Steve Clark is a member of both the American Matthay Association and the American Liszt Society and he appears frequently in recital.
Students from his studio have been declared winners and finalists in
state, national and international piano competitions. He is a
nationally recognized clinician in the field of music technology and
the creator on numerous Internet-based resources for musicians
including web pages such as The Piano in CyberSpace and Internet
mail lists: Pno-Ped-L and Chopin-L. He serves the Georgia Music
Teachers Association as chair of the Committee on Technology and the
Music Teachers National Association as National Chair of Student
Competitions. Mr. Clark serves on the faculty of the Schwob
Department of Music at Columbus State University where he teaches
Piano, Piano Pedagogy and Music Technology.
Steve Clark
School of Music
Columbus State University
Columbus, GA 31907
706.568.2049
CLARK_STEVE@colstate.edu
"Superlative teaching is an achievement in any field; it is perhaps even harder to achieve in the field of music, where so much depends on unwritten tradition, elusive style characteristics, and abstract concepts."1 Gaining mastery of an instrument is, in and of itself, a lifelong pursuit and the acquisition and honing of teaching skills can require many years of experience, experimentation and reflection. A realistic and accurate understanding of the vast number of competencies required, coupled with the solemn responsibility for providing a musical education of others, can seem rather overwhelming for one contemplating a career in teaching. On the other hand, the joys of sharing music with students can be both irresistible and endlessly intriguing as Angela Diller put it in her book The Splendor of Music, "After more than fifty years of music teaching, I am increasingly aware of the variety and richness of this stimulating profession." 2
For those who have found or are finding themselves captivated by teaching as a career, the task of equipping oneself professionally can be daunting. It is extremely important for those considering entering this challenging field that they seek out degree programs that will provide them with practical opportunities and experiences which can form a lasting and solid foundation for their career. The right pedagogy program can make all the difference in the world in helping one to get established in the field, to avoid the frustration of needless mistakes and to obtain professional success and satisfaction. The underlying philosophy, design and implementation of the piano pedagogy curriculum in that program should be carefully investigated by all perspective pedagogy students.
Undergraduate programs in pedagogy should prepare one for success as an independent studio teacher. Graduate programs often concern themselves with preparation for teaching and administration of non-credit programs in an institutional setting.
In addition to the general requirements of all degrees, bachelor of music programs in piano pedagogy typically include the following elements with varying degrees of emphasis on each and with widely differing strategies for implementation of these elements.
For many students the bachelors may be their highest degree. Therefore, the existence of the bachelors degree program in piano pedagogy is critically important as perhaps their only opportunity to engage in pedagogical training and it must provide the kinds of practical experiences which would enable their success as independent studio teachers with a primary, but certainly not exclusive, focus on the beginning and intermediate levels of instruction.
Graduate programs in piano pedagogy should have as a prerequisite for admission the completion of appropriate bachelors degree in pedagogy or equivalent coursework in the field, including intern teaching, and they should continue the development of skills begun at the undergraduate level. Those seeking degrees in pedagogy programs at the graduate level often have as an additional career goal that of teaching in a variety of institutional settings. Therefore, in addition to a continuance and deepening of skills obtained at the undergraduate level, graduate programs in pedagogy typically concern themselves with preparing pedagogy students with experiences in the following areas:
The National Association of Schools of Music (NASM), the major accrediting body for schools of music has published a set of guidelines for degree programs in pedagogy. A look at their guidelines is quite instructive and provides a standard for those comparing degree programs in the field. Click here for a complete list of NASM recommended specific requirements for degree programs in pedagogy.
The degree program in pedagogy should include both theoretical and practical experiences in teaching. Both are of irreplaceable importance for teachers and maintaining the proper balance of these two elements in the curriculum is of critical importance if the piano pedagogy degree is to be of maximum professional benefit for the pedagogy student. Of the many field-related elements in the pedagogy curriculum the two most important are a performing knowledge of the instrument and intern teaching. Few would argue the primacy of these two aspects of the curriculum, but there are many, many ways in which these concerns are implemented. The philosophy and method of implementation of these two most critical elements in the curriculum should be the main concern of those seeking degree programs in piano pedagogy.
Single Standard - Dual Implementation
The necessity for study of the instrument is obvious, but it bears stating that no matter how accomplished our teaching skills may be, without knowledge of the subject matter, a teacher simply has nothing to convey. Knowledge of the piano, its literature and performance is the force that informs piano teaching and it must be the guiding principle for us all. Without this knowledge one can not hope to perceive that which is truly important at each level of instruction or how to direct our students.
That said then, how should the requirements of pedagogy programs in the area of performance differ, if at all, from degrees in piano performance? An answer to this question can be sought in the amount and types of repertoire which these two separate tracks must be responsible.
On many occasions I have listened to and read advice given by performing concert artists to piano performance majors. Without exception their advise has contained the exhortation to learn as much repertoire as possible. Indeed a thorough knowledge of the performing repertoire of the instrument is of supreme importance for the performance major. But one might question the appropriateness of such an emphasis for the piano pedagogy major. Although it is extremely important for pedagogy student to have an acquaintance with the performing repertoire of the instrument, it is perhaps of even more importance that they know the teaching repertoire of the instrument and that they have a complete knowledge of the teaching-learning process.
Where can concessions be found to accommodate the additional amount of coursework required of the pedagogy major and the necessity for acquaintance with the teaching literature of the instrument? The answer is not by lowering the standard of performance of repertoire, but by reducing the quantity of performing repertoire that is required of the pedagogy major. This approach can be implemented in the pedagogy curriculum by careful selection of limited amounts of the performing literature of the instrument.
