GP3 Piano Pedagogy Presentation- Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy

Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy: Challenges, Solutions, Reflections, and Suggestions for the Future Melissa M. Slawsky, Ph.D. Candidate Center for Music Education Research, University of South Florida

Background *B.M. piano- Florida Southern College *M.M. piano pedagogy- Univ. of S. Florida *Ph.D. music education- Univ. of S. Florida Performance  Pedagogy  Research

Introduction Standard teacher-training program- *Educational coursework *Observations of experienced teachers *Fieldwork experience/internships *Supervised student teaching *Mentored when entering the field Induction- 1-3 year years *sensitive and impressionable period *much research exists

Piano Teacher Training A very different framework- *Master-apprentice model *Years of private study *Piano Pedagogy Coursework *Limited support when transitioning to the teaching role

The Field
*Lack of consistent guidelines and/or standards (Jacobson & Lancaster, 2006)
*Professional development is not mandated (Heisler, 1995; Jacobson & Lancaster, 2006)
*Quality of instruction is unchecked and uncontrolled (Heisler, 1995; Wolfersberger, 1986)
*Piano teachers operate independently of professional structures (Jacobson & Lancaster, 2006)

Master-Apprentice Model
“ The master is the model who demonstrates, directs, comments and inspires and the apprentice is the disciple who watches, listens, imitates and seeks approval’. This is still a powerful universal motivating force particularly in conservatoires. It is also a firmly established model for the teaching of music in many private music studios” (Uszler, Gordon, & Mach, 1993, p.584).

Master-Apprentice Model?
An apprenticing electrician studies with an electrician to become an electrician
An apprenticing pianist studies with a piano teacher to become a pianist (performer)
(Then has to learn how to teach)

Research problem
How do pianists make the transition from student to teacher?

Cognitive Apprenticeship
Merges apprenticeship with formal training
Experiences are articulated
Increased independence
Create authentic experiences
Provide expert models
Opportunities for collaboration

Piano Pedagogy Guidelines
National Conference on Keyboard Pedagogy’s Task Force on Pedagogy Curricula (2004)
NASM guidelines cited
Recommended-
Pedagogical coursework
Observations of experienced teachers
A supervised internship

Implementation Challenges
“ Financial limitations ”
(Fu, 2007; Uszler & Larimer, 1984)
“ Faculty acquisition”
(Fu, 2007; Uszler & Larimer, 1984)
“ Space, equipment, and library resources”
(Uszler & Larimer, 1984, p.12)
Administration (Uszler & Larimer, 1984)
Advocating for piano pedagogy

An Uphill Battle
Piano pedagogy is not valued by some institutions
Tension between roles as performers and teachers

Purpose
Explore how piano teachers learn to teach from and independent of piano pedagogy coursework,
- overcome challenges , and
- continue to add to their pedagogy knowledge

Purpose (continued)
b. Explore topics that would be most useful in a p i a n o p e d a g o g y course or program

Qualitative Approach
Phenomenology
“… there is an essence or essences to shared experience” (Patton, 2002, p. 106).
Heuristic Inquiry
" . . In heuristic research the investigator must have had a direct, personal encounter with the phenomenon being investigated. There must have been actual autobiographical connections” (Moustakas, 1990, p. 14)

Research Questions
How do piano teachers make the transition from student to teacher?
a. What challenges do they face?
b. What solutions/resources do they find?
c. What learning experiences (formal and informal) helped prepare them?

Research Questions
2. What current challenges do piano teachers face?
a. What solutions/resources do they find to overcome these challenges?

Research Questions
3. What do piano teachers suggest for the future of:
a. piano pedagogy
b. the piano curriculum, in general?

