Showing posts with label parent involvement. Show all posts
Showing posts with label parent involvement. Show all posts

Monday, January 5, 2015

Summer Suzuki Institutes

(or as one clever student years ago called it, Suzuki Institutions :/ )

A few weeks ago, as we are settling down for a few weeks of relaxation and rest, the Suzuki Association of Americas (SAA) sent out a list of all the week-long Suzuki Institutes spanning North America occurring from late May through mid August. (The events in Latin America are not included but for those who may be interested, those events typically happen in January through March and the SAA also has a current list.) Just when we think we can relax for a moment, something else to start thinking about and planning pops up!

I briefly discussed Suzuki Institutes, and more specifically the Greater Austin Suzuki Association Institute, in a previous post but wanted to elaborate a little bit more on the topic as it relates to all Suzuki Institutes. 


What is it? Essentially, a Suzuki Institute is a week-long, summer Suzuki 'camp' or program for students of all ages and abilities. However, it's not just for students. Just as parents are pivotal in the success of the Suzuki Method, parents are also equally important and equally involved in a child's participation at a Suzuki Institute. Parent involvement is a must - which means accompanying your child through a day of Suzuki activities, including group class, masterclass-style lessons (more on that later), technique or repertoire classes and recitals. However, knowing that parents are part of this process, Institutes often offer parent programs, such as parent lectures, book clubs. Plus, they offer the inherent social aspect (y'all know how big I am on social interaction) - there are many other parents at the Institute, all with the commonality of Suzuki, that you have an opportunity to interact with daily and share your experiences with during the course of the week. In addition, if you are a repeat offender and return to the same institute yearly, you begin running into the same families, who are often from different cities, states or even countries, that you get to catch up with and again, share your experiences, successes and failures not only from the past week but from the past year.  


Ultimately, Institutes provides the opportunity for students and parents (and teachers!) to further their understanding of the philosophy and teachings of Dr. Shinichi Suzuki. It allows parents to see the success of the Suzuki approach on a much larger scale and to enhance the skills they need to help their children learn. Suzuki Institutes began with Dr. Suzuki himself in Japan and was imported to the United States in 1971. The American Suzuki Institute at the University of Wisconsin at Stevens Point is the oldest Suzuki summer institute outside of Japan and continues to carry on the tradition year after year. 

Students participate (depending on their level, give or take) approximately 15 hours of instruction in one given week, instead of the minimum of half an hour that typically occurs during the school year. During those 15 hours, students and parents participate through a daily class schedule that includes a masterclass, a technique/musicianship class and a repertoire class. While your child is learning cello in all three of these, the focus is slightly different for each. In addition to these classes, most institutes offer 'electives' or enrichment classes, a class designed to give students, especially younger ones, some downtime from the intense learning environment. Plus there's always time to go run around outside and get some pent up energy out before the next class. 

A masterclass is an individual lesson (though shorter in length than your regular lesson) that is observed by other students, parents and teachers. Typically there are 3-4 students in a masterclass, each getting a daily lesson of about 15-20 minutes. Also, the lesson tends to have a theme or a point that is refined throughout the week, such a focus on the bow hold, or upgrading tone. 

The technique/musicianship class is a slightly larger group class of students with similar abilities all working on specific skills needed to play pieces. Teachers delve more deeply into specific techniques related to the bow and left hand or specific musical skills. 

Repertoire classes are group classes including all the students (big kids, too, if it's a smaller institute) intended to polish pieces and practice playing together for the final group concert. 

Why should I put myself through this? Because it's AMAZING!
Yes, it's intense. Yes, it's a long day. Yes, it's a long week. Yes, it's a lot of cello/music/Suzuki/time with your child(ren). Yes, it means you have to participate, too, which means a week off your normal schedule. But it's soooooo worth it and ends up being such a rewarding experience for both parent and child. I personally think it's such a cool thing to witness what a child can do during one intense week - a lot can happen in such a short period of time!

