Group piano

Last updated

Group piano is the study of how to play the piano in a group setting. This contrasts with the more common individual/private lesson. Group piano originated at the beginning of the nineteenth century, and continues to be a widely-used method of piano instruction. Group lesson formats include master classes, university classes, and pre-college music lessons. These classes typically have between 3 and 16 students. Benefits of the group lesson format include the development of independent learning, ensemble playing, critical listening skills, and exposure to a wide range of repertoire. Group piano instruction may require more space and equipment, increased preparation per class, and more attention to scheduling and group interaction than when teaching individual/private lessons.

Contents

History

Group piano instruction can be traced to Johann Bernhard Logier (1777-1846). Logier, an Irish business man, developed a system of teaching that increased income for teachers while lowering the cost of lessons for students. His classes accommodated up to thirty students of differing skill levels. The focus of the class was developing music theory and keyboard theory rather than developing advanced technique. Due to the affordability of Logier's class format, it quickly gained traction in Great Britain, India, Ireland, and the United States.

Master classes were often taught by well-known pianist/composers. Clara Schumann, Franz Liszt, Felix Mendelssohn, Karl Tausig, Anton Rubinstein, Theodore Kullak, and Hans von Bülow were some of the most famous teachers to teach in this format. [1] These classes occurred in the homes of teachers as well as in newly-formed conservatories.

The Industrial Revolution and ensuing rise of the middle class in the 19th century provided increased opportunities for leisure activities and created a high demand for pianos. By the end of the 19th century, the United States was a world leader in the production of pianos, and families all over the country owned a piano and sought music instruction. [2] In 1889 the U.S. Office of Education promoted class piano programs in elementary schools as a viable way for students to get an affordable music education. The first group piano classes in public schools launched in 1913 and grew until the 1930s. [1] As a result, method books for teaching piano in the classroom began to be published. These included Young Student’s Piano Course by Earhart and Boyd (1918), Public School Class Method for Piano (1919) by Giddings and Gilman, and Steps for the Young Pianist (1919) by Hazel Kinsecella. By the end of the 1920s, over eight hundred elementary schools in the United States offered class piano programs, creating a demand for teacher training courses and certificate programs. [3] However, in the 1930s, interest in elementary class piano programs began to decline due in part to the Great Depression and World War II. [1]

As group piano declined in public elementary schools, group lessons in the college setting began to gain momentum. Throughout the 1930s and 1940s, Raymond Burrows, a professor at Columbia University Teachers College, pioneered collegiate group piano instruction using piano labs. [4] By 1952, Burrows calculated that 256 universities in the United States provided group piano classes. These courses were designed to provide music majors with functional keyboard skills that would aid them in their musical careers; these classes focused on harmonization, transposition, and sight-reading. [3] Because most university piano teachers were more familiar with the individual/private lesson format, universities began to offer courses in teaching group piano. [1] Group piano lessons in the college setting continued to expand with the invention of the electronic keyboard laboratory, first achieved by Ball State University in 1956. [5]

Independent pre-college piano studios continued to implement the group piano format. During the 1950s, 1960s, and 1970s, Robert Pace, [6] James Bastien, and Frances Clark began to write books encouraging partner lessons, group lessons, and various combinations of group and private instruction. By the end of the 1970s, group piano was established as a profitable format for instruction. The Music Teachers National Association (MTNA) and the National Piano Foundation (NPF) began to provide training on teaching in groups, and journals such as American Music Teacher, Piano Quarterly, Keyboard Companion, and Clavier began publishing articles related to teaching in groups. [3]

Student populations

Pre-college

Pre-college group piano classes are designed for students ranging in age from 4 to 18. Groups are usually created based on student experience and skill level. Pre-college group piano lessons may take place in a private studio with multiple keyboards or a piano lab in a school. Lessons may include a mixture of playing piano and activities away from the piano. There are group piano method books available and most methods can be adapted to fit group lessons. [4]

