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Teacher Interview Analysis
I interviewed my private piano teacher for this assignment. I began taking lessons in her private studio in 2012, and continued to take lessons until the end of my grade 12 year. After meeting every week for five years, became good friends. My teacher continues to be a supportive and inspirational figure in my life. She has been teaching in the city of London for over 35 years, and has experienced much in her years of teaching. I was interested to hear about her experiences as a music teacher, specifically. For these reasons, I chose her to be the subject of my assignment. I knew that she would give insight to the teaching profession, and would give thorough answers to my questions.
First, I asked my teacher to introduce herself. In her early teaching years, she taught in a group setting. She worked in different music schools, but after a few years decided it was not for her. She soon started a private studio, teaching in her own home. It soon became obvious that this is what she was meant to do; she loved teaching in a one-on-one environment. She said that she enjoys private teaching more than group teaching because it offers a chance to get to know individual students on a personal level. It allows the teacher to discover what a student's individual needs are, and plan lessons accordingly. She stressed the importance of being a flexible teacher and adhering to the interests of the student. She also touched on the importance of having an open mind when in a teaching position. She said, "I think if you're open minded, you'll have more success with children". This, she admitted, did not come right away for her. When she began to abide by this rule, she found teaching to be much more smooth and enjoyable. She said, "[…] you have to plan according to the child. You cannot do the same program. That's what I've learned since I've been on my own. For me, that was better".
She went on to explain a few situations where she changed her lesson plans, for the benefit of the students involved. In one instance, she had a student who preferred playing piano by ear. Instead of forcing the student to read music for the whole class, she asked them to play written music for twenty minutes. Afterwards, the student could play her preferred music. In recent years, she has begun to introduce simple chording to younger students who wish to play by ear, or have an interest in playing popular music. She clarified this point by saying, "you have to feel as a person that you're offering something to them". This was a reminder, for me, of the purpose of teaching. It is likely easy to get caught up in curriculum and structure and being 'organized', all the while forgetting about what it means to be a teacher. If the student is not benefitting, there is no point in having the lesson. Still on the topic of individualizing lessons and learning experiences, my teacher said, "the value of playing your own music is so important, because then you make it your own".
I then asked how classroom teachers could go about making their lessons more enjoyable for students, since it is usually more difficult to form personal bonds with students in a classroom setting. My teacher's response connected closely with a topic we have talked about in class. She explained that the teacher must be passionate about the subject they are teaching. On speaking about students who were inspired to play music at a music school, she said, "they became very enthusiastic because the teacher wanted to do this". She elaborated on this point later by saying that, by becoming a teacher, you "make a commitment". For her, it's "more about the pleasure [she] get[s] out of it and the enjoyment of seeing somebody finish and come back to [her] and say, 'I'm so glad you kept after me every week'". This was refreshing to hear. It reminded me of the purpose of teaching and how rewarding it can be when it is done with sincerity and passion.
In speaking about the nature of music education, my teacher expressed her philosophy about the people involved. According to her, there are three groups that participate in a child's learning of music: the child, their parents, and the teacher. First, the child must have an interest and be willing to work in order to improve. The parents play a large role in encouraging the child. Music requires time and discipline, and if the child does not receive support from their parents, it becomes difficult to continue. Lastly, the teacher must be open and inspired, in order to mediate the child's learning process. When these three figures work together, a positive and enriching learning experience takes place.
In conducting this interview, I have learned a great amount about music, teaching music, and teaching in general. My teacher had many valuable opinions, tips and stories to share. In the conclusion of our interview, my teacher expressed her love of teaching in a few touching phrases. She started by saying, "the value of people that I have met, the people I have seen, is more important [than the job itself, the money, etc.]. The young people I have come to love. And they have taught me so much". That is such a selfless statement, and continues to cause me to reflect upon the gift of teaching and learning. In addition to this statement, my teacher said, "there's something to be treasured in the teaching of music". My piano teacher views her position not only as an opportunity to teach, but an opportunity to learn, as well. She is passionate about what she does; that passion is evident in each lesson she teaches, and certainly in this interview. It was a pleasure to interview my piano teacher. She had a great amount of knowledge and experience to share, and caused me to think about my own teaching aspirations on a deeper level.
