| Whether 'tis nobler in the mind, to suffer The slings and | | | | successful method, and an even stronger bond can |
| arrows of outrageous boredom; Or to take arms | | | | develop. But at times the intensity of the |
| against a sea of Twinkles, And by opposing end | | | | parent-student involvement can become a bit |
| them? When Shinichi Suzuki introduced his method of | | | | overwhelming.The traditional approach emphasizes the |
| instructing students in the art of playing the violin it was | | | | development of a skill, and through the acquisition of |
| somewhat controversial.It was, he said, a more natural | | | | that skill the realization that practice and dedication |
| way of learning. The idea was to learn to play the | | | | usually leads to success. Parental involvement is not |
| violin the same way that a person would learn to | | | | usually nearly so intense in the actual instruction and |
| speak their native language, the so-called "mother | | | | practice, and the student is much more likely to play |
| tongue approach" to music education.Suzuki also | | | | recognizable works earlier since he is actually taught |
| explored an area which became known as "talent | | | | notes sooner.The Solution?Integrate the best of both |
| education." The word "saino" in Japanese can be | | | | methods and then throw in a little fiddle! An integrated |
| translated ability or talent. But it can also be used to | | | | system of listening, observing, performing and having |
| mean the development of an ability or personal trait, | | | | fun seems to me the best approach.There is no doubt |
| such as one's character. As such, Talent Education | | | | that listening to the works to be performed is beneficial. |
| came to refer to the development of skill, knowledge | | | | There is no doubt that repetition can be tremendously |
| and character. A seemingly well-rounded | | | | important in skill acquisition. There is no doubt that |
| approach.Suzuki developed a repertoire and a | | | | music theory introduced early becomes a strong |
| curriculum, and teachers from all over the world visited | | | | foundation on which a student can build an amateur (or |
| his institute in Matsumoto, Japan to learn his techniques. | | | | even professional) music career. And there is no doubt |
| The method spread from the violin to other | | | | that students learn from seeing and interacting with |
| instruments including piano, cello, guitar and harp. There | | | | other students.What we need is a single system |
| are more than 8,000 teachers worldwide who endorse | | | | integrating the whole world of violin into a happy |
| his methods and follow his curriculae. More than | | | | amalgam.Why not start with a Suzuki approach in |
| 250,000 students study music by the Suzuki | | | | which the parents are introduced to the instrument and |
| method.The question becomes, "Is the Suzuki method | | | | understand the instructor and her expectations at the |
| right for you and your student?"A Quick Comparison | | | | start? Allow parents to observe lessons and |
| of Traditonal violin study vs. Suzuki.Suzuki* The Suzuki | | | | encourage them to participate in practices at home! |
| method of study emphasizes parent involvement and | | | | Teach the parents the games that Suzuki students |
| parent-student interaction. Parents take several | | | | play with their bows and let them play along the same |
| classes prior to the start of their student's studies and | | | | way they would in a Suzuki studio!But at the same |
| are encouraged to participate in the student's lessons | | | | time, why not let the students start working on note |
| once they have begun. Parents are also the primary | | | | recognition at the same time they learn technique? |
| means of motivating the student to practice and of | | | | When we show them the violin's A-string, show them |
| making sure that the student follows the instructions | | | | the note on the staff! When we show them the |
| once the lesson is complete and the student has | | | | D-string, show them the notation, too. Why not use the |
| returned home. This means that the parent will, at least | | | | flash card or "big book" approach that is used in our |
| at the beginning, be actively involved in every single | | | | schools and hold up a picture of a rest symbol when |
| practice session. * The Suzuki method emphasizes | | | | we want them to be quiet? Let the student see as |
| both active and passive learning. Before a student | | | | well as hear what they are doing. It seems to me that |
| ever touches a violin he is exposed to the music he will | | | | this is really implementing Shenichi Suzuki's message. |
| play in the form of recordings.These recordings are | | | | Just as we don't expect our children to communicate |
| repeated over and over until they are completely | | | | only verbally and we show them how we use written |
| "internalized" by the student. In doing this it is believed | | | | language early on, we should let the student see what |
| that the student will have a tremendous advantage in | | | | they are playing, not just hear it. In the same way that |
| learning to play the music that he has already heard . . . | | | | our four-year old daughter used to "write" stories by |
| in some instances hundreds of times. And for quite | | | | scribbling lines on a page, she could have "composed" |
| some time the only thing that the student will play is | | | | songs by drawing on a staff. And think of how |
| "Twinkle, Twinkle Little Star." * The Suzuki method | | | | powerful it would have been if she had learned to play |
| encourages students to learn by following the example | | | | and read individual notes and had "discovered" that |
| of other students and by interacting with them on a | | | | she could read or write the melody herself!Regarding |
| regular basis. Individual instruction takes place | | | | fiddle, a child who picks up the fiddle doesn't particularly |
