Cynthia Benson, Assistant Professor and Coordinator of Group Piano at Bowling Green State University, holds a bachelor's in music education from the University of Central Arkansas, a master's of music in piano performance from Rice University and a doctorate in music education with an emphasis in piano pedagogy from the University of Texas at Austin. Benson has presented research at state conferences of the Music Educators Association in Illinois, Ohio and Texas. Presently serving on the National Advisory Board for the Music Teachers National Association (MTNA) Student Chapters, she has participated in presentations at MTNA National Conferences and the state MTNA conventions in Texas, Illinois and Wisconsin. Articles by Cynthia have appeared in Texas Music Education Research, Illinois Music Educator, American Music Teacher, Keyboard Companion, Piano Pedagogy Forum and Roland's Keyboard Educator. She and husband, Michael Benson, frequently perform duo recitals as the Synergy Duo, most recently on the Dame Myra Hess Memorial Concert Series in Chicago.
Cynthia Benson
School of Music
Bowling Green State University
Bowling Green, OH 43403
419.372.2629
cbenson@bgnet.bgsu.edu
Panelists:
Gail Berenson, Ohio University
Kenon Renfrow, University of Miami
Marcia Norrman, Northwestern University
Rebecca Johnson, Capital University
Steve Roberson, Butler University
Yu-Jane Yang, Weber State University
Moderator: Barbara Fast, University of Northern Iowa
The following is a summary of the panel discussion on internship teaching and observation for pedagogy students. Panelists were given eight minutes to address the internship and observation experiences at their schools.
Internship Teaching
Generally, the internship teaching described included one to two students per semester, and lessons were usually 30 minutes in length. While the length of internship at each institution varied from one semester to six quarters, internship teaching included children and/or university non-music majors. Internship teaching took place in preparatory programs, community schools, faculty studios, and independent studios. Teaching internships were either part of a pedagogy class or a separate course.
Marcia Norrman remarked that pedagogy students at Northwestern University teach private lessons to students whose group classes are taught by a "master-teacher." The student teachers also gradually work up to teaching an entire group class. These pedagogy students direct a practice session with piano students (free of charge) to help them, among other reasons, decide what level they prefer to teach for their internship.
Steve Roberson shared that his pedagogy students teach at least two students per semester during each of the four semesters they are enrolled in pedagogy track courses. Pedagogy students 'recruit' their own students (with help from the university music office) and arrange their own studio policy, interviews, and fee structure.
Rebecca Johnson successfully set up teaching internships with local independent teachers who were MTNA certified. Some of the advantages described were the "real-life" situations the pedagogy student experienced, and the relationships that developed between student teacher and independent teacher. However, some activities of the teacher's studio such as spring festivals and contests were found not to be conducive to the student teaching experience.
Providing feedback to student teachers was important to all members of the panel. Balancing supervision of student teachers with meeting other university responsibilities was discussed. As Ken Renfrow stated, "...one can only be at one place at one time..." Some panelists shared that load credit was not given for supervision of student teachers. Each had a unique solution to the problem of giving enough feedback to all student teachers. Panel members addressed the use of video and/or audio recording for evaluation by peers, supervisor, or student teacher. Steve Roberson indicated that he requires his student teachers to videotape each lesson with the camera specifically situated to record the student's face and hands.
In supervising student teachers, Ken Renfrow requires a three-week sequence of teaching including videotape, self-evaluation, and lesson plans to help keep a check on the many number of teaching interns each semester. He remarked that he has learned about his student teachers from the way they evaluate their own teaching. He also stated that student interns observe graduate assistants teaching group piano, which helps him monitor these teachers. Marcia Norrman observes each student teacher ten times during the year. Additionally, she also has another "objective" teacher observe her interns. In contrast to most situations, the internship with local independent studio teachers described by Rebecca Johnson allows for constant supervision.
Gail Berenson described the internship program at Ohio University, where graduate pedagogy students serve as apprentices to the applied piano faculty. The pedagogy student observes, plans and teaches college non-majors or children in the faculty member's studio. By the end of the semester, the intern is teaching the entire lesson. The faculty member is present at all times to supervise. The applied faculty member assigns the grade for the student teaching while the pedagogy teacher supervises the intern's journal and paper. Graduate students enroll in this apprentice program for six quarters. The only drawback mentioned was that the interns were not working with students of their own. However, the advantages of working closely with members of the piano faculty were numerous.
Yu-Jane Yang shared how she makes use of the piano lab in her set-up for supervising intern teachers. Two intern teachers are assigned to each student, and while one intern teaches the lesson, the other observes. The student teachers reverse roles the following week. All lessons take place on headset, and five pairs of interns and their young students are in the lab at the same time, following the same routine. The use of digital keyboards and piano lab controller allows the pedagogy supervisor to walk around the room and monitor the intern teaching and observations. While monitoring the room, the pedagogy teacher makes notes that will be discussed during the next pedagogy class meeting.
Observation Experiences
Observation experiences described by the panelists usually took place before or during the teaching internship. These experiences included a variety of settings such as group piano, private piano, preschool piano, and adult-leisure lessons. Many of the panel members also have students observe lessons for instruments other than the piano. While some panelists had student teachers observe the same teacher(s) throughout a semester, others chose to vary the observations. Gail Berenson described a sophomore-level observation practicum designed to ease them into their teacher role. Students in this practicum observe a lesson once a week. The lessons observed represent all ages and levels, and include instruments other than the piano.
Panel members also shared guidelines for student teacher observations. Rebecca Johnson outlined the following specifics for observations: student-teacher interaction; how teacher prepares for success; piano methods used; how student is taught to practice; practice goals given in lesson; how student is motivated to practice; technique; studio arrangement; personal reaction; and teaching style. Pedagogy students were to observe two back-to-back lessons and keep an observation diary.
Yu-Jane Yang's observation forms are divided into three areas:
These guidelines are followed by general comments about what the student teacher liked, new ideas observed, and what might have been done differently.
Steve Roberson helps his teaching interns remember the guidelines for observation using the word PASTE.
Questions and comments followed the panel presentation. One audience member was truly impressed by the unique approaches used by the panelists when designing internship teaching and observation experiences. I found that these panelists had not only worked within their respective situations, but they had also dealt creatively with challenges, used available resources wisely, and created essential opportunities for their students.
| TABLE OF CONTENTS |
|---|