College

Most North American university music departments provide group piano classes. The National Association of Schools of Music (NASM), the principal U.S. accreditation organization of approximately 643 institutions educational programs in music and music-related disciplines, includes “keyboard competency” in their handbook as a necessary requirement for music students to graduate. Group piano classes are the most widely-used format for teaching keyboard competency to college students due to their efficiency and the advantages of group learning. Advocates for collegiate group piano have stated that it is the “most effective and efficient tool” for enabling students to be independent learners so they can continue to make music for a lifetime. [7] While NASM does not define "keyboard competency", there is a general consensus among universities that competency should include functional piano skills such as the playing of repertoire, harmonization, transposition, sight-reading, open score reading, and improvisation. [8] [9]

The structure of college level group piano classes varies by university. Group piano sequences typically involve 2 to 6 semesters, situated within the first 2 or 3 years of study. Goals of the group piano sequence include introducing and reinforcing functional keyboard skills, bringing students with varying musical background to a competent level by the end of the course, and nurturing enthusiasm for music in general and the piano specifically. [7] At the end of the course sequence, music majors must often take a piano proficiency exam. Most piano proficiency exams require students to transpose, harmonize, sight-read, and perform a piece of solo piano repertoire.

Adults

Group piano lessons are often taken by adults as a hobby and for personal development. They may take place in a private studio with multiple keyboards or a piano lab in a college community program. Because of the wide range of students, groups should be formed based upon students’ lifespan development stage or level of experience. [4] These lessons are often more flexible than pre-college and collegiate classes and involve more collaborative decision making. [3] The relatively new field of andragogy can inform teachers that engage in the teaching of adult group piano. Sponsored by the National Piano Foundation (NPF) and the National Association of Music Merchants (NAMM), Recreational Music-Making (RMM) is an approach to teaching adults that recognizes personal, social, and health-based benefits to music study in addition to the development of musical skills and concepts. [10] [11]

Class formats

Partner lessons

Partner lessons take place when two students share a lesson. They may share an entire lesson, or their lesson times may overlap. One student may come for 20 minutes of private instruction and then be joined by another student for 20 minutes of partnered instruction. After the partner time, the second student will receive 20 minutes of private instruction. In this way, each hour lesson provides opportunity for collaboration with a peer as well as private instruction from the teacher. [4]

Hybrid

Hybrid piano lessons are any other combination of private and group piano lessons. This may include biweekly, monthly, or more occasional group meetings for students who are otherwise taking individual/private lessons. These types of lessons are often used as reinforcement of secondary or functional skills such as music history and music theory. [4] Occasional master classes, where students perform and receive feedback publicly, may also supplement individual/private instruction. They provide students with performance opportunities and a chance to observe and learn from their peers.

Advantages

Because students do not receive constant individualized attention in group lessons, they may learn to become independent learners. [12] The environment requires students to problem-solve and internalize practice techniques. Group lessons provide ample opportunities for discussion, critical listening, structural analysis, study of historical contexts, and collective decision-making. Collective decision-making allows students to solve the problem on their own with guidance from both the teacher and peers. This social learning can assist with developing independent learning.

Group piano lessons also expose students to a wider range of experiences through repertoire, performance opportunities, and ensemble playing. Students not only become familiar with their own repertoire, they have the opportunity to learn and think critically of the music being learned by their peers. [3] This format may also help alleviate performance anxiety. Students have an audience on a weekly basis, which establishes a learning environment in which playing music for others is a natural part of the learning process. Group lessons provide an environment in which ensemble skills may be developed. Students may play duets, trios, and more.

Some teachers have found that the group lesson format may increase motivation in piano students. [13] They can be motivated by their fellow peers and develop more appreciation of the music through modeling. Peer learning might also create a sense of accountability within the cohort. [14] Positive peer pressure encourages students to feel like they should master their piece for the class, either to avoid embarrassment or to contribute to the group.

Disadvantages

Piano labs, multiple keyboards, headphones, and a conference system require more space and upfront cost than individual/private lessons. Group lessons also require more planning and preparation for teachers, as they teach multiple students at once and for longer time periods. Another disadvantage that may occur with group piano teaching is complications in developing and scheduling cohorts with similar experience levels and background. [4]

Additional resources

Method books

Pre-college

  • Piano Camp by June C. Montgomery
  • Alfred's Basic Group Piano Course by Willard A. Palmer
  • 101 Ideas for Piano Group Class by Mary Ann Froehlick
  • Creative Chords: Keyboard Improvisation Method by Bradley Sowash
  • KeyNotes Music Program by Melanie Bowes
  • Piano Pyramid® by Dorla Aparicio

