Pathways for Teaching – Page 2

The Gamification of Musical Learning

Supporting Educators • Promoting Learning
Written by ANDREW EALES

The rise and rise of electronic video, console and computer games over the last two decades has been spectacular. From Pokémon to Grand Theft Auto, and from Minecraft to Wii Sports, games have become hugely popular and lucrative, and some academics even suggest that they are now the dominant cultural form of the 21st century.

In his much-discussed paper Manifesto for a Ludic Century, Eric Zimmerman suggests that while the twentieth century was the age of information and of moving pictures, the twenty-first is the ludic (game-centric) century.

Zimmerman enthuses,

“Increasingly, the ways that people spend their leisure time and consume art, design, and entertainment will be games, or experiences very much like games.”

We certainly see growing evidence of gamification in music education, and in this article I will be considering and reflecting on the transformative impact this may be having, for better or worse…

Singing in Aural Tests: the Bottom Line

PATHWAYS FOR TEACHING

Supporting Educators • Promoting Learning
Written by ANDREW EALES

The topic of singing in aural tests has long been a contentious one, but has become more so in recent years. Not only have growing numbers of teachers noted how unpopular the singing tests are, but research in the field of cognitive science now casts doubt on the previously assumed validity of such tests.

In this article I will explore the requirements of the five main boards, consider the links between singing and “audiation”, touch on some basic scientific research (with links for those wanting to read more) and suggest change.

A Common Approach 2022

PATHWAYS FOR TEACHING

Supporting Educators • Promoting Learning
Written by ANDREW EALES

Originally published in 2002, A Common Approach is perhaps the ultimate instrumental music teaching manual, offering a complete curriculum and extensive lesson activities for most instruments, including separate schemes of work for piano and electronic keyboard.

Now it has just been fully revamped and made available as an updated, free online resource to support instrumental teachers everywhere. Whether working privately or in a school, all piano and keyboard teachers would do well to have a look at this extensive and superb material.

According to its publishers Music Mark,

“A Common Approach is an online resource to support music educators in their teaching practice and help develop a holistic approach to music education. Relevant to all vocal and instrumental teaching, including individual, small-group, large-group and whole-class lessons, music educators at all stages of their career can use the support and shared learning found in A Common Approach.”

Music Mark Chief Executive Bridget Whyte tells us,

“Twenty years after the original version of A Common Approach was published, Music Mark has worked with a skilled team of music tutors from across the UK to update and enhance this valuable teaching tool. Containing both universal guidance and instrument-specific content, this online resource not only provides a great starting point for trainee and early-career tutors, but also gives those who are more experienced the opportunity to reflect on their practice.”

This has particular interest to me because back in 2002, I was a member of the national steering group who put together the original version of A Common Approach which provides the ongoing foundation of this update.

It’s therefore time both to take a short stroll down memory lane, and to consider how the updated version of this milestone resource can help piano teachers today…

How to Practise Music

I am thrilled to announce my first publication with Hal Leonard, the world’s leading music publishing company.
An affordable pocketbook, How to Practise Music is packed with practical tips to empower your musical progress.

The book is described by the publishers in these words, and is available in both UK and US versions (Practice/Practise):

“The essential, pocket-sized companion for every musician. Accessible and authoritative, How to Practise Music is an ideal guide for anyone learning to play music. Suitable for instrumentalists and vocalists of any genre, this comprehensive handbook will give you a better idea of how to practise music, good reasons for doing so, and the confidence to succeed. “

UK EDITION • PURCHASE

US EDITION • PURCHASE

Teaching Adults to Play the Piano

PATHWAYS FOR TEACHING

Supporting Educators • Promoting Learning
Written by ANDREW EALES

There has been an interesting and persistent debate in recent months about whether adult students can effectively teach themselves to play the piano (tapping into the growing plethora or apps, books, etc), or whether there is an essential ongoing need for a teacher’s involvement. I have addressed this in my recent article Who Needs Piano Lessons Anyway?

But while there’s no shortage of arguments for learning with a “good teacher”, many seem to struggle finding one who is sympathetic to their goals and in tune with the needs of adult learners.

In this post I will therefore share some of the strategies which have worked for me over the last three decades of teaching these enthusiastic learners.