I interviewed my private piano teacher for this assignment. I began taking lessons in her private studio in 2012, and continued to take lessons until the end of my grade 12 year. After meeting every week for five years, became good friends. My teacher continues to be a supportive and inspirational figure in my life. She has been teaching in the city of London for over 35 years, and has experienced much in her years of teaching. I was interested to hear about her experiences as a music teacher, specifically. For these reasons, I chose her to be the subject of my assignment. I knew that she would give insight to the teaching profession, and would give thorough answers to my questions.
First, I asked my teacher to introduce herself. In her early teaching years, she taught in a group setting. She worked in different music schools, but after a few years decided it was not for her. She soon started a private studio, teaching in her own home. It soon became obvious that this is what she was meant to do; she loved teaching in a one-on-one environment. She said that she enjoys private teaching more than group teaching because it offers a chance to get to know individual students on a personal level. It allows the teacher to discover what a student's individual needs are, and plan lessons accordingly. She stressed the importance of being a flexible teacher and adhering to the interests of the student. She also touched on the importance of having an open mind when in a teaching position. She said, "I think if you're open minded, you'll have more success with children". This, she admitted, did not come right away for her. When she began to abide by this rule, she found teaching to be much more smooth and enjoyable. She said, "[…] you have to plan according to the child. You cannot do the same program. That's what I've learned since I've been on my own. For me, that was better".
She went on to explain a few situations where she changed her lesson plans, for the benefit of the students involved. In one instance, she had a student who preferred playing piano by ear. Instead of forcing the student to read music for the whole class, she asked them to play written music for twenty minutes. Afterwards, the student could play her preferred music. In recent years, she has begun to introduce simple chording to younger students who wish to play by ear, or have an interest in playing popular music. She clarified this point by saying, "you have to feel as a person that you're offering something to them". This was a reminder, for me, of the purpose of teaching. It is likely easy to get caught up in curriculum and structure and being 'organized', all the while forgetting about what it means to be a teacher. If the student is not benefitting, there is no point in having the lesson. Still on the topic of individualizing lessons and learning experiences, my teacher said, "the value of playing your own music is so important, because then you make it your own".
I then asked how classroom teachers could go about making their lessons more enjoyable for students, since it is usually more difficult to form personal bonds with students in a classroom setting. My teacher's response connected closely with a topic we have talked about in class. She explained that the teacher must be passionate about the subject they are teaching. On speaking about students who were inspired to play music at a music school, she said, "they became very enthusiastic because the teacher wanted to do this". She elaborated on this point later by saying that, by becoming a teacher, you "make a commitment". For her, it's "more about the pleasure [she] get[s] out of it and the enjoyment of seeing somebody finish and come back to [her] and say, 'I'm so glad you kept after me every week'". This was refreshing to hear. It reminded me of the purpose of teaching and how rewarding it can be when it is done with sincerity and passion.
In speaking about the nature of music education, my teacher expressed her philosophy about the people involved. According to her, there are three groups that participate in a child's learning of music: the child, their parents, and the teacher. First, the child must have an interest and be willing to work in order to improve. The parents play a large role in encouraging the child. Music requires time and discipline, and if the child does not receive support from their parents, it becomes difficult to continue. Lastly, the teacher must be open and inspired, in order to mediate the child's learning process. When these three figures work together, a positive and enriching learning experience takes place.
In conducting this interview, I have learned a great amount about music, teaching music, and teaching in general. My teacher had many valuable opinions, tips and stories to share. In the conclusion of our interview, my teacher expressed her love of teaching in a few touching phrases. She started by saying, "the value of people that I have met, the people I have seen, is more important [than the job itself, the money, etc.]. The young people I have come to love. And they have taught me so much". That is such a selfless statement, and continues to cause me to reflect upon the gift of teaching and learning. In addition to this statement, my teacher said, "there's something to be treasured in the teaching of music". My piano teacher views her position not only as an opportunity to teach, but an opportunity to learn, as well. She is passionate about what she does; that passion is evident in each lesson she teaches, and certainly in this interview. It was a pleasure to interview my piano teacher. She had a great amount of knowledge and experience to share, and caused me to think about my own teaching aspirations on a deeper level.
Teacher Interview (Synopsis) T: Teacher
Saturday, October 15, 2016 I: Interviewer
Duration: Approx. 38 mins.