Collegiate

  • Alfred's Group Piano for Adults, 2nd Edition by E. L Lancaster and Kenon D. Renfrow
  • Piano for the Developing Musician by Martha Hilley and Lynn Freman Olson
  • Keyboard Musicianship by James Lyke, Tony Caramia, Reid Alexander, Geofrrey Haydon, and Ronald Chioldi
  • Contemporary Class Piano by Elise Mach
  • Piano Lab by Carolynn A. Lindemann
  • eNovativePiano (online) by Susanna Garcia and Chan Kiat Lim

Adult

Professional conferences, publications and organizations

Related Research Articles

Distance education, also known as distance learning, is the education of students who may not always be physically present at school, or where the learner and the teacher are separated in both time and distance. Traditionally, this usually involved correspondence courses wherein the student corresponded with the school via mail. Distance education is a technology-mediated modality and has evolved with the evolution of technologies such as video conferencing, TV, and the Internet. Today, it usually involves online education and the learning is usually mediated by some form of technology. A distance learning program can either be completely a remote learning, or a combination of both online learning and traditional offline classroom instruction. Other modalities include distance learning with complementary virtual environment or teaching in virtual environment (e-learning).

<span class="mw-page-title-main">Music lesson</span> Type of formal instruction in music

Music lessons are a type of formal instruction in playing a musical instrument or singing. Typically, a student taking music lessons meets a music teacher for one-to-one training sessions ranging from 30 minutes to one hour in length over a period of weeks or years. Depending on lessons to be taught, students learn different skills relevant to the instruments used. Music teachers also assign technical exercises, musical pieces, and other activities to help the students improve their musical skills. While most music lessons are one-on-one (private), some teachers also teach groups of two to four students, and, for very basic instruction, some instruments are taught in large group lessons, such as piano and acoustic guitar. Since the widespread availability of high speed. low latency Internet, private lessons can also take place through live video chat using webcams, microphones and videotelephony online.

A teaching method is a set of principles and methods used by teachers to enable student learning. These strategies are determined partly on subject matter to be taught, partly by the relative expertise of the learners, and partly by constraints caused by the learning environment. For a particular teaching method to be appropriate and efficient it has take into account the learner, the nature of the subject matter, and the type of learning it is supposed to bring about.

<span class="mw-page-title-main">Teacher</span> Person who helps others learn

A teacher, also called a schoolteacher or formally an educator, is a person who helps students to acquire knowledge, competence, or virtue, via the practice of teaching.

Total physical response (TPR) is a language teaching method developed by James Asher, a professor emeritus of psychology at San José State University. It is based on the coordination of language and physical movement. In TPR, instructors give commands to students in the target language with body movements, and students respond with whole-body actions.

<span class="mw-page-title-main">Tutoring</span> Instructor who gives private lessons

Tutoring is private academic help, usually provided by an expert teacher; someone with deep knowledge or defined expertise in a particular subject or set of subjects.

<span class="mw-page-title-main">Suzuki method</span> Music teaching method

The Suzuki method is a mid-20th-century music curriculum and teaching philosophy created by Japanese violinist and pedagogue Shinichi Suzuki. The method claims to create a reinforcing environment for learning music for young learners.

<span class="mw-page-title-main">English as a second or foreign language</span> Use of English by speakers with different native languages

English as a second or foreign language is the use of English by speakers with different native languages, often with students whose native language is not English and are learning to speak and write English, commonly among students. Language education for people learning English may be known as English as a foreign language (EFL), English as a second language (ESL), English for speakers of other languages (ESOL), English as an additional language (EAL), or English as a new language (ENL), which refers to the practice of studying English in a country where it is not the dominant language. These programs, especially ESL, are usually an academic subject, course, or program designed to teach English to students who are not yet proficient in the language. While some people only refer to learning in an English-speaking country, learning this language can also entail learning in a non-English speaking or non-native nation.