Andor Földes on being a ‘Child Prodigy’

PATHWAYS FOR PLAYING

Supporting Your Piano Playing Journey
Written by ANDREW EALES

The pianist Andor Földes (1913-1992) was one of the great child ‘prodigies’ of the early twentieth century, making his public debut performing a Mozart concerto with the Budapest Philharmonic in 1921 when he was just 8 years old, and entering the Liszt Academy (where he studied with the great Ernst von Dohnányi and Béla Bartók) before he was even a teenager.

Földes went on to enjoy a hugely successful concert and recording career, as well as writing several books, including the seminal Keys to the Keyboard (1950, sadly no longer in print, but an exceptionally wise and notably humane book).

Achievement, Assessment and Motivation

PATHWAYS FOR TEACHING

Supporting Educators • Promoting Learning
Written by ANDREW EALES

With a single Tweet, the exam board ABRSM have in the last week provoked what they have themselves described as a “passionate debate”.

Defending their stance, ABRSM confirmed that these are the words of their Chief Examiner, John Holmes, quoted from a presentation at an event in London. In the context of his talk, Holmes will no doubt have made many other points, adding balance and nuance to his position.

That said, his view of a “virtuous circle of motivation” was surely not made up on the spot. We must accept this as his well-rehearsed position on the nature of and relationship between musical achievement, assessment and intrinsic motivation.

Discussion of these important concepts must be welcomed. As teachers it is our basic responsibility to question ideas, absorb good material, develop subject knowledge and promote better understanding. These issues are of course also of interest and importance to the parents of any child learning to sing or play a musical instrument.

Together, let’s begin to unpack some of the many positive ways that we can all celebrate our childrens’ and our own adult achievements.

ABRSM’s Performance Grades

PATHWAYS FOR PLAYING

Supporting Your Piano Playing Journey
Written by ANDREW EALES

In the last couple of weeks I have come across two well argued letters in the music press, the first by Alex Aitken and published in the September 2021 issue of Music Teacher magazine, the second by Pauline Carter and appearing in the October issue of the BBC Music Magazine.

Both writers lament a perceived decline in music education and single out ABRSM as being uniquely responsible. However, the very different solutions they propose point to the significant challenge that the board will face in charting a path that reconnects with all their stakeholders, and which restores confidence following their difficulties during the pandemic.

It is certainly beyond doubt that many in music education are reflecting anew on the role, relevance and value of music exams. For one thing, a lot of players continued to make excellent (sometimes better) progress in the absence of graded exams, discovering renewed enjoyment by focusing on a broader, less prescriptive curriculum.

On the other hand, the challenges of recent years have seemingly led to a diversification of approach, a confusing smorgasbord of options now available both online and face to face, offered by a growing number of exam boards who are equally accredited (if not all as widely known), and with a fading sense of a common recognised standard.

In this article, I will be reflecting on ABRSM’s new Performance Grades, and considering where they fit into this complex picture…

Musicians Who Teach

THE PIANODAO BOOKSHELF

Products featured here are selected for review by ANDREW EALES
Find out more: ABOUT PIANODAO REVIEWS

Faber Music’s latest publication is a slim book called The Essential Handbook for Musicians Who Teach.

Written by singing teacher, researcher and lecturer Dr. Kerry Boyle and Diane Widdison, formerly National Organiser for Education and Training at the MU, the book is aimed at any musician teaching in the UK, whatever the context, and offers a wealth of generic advice covering the many practical aspects of earning money from instrumental/singing teaching.

I’ll look at the content in detail, and let’s find out whether this new handbook is indeed “essential”….

Making Peace with your Inner Musician

PATHWAYS FOR WELLBEING

Playing and Living • Beyond the Notes
Written by ANDREW EALES

At time of writing, many around the world are celebrating Diwali, the festival of lights which signifies victory over darkness, and a beacon of hope that speaks to the heart of our present condition.

Digging out and dipping into my copy of the Bhagavad Gita, one of India’s most important sacred texts, the following verse jumped off the page:

“Those who are motivated only by desire for the fruits of action are miserable, for they are constantly anxious about the results of what they do.”

The Bhagavad Gita (2.48)

This set me wondering: to what extent do ‘results’ cause anxiety in my own life?