| one-on-one with the teacher or in a "small group." This | | | | care about if he is holding the fiddle correctly. He |
| is where the student actually receives hands-on | | | | doesn't care if he can read the notes on the staff. All |
| instruction by the teacher. But periodically the Suzuki | | | | he wants to do is play something that sounds good |
| student will attend "group lessons." At these group | | | | and have fun. He is highly motivated, and is thrilled |
| lessons the student interacts with other students from | | | | when he finds out that he can producing something |
| his teacher's studio. They play together. They study | | | | that makes him smile, although those others may really |
| together. And hopefully they progress together.In any | | | | want to plug their ears. We need our young students |
| case, when other students are present students who | | | | to be excited about picking the instrument up! We |
| are not actively being instructed are urged to sit and | | | | need our young students reluctant to put the |
| observe what is happening. * Individual lessons | | | | instrument down. We need our students to truly |
| frequently concentrate on a single "teaching point." | | | | experience success on their instrument very soon |
| Progress is made one step at a time in one area at a | | | | after they first touch the instrument!And let's integrate |
| time. At least early in the learning process more | | | | listening in a realistic way! Why not let the students |
| emphasis is placed on the student's posture, technique | | | | hear the music they will play, but also introduce them |
| and tone production than on playing recognizable tunes. | | | | to the local symphony orchestra or bluegrass group so |
| In fact, many Suzuki students don't even start their | | | | that they don't think that violins only exist on CD's. And |
| violin careers with a violin, they use a box on which | | | | speaking of CD's, develop a library of a recordings that |
| they can bow so that they learn proper position first. * | | | | feature the violin in various settings. The Suzuki CD's |
| Music reading is not emphasized until the student has | | | | are fine if that is all you are playing, but what about |
| mastered basic performance skills on the instrument | | | | Sarah Chang's recording of Sarasate's Concert |
| itself.Traditional* In traditional instruction there is usually | | | | Fantasy on Carmen when she was just nine years old, |
| no active involvement of a student's parents other | | | | and Stephane Grappelli's Jazz in Paris album so that |
| than observing practices. While parents are often | | | | there is some jazz violin in the house, and maybe even |
| encouraged to attend lessons, the majority of | | | | an album by the all-woman string quartet Bond.We |
| instruction usually takes place outside the parent's | | | | need to find a way to motivate students to want to |
| presence. The parent is requested to monitor a | | | | learn more about the violin. Maybe a daily visit to will |
| student's practice (or at least the amount of time | | | | help! Maybe a T-Shirt they can wear or some other |
| practiced), but are usually not a part of the practice | | | | visual cue in their room will do the trick!We can see |
| itself. * Instruction is often only one-on-one with the | | | | that the theme parks, the children's television networks, |
| instructor. Unless the instructor is part of a school | | | | the toy companies and the fast food restaurants |
| district program, or has taken the initiative to form | | | | realize that the key to influencing your child's decisions |
| some sort of ensemble group the student does not | | | | is a multi-sensory approach. We should be just a wise |
| usually interact with other students at his skill level. If | | | | as they are in our approach to our children.The Bottom |
| ensembles do exist, they are usually focused on | | | | LineEither the Suzuki or Traditional method can |
| performing works together as opposed to Suzuki | | | | produce competent violinists. If parent-student |
| group lessons that may be focused on developing a | | | | interaction in what can be a frustrating situation is good |
| technique together. * Listening to music that will be | | | | - by all means consider Suzuki. But if intense |
| played may be encouraged, but it is not usually an | | | | child-parent interaction frequently leads to tears in |
| integral (or even integrated) part of the program. * | | | | either party, the traditional approach is probably better. |
| Emphasis is placed on reading music very early. See | | | | And in either case, make sure that the relationship |
| the note, learn the note, play the note is quite common. | | | | between child, parent and teacher is a good one. |
| after several weeks of instructionSeveral weeks in | | | | Three individuals tugging in different directions never |
| the student can already recognize the written notes | | | | make good progress. Finally, have fun with the violin. |
| that he will play.My Evaluation: A Pox on Both Their | | | | After all, we don't say that I "work" the violin . . . the |
| Houses!Both Traditional and Suzuki methods have | | | | verb we use is "play."Arthur Haule studied violin in a |
| strengths and weaknesses.Suzuki emphasizes | | | | traditional program for ten years. He participated in |
| teaching a philosophy through which a skill can be | | | | several orchestras in the New York City area and |
| developed. A successful Suzuki student will be a good | | | | founded a string quartet. He has taken part in several |
| performer early if he doesn't burn out playing and | | | | music festivals and even acted as a violin coach. He is |
| hearing Twinkle over and over. If there is a good | | | | currently webmaster of -- a place for violinists of all |
| student-parent dynamic this can also be a really | | | | ages, persuasions and skill levels to gather. |