Cooperative learning is an educational approach which aims to organize classroom activities into academic and social learning experiences. There is much more to cooperative learning than merely arranging students into groups, and it has been described as "structuring positive interdependence." Students must work in groups to complete tasks collectively toward academic goals. Unlike individual learning, which can be competitive in nature, students learning cooperatively can capitalize on one another's resources and skills. Furthermore, the teacher's role changes from giving information to facilitating students' learning. Everyone succeeds when the group succeeds. Ross and Smyth (1995) describe successful cooperative learning tasks as intellectually demanding, creative, open-ended, and involve higher-order thinking tasks. Cooperative learning has also been linked to increased levels of student satisfaction.

<span class="mw-page-title-main">Music education</span> Field of study associated with the teaching and learning of music

Music education is a field of practice in which educators are trained for careers as elementary or secondary music teachers, school or music conservatory ensemble directors. Music education is also a research area in which scholars do original research on ways of teaching and learning music. Music education scholars publish their findings in peer-reviewed journals, and teach undergraduate and graduate education students at university education or music schools, who are training to become music teachers.

A lesson plan is a teacher's detailed description of the course of instruction or "learning trajectory" for a lesson. A daily lesson plan is developed by a teacher to guide class learning. Details will vary depending on the preference of the teacher, subject being covered, and the needs of the students. There may be requirements mandated by the school system regarding the plan. A lesson plan is the teacher's guide for running a particular lesson, and it includes the goal, how the goal will be reached and a way of measuring how well the goal was reached.

Mastery learning is an instructional strategy and educational philosophy, first formally proposed by Benjamin Bloom in 1968. Mastery learning maintains that students must achieve a level of mastery in prerequisite knowledge before moving forward to learn subsequent information. If a student does not achieve mastery on the test, they are given additional support in learning and reviewing the information and then tested again. This cycle continues until the learner accomplishes mastery, and they may then move on to the next stage. In a self-paced online learning environment, students study the material and take assessments. If they make mistakes, the system provides insightful explanations and directs them to revisit the relevant sections. They then answer different questions on the same material, and this cycle repeats until they reach the established mastery threshold. Only then can they move on to subsequent learning modules, assessments, or certifications.

<span class="mw-page-title-main">Zone of proximal development</span> Difference between what a learner can do without help and what they can do with help

The zone of proximal development (ZPD) is a concept in educational psychology. It represents the space between what a learner is capable of doing unsupported and what the learner cannot do even with support. It is the range where the learner is able to perform, but only with support from a teacher or a peer with more knowledge or expertise. The concept was introduced, but not fully developed, by psychologist Lev Vygotsky (1896–1934) during the last three years of his life. Vygotsky argued that a child gets involved in a dialogue with the "more knowledgeable other", such as a peer or an adult, and gradually, through social interaction and sense-making, develops the ability to solve problems independently and do certain tasks without help. Following Vygotsky, some educators believe that the role of education is to give children experiences that are within their zones of proximal development, thereby encouraging and advancing their individual learning skills and strategies.

A course evaluation is a paper or electronic questionnaire, which requires a written or selected response answer to a series of questions in order to evaluate the instruction of a given course. The term may also refer to the completed survey form or a summary of responses to questionnaires.

Inquiry-based learning is a form of active learning that starts by posing questions, problems or scenarios. It contrasts with traditional education, which generally relies on the teacher presenting facts and their knowledge about the subject. Inquiry-based learning is often assisted by a facilitator rather than a lecturer. Inquirers will identify and research issues and questions to develop knowledge or solutions. Inquiry-based learning includes problem-based learning, and is generally used in small-scale investigations and projects, as well as research. The inquiry-based instruction is principally very closely related to the development and practice of thinking and problem-solving skills.

<span class="mw-page-title-main">Simply Music</span>

Simply Music is a music education organization licensing teachers at over 700 locations in twelve countries and serving an online self-study student community in 128 countries. Australian music educator Neil Moore founded it on the core belief that all humans are naturally musical. Simply Music offers programs for students from birth through old age, with the stated goal that "students acquire and retain music as a lifelong companion." Simply Music patterns its approach after primary language acquisition, where speaking comes first. In this it shares some philosophical ground with other developmental approaches like Kodály, Orff Schulwerk, and the Suzuki Method.

