CHAPTER ONE: INTRODUCTION
Children between the ages of four at nine are usually at one of the most crucial stages of life development. This is the stage where the children start understands some of the worldly concepts in a more complex manner and start to decipher the information that is fed to them in ways that that are more refined. It is also at this stage that children start discovering what they are passionate about life and slowly start to become excited these passions. It is, therefore, very crucial that at this stage, children are nurtured in the right manner, especially when it comes to their passion because it may become extremely useful in their future lives.
One of the passions shared by many children at this stage is the passion for music. The passion for music may be inculcated into children from an early age due to exposure to musical environments, for instance, television and radio stations that play music all day. Alternatively, the passion for music in children may be inculcated into them due to exposure to musical instruments available at home (Gordon, 23). For example, it is common to find pianos in many residential homes and the presence of such tools may create a desire in a child to learn to play that particular instrument. Alternatively, schools have developed programs that aim to stimulate children to have passion for music because music is considered a global language, heard and understood by all. In addition, music has many other disadvantages that will be explored later in this thesis.
This thesis is aimed at all piano teachers, both current as well as those who hope to venture into the discipline in the future. Particular focus is given to piano-teaching pedagogy to children who are between the ages of four and nine. The thesis is intended to be manual for these teachers and is aimed at imparting them with sufficient knowledge about working with children between the ages of four and nine. The presentation of this knowledge and information will be done through a narration of personal experiences in the teaching of pianos to children of this age group and documented literature as well as research reports assembled over the years by various music specialists and experts. It is hoped that this manual will complement the knowledge of piano teaching already held by piano teachers or may be give them entirely new outlook on things in regards to piano teaching to children between the ages of four and nine.
Piano studies are extremely useful in a child’s cognitive and musical development. As mentioned earlier, Children between the ages of four at nine are usually at one of the most crucial stages of life development (Campbell and Scott-Kassner, 56). It is therefore important that if children are to be taught piano skills, it be around the age of four so that they can have adequate time to learn all the vital concepts. In addition, piano learning at the age of four is advisable because it is at this stage that children start to master and understand such complex skills. At younger ages, they may be completely bewildered by the new information being fed to them and at older ages, it may be too late. Every piano teacher whom deals with children who between the ages of four to nine need to study and understand the musical development if their students to be able to study how such students attain, retain, and finally apply knowledge at their various stages of both intellectual and physical development. The sole objective of a piano lesson is not to simply impart knowledge about the black and white keys and various sounds they produce; rather, the program should be designed in a manner that nurtures both their creativity and growth (Scoot Kassner, 56). This is why the exploration of this topic on the nurturing of children through piano is extremely vital and important.
A lot of research has been conducted on this topic. These studies have concentrated on the most efficient ways of teaching children (specifically those of ages four to nine) and the benefits of piano studies not only to their cognitive development but also to their social development. Jackson states that there are a many piano teaching methodologies designed for piano learners of various age groups (43). However, there seems to be deficiency in research when it comes to the piano teaching methodologies for children aged between four and nine (Uzzelr, 1991). The learners in this age group learn quite differently from the learners of other age groups, and consequently, efficient teaching methodologies must be employed. This is another aspect that makes this extremely important because through it, the most efficient teaching methods for children in this group will hopefully be explored.
Since most of the children between these ages are at the beginner level, research has sought to find the most effective way of teaching them about playing the piano. One teaching methodology that has been found to be very effective has been the Suzuki method. Suzuki is a method of teaching the piano that derives its name from Japan (Jackson, 43). According to Suzuki who is Japanese, children usually display their massive capacity to learn new things by communicating as well as understanding the language that they have been brought up with from a young age. He mentions that the mother tongue most probably is the holder of the key to the development of humans. Suzuki made an observation on how quite easily kids learn their mother language form a young age a linear process that involves initially listening, using the heard language through repetitive copying and finally learning to write and read by the use of graphical symbols (Suzuki, 35). In relation to piano teaching, it merges that rote teaching is essentially the foundation of the Suzuki method. Suzuki holds the belief that if a child learns to work to play particular music instrument, he or she essentially develops a talent for overcoming difficult problems b working. Consequently, he held a belief that music talent is not really a gift that is inborn; it is rather an ability that can be developed by anyone via sufficient education.
Another researcher who has conducted studies on piano pedagogy is Carl Off, a German pianist. His work titled “Schulwerk: Music fur Kinder” (Warner, 1991, p.6) depicts his piano pedagogy lessons throughput his life. In regards to the focus age group, his work reveals several philosophies that are quite applicable to the age group. The most distinguishable one is the importance of utilizing the pentatonic scale (that is, do-re-mi-sol-la) when it comes to the children of ages four to nine. According to Orff, the piano’s black keys do the creation of this pentatonic scale and the scale can essentially be used for exercises of improvisation without the effect of dissonant sounds. He also advocates for the use of ostinato patterns.
Another major element of Orff that is relatable to piano pedagogy of children aged is the construction of music material from a child’s childhood experience (Walder, 1991, p.10). Such music emphasizes a child’s heritage and makes him motivated to learn even more. He also advocates for the use of movement, creative activities and singing in the teaching of music.
As mentioned, the nurturing of children aged four to nine has several benefits to the child. Those who particularly at an early age, for instance ate age four accrue several benefits that include the nurturing of their imagination, creativity, curiosity and self-esteem.
