| Whether 'tis nobler in the mind, to suffer The slings | | | | develop. But at times the intensity of the |
| and arrows of outrageous boredom; Or to take arms | | | | parent-student involvement can become a bit |
| against a sea of Twinkles, And by opposing end | | | | overwhelming.The traditional approach emphasizes |
| them? When Shinichi Suzuki introduced his method of | | | | the development of a skill, and through the acquisition |
| instructing students in the art of playing the violin it | | | | of that skill the realization that practice and dedication |
| was somewhat controversial.It was, he said, a more | | | | usually leads to success. Parental involvement is not |
| natural way of learning. The idea was to learn to play | | | | usually nearly so intense in the actual instruction and |
| the violin the same way that a person would learn to | | | | practice, and the student is much more likely to play |
| speak their native language, the so-called "mother | | | | recognizable works earlier since he is actually taught |
| tongue approach" to music education.Suzuki also | | | | notes sooner.The Solution?Integrate the best of both |
| explored an area which became known as "talent | | | | methods and then throw in a little fiddle! An |
| education." The word "saino" in Japanese can be | | | | integrated system of listening, observing, performing |
| translated ability or talent. But it can also be used to | | | | and having fun seems to me the best |
| mean the development of an ability or personal trait, | | | | approach.There is no doubt that listening to the |
| such as one's character. As such, Talent Education | | | | works to be performed is beneficial. There is no |
| came to refer to the development of skill, knowledge | | | | doubt that repetition can be tremendously important |
| and character. A seemingly well-rounded | | | | in skill acquisition. There is no doubt that music theory |
| approach.Suzuki developed a repertoire and a | | | | introduced early becomes a strong foundation on |
| curriculum, and teachers from all over the world | | | | which a student can build an amateur (or even |
| visited his institute in Matsumoto, Japan to learn his | | | | professional) music career. And there is no doubt that |
| techniques. The method spread from the violin to | | | | students learn from seeing and interacting with other |
| other instruments including piano, cello, guitar and | | | | students.What we need is a single system integrating |
| harp. There are more than 8,000 teachers worldwide | | | | the whole world of violin into a happy amalgam.Why |
| who endorse his methods and follow his curriculae. | | | | not start with a Suzuki approach in which the parents |
| More than 250,000 students study music by the | | | | are introduced to the instrument and understand the |
| Suzuki method.The question becomes, "Is the Suzuki | | | | instructor and her expectations at the start? Allow |
| method right for you and your student?"A Quick | | | | parents to observe lessons and encourage them to |
| Comparison of Traditonal violin study vs. | | | | participate in practices at home! Teach the parents |
| Suzuki.Suzuki* The Suzuki method of study | | | | the games that Suzuki students play with their bows |
| emphasizes parent involvement and parent-student | | | | and let them play along the same way they would in |
| interaction. Parents take several classes prior to the | | | | a Suzuki studio!But at the same time, why not let the |
| start of their student's studies and are encouraged to | | | | students start working on note recognition at the |
| participate in the student's lessons once they have | | | | same time they learn technique? When we show |
| begun. Parents are also the primary means of | | | | them the violin's A-string, show them the note on |
| motivating the student to practice and of making | | | | the staff! When we show them the D-string, show |
| sure that the student follows the instructions once | | | | them the notation, too. Why not use the flash card |
| the lesson is complete and the student has returned | | | | or "big book" approach that is used in our schools and |
| home. This means that the parent will, at least at the | | | | hold up a picture of a rest symbol when we want |
| beginning, be actively involved in every single practice | | | | them to be quiet? Let the student see as well as |
| session. * The Suzuki method emphasizes both active | | | | hear what they are doing. It seems to me that this is |
| and passive learning. Before a student ever touches a | | | | really implementing Shenichi Suzuki's message. Just as |
| violin he is exposed to the music he will play in the | | | | we don't expect our children to communicate only |
| form of recordings.These recordings are repeated | | | | verbally and we show them how we use written |
| over and over until they are completely "internalized" | | | | language early on, we should let the student see |
| by the student. In doing this it is believed that the | | | | what they are playing, not just hear it. In the same |
| student will have a tremendous advantage in learning | | | | way that our four-year old daughter used to "write" |
| to play the music that he has already heard . . . in | | | | stories by scribbling lines on a page, she could have |
| some instances hundreds of times. And for quite | | | | "composed" songs by drawing on a staff. And think |
| some time the only thing that the student will play is | | | | of how powerful it would have been if she had |
| "Twinkle, Twinkle Little Star." * The Suzuki method | | | | learned to play and read individual notes and had |
| encourages students to learn by following the | | | | "discovered" that she could read or write the melody |
| example of other students and by interacting with | | | | herself!Regarding fiddle, a child who picks up the |
| them on a regular basis. Individual instruction takes | | | | fiddle doesn't particularly care about if he is holding |
