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