if since want expressive, inspiring playing and singing...
...we have to be (at least) as expressive
as we want our students to be ;-)
DO WE WANT GREAT, COMPELLING RHYTHM?
THEN: GET 'EM UP AND GET 'EM MOVING AND FEELING IT IN THEIR BODIES...
...OF COURSE, WE HAVE TO DO IT, TOO ;-)
THEN: GET 'EM UP AND GET 'EM MOVING AND FEELING IT IN THEIR BODIES...
...OF COURSE, WE HAVE TO DO IT, TOO ;-)
Comments from Participants in
Charles A. Dana foundation workshopS
"What was the Most Important Thing You Learned?"
“The most important thing I have learned is that you create a culture within the classroom. This culture can be child centered and focus on their individual personal needs. A teacher can gain respect from their students by making the learning environment fun and safe and progressive.”
“The importance and the way of deciding on an ensemble culture and musical result - and absolutely not budging until it happens.”
“It is so important to portray a trust in your students as individuals and musicians. Without this sense of trust you cannot create a comfortable learning environment for kids to take risks and assume their own responsibilities.”
“There were many important things that mean very much, which I got from this workshop, but I think the most important was the importance of affirmations. I noticed that regardless of what we do, David always affirms, compliments so that you always feel good about what you have done or are doing."
"I realize from past experiences that being so task oriented and so wanting my students to perfect the music, I would only compliment them when things were going well and for some, they needed more. I will now compliment. I will now affirm. I will always find something good about what my students do before I correct.”
“The true meaning of educate: the Latin educere - 'to draw out of.' I knew the actual meaning of the word before, however I have truly experienced this in these sessions.”
“However silly it sounds, it is only here that I finally understood that we don't conduct the beats, we conduct the music.”
“Being comfortable with the flexibility of the lesson plan. Teachers are very time conscious and for a lesson to really focus on the students instead of the music, you need to be flexible with timing issues. When you give responsibilities to the students, it might take them longer to find the answer, but they are active in the learning and will end up understanding in a better way.”
“Focus on learning, not teaching; focus on the person, not the music. So often I tell my students what to do and how to do it instead of drawing it out of them.”
“I have been inspired in many diverse ways to be a “conductor” of music to all those who desire to grow – and my instincts have been confirmed many times. The drawing out of the truth of my art is constantly being affirmed and validated – and thus I am being validated and confirmed. This gives a renewed sense of resolve to carry on to grow, to excel, etc. I can only say… I want more…..”
“What has come across so strong is the importance of the Whole Person Method and the responsibility we have to draw out that whole person and inspire the individual and group by working with their attributes.”
“To let emotions show and not hold back while conducting.”
“To be sure my motivation is always pure towards the individual or group; as in they sense my desire of wanting them to overcome for them, not for my ego - that they know I really care about them as individuals and therefore their study of music will be more fulfilling and a powerful tool they can draw on for all aspects of life.”
“Connecting and relating to the students and putting the students before the music.”
“When we watch another person’s inner growth in front of the ensemble, it is amazing to see how behaviors change and inner lights shine in each of us from within. What a revelation to all who listen, reflect, and learn!”
“Reinforces my own belief that we are teachers of people (little and big) through the medium of music.”
“The most valuable thing that I learned from this workshop has been the idea of looking beyond the music and to make contact with the individual student. This is an approach that I am familiar with but his workshop has reinforced those beliefs.”
“Empower the children and make them responsible.”
"What Will You Implement at Home?"
• “Creating a class culture - first by defining it, then by using this approach to get
students involved;
• Working with other teachers/ensemble directors to help increase their rapport with
their students.”
• “Developing a culture in my ensembles;
• Taking time to connect with the children in the ensemble by providing opportunities for
feedback."
• "I will try to reflect the character of the piece in gesture and baton technique.”
• “I will use the questioning technique;
• I will change facial expressions to reflect the mood of the music.”
• “Asking questions instead of telling them how to play;
• Putting emotion in my conducting;
• Applying techniques for watching I learned.”
• “Getting the students engaged more so they sense ownership of the process and
result;
• Enforcing concepts and expectations till completion;
• Know what I want specifically before each encounter; consistently, methodically work
towards it.”
• "Rehearsing a point until it is right;
• Surely more facial expressions on my part and implementing physical activity/dance
and so on (on students' part) while solving problems with phrases, rhythm and such
(physical is stronger than mental).”
• “Ask more questions to put the responsibility on the students and give them time to
answer;
• Be persistent and you will get better results;
• Watching is very important to making music together;
• Focus on the students, not on the music;
• Model the behavior you expect form the students.”