Different approaches
In addition, students get an opportunity to work with teachers that are not their weekly lesson/group teachers. Experiencing a new teacher, learning new insights or perhaps hearing the same thing approached a different way is another fantastic learning experience for students and parents. Maybe the way I communicate an idea doesn't resonate with a student, but the way another teacher explains it does. Great!!! The Suzuki method is great in that students all learn the same repertoire so not only can students from all across the world play the same pieces together but teachers from all across the world can instruct students on a deep and highly skillful level. Plus, I'm not even touching the subject of social learning situations where students learn a ridiculous, insane amount from watching others have a lesson in masterclasses or participate in group class. 

Protect what you've worked SO hard on!
I'll reserve the bulk of this discussion for a later post but it also helps protect students against the summer 'brain-drain' when organized and frequent learning opportunities almost suddenly come to a halt. Students who don't continue to practice, refine and use their skills will lose them. The saying 'use it or lose it' really does apply in our case, especially since cello learning is a highly physical skill combined with critical thinking and the need for cognitive engagement. 

Teacher Development
While the Institutes are seemingly focused on the student classes, there is also the teacher development side going on simultaneously. I won't elaborate too much as its not really relevant information for your child but I do want to make you aware that Suzuki Institutes are also training grounds for Suzuki teachers. While students are participating in their classes, teachers are also engaged in intense learning environments up to 15 days long, playing and dissecting the Suzuki repertoire, learning how to teach it and the Suzuki philosophy to others and observing master teachers work with younger students. The same teachers that are working with your students are also conducting the teacher training courses so not only do Institute teachers know how to teach your child, they also know how to teach professional musicians how to teach your child. These teachers are truly master teachers, training not only little cellists on how to be musicians but also teaching professional cellists how to be thoughtful, skillful and engaging teachers. It's an awesome cycle and community, these institutes. 

Specific Institutes We Austinites are very fortunate to have a Suzuki Institute in our own city, many thanks to my colleagues, tireless and eternally devoted teachers, who make it happen. It's a fantastic opportunity for students and parents of every level. Greater Austin Suzuki Association Institute (GASA), not unlike other Suzuki Institutes taking place across the continent, is a week-long, summer Suzuki 'camp' for students of all ages and ability. While this particular institute is conveniently located in Austin, there are many, many across the country and globe every summer. If you are looking to make a family vacation out of it, there are many options. The Chicago Suzuki Institute is an AWESOME institute for cello students - there are students of all ages and abilities, from pre-Twinkle past Book 10. Similarly, the National Cello Institute in Claremont, California features classes and activities for students of all ages (adults, too!) and abilities, including those waaaaay past Book 10. The ability to go to a Suzuki institute and see the wide spectrum of ability levels displayed right in front of you and your child is a powerful motivator. Others include, Hawaii, Colorado, Canada, Latin America, etc. I know many families (including myself) how've made vacations out of attending a Suzuki Institute. The first time I attended the Chicago Suzuki Institute, I had a BLAST - it's always over the Fourth of July and while there is a celebration on campus at the Institute as well as in nearby Evanston, I headed to Navy Pier and Millennium Park in downtown Chicago to watch the festivities with my relatives who live in Chicago. That's another way to do it - work it around visiting and staying with family. That also helps cut down on the hotel/institute accommodations. 

When is this happening?Why do I bring this up now, in January, when some of these programs don't start until July or even August? Registration for some of the earlier institutes has already opened and the early bird tuition is pretty reasonable. After that, it tends to jump up, especially if you are looking at an out-of-state institute and need accommodations. Just like many summer camps, now is the time to be thinking about your child's possible participation in a Suzuki Institute this summer.

For 2015, the Austin Suzuki Institute will be held on July 28 through August 1. Tuition for the programs starts at $450 (for early bird registration). Each institute is it's own independent 'business' that is approved by the SAA, so you'll need to check each individual institute for program rates and accommodations. 


Monday, December 8, 2014

How to Take Lesson Notes

I don't address this often because it is my understanding everyone has their own 'system'. I keep track of my lesson notes for each individual student on my computer. But I thought I would write a few suggestions based on my own experience, recommendations from parents and from other teachers. 