It has been found that the introduction of music to young children through studying the piano has an effect on other learning or general education outcomes. The knowledge acquired transcends the pure musical facts and spills over to other experiences of learning. Piano studies for children between the ages of four and nine nurture nit only their musical growth but also non-musical growth and general development. Consequently, a piano teacher such as myself needs both adequate knowledge of as well as access to the materials and teaching methods that cultivate most of these development needs and requirements of young children.
In my experience, I have found that students, who study piano throughout their childhood, focus better in their school curriculum. Studies have shown that students, who study music, develop traits of self-discipline and self-regulation-- thinking before doing--, which reduces impulsive behavior and encourages children to think things through to avoid random behavior (Portowitz, Lichtenstein, Egorova and Brand, 5).
Piano studies bring positive influence to children at this age group. Though children attend school to study academic subjects, such as math, language arts, and science, those who study music develop the capabilities to enhance these subjects. First, music studies entail recognizing various entities, such as the melodic and rhythmic motives. The skill to identify melodic and rhythmic motives will assist children to recognize patterns in language arts. Secondly, studies have discovered the connection between musical and spatial reasoning abilities. (Portowitz, Lichtenstein, Egorova and Brand, 5). Spatial-temporal reasoning is the individual’s ability to visualize patterns and manipulate them mentally. It involves maintaining and transforming mental images in the absence of a physical model. This ability is required for higher brain functions in subjects, such as, math and science. Therefore, children, who have not had piano lessons, may perceive music listening as a linear experience, for they only recognize the melody. On the other hand, children, who have studied piano, would be able to enjoy music listening as a multidimensional and spatial experience, for they also recognize harmony, rhythm, and dynamics.
When I first started teaching piano, I was very green or inexperienced in a variety of aspects. I, for instance, did not know how to deal with young children such as the ones between the ages of four and nine. Most of the children in this can be very annoying and this can consequently make the teacher to become impatient or even frustrated. I went through all these emotions in my first few months in piano teaching. I however started conducting my own research on piano teaching, especially with focus on children of the mentioned age group. I scoured various internet sites and groups, journals, books, newspapers and magazine articles and even independent publications.
It was from these publications as well as crucial advice from my peers in the same discipline that have enabled me to become the piano teacher that I am today. I have leant a colossal amount of effective piano-teaching pedagogy to children between the ages of four and nine and largely, it has worked. I cannot say that I am perfect because I am still learning but I have even received rave reviews from my co patriots who are extremely by my methods.
In writing this thesis, I also interviewed several professional teachers to get an insight into their teaching methodologies and their general sentiments towards the art of piano teaching. I particularly wanted to know what methods of teaching they think are most effective in their learners. I also wanted to know their general experiences working with learners of the age group four to nine. What was is the most exciting aspect of working with this age group? What is the most frustrating aspect? What kind of knowledge apart from music is imparted to these children apart from music?
The overwhelming response seems to indicate that every teacher has his own brand of teaching approach to learners of this age group. However, the uniting factor was that almost the professionals understood and called for patience with learners of this groups as well as the importance of constructive criticism. As will be seen later in this essay, I significantly incorporate these aspects into my piano-pedagogy teaching.
Chapter 6 Humanities
In addition, listening to recording pieces exposes children to various humanistic skills. These include creativity whereby the child can hear a certain recording and spontaneously come with a way of making the recording better. In addition, listening to recordings equips the children with listening skills that may come in handy in their future endeavors. When children are seated down listening to an already recorded piece, they are forced to give all their attention to the piece to capture all its attributable aspects. They are essentially forced to listen to each word of the recording. Doing this does not only enable the children to fully comprehend the they are listening to, it improves their listening skills in general. They learn how to pay attention in all aspects of life and this greatly improves their social lives seeing that they are able to interact with others and understand them. In simple terms, listening to recorded music enables them to be able to pay attention in detail, something that they may find very useful in their daily interactions, to not only fellow musicians but also the general society.
Chapter 6Why is it important for students to overcome fear of public performances? Is this only of value for those who aspire to become professional musicians?
Overcoming the fear of public performances means that an artist can be prepared to venture into the stage at any moment without any signs of hesitation or nervousness. In addition, it exposes one’s artistic skill to many, something that I am always sure to remind my students. No one will ever know how talented or skilled you are if you never present your artistry to a big audience. Doing this will enable people to appreciate your skills.
Works Cited
Uszler, M. The American beginning piano method: View and viewpoint part one: Roots and branches. The Piano Quarterly, 120,12 (1982). Print.
Uszler, M. The preschool student. In S. Gordon, E. Mach, & M. Uszler (Eds.), The well-tempered keyboard teacher (35-54). New York: Schirmer Books, 2000. Print.
Warner, B. Orff-Schulwerk: Applications for the classroom. New Jersey: Prentice Hall. 1991.
Scott-Kassner, C. Developing teachers for early childhood programs. Music Educators Journal 86. 1, (1994): 19-25.
Suzuki, S. On character formation. Talent Education Journal, 17 (1984): 29-40
Campbell, P. & Scott-Kassner, C. Music in childhood: From preschool through the elementary grades New York: Simon and Schuster Macmillan, 1995. Print
Gordon, E. A music learning theory for newborn and young children Chicago: GIA, 1990. Print
Jackson, A. Piano lessons at age four. American Music Teacher 31.3 (1982): 42-43. Print
Portowitz, Adena, Osnat Lichtenstein, Ludmula Egorova, and Eva Brand. " Underlying Mechanisms linking Music Education and Cognitive Modifiability." Sage. 2009. Web
