Instrumental teaching:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
London
Oxford Univ. Press
2007
|
| Edition: | 1. publ. |
| Series: | Oxford music education series
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XII, 224 S. graph. Darst. |
| ISBN: | 9780193359086 |
Staff View
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Record in the Search Index
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| adam_text | Contents
List of figures and tables
xi
List of abbreviations
xiii
1.
Introduction
1
Instrumental teaching
—
a challenge
1
What are instrumental lessons for?
5
This book
8
2.
Why teach an instrument?
11
Why teach? Early days
11
To train, or not to train?
20
Music undergraduates as instrumental teachers
23
3.
Instrumental teachers
33
Two case studies of instrumental teachers
33
Autonomy of instrumental teachers
42
On quality
51
4.
Why take instrumental lessons?
59
Why take instrumental lessons rather than teach yourself?
60
A teacherly view
65
The learners and carers view
72
The advanced western classical learner s view
76
An emphasis on performance
80
5.
What instrument?
85
Choosing an instrument
85
Advising students about which instrument to play
86
Is there an instrument that I could play?
90
1985
revisited
103
6.
Instrumental lessons, music, and
Ufe
109
Systems 111
A broad approach to music
112
Learning that broadens
125
Music helping other learning
128
X
CONTENTS
7.
The first lesson
133
Choices
133
Ethos
137
On reflection
141
8.
Planning a programme of lessons
147
Planning
—
what?
148
Planning
—
how?
151
Teaching of skills
154
Focus on music
159
Repertoire
161
Avoiding obstacles
165
Trying different strategies
169
Drawing on relevant research
171
9.
Practice makes perfect?
173
Why practise?
173
Practice as a chore
176
Practice as play
180
10.
Some myths of instrumental learning and teaching
185
There are some pairs of instruments that a student
should never study concurrently
186
Instruments must be learned at a young age, or not at all
187
When teaching students a piece that is new to them, a
teacher should begin by getting the notes right, and add the
expression later
188
Perfect pitch
—
either you are born with it, or you will
never acquire it
189
You cannot join an ensemble until you are an
accomplished player
190
It is better to be taught individually rather than in groups
191
11.
So, why teach an instrument?
195
Appendices
1.
Nuts and bolts: frequently asked questions (FAQs)
199
2.
How not to learn to read music
205
Suggestions for further reading
211
References
213
Index of Authors
221
General Index
223
Figures and tables
Figures
1.
Comparison of music undergraduates in the UK, Australia, and
US as instrumental teachers
28
2.
(a)-(e) Ofsted inspection of the instrumental teaching in a sample
of over
20
LEA music services
54
3.
Reasons for playing instruments (O Neill
2002: 11) 75
4.
What is in your child s bedroom?
(
Times Educational
Supplement survey of
500
parents)
115
5.
Project
9:
New ears, from Sound and Structure
122
6.
(a)-(f
)
Drawings illustrating the notation and perception of
rhythm by a student aged
8 207
7.
(a)-(c) An adult who has not learnt to read music uses
counters in two sizes and up to two colours to represent rhythms
208
Tables
1.
RCM undergraduates as instrumental teachers
26
2.
Three teachers hallmarks of effective instrumental teaching
at school and in higher education
44
3.
The top ten hallmarks of effective teaching at school and
in higher education
49
4.
Some typical parental hopes
76
5.
The musicality test
95
6.
Difficulty of instruments considered after the completion
of the three tests
96
7.
Trumpet
—
current student
100
8.
Percentage of girls and boys who most want to play and
actually play specific instruments
107
X¡¡
FIGURES
AND TABLES
9.
Percentage of children s responses for singing, aged
10
to
11 113
10.
Percentage of children s responses for listening to music,
aged
10
to
11 114
11.
Extracts from the assessment form of a
10
year old
119
12.
Extracts from Programme Study
1
of
Λ
Common Approach
2002:
Strings (FMS
et al. 2002c
9) 120
13.