Firstly, you do need to take notes. There's a lot happening in the course of a 30-minute lesson and even more in a 45-minute lesson. It's an intense learning environment and there is no way you or your child will remember everything that happened. I don't even remember everything that happened so I take notes and I highly recommend you also take notes.

Where you take notes and what you use to take notes is totally up to you. Some use an ‘old-fashioned’ notebook or a binder with loose-leaf paper. Either is great. Others, like myself, prefer a computer. I use Evernote but I also use it to keep track of everything - lesson notes, class notes from grad school, recipes, important documents, etc. It could even be as simple as a word document or a Google document you access regularly. Regardless of the medium, a method is needed and you need a dedicated place to keep your notes that you have easy access to. Slips of paper, old receipts, the grocery list, these are not a great way to take notes because they are not in a designated 'lesson note taking' spot and they often get lost or misplaced and the notes never get used or referenced during home practice. 

I am often asked, 'what do I write down?'. Write down what is important. You don't need to dictate the whole lesson but listen for cues from me (or your teacher) about what is important. Sometimes, I will say, 'this is important' or we will repeat something a gazillion times or spend a lot of time on one thing. Write that down. I’ve been getting better about stating the measure numbers for certain passages, so write those down, too, as it tells you and your child what exactly, to practice. How you write it down, again, is totally up to you. Some make a straight forward numbered list of what we've done in the lesson, others use a practice chart to document weekly tasks and some have a less rigid form of note-taking, jotting down a few sentences to jog the memory of the lesson. The key is to determine what works best for yourself as well as your child.  Your child might be more inclined and motivated by a chart, use that. Or a list might suffice. Whatever works, use it!

One word on the practice charts - I LOVE them. I like to check things off a list and I know many children are like this, too. I'm just horrible about keeping up with them. A practice chart might be a fantastic solution for you and I can supply you with charts that are suitable for your child but I do ask for you help in keeping up with them. 

Then, what do you do with the lesson notes when you get home? Structure the assignments into a practice that looks pretty similar to our lesson. Take a few moments to come up with a 'game plan' for the practice:

  • What is the goal of today's practice?
  • What do you and your child wish to accomplish?
  • What's most important to start with? (an upcoming recital piece, jury piece, audition materials, etc.)


Share this with your child, too, so they know the expectations of the practice and so they are involved in the planning process. 

It doesn’t matter what you start with, though you may want to start with the most challenging thing or the one that is high priority. Don’t mess around - tackle the ‘meat’ of the practice first. But also take into consideration your child’s mood as well as your own. Are you short on patience, is your child tired? Maybe leave that hard thing for later and focus on review. It's important to take a moment before you both begin to check in with yourself as well as your child. This will set the tone for the practice and will give you reasonable expectations for what you and your child can do and hopefully avoid conflict.

What if your notes are confusing, make no sense or you and your child disagree about the assignment? Sometimes it’s just best left to figure out at the next lesson. It happens. My notes make no sense sometimes (often, actually). No one is going to die if you don’t practice that one thing. Plus, it’s really a pain to re-learn something that has been practiced and learned incorrectly. Re-learning a skill isn't like re-writing a file on a computer. I wish it was that easy! Re-learning something is often more difficult than learning it correctly the first time. If you and your child disagree, either wait until the next lesson or contact me. I can usually troubleshoot things over email or the phone. Or if you and your child disagree, practice is both ways. It doesn't hurt and at least something was accomplished during practice at home. But don't sweat it if you or your child are unsure or unclear about an assignment.

But again, the most important part of note-taking is actually taking notes. Plus, how fun is it to look back on your notes and see the progress you and your child have made over the course of 6 months, a year or even two years! This is also a real motivator - the ability to see how far students have come in any given period of time. Look back in your notes even just from 6 months ago and marvel at how far your child has come. It's a great feeling. :)

Two last reminders about practicing:

1. Getting the cello out is the hardest part. Really. Even I drag my feet when it comes time to practice because my cello is in its case. Many families opt for cello stands so the cello is readily accessible. If this is feasible for you or you have a dedicated spot to leave the cello out, try this. It tends to work wonders for motivating students to practice.