Closely Aligned Literature
Colleen Conway- Music Education
Dissertation:
Interviewed preservice music educators
Goal- inform music methods courses

Induction Challenges
Challenges included:
a. Classroom management
b. Routines for Learning
c. Finding & choosing a curriculum
d. Re-establishment when moving to a new school
e. Advocating for music education
(Conway & Hodgman, 2006)

Implications for Beginning Music Educators
Handbook for the Beginning Music Teacher
(Conway & Hodgman, 2006)

Implications for Mentors & Administrators
Great Beginnings for Music Teachers: Mentoring and Supporting New Teachers (Conway & MENC, 2003)

Implications
By studying the transition from student to teacher, Conway informed:
a variety of music educators
(from students to administrators)
The framework for teacher education
The field for which they will be entering

Haddon (2009)
Studied the experiences of the beginning applied music instrumental instructor:
Commented on lack of support & pedagogical training in the UK
Interviewed undergraduate instrumentalists ( N= 16)
Only 1 had formal training in teaching

Haddon (2009)
Instrumentalists listed several challenges faced including:
communication with students and parents
balancing student, teacher, and parent expectations regarding repertoire, pace, and progress
“ maintaining teacher-authority[,] and
achieving a balance between fun and
discipline” (p. 66).

Haddon (2009)
Teaching developed through instinct and experience
Influence of past teachers and materials
Unaware of training opportunities and pedagogical literature

Haddon (2009)
Recommended that pedagogical training be increased
Support through mentoring programs

Pedagogical Coursework
Often the only teacher-training experience
It is critical that these courses are relevant and effective

Piano Pedagogy
Relatively new (100 years or so)
Developed during a period of much social change
Increasing in colleges and universities (Fu, 2007; HEADS, 2007)

Relevance & Effectiveness
Schons (2005)-
Surveys ( N= 598)
MTNA mailing list
Pedagogy Topic Recommendations:
Teaching advanced,
learning disabled,
pre-school, and
adult hobby students

Pedagogy Topics
Schons (2005)-
Pedagogy Topic Recommendations:
Technology
Business practices
Professional resources
Group lessons
Sustaining a viable living

Contradictory Findings
Sumpter (2008)-
Surveys ( N= 298)
MTNA mailing list
Ranked as most important-
Traditional aspects
Ranked least important:
Improvisation
Computer-assisted instruction
Jazz and rock music

Irony
Participants age 55 and above
30 years of teaching experience
MTNA mailing lists

Method
Phase 1 & 2-
Semi-structured interviews
Conducted over the phone
Interview transcribed
Coded

The Interview Guide
22 questions:
Piano teachers asked about:
Demographics & studio set-up
Transition into the teaching role
Challenges, Solutions
Current Challenges & Solutions
Reflections & Suggestions for the future

Participants
Phase 1-
40+ Collegiate studio D.M.A. piano 65 Dr. Autumn Van Arden 25 Private studio M.M. piano pedagogy 70 Susan Liszt 10 Private studio M.M. piano 28 Lisa Crawford 3 Private studio B.M. in progress 21 Thomas Chang Teaching experience Teaching setting Education Age Participant

Participants
Phase 2-
12 Private studio B.A., B.M. M.A. in progress 29 Chelsea Ash 13 Private studio B.M. 29 Ellen Page 5 Private studio M.M. 24 Caitlyn Smith 3 Private studio M.M. 28 Sarah Ford Teaching experience Teaching setting Education Age Participant

Synthesizing the Data Student Applied lessons Coursework Circumstances that led to teach Transition Emulate + ____ (developing teaching style) Challenges Resources Teacher Current challenges Resources Reflections & suggestions for the future

Applied Lessons
Piano teachers took an average of 12.5 yrs. of piano lessons before embarking on teaching.
4 taught in high school
4 taught before or during graduate study

Pedagogy Coursework
Coursework in Piano Pedagogy:
4 took 1 undergraduate course
4 took graduate courses
(1 had 1 course, and 3 had 2 courses)

Circumstances that led to teach
Piano teachers listed several reasons including:
4 were asked to teach
2 were required to teach for graduate study
1 self-motivated during high school
1 obtained employment during college

Transition: Emulating former private teachers
Piano teachers:
Emulated positive aspects:
*standards
*routines
*communication of ideas to students
*techniques of tone production

Piano teachers:
Took the positive aspects
Left out negative or counterproductive aspects

Piano teachers:
Developed teaching style based on what other teachers left out or neglected in the piano curriculum

Piano teachers:
Developed teaching style in OPPOSITION to former teachers

Developing Teaching Style
Emulate former teachers + _____________
(in developing teaching style)