Prospective piano pedagogy majors should be extremely wary of pedagogy programs which have become simply a "dumping ground" for those who are not capable of fulfilling the requirements of the piano performance degrees. Most often those who can not make it in a performance degree would not ultimately be successful or happy in a pedagogy program either. The pedagogy program is not the place for those who have an incomplete understanding of how to play their instrument or lack a strong interest in teaching.
Intern Teaching - The Ultimate Reality Check
Richard Chronister states, "Is it fair to say that we teach music performance in a very practical way when we regularly (weekly) observe students perform and then work to improve their performance? Most teacher training is done in a theoretical way and very little of it is observing students teach and then working to improve their teaching. If we believe that teaching is a performing art, is this difference justified by the nature of what we want them to learn?" 3
It should be noted that how a degree program in piano pedagogy implements demonstration teaching and intern teaching is perhaps the most important and telling element in determining the value of a degree program for the prospective pedagogy student. Louise Goss summarizes,
"Observation and intern teaching are indispensable training tools in the pedagogy field. Pedagogy courses emphasizing methods, materials and learning theories are also essential, but without opportunities for observation and intern teaching, graduates cannot develop real teaching skills. A meaningful internship requires at least four types of teaching experience, ideally with children, in both group and private lessons, from beginners through high school seniors: observing faculty teaching, team teaching with faculty, teaching that is observed and critiqued by faculty, and independent teaching that is not observed. The internship must also include lesson-planning conferences and sessions in which the observed lessons are evaluated with the supervisor." 4
Without these essential elements programs are decidedly less helpful for pedagogy students. Furthermore, the details of the implementation of intern teaching is of prime importance for the prospective pedagogy major to investigate before entering a degree program in pedagogy. Are intern teaching opportunities limited in any ways (i.e. only available every other year or only in spring semesters?) Sam Holland adds,
"Above all, these teaching experiences need to happen over considerable spans of time because the most challenging aspects of the art of teaching to the novice do not happen in a single moment, but in how one moment leads to the next. A few observations here and a few lessons taught there do not provide adequate teacher preparation." 5
Programs in intern teaching which include the following elements over extended periods of time are the most practical and beneficial for pedagogy majors.
Preplanning sessions:
The sessions should be scheduled to allow pedagogy students ample time to digest and assimilate all information to be covered and techniques to be used before teaching occurs. Lesson plans including desired outcomes, and teaching strategies should be covered with ample time for questions and answers. While plans should include rough outlines for time management within the lesson, teachers should also be aware of enough flexibility to insure that communication with the student and learning are taking place. Evaluation forms and/or all criteria which will be used to evaluate intern teaching should be shared with intern teachers at these sessions.
Observation of Demonstration Teaching
Demonstration teaching by faculty is essential for the pedagogy teacher. Absolutely nothing can substitute for the opportunity to watch a master teacher put into practice the ideas and concepts discussed in theory in pedagogy classes. Demonstration teaching is the proving ground, a place to demonstrate the validity of theoretical concepts and new ideas about teaching. Demonstration teaching provides a complete model for intern teachers that could never be accomplished by lecture alone. While opportunities to observe a variety of independent teachers in the local community can also be extremely beneficial for pedagogy students these opportunities can rarely substitute for observations of a master teacher coupled with a coordinated lecture/discussion and appropriate review of repertoire and technical exercises.
Observation of Intern Teaching
Regularly occurring, live observations with written comments accompanied by videotapes of the lessons should scheduled. Evaluations should center on, but not be rigidly limited to, criteria that the student teacher has been given before the observed lesson.
Post-teaching Evaluation Conferences
Conferences could be either individual or group in structure and should allow ample time for follow-up discussion and questions. Access to playback of the actual videotape of the lesson can be very helpful in these conferences.
Although it may seem a bit cumbersome at times, and it is definitely difficult to schedule this model for intern teaching which includes the student teacher in the entire process from conception to evaluation with a demonstration along the way, it is a proven method to effectively train teachers and it forms the basis of a solid career in teaching. This approach to teaching pedagogy amounts to what might be called mentoring. Learning the art of teaching is a process that lends itself well to a mentoring type of approach. We learn piano teaching from working closely with and having access to the advice of those who do it well. Those seeking degree programs in piano pedagogy would do well to seek out schools that provide these kinds of intern teaching experiences for their pedagogy students.
And Now the Questions
Is the piano pedagogy degree, at its core, essentially academic or is it more of a technical degree in nature? Should the piano pedagogy curriculum, and more importantly the implementation of the content, be primarily theoretical or practical in nature? Which type of program would benefit teachers most?
If you are contemplating a career in the challenging field of piano teaching, you are probably aware of many degree programs in piano pedagogy. The choice of program is a decision that will effect your career forever and you should take the time to make an informed and careful choice.
Never hesitate to contact the director of the pedagogy program at a school and ask for complete details of their program. And by all means, ask yourself the following, "Do I want a career in theory or in reality?" It often comes down to a matter of how priorities are reflected in the implementation of the curriculum in the program you choose. It may take some investigation on your part to discover the place where your career in piano teaching can find a firm foundation and really take hold, but it is time well spent.
Here is an on-line resource to get you started with the investigation of degree programs in piano pedagogy. MTNA Directory of Pedagogy Offerings in American Colleges and Universities.
References
1Stewart Gordon, Etudes for Piano Teachers, Oxford University Press, New York, 1995, p.3.
2Angela Diller, The Splendor of Music,G. Schirmer Inc., New York, 1957, p. ix.
3Proceedings from Pedagogy Saturday I, April 5, 1997, MTNA National Convention, Dallas, TX, p.33.
4Ibid., p. 68.
5Ibid., p. 74.
| TABLE OF CONTENTS |
|---|