2. All children need to be reminded to practice. Most won't do it on their own volition so that's where your role as the parent and home teacher comes into play. 

Monday, December 1, 2014

Parents as Partners


At the beginning of every new year, the Suzuki Association of the Americas presents an online video series for parents and teachers called Parents as Partners. Below is the information from the latest Suzuki e-news email. This year's Parents as Partners features a number of local Austin Suzuki teachers. 

"Exciting talks are being planned for the 2015 Parents as Partners Online series! Whether you are a parent in need of some fresh inspiration or a teacher looking to guide your parents further, you won’t want to miss this unique learning opportunity. Beginning on January 15 new videos will be aired each week—a total of 50! They will be available for viewing 24-7 through June 30. We are pleased to announce a sampling of the new talks being presented:
  • Acceptable Tension (Merlin Thompson)
  • Advice and Encouragement for Suzuki Parents (Brittany Gardner)  
  • Battling Perfectionism and Creating a Growth Mindset (Jentry Barrett)
  • Building a Lasting Partnership with your Child’s Teacher (Holly Smardo)
  • Cultivating Belief (Christy Paxton-Tureman)
  • Dry Ideas! Make it visual using the dry erase board (Lucy Shaw)
  • Funny Stories of Dr. Suzuki (Carol Dallinger)
  • Forget Soccer, I want to practice! (Zachary Ebin)     
  • Helping Students Take Ownership of their Musical Journey (Shu-Yi Scott and Cecilia Calvelo-Hopkins)
  • Humor in Suzuki (William Starr, Amy Gesmer-Packman, Heather Hadley, Florence Muller)
  • Implications of Working Memory for Practicing and Learning (Rafael Videiro)
  • Is your Child Talented? (Kathleen Spring)
  • Learning to Practice with Joy (Alicia Randisi-Hooker)
  • Let it Go! (J.B. Taylor) 
  • Lower your Expectations, Delight in the Results (Sara Kotrba)
  • Moms of Tweens are Suzuki Parents Too! (Diane Slone)
  • More Creative Color Coding: How a package of markers can help to revive your review (Phala Tracy) 
  • Motivating Teens as Parents and Teachers  (Christine Lowe-Diemecke and Augusto Diemecke) 
  • Motivar a los Adolescentes como a los Padres y Maestros (Christine Lowe-Diemecke y Augusto Diemecke)
  • Our Suzuki Practice (Jason and Barbara Hill)
  • Ownership (Ed Kreitman)
  • Pardon the Interruption (Ed Sprunger)
  • Play it again Sam: How to implement listening in home practice (Jennifer Burton)
  • Pop your Ears! (Alyssa Hardie Beckmann)
  • Prioritize! (Meret Bitticks)
  • Promoting Optimism in the Practice Room (Sue Baer)
  • Raising Independent Musicians (Mark Mutter)
  • Real Review: Using Listening and Review to Build Technical Skills (Daina Volodka Staggs) 
  • Simple Suzuki Stretches (Joanna Binford)
  • Setting Intentions: from the perspective of parent and teacher (Carrie Reuning-Hummel and Natalie Brandt) 
  • Tech Talks: Bringing Your Suzuki Experience Up-To-Date With The Latest Gadgets and Apps (Ian Salmon)           
  • Teens, Tenacity and Technique (Nicolette Solomon and Donna Davis)
  • The Best Teacher Gift Ever! (Lucy Shaw)
  • The Ripple Effect: Small Ideas with a Big Impact (Shana Guidi)
  • Why Posture Matters Every Day! (Cecilia Calvelo-Hopkins) 
  • ¡Por que la Postura Importa tanto Cuando Tocamos! (Cecilia Calvelo-Hopkins)
  • And more to come!                            
Stay tuned for important registration information in future Suzuki e-news! Costs are listed below.