Other Aspects in Developing Teaching Style
Participants also used lateral knowledge drawn from other musical experiences:
Conducting- score study
Violin- tone production, phrasing, breathing
Ensemble playing (contributing to polyphonic music)

Other Aspects in Developing Teaching Style
Participants also used lateral knowledge drawn from other musical experiences:
Vocal study/Singing
Practical Skills
Eclectic Mix

Challenges faced in beginning to teach:
No curriculum
(Choosing methods, technique & theory books, and literature)
No guidance or support
Dealing with discipline or behavioral problems
Enforcing policies
Acquiring new students
Not knowing what to do…

Not knowing what to do…
Lack of education on how to teach:
“ I had not studied how to teach, only how to play, and had no guidance at that time from experienced teachers… I had to teach myself how to teach” (Susan Liszt).
“ I wish there were more resources to prepare me in teaching music, rather than just picking it up on my own and learning as I go, and getting it from other people” (Thomas Chang).

Overcoming Challenges as Beginning Teachers
Gained more experience
(trial and error)
Reading
*Composer treatises
*Resources on performing different styles

Overcoming Challenges as Beginning Teachers
Discussed issues with other teachers
Developed professionalism
*Joined professional organizations
*Went to college
Improved communication skills
Gained skills in recruiting additional students

Current Challenges
Transitioning students from method books into intermediate repertoire
Time management-
Cramming everything into a 30 minute lesson

Current Challenges
Helping students develop an individual style of playing
Sustaining motivation
Competing with other activities
Students and/or parents don’t value the piano as a serious endeavor (hobby)
The economy

Current Challenges
New populations of students:
Preschool aged
Special needs
Adult hobbyists

Solutions or Resources in Overcoming Current Challenges
Discussing issues with friends and colleagues
New forms of advertising
On-line music resources for pop music and other motivating music for students

Solutions or Resources in Overcoming Current Challenges
Fake books or methods to help students play by ear
Taking an eclectic approach for individually tailoring the curriculum to the needs of each student.

Piano Pedagogy Coursework- Helpful Aspects
(7 of the 8 participants had at least 1 undergraduate and 1 graduate course in piano pedagogy)
A forum to discuss experiences with peers and experienced teachers
Writing lists of literature & exams appropriate for various ages or levels
Developing a curriculum for a group college course

Writing a philosophy of teaching
Surveying method books
Developing a studio policy
Observations of experienced teachers

Setting up a piano studio
Practicing in editing and composing teaching pieces

Aspects teachers felt ill-equipped to teach from pedagogy coursework
Intermediate-advanced level students
Special populations of students
*Pre-reading/Pre-school age
*Special-needs
*mature adult hobbyists

Aspects teachers felt ill-equipped to teach from pedagogy coursework
Dealing with students as individuals
New forms of advertising and the business aspects of setting up a piano studio (taxes, etc…)
Non notation-based teaching methods (improvisation, playing by ear, etc…)

Piano Pedagogy Coursework Ineffective Aspects
Inauthentic teaching or observation experiences
“ The class at (omitted) was hilarious because I was assigned to teach (in front of the entire class) a “student” (actually my boyfriend who was also a piano major) a piece of music. It was silly – like being in a play…it was sort of like play-acting. It was just sort of silly. It wasn’t real” (Susan Liszt)

Desired pedagogy topics
Hands-on teaching
Taxes
Record keeping
Advertising
Improvising, playing by ear

Child development
Child behavior
Psychology & Learning theories
(e.g., Gordon)
How to approach different types of learners
*students with disabilities

New populations of students
*Pre-school
*Special-needs
*Adult Hobbyists
Observations of professional teachers
Different approaches to technique

Teachers: Reflections on time spent in college
2 participants said they felt there was little to no difference
6 participants felt there was a substantial difference

Vast difference:
Focus on performance
‘ Classical’ Repertoire

Piano teachers satisfied with education:
Had previous teaching experience
Taught during their education
Did not depend on the curriculum to give them all of their knowledge

Suggestions for the Future of Piano Pedagogy
Piano pedagogy should be required of all performance majors
Good performers do not always make good teachers
Pedagogy knowledge contributed to performance
Included at the undergraduate level as well