| place one-on-one with the teacher or in a "small | | | | the fiddle correctly. He doesn't care if he can read |
| group." This is where the student actually receives | | | | the notes on the staff. All he wants to do is play |
| hands-on instruction by the teacher. But periodically | | | | something that sounds good and have fun. He is |
| the Suzuki student will attend "group lessons." At | | | | highly motivated, and is thrilled when he finds out |
| these group lessons the student interacts with other | | | | that he can producing something that makes him |
| students from his teacher's studio. They play | | | | smile, although those others may really want to plug |
| together. They study together. And hopefully they | | | | their ears. We need our young students to be |
| progress together.In any case, when other students | | | | excited about picking the instrument up! We need our |
| are present students who are not actively being | | | | young students reluctant to put the instrument down. |
| instructed are urged to sit and observe what is | | | | We need our students to truly experience success |
| happening. * Individual lessons frequently concentrate | | | | on their instrument very soon after they first touch |
| on a single "teaching point." Progress is made one | | | | the instrument!And let's integrate listening in a realistic |
| step at a time in one area at a time. At least early in | | | | way! Why not let the students hear the music they |
| the learning process more emphasis is placed on the | | | | will play, but also introduce them to the local |
| student's posture, technique and tone production | | | | symphony orchestra or bluegrass group so that they |
| than on playing recognizable tunes. In fact, many | | | | don't think that violins only exist on CD's. And |
| Suzuki students don't even start their violin careers | | | | speaking of CD's, develop a library of a recordings |
| with a violin, they use a box on which they can bow | | | | that feature the violin in various settings. The Suzuki |
| so that they learn proper position first. * Music | | | | CD's are fine if that is all you are playing, but what |
| reading is not emphasized until the student has | | | | about Sarah Chang's recording of Sarasate's Concert |
| mastered basic performance skills on the instrument | | | | Fantasy on Carmen when she was just nine years |
| itself.Traditional* In traditional instruction there is | | | | old, and Stephane Grappelli's Jazz in Paris album so |
| usually no active involvement of a student's parents | | | | that there is some jazz violin in the house, and |
| other than observing practices. While parents are | | | | maybe even an album by the all-woman string |
| often encouraged to attend lessons, the majority of | | | | quartet Bond.We need to find a way to motivate |
| instruction usually takes place outside the parent's | | | | students to want to learn more about the violin. |
| presence. The parent is requested to monitor a | | | | Maybe a daily visit to will help! Maybe a T-Shirt they |
| student's practice (or at least the amount of time | | | | can wear or some other visual cue in their room will |
| practiced), but are usually not a part of the practice | | | | do the trick!We can see that the theme parks, the |
| itself. * Instruction is often only one-on-one with the | | | | children's television networks, the toy companies and |
| instructor. Unless the instructor is part of a school | | | | the fast food restaurants realize that the key to |
| district program, or has taken the initiative to form | | | | influencing your child's decisions is a multi-sensory |
| some sort of ensemble group the student does not | | | | approach. We should be just a wise as they are in |
| usually interact with other students at his skill level. If | | | | our approach to our children.The Bottom LineEither |
| ensembles do exist, they are usually focused on | | | | the Suzuki or Traditional method can produce |
| performing works together as opposed to Suzuki | | | | competent violinists. If parent-student interaction in |
| group lessons that may be focused on developing a | | | | what can be a frustrating situation is good - by all |
| technique together. * Listening to music that will be | | | | means consider Suzuki. But if intense child-parent |
| played may be encouraged, but it is not usually an | | | | interaction frequently leads to tears in either party, |
| integral (or even integrated) part of the program. * | | | | the traditional approach is probably better. And in |
| Emphasis is placed on reading music very early. See | | | | either case, make sure that the relationship between |
| the note, learn the note, play the note is quite | | | | child, parent and teacher is a good one. Three |
| common. after several weeks of instructionSeveral | | | | individuals tugging in different directions never make |
| weeks in the student can already recognize the | | | | good progress. Finally, have fun with the violin. After |
| written notes that he will play.My Evaluation: A Pox | | | | all, we don't say that I "work" the violin . . . the verb |
| on Both Their Houses!Both Traditional and Suzuki | | | | we use is "play."Arthur Haule studied violin in a |
| methods have strengths and weaknesses.Suzuki | | | | traditional program for ten years. He participated in |
| emphasizes teaching a philosophy through which a skill | | | | several orchestras in the New York City area and |
| can be developed. A successful Suzuki student will be | | | | founded a string quartet. He has taken part in several |
| a good performer early if he doesn't burn out playing | | | | music festivals and even acted as a violin coach. He is |
| and hearing Twinkle over and over. If there is a good | | | | currently webmaster of -- a place for violinists of all |
| student-parent dynamic this can also be a really | | | | ages, persuasions and skill levels to gather. |
| successful method, and an even stronger bond can | | | | |