Studio
Teacher (you!) plus your studio parents.
Note: Parents do not need to be SAA members, but are encouraged to join.
$50 for teacher plus 1 to 5 parents, $10 for each additional parent
Individual
$25 for SAA members, $45 for non-members"

If you are interested in participating, let me know! I will gladly register the studio. Also, exciting news! Some Suzuki books are available on iTunes! Check out the link below!

Monday, November 24, 2014

Parental Influence on Children's Musical Lives

Today's post is an abridged version of a overview of research literature on the influence of parental involvement in children's musical lives. The Suzuki Method is built on the strong principle of parent involvement and research shows its benefits in the musical education of children. 

Just a little background on this research - I complied 12 research articles about parental involvement in children's musical lives, analyzed and compared the data, and drew conclusions from the results of each individual study. Below you will find a summary of the information from 3 of those 12 articles. 
This post is very research-y! But the results are fascinating and very applicable to our lessons! If you'd like to read a copy of the full paper I wrote, click here. 

Why is there a need for this research?
  • Researchers are conducting studies in the field of education to document the effects of parental involvement on children's success in school - music learning is similar, so why not apply it to music learning?
  • Support is vital for children in learning environments and that includes music
  • Parent involvement is multi-faceted and various studies have been shown to have varying outcomes. This makes findings difficult to generalize so many studies need to be conducted
  • Enhance educational outcomes for students through the informed use of parent involvement
Summary of the Literature
Parents influence their children in many ways and the particular support they can provide may have a major influence on the nature and form of a child’s accomplishments. A growing body of research suggests that parents might support children in persisting in learning musical instruments and developing musical expertise. Research reveals the value of collaborative learning for the child with other family members to assist in the development of  higher levels of competence in cognitive and social skills. Researchers who examined the learning of instrumental music have also investigated selected aspects of parental involvement as it relates to musical performance and music achievement. 

Research Studies

1. The role of parental influences in the development of musical performance. 
Davidson, J. W., Howe, M. J, Moore, D. G., Sloboda, J. A. (1996). Journal of Developmental Psychology.

Sample
  • 257 children, ages 8-18 
  • Divided into 5 groups based on different levels of musical competence
    • experience ranges from children attending a specialist music school (like a fine arts academy) to children who stopped learning an instrument at least 1 year prior to being interviewed. 
Methodology
  • Each child and at least one parent were independently interviewed by one of the authors. 
Results
  • In general, the group of children at the specialist music school (Group 1) were rated as having significantly higher parental involvement than the groups of children who either never considered taking the instrument seriously or gave up learning and instrument (Groups 4 & 5).
  • Between the ages 3-11 the average level of parental involvement in lessons was highest in Group 1 and lowest in Groups 4 and 5.  
    • There was no significant group differences in parental involvement over the ages 12-14 and 15-17 years => parental involvement decreases as students gain more independence
  • There were no differences between the groups in terms of the parent’s role in initiating practice. All children needed to be reminded to practice. (it's not just your child!!!)
    • The more skilled the children were in music, the higher the parental involvement in lessons and practice. 
  • However,  Groups 3 & 4 showed intermediate levels of involvement which increases in subsequent years. Group 5 shows consistently low levels of involvement.  
Parental Behaviors
  • The mothers of Group 1 children were more involved in listening and playing music than the mothers of children in the other groups.  It is noted that the parents in Group 1 were not, in general, performing musicians - they do no more than listen to music at home. 
  • The parents of Groups 1 & 2 are slightly involved in music, but become more involved as their child’s interest grows. 
  • Group 3 parents are somewhat less involved in music than Group 1 & 2 parents, but also become more involved during the child’s period of learning. 
  • In Groups 4 & 5 the parental interest in music is minimal and there is no increase in this interest as a result of the child’s involvement in music-making.
Conclusions and The Take-Away
  • All students need to be reminded to practice, just like all children need to be reminded to brush their teeth. 
  • Parent behaviors, in terms of involvement in practice and musical activities, was strongly correlated with student success and and musical competence. 