Extracts from Programme Study
5
of
Λ
Common Approach
2002:
Strings
(БМЅ
et al. 2002c
57, 59) 121
14.
A first bassoon lesson
137
15.
An introductory unit of five lessons for bassoonists
(A Common Approach
2002:
Woodwind)
138
16.
Hey, I m good at this!
—
some practical tips
150
17.
Principles of ergonomics
167
18.
Concerts: learning at play
168
19.
At play at home: students practice
—
some practical tips
182
List of abbreviations
ABRSM Associated Board of the Royal Schools of Music
DfE Department for Education (now Department for Children,
Schools and Families)
DfEE Department for Education and Employment (now
Department for Children, Schools and Families)
ESRC Economic and Social Research Council
FAQs frequently asked questions
FMS Federation of Music Services
HE higher education
HEFCE Higher Education Funding Council for England
ISM Incorporated Society of Musicians
LEA Local Education Authority (now Local Authority)
NC National Curriculum
NIAS
Northamptonshire Inspection and Advisory Service
Ofsted Office for Standards in Education
PGCE Postgraduate Certificate of Education
QAA Quality Assurance Agency (for Higher Education)
QCA Qualifications and Curriculum Authority
RCM Royal College of Music
RNCM Royal Northern College of Music
RSAMD Royal Scottish Academy of Music and Drama
TLRP Teaching and Learning Research Programme (of ESRC)
YPMPP Young People and Music Participation Project (of ESRC)
|
| adam_txt |
Contents
List of figures and tables
xi
List of abbreviations
xiii
1.
Introduction
1
Instrumental teaching
—
a challenge
1
What are instrumental lessons for?
5
This book
8
2.
Why teach an instrument?
11
Why teach? Early days
11
To train, or not to train?
20
Music undergraduates as instrumental teachers
23
3.
Instrumental teachers
33
Two case studies of instrumental teachers
33
Autonomy of instrumental teachers
42
On quality
51
4.
Why take instrumental lessons?
59
Why take instrumental lessons rather than teach yourself?
60
A teacherly view
65
The learners' and carers' view
72
The advanced western classical learner's view
76
An emphasis on performance
80
5.
What instrument?
85
'Choosing' an instrument
85
Advising students about which instrument to play
86
Is there an instrument that I could play?
90
1985
revisited
103
6.
Instrumental lessons, music, and
Ufe
109
Systems 111
A broad approach to music
112
Learning that broadens
125
Music helping other learning
128
X
CONTENTS
7.
The first lesson
133
Choices
133
Ethos
137
On reflection
141
8.
Planning a programme of lessons
147
Planning
—
what?
148
Planning
—
how?
151
Teaching of skills
154
Focus on music
159
Repertoire
161
Avoiding obstacles
165
Trying different strategies
169
Drawing on relevant research
171
9.
Practice makes perfect?
173
Why practise?
173
Practice as a chore
176
Practice as play
180
10.
Some myths of instrumental learning and teaching
185
There are some pairs of instruments that a student
should never study concurrently
186
Instruments must be learned at a young age, or not at all
187
When teaching students a piece that is new to them, a
teacher should begin by getting the notes right, and add the
'expression' later
188
Perfect pitch
—
either you are born with it, or you will
never acquire it
189
You cannot join an ensemble until you are an
accomplished player
190
It is better to be taught individually rather than in groups
191
11.
So, why teach an instrument?
195
Appendices
1.
Nuts and bolts: frequently asked questions (FAQs)
199
2.
How not to learn to 'read music'
205
Suggestions for further reading
211
References
213
Index of Authors
221
General Index
223
Figures and tables
Figures
1.
Comparison of music undergraduates in the UK, Australia, and
US as instrumental teachers
28
2.
(a)-(e) Ofsted inspection of the instrumental teaching in a sample
of over
20
LEA music services
54
3.