I: So, if we could start with you introducing yourself…
T: I am a piano teacher in the city. I’ve been teaching here for 35 years plus, and when I first started I felt very privileged that I was at a school of music, which involved a large number of students. Our program was the same for everybody, beginners, take them through examinations and try as hard as you can to get them to the end of grade eight. At that particular time, the most [important] thing for most families was if they could get the grade eight exam. Along with recitals—we had a wonderful recital hall—festivals, we used to have a performance every November, where we had an awards night. We would do [a] recital with three pianos on stage and do trios and duets and all the kids who did exams got their certificate. It was a wonderful setup. Through that, then I was asked to go to the school of music. They were starting a school of music at St. Mary’s Choir School. It started out as St. Peter’s but they eventually moved to St. Mary’s and I felt very good that I was asked to go there. I did teaching there for a long time, [it] closed in the ’80’s, and then I moved over to the Conservatory, the Conservatory of Music, and continued to do the same program there. After 3 years I felt that was not for me, that I wanted to go on my own. So I’ve been teaching on my own. Just to explain what I’m finding, the difference in when you don’t just focus on […] getting grade 8 and I’m more convinced every day and every year that I teach, you have to expose children to their music as well. So I started introducing, and I always try with the knowledge of the key board; they must know their notes, then the lines and spaces, which takes some time. I went to the States for two years to take a course in teaching group piano through the Francis Clarke method, and it was all through interval reading. They don’t learn lines and spaces: E-G-B-D-F, or intervals really. So then I decided when I was on my own, I’ll just run a different program. So I do do some with the keyboard and then with a young child, I usually start them in the beginners book. There’s many different varieties of beginner’s books now, they’re very attractive, lovely. You know, with pictures for them to observe and they colour their theory books. It’s all just so much better than it used to be; it gets them excited. So I have enjoyed doing that. Then I start the child, in a few months I start in with some folk songs, some disney songs at their level, and then I introduce classical. Possibly in the second year depending on the child. If the child is, you know, keen enough and learning fairly well I usually introduce them to a Conservatory book and I always do technique because I fully believe without technique, you just cannot become a performer. It is the basis and most people would agree, technique is tricky, and not lovable or likeable for anybody to practice. So then as we go along, I have noticed, let’s say for 15 years, the whole program is changing. The whole attitude towards the study of music is totally different. It’s to do with parents being very, very busy, and children have many interests outside of sitting for 20-30 minutes at a keyboard or standing up practicing the violin or whatever the instrument is, it has been, I believe, my point of view, it has been on the bottom of their priorities. So you’re constantly trying to work with children in a different fashion, I believe. Unless you find somebody who is really keen. And of course when I started Naomi, she was so keen, we worked so well together, and I do find people still like that. But as a whole, I do notice, talking to younger teachers, it is a difficult task at this point. How we change it, I think is up to the individual teacher. I think, on the one-to-one, every child is different. And I usually think, for example, 7 is a good age for reading, and they understand the theory. I always get the impression that if a parent is [supportive] they’ll progress. If they don’t show interest, there’s not much progress. Parents are very busy today. They haven’t them in many other things. So you’re constantly working with that, saying “how can I make it interesting?”. As you continue to teach music I think you believe, I believe, that you are more interested in seeing if the child is loving the music. They don’t like certain parts, but do they love the idea of coming to a lesson and playing a piece they really enjoy. Playing a piece that they learn themselves. Some of them have their own music, they’ve got [a] good ear, snd they create their own music, learning to add little chords at the bottom. What I have found in the last 5 years is, students who are getting old, in other words people let’s say who are starting 13 and up, are finding their own music online. And playing a lot of that music, and I’m having to say to myself, “this is important”. What I’m trying to do is I’m trying to combine, what I still feel is important, the love of other kinds of music. Because as a music teacher you have to be open to the childrens music of today. And I find I have more success when I do that. That’s just my impression from having been teaching for a long, long time. It’s a wonderful thing, you have a child come, they could be an older student ,and they don’t really know a lot about music but they’ve tried the piano somewhere or the keyboard, and they know very little and in a short period of time they’re able to play a piece and there’s probably nothing more satisfying than teaching a child on a one-to-one. It’s a tremendous satisfaction. And that’s where I feel privileged that I’ve been able to do it for those years, and continue to do, and look forward to continuing to do it. Having wonderful students, like Naomi, and as time goes on—because right now I have a lot of younger ones, but I’m enjoying them, and I’m doing different than I ever did with these younger ones because you have to plan it according to the child. You cannot do the same program. That’s what I’ve [learned] since I’ve been on my own. For me, that was better. So that’s a big part of what I’ve been doing.