Suggestions as to the Future of Piano Pedagogy
Business Skills:
Accounting
Tax preparation
Advertising & Marketing

Suggestions as to the Future of Piano Pedagogy
Piano lessons should allow students to make independent decisions, such as choosing repertoire or harmonizing familiar tunes
Improvisation
Technology

And the Piano Curriculum in General…
More time on pedagogy, less on preparing for recitals
Even performers need business skills

Future Research
Dissertation
Large scale survey
Follow-up Interviews

References
Chronister, R. (2001). The National Conferences on Piano Pedagogy: Whither and Wherefore. American Music Teacher, 50(5), 30-34.
Conway, C. M. (1999). The development of teaching cases for instrumental music methods courses. Journal of Research in Music Education 47 (4), 343-356.
Conway, C. M. & Hodgman, T. M. (2006). Handbook for the beginning music teacher. Chicago, IL: GIA Publications, Inc.
Conway, C. M. & MENC, The National Association for Music Education. (2003).
Great beginnings for music teachers: Mentoring and supporting new teachers. Reston, VA: MENC, the National Association for Music Education.
Fu, H. C. (2007). A status and vision investigation of US university piano pedagogy
programs (Doctoral dissertation, University of North Texas, 2007).
Gordon, S., Mach, E., & Uszler, M. (1991). The well-tempered keyboard teacher .
New York: Schirmer Books.
Gray, M. E. (1998). Teacher or performer: Role identification among piano majors. (Doctoral dissertation, The University of Oklahoma, 1998). Digital Dissertations, 59 (04), 1104.
Haddon, E. (2009). Instrumental and vocal teaching: How do music students learn how to teach? British Journal of Music Education, 26 (1), 57-70.

References (continued)
Heisler, P. K. (1995). A theoretical comparison of certified piano teachers’ claim to
professional status with the sociological definition of profession. International
Review of the Aesthetics and Sociology of Music 26 (2), 239-249.
Houle, A. (2004). 5 minutes with… Marienne Uszler. American Music Teacher, 54 (2), 65.
Jacobson, J. M., & Lancaster, E. L. (2006). Professional piano teaching: A
comprehensive piano pedagogy textbook for teaching elementary-level students . Los Angeles: Alfred Publishing.
Maris, B.E. (2000). Teacher training for the pianist in preparation for the 21st century. The American Music Teacher , 49 (6), 33.
MENC (2010). Society for music teacher education: Professional literature project .
George N. Heller (Ed.), Retrieved May 31, 2010 at http:// www.menc.org/
resources/view/society-for-music-teacher-education-professional-literature- project
Music Teachers National Association. (1990). Pedagogic training of music teachers: A
survey report. Cincinnati, OH: Author.

NASM, National Association of Schools of Music. (2007). Higher Education Arts Data
Services (HEADS): Music Data Summaries (2006-2007). Reston, VA: HEADS
National Conference on Keyboard Pedagogy. (2004). Task Force on Pedagogy Curricula. Retrieved June 22, 2010 from http:// www.francesclarkcenter.org/
NationalConferencePages/resources/curriculumResources.html
Schons, S.M. (2005) Piano teachers’ attitudes on piano pedagogy course topics.
(Doctoral dissertation, The University of Oklahoma, 2005.)
Sumpter, T. L. (2008). Professional status and the independent piano teaching
occupation: A study and analysis of demographics, training, business policies,
and studio practices (Doctoral dissertation, University of Oklahoma, 2008).
Uszler, M. (1993). Research on the teaching of keyboard music. In R. Colwell (Ed.), Handbook of research on music teaching and learning: A project of the music educators national conference (pp. 584-93). New York: Schirmer Books.

Uszler, M., & Larimer, F. (1984). The piano pedagogy major in the college curriculum: A handbook of information and guidelines. Part I: The
undergraduate piano pedagogy major. Princeton, NJ: The National Conference on Piano Pedagogy.
Uszler, M., & Larimer, F. (1986). The piano pedagogy major in the college
curriculum: A handbook of information and guidelines. Part II: The graduate
piano pedagogy major. Princeton, NJ: The National Conference on Piano
Pedagogy.

GP3 Piano Pedagogy Presentation- Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy

by Melissa Slawsky

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