2. Parental involvement, selected student attributes, and learning outcomes in instrumental music
Zdzinski, S. F. (1996). Journal of Research in Music Education.

Sample
  • 397 instrumental students from grades 4-12
Methodology & Measurements
  • Used a variety of tests to measure affective outcomes, cognitive musical achievement, performance achievement, performance evaluation, parental involvement and music aptitude.
Results
  • Parental involvement is related to instrumental music outcomes and found to be significantly related to affective, cognitive and performance outcomes (students attitudes, knowledge and skills)
    • Affective outcome relationships increased in strength as subject age increased however the opposite was the case for cognitive and performance outcomes. 
    • Cognitive and performance outcomes were only significantly related to parental involvement at elementary school levels and was not related at either the middle school or high school levels. 
  • When grade-level correlations between performance scores and the parent involvement scale are examined, parental involvement was not found to be significantly related at the secondary levels but was significantly related at the elementary level. 
  • The strongest relationship was found between parental involvement and student attitudes

    Conclusions and The Take-Away
    • Not all outcomes are the same - this is hard to measure 
    • However, the researcher found a strong relationship between the involvement of parents and the student's attitudes towards music learning. 

    3. Learning a musical instrument: the case for parental support. Creech, A. (2010). Music Education Research. 

    Sample
    • 263 violin teachers, 352 parents, 337 children (all of whom studied the violin) 
    Methodology
    • The views of parents, pupils and teachers were elicited via the ‘Survey of Parents’ Views’, ‘Survey of Pupil Attitudes to Learning the Violin’ and the ‘Survey of Teacher Attitudes’ developed for this study. 
    • The researcher investigated interactions and interpersonal dynamics outcomes for parents, teachers and children based on information from the surveys. 
    Results
    • The results indicated that generally parents did provide relatively high levels of behavioral support. Behavioral support was at its highest when children were 9-11 years old. 
    • Parents that took a substantial amount of responsibility in the lessons provided their children with the highest amount of behavioral (monitors practice, attends lessons) and personal support (offers help). 
    • Parents did prioritize providing resources for learning in the home, encouraged extra-curricular musical activities and supported their children by attending their concerts. 
    • Cognitive/intellectual support was at it’s highest for the oldest group of students. 
    • Personal support included variables that indicated parents were interested in their children’ s goals and views, rewarded their children with praise and were aware of dynamics between the child and the teacher. 
    Conclusions and The Take-Away
    • Creech examined the dynamics between parent and child as well as parent-child-teacher, very similar to the Suzuki Triangle. She identified different interactions and interpersonal dynamics between parents, children and teachers and examined how those interactions influenced students' enjoyment of music, personal satisfaction, motivation, self-efficacy and self-esteem.
    • As noted in previous studies, the results showed vastly different outcomes for students. No one interaction was clearly superior though certain types of interactions to avoid are suggested


    General Conclusions

    All three studies show the positive effects of parental support in music lessons. Parental support is necessary to developing successful musical skills. 
    • The Davidson, et al, study shows that successful music students have the highest level of parental support in music. 
    • Zdzinski’s study shows that parental involvement and attitudes have an effect on student attitudes and affective outcomes in music. This alone indicates that parental support shapes a student’s attitude toward music. 
    • Creech’s studies show that specific parent-teacher-student interactions have specific outcomes on student’s musical ability.  
    Together, these three studies validate the need for parent support and briefly highlight what types of support is most effective during which age as well as which particular interactions facilitate and yield success. All three studies, with different designs and methods, yield results that validate the wisdom that parents play an important role in children’s motivation, attitudes and achievement. 

    References


    Creech, A. (2010). Learning a musical instrument: the case for parental support. Music Education Research, 12 (1), 13-32.


    Davidson, J. W., Howe, M. J, Moore, D. G., Sloboda, J. A. (1996). The role of parental influences in the development of musical performance. Journal of Developmental Psychology, 14, 399-412.


    Zdzinski, S. F. (1996). Parental involvement, selected student attributes, and learning outcomes in instrumental music. Journal of Research in Music Education, 44, 34-48.