• “Getting musicians physically involved in rehearsals;
• Asking them questions and get their minds involved.”
• “Watching and enforcement of watching;
• More communication with my conducting;
• More quality music and less quantity;
• Marking the music as well as my score.”
“The most important thing I have learned is that you create a culture within the classroom. This culture can be child centered and focus on their individual personal needs. A teacher can gain respect from their students by making the learning environment fun and safe and progressive.”
“The importance and the way of deciding on an ensemble culture and musical result - and absolutely not budging until it happens.”
“It is so important to portray a trust in your students as individuals and musicians. Without this sense of trust you cannot create a comfortable learning environment for kids to take risks and assume their own responsibilities.”
“There were many important things that mean very much, which I got from this workshop, but I think the most important was the importance of affirmations. I noticed that regardless of what we do, David always affirms, compliments so that you always feel good about what you have done or are doing."
"I realize from past experiences that being so task oriented and so wanting my students to perfect the music, I would only compliment them when things were going well and for some, they needed more. I will now compliment. I will now affirm. I will always find something good about what my students do before I correct.”
“The true meaning of educate: the Latin educere - 'to draw out of.' I knew the actual meaning of the word before, however I have truly experienced this in these sessions.”
“However silly it sounds, it is only here that I finally understood that we don't conduct the beats, we conduct the music.”
“Being comfortable with the flexibility of the lesson plan. Teachers are very time conscious and for a lesson to really focus on the students instead of the music, you need to be flexible with timing issues. When you give responsibilities to the students, it might take them longer to find the answer, but they are active in the learning and will end up understanding in a better way.”
“Focus on learning, not teaching; focus on the person, not the music. So often I tell my students what to do and how to do it instead of drawing it out of them.”
“I have been inspired in many diverse ways to be a “conductor” of music to all those who desire to grow – and my instincts have been confirmed many times. The drawing out of the truth of my art is constantly being affirmed and validated – and thus I am being validated and confirmed. This gives a renewed sense of resolve to carry on to grow, to excel, etc. I can only say… I want more…..”
“What has come across so strong is the importance of the Whole Person Method and the responsibility we have to draw out that whole person and inspire the individual and group by working with their attributes.”
“To let emotions show and not hold back while conducting.”
“To be sure my motivation is always pure towards the individual or group; as in they sense my desire of wanting them to overcome for them, not for my ego - that they know I really care about them as individuals and therefore their study of music will be more fulfilling and a powerful tool they can draw on for all aspects of life.”
“Connecting and relating to the students and putting the students before the music.”
“When we watch another person’s inner growth in front of the ensemble, it is amazing to see how behaviors change and inner lights shine in each of us from within. What a revelation to all who listen, reflect, and learn!”
“Reinforces my own belief that we are teachers of people (little and big) through the medium of music.”
“The most valuable thing that I learned from this workshop has been the idea of looking beyond the music and to make contact with the individual student. This is an approach that I am familiar with but his workshop has reinforced those beliefs.”
“Empower the children and make them responsible.”
"What Will You Implement at Home?"
• “Creating a class culture - first by defining it, then by using this approach to get
students involved;
• Working with other teachers/ensemble directors to help increase their rapport with
their students.”
• “Developing a culture in my ensembles;
• Taking time to connect with the children in the ensemble by providing opportunities for
feedback."
• "I will try to reflect the character of the piece in gesture and baton technique.”
• “I will use the questioning technique;
• I will change facial expressions to reflect the mood of the music.”
• “Asking questions instead of telling them how to play;
• Putting emotion in my conducting;
• Applying techniques for watching I learned.”
• “Getting the students engaged more so they sense ownership of the process and
result;
• Enforcing concepts and expectations till completion;
• Know what I want specifically before each encounter; consistently, methodically work
towards it.”
• "Rehearsing a point until it is right;
• Surely more facial expressions on my part and implementing physical activity/dance
and so on (on students' part) while solving problems with phrases, rhythm and such
(physical is stronger than mental).”
• “Ask more questions to put the responsibility on the students and give them time to
answer;
• Be persistent and you will get better results;
• Watching is very important to making music together;
• Focus on the students, not on the music;
• Model the behavior you expect form the students.”
• “Getting musicians physically involved in rehearsals;
• Asking them questions and get their minds involved.”
• “Watching and enforcement of watching;
• More communication with my conducting;
• More quality music and less quantity;
• Marking the music as well as my score.”
