.

I hope you’ll find the approach energising and helpful, and that it will begin to unlock doors as well as open up all sorts of new and exciting avenues to pursue in your own teaching.

A few personal words …

In my work all over the world I continually meet teachers, some of whom I would call – without hesitation – inspirational. I have learnt so much from talking to them, observing their work and listening to their pupils.

I have also been exceptionally lucky to count among my own teachers some truly inspirational musicians. Alan Taylor who taught me at school, Graeme Humphrey at the Royal Academy of Music and Professor Keith Swanwick at the University of London. There are certain friends who continually provide me with a clear ambition: Richard Crozier, whose humour and clarity of thought have been a constant driving force; Tony Meredith, who read the manuscript and made many invaluable suggestions; Sally Adams, Mike Brewer, Jean Cockburn, Esther Jackson, Brian Ley, Irene Lock, Melanie Ragge and Robert Tucker, who have all offered much support and many words of wisdom and advice. Richard King, Beth Millett, Kathryn Oswald and Leigh Rumsey at Faber Music, whose continuous encouragement has been awesome. And especially Professor John Davies who has been a continual friend and mentor from my very first lesson. Also other friends and pupils – they know who they are – without whose help this book would not exist. To all, huge thanks.

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