Reasons for playing instruments (O'Neill
2002: 11) 75
4.
What is in your child's bedroom?
(
Times Educational
Supplement survey of
500
parents)
115
5.
Project
9:
New ears, from Sound and Structure
122
6.
(a)-(f
)
Drawings illustrating the notation and perception of
rhythm by a student aged
8 207
7.
(a)-(c) An adult who has not learnt to read music uses
counters in two sizes and up to two colours to represent rhythms
208
Tables
1.
RCM undergraduates as instrumental teachers
26
2.
Three teachers' hallmarks of effective instrumental teaching
at school and in higher education
44
3.
The 'top ten' hallmarks of effective teaching at school and
in higher education
49
4.
Some typical parental hopes
76
5.
The musicality test
95
6.
Difficulty of instruments considered after the completion
of the three tests
96
7.
Trumpet
—
current student
100
8.
Percentage of girls and boys who most want to play and
actually play specific instruments
107
X¡¡
FIGURES
AND TABLES
9.
Percentage of children's responses for singing, aged
10
to
11 113
10.
Percentage of children's responses for listening to music,
aged
10
to
11 114
11.
Extracts from the assessment form of a
10
year old
119
12.
Extracts from Programme Study
1
of
Λ
Common Approach
2002:
Strings (FMS
et al. 2002c
9) 120
13.
Extracts from Programme Study
5
of
Λ
Common Approach
2002:
Strings
(БМЅ
et al. 2002c
57, 59) 121
14.
A first bassoon lesson
137
15.
An introductory unit of five lessons for bassoonists
(A Common Approach
2002:
Woodwind)
138
16.
'Hey, I'm good at this!'
—
some practical tips
150
17.
Principles of ergonomics
167
18.
Concerts: learning at play
168
19.
At play at home: students' practice
—
some practical tips
182
List of abbreviations
ABRSM Associated Board of the Royal Schools of Music
DfE Department for Education (now Department for Children,
Schools and Families)
DfEE Department for Education and Employment (now
Department for Children, Schools and Families)
ESRC Economic and Social Research Council
FAQs frequently asked questions
FMS Federation of Music Services
HE higher education
HEFCE Higher Education Funding Council for England
ISM Incorporated Society of Musicians
LEA Local Education Authority (now Local Authority)
NC National Curriculum
NIAS
Northamptonshire Inspection and Advisory Service
Ofsted Office for Standards in Education
PGCE Postgraduate Certificate of Education
QAA Quality Assurance Agency (for Higher Education)
QCA Qualifications and Curriculum Authority
RCM Royal College of Music
RNCM Royal Northern College of Music
RSAMD Royal Scottish Academy of Music and Drama
TLRP Teaching and Learning Research Programme (of ESRC)
YPMPP Young People and Music Participation Project (of ESRC) |
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| index_date | 2024-07-02T18:35:51Z |
| indexdate | 2024-07-09T21:05:59Z |
| institution | BVB |
| isbn | 9780193359086 |
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| spelling | Mills, Janet Verfasser aut Instrumental teaching Janet Mills 1. publ. London Oxford Univ. Press 2007 XII, 224 S. graph. Darst. txt rdacontent n rdamedia nc rdacarrier Oxford music education series Instrumental music Instruction and study Instrumentalunterricht (DE-588)4027218-7 gnd rswk-swf Musikerziehung (DE-588)4040843-7 gnd rswk-swf Instrumentalunterricht (DE-588)4027218-7 s Musikerziehung (DE-588)4040843-7 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015985311&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Mills, Janet Instrumental teaching Instrumental music Instruction and study Instrumentalunterricht (DE-588)4027218-7 gnd Musikerziehung (DE-588)4040843-7 gnd |
| subject_GND | (DE-588)4027218-7 (DE-588)4040843-7 |
| title | Instrumental teaching |
| title_auth | Instrumental teaching |
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