As Visiting Assistant Professor of Piano in the Department of Music at Ohio State University at Lima, Michael Benson is pursuing a dual career as teacher and performer. As soloist and collaborative pianist, he has performed at the Smithsonian Institution during the International Schubert Symposium, Steinway Hall as a winner in The Pinault Biennial International Piano Competition, and Preston Bradley Hall on the Dame Myra Hess Memorial Concert Series heard on National Public Radio affiliate WFMT 98.7 FM in Chicago. He has presented lectures, adjudicated and performed for national and state conventions of Music Teachers National Association and contributed articles to Texas Music Teacher, American Music Teacher and Clavier. He has taught on the faculties of Carl Sandburg College, University of Wisconsin-Whitewater, and Oakland University as well as pre-college piano camps in Texas, Wisconsin and Ohio. Mr. Benson holds degrees in piano performance from the Shepherd School of Music at Rice University and The University of Texas at Austin.
Michael Benson
139 Reed Hall
4240 Campus Drive
The Ohio State University at Lima
Lima, Ohio 45804
419.995.8442
Benson.126@osu.edu
The following is a summation of two piano pedagogy morning discussion group topics: Observations, and Internship Teaching Experiences. The comments reflect my interpretation of personal hand written and typed notes submitted by the various discussion leaders.
OBSERVATION.
Who Should Pedagogy Students Observe?
The most common answer is that pedagogy students should observe independent piano teachers. However, there were many creative suggestions made with respect to designing observation experiences. Recommended observations were: Dalcroze Eurhythmics classes, group piano classes, Suzuki lessons, college-level studio and performance classes, non-piano lessons, and public school choral, band and general music classes. The numerous and varied suggestions are significant because they reflect the abundant choices available to piano pedagogy teachers. Also, the issue of "where" piano pedagogy students observe was considered. University and independent studios or "real world" teaching situations were high on the list.
What Ages and Levels Should Piano Pedagogy Students Observe?
All five discussion groups suggested pedagogy students observe beginners, intermediate students, and adults. Another conclusion was that observations should focus on more than one lesson. Pedagogy students should observe the same student on multiple occasions in consecutive lessons. Within this context, several other questions were raised: Who are the piano pedagogy students observing? Are they focusing on the teacher's instructions or are they listening and watching for student success? For the novice observer, it was suggested that pedagogy students learn to observe one area (teacher directives or student success) at a time.
How Many Students Should Be Observed and For How Long?
The answers varied from group to group. The one constant was the emphasis on having students observe multiple lessons at all levels. Here again, the question might be, whom are the piano pedagogy students observing? If we are watching a teacher's verbal instructions, maybe we only need to see one lesson - either the student was able to achieve a proximal musical goal during the lesson because of teacher instruction or they were not. This, according to the discussion groups, helps define good teaching. However, if we are listening and watching for student success, maybe we should observe at least two lessons. These issues were debated. In any event, learning to be a trained observer is a skill that should be developed.
INTERNSHIP TEACHING EXPERIENCES
. What follows is a representative group of questions or concerns that were raised during the breakout sessions.
There was not a comprehensive answer given for each of these questions. Below are related suggestions and comments made by group discussion members.
Suggestions from the discussion groups focused on finding a group of students that desire piano instruction. Many of the institutions represented have preparatory programs. These provide on-campus teaching experiences and can be ideal. In addition, home-schooled students were considered, along with university students who are not music majors. The university students were found by advertising in university newspapers. Another recommendation was to provide piano lessons for children of university faculty and staff at no charge. If money was collected for these lessons, it was suggested that it be used to improve the piano pedagogy library holdings or to provide scholarship money for incoming piano pedagogy majors. Other successful internship situations mentioned were local music stores and retirement communities. Peer teaching of fellow pedagogy students was also discussed. This type of experience would allow a novice teacher to practice teaching both basic music concepts and advanced literature. One group commented that given the difficulties encountered in teaching beginners, it might be ideal to have pedagogy students first teach their peers because they are playing repertoire similar to their own.
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