Adult Piano Study
Brenda Dillon, Editor
After reading Barbara Maris' book, Making Music at the Piano: Learning Strategies for Adult Students (Oxford University Press), I was constantly reminded that we crave a "one-stop-shopping" experience. In a sense this is what I found Barbara's book to be. In addition to addressing all of the issues and concerns I believe teachers want addressed, Barbara offers so much more. I particularly like her chapter outline:
Additionally, an adult reading this book won't learn how to play the piano, but he or she will gain a wealth of ideas about learning to play the piano. Even the appendixes are worth reading and pondering:
I heartily recommend
this book to every teacher who is contemplating teaching adult
students and to every adult student who is contemplating or presently
taking lessons. Rather than writing a review of the book, I thought
it best to interview Barbara and let the reader see first-hand
her answers to my questions that appear below.
from the interview with Barbara English Maris
(1) Why set goals? Why is it helpful for students and teachers to clarify and establish goals related to piano study?
Students come to lessons with expectations about what they want to achieve and what they will be able to accomplish. Teachers also come to lessons with prior expectations. If the goals of students and teachers do not mesh - or at least overlap significantly - the effectiveness of the learning project will be undermined from the start. If a pilot plans to fly to Portland, Washington, and the passengers want to arrive in Portland, Maine, someone won't reach his or her desired destination and will be disappointed in the results of that flight.
I have found that it is particularly important for adult students and teachers to clarify their goals even before starting to work together. Perhaps an experienced piano teacher realizes that an adult student's expectations are unrealistic in terms of previous experiences, accumulated knowledge, and available time to invest in the project of learning to play music at the piano. Perhaps a teacher's expertise and interests relate to types of music or teaching situations that do not appeal to a student. Not every teacher will be the best teacher for every student.
(2) How can understanding our individual learning style impact our piano students?
It can be helpful for all learners to acknowledge their own
preferences as to how they process new information. In making
observations, do we depend more on our eyes (visual), our ears
(aural), or the memory of how a gesture feels (kinesthetic)? Do
we prefer to study alone, working in privacy, or with one or more
friends? Do we want someone to tell us how to do something step-by-step
or do we prefer to discover a wide variety of possible responses
to a question? Do we enjoy reading roadmaps and computer manuals
or do we turn to them only when all else fails? Are we more alert
in the morning or evening? . . .
Barbara English Maris, NCTM, has taught music students of all ages and stages (pre-school through retirement years - from beginning to professional levels). A past president of The College Music Society, she currently serves as Secretary-Treasurer of the Board of Trustees of The Frances Clark Center for Keyboard Pedagogy. For six volume years, she was "Editor of Articles and Reviews" for MTNA's periodical, American Music Teacher. Until retiring recently from The Catholic University of America (Washington, DC) as Professor Emerita of Music, Dr. Maris taught piano performance, coordinated the graduate degree programs in Piano Pedagogy (MM and DMA), and worked with students from six continents. Her book, Making Music at the Piano: Learning Strategies for Adult Students (Oxford University Press, 2000) is directed to early-level adult piano students who are beginning or returning to study of the instrument.
For the other Samplers from this issue