<span class="mw-page-title-main">Piano pedagogy</span> Study of teaching piano playing

Piano pedagogy is the study of the teaching of piano playing. Whereas the professional field of music education pertains to the teaching of music in school classrooms or group settings, piano pedagogy focuses on the teaching of musical skills to individual piano students. This is often done via private or semiprivate instructions, commonly referred to as piano lessons. The practitioners of piano pedagogy are called piano pedagogues, or simply, piano teachers.

<span class="mw-page-title-main">Thematic learning</span> Highlighting a theme for teaching purposes

Thematic teaching is the selecting and highlighting of a theme through an instructional unit or module, course, or multiple courses. It is often interdisciplinary, highlighting the relationship of knowledge across academic disciplines and everyday life. Themes can be topics or take the form of overarching questions. Thematic learning is closely related to interdisciplinary or integrated instruction, topic-, project- or phenomenon-based learning. Thematic teaching is commonly associated with elementary classrooms and middle schools using a team-based approach, but this pedagogy is equally relevant in secondary schools and with adult learners. A common application is that of second or foreign language teaching, where the approach is more commonly known as theme-based instruction. Thematic instruction assumes students learn best when they can associate new information holistically with across the entire curriculum and with their own lives, experiences, and communities.

Teaching and learning centers are independent academic units within colleges and universities that exist to provide support services for faculty, to help teaching faculty to improve their teaching and professional development. Teaching centers also routinely provide professional development for graduate students as they prepare for future careers as teaching faculty. Some centers also may provide learning support services for students, and other services, depending on the individual institution. Teaching and learning centers may have different kinds of names, such as faculty development centers, teaching and learning centers, centers for teaching and learning, centers for teaching excellence, academic support centers, and others; a common abbreviation is TLC.

<span class="mw-page-title-main">Flipped classroom</span> Instructional strategy and a type of blended learning

A flipped classroom is an instructional strategy and a type of blended learning, which aims to increase student engagement and learning by having pupils complete readings at home and work on live problem-solving during class time. This pedagogical style moves activities, including those that may have traditionally been considered homework, into the classroom. With a flipped classroom, students watch online lectures, collaborate in online discussions, or carry out research at home, while actively engaging concepts in the classroom, with a mentor's guidance.

References

  1. 1 2 3 4 Chiu, Pai-Yu (2017). "A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners" (PDF).
  2. ↑ Dobney, Jayson Kerr (2004). "Nineteenth-Century Classical Music". www.metmuseum.org. Retrieved 2018-09-28.
  3. 1 2 3 4 5 Fisher, Christopher (2010). Teaching Piano in Groups . New York, New York: Oxford University Press. pp.  3–7. ISBN   978-0-19-533703-7.
  4. 1 2 3 4 5 6 Pike, Pamela (2017). Dynamic Group Piano Teaching. New York, New York: Routledge. p. 2. ISBN   978-1-138-24142-8.
  5. ↑ Haddon, Elizabeth (2017). "Piano Performance: Group Classes for the Life Long Learner". Research Studies in Music Education. 39: 57–71. doi:10.1177/1321103X17702972.
  6. ↑ Pace, Robert (1978). "Piano Lessons - Private or Group?" (PDF). International Piano Teaching Foundation.
  7. 1 2 Amoriello, Laura (September 2016). "Student Perspectives on Secondary Piano". MTNA e-Journal: 13.
  8. ↑ Young, Margaret (February 2016). "A National Survey of University-Level Group Piano Programs". MTNA e-Journal: 13.
  9. ↑ Young, Margaret (2013). "University-Level Group Piano Instruction and Professional Musicians". Music Education Research. 15: 59–73. doi:10.1080/14613808.2012.737773.
  10. ↑ Jutras, PJ (2006). "The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students". Journal of Research in Music Education. 54 (2): 97–110. doi:10.1177/002242940605400202.
  11. ↑ Dillon, Brenda (2007). "Recreational Music Making". American Music Teacher. 57 (1): 21–23.
  12. ↑ "Group Lessons a Plus?". Keyboard Companion. 17 (2): 3–5. 2006.
  13. ↑ Gipson, Ann M. (2005). "Group Lessons = Positive Results". American Music Teacher. 55 (3): 18–21.
  14. ↑ Hudson, Terry Lynn (November 2012). "Group Teaching Thoughts". MTNA e-Journal. 4 (2): 14–18.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.