I: Just on your last point, about having the one-on-one and having the child decide for themselves to learn, how do you think that they could make that happen more in classroom settings? I guess on a one-on-one basis it might be easier for the kid to decide, but in the classroom do you have any ideas for how teachers could make that a better experience?
T: It has a lot to do with the teacher. If the teacher’s really passionate, you know yourself from being in the high school with Mrs. Gosse, look what she did. Let’s say for you alone, I saw you at your concerts and I’m so impressed with her. How they do it in the classroom, I honestly believe [it has a lot to do] with the teacher. I saw it at St. Mary’s Choir School where the children […] had to be good academically. But they were there to learn to play the violin or cello, and to sing. They became very enthusiastic because the teacher wanted to do this. If you’re a teacher, doing is because it’s a job, like teaching any other subject, you’ll always find there’ll only be the few who will respond to you. I have known music teachers from the classroom, from the high school[s] especially, who were wonderful music teachers. But [they] got into the classroom and with the change in the program, […] that made a huge difference. That has really interfered, I think, with a lot of kids going on. And as student who was about 17 before he finished and he said to me, “nowadays, my friends don’t want to go on with music because they have so many more subjects they can take”. It used to be, “I’ll take music if there’s nothing else”, which in some ways is a bit of an insult, but, you know what I mean. A person doesn’t understand that unless they’ve been taught the love of music. I think the approach by the teacher— you would probably agree with that would you, if you stood up in front of a classroom tomorrow, your whole being would show interest because that’s who you are. If you get someone up there that’s not able to control the classroom, hasn’t learned that interaction with let’s say teenagers especially, you probably won’t have the success.
I: Yeah, we actually talked about that in class, how the teacher, whatever situation they’re in, it’s important for their inspiration, their passion for music to show too [because] the kids can pick up on that. So I think that’s a big part.
T: You know, Naomi, you know yourself, how you’ve been through school, and now you’re going through music college, how the people there are enthusiastic to teach and how you really love what you’re doing. On a one-to-one that’s why I’ve always liked a one-to-one, and I did teach group, at the school of music. I enjoyed that, a lovely experience, [there were] 8 to 10 [children] in a group. Then when I went on my own there wasn’t an opportunity in my environment but I actually prefer one-on-one. I just feel like I relate better [on a one-to-one] and I get to know the child better. I think it’s important, first of all, to make the person you’re teaching feel really comfortable. […] The very first student I started, I remember, a little blonde girl, 6 years old, I remember seeing her. The first thing I said was, “I will show her the utmost respect” to every child that comes into my studio. And they pick that up, even if they don’t love music and don’t love the idea of playing piano, and fighting it at home. And I think getting them to practice, […] it would be the same with the instrumental, trying to get the kids to practice. That is difficult. It has never been easy. I don’t think any teacher has a program where they just rush home to practice. It has a lot to do with what’s going on at home, what the plans are in the family. It’s a discipline thing. You know yourself, Naomi, music takes a lot more study than most other subjects. Not to belittle anything else, but it’s constant. It doesn’t come because you’ve heard it, and now you can play it perfectly. And as one teacher told me the other day at a meeting, her biggest problem, she feels, is similar to mine. She’s been teaching about the same amount of time I have, and [she’s] had people coming and saying “I want to play Taylor Swift but I don’t want to learn anything else”. And they don’t know notes. So you’re fighting a battle when that happens. I haven’t had that and I am glad, and I probably will get it some time. I’ve had parents come and say, “I want her to play Fur Elise” right away, and I think “well, that’s not going to happen for a while”.
I: Have you ever found that they lose interest because they can’t play right away? What’s your approach when that happens? What would you start out saying or how would you help them along with that?
T: I have found, […] you really don’t like playing particular kinds of pieces, let’s say Etudes in grade 1 or grade 2. Let’s find something that you really enjoy. You basically feel like you do have to go along with what the child likes. That doesn’t been, forever and ever, you do what they want, because they do have to learn the basics. When they’ve learned the basics I have had more success because, and I say to them, “let’s hear a piece, which one of these pieces do you like the best”. I think that’s really important.
I: Giving them the choice.
T: Giving them the choice. They’re used to that. […] I think if you’re open minded, you’ll have more success with children than, “this is how it’s going to be”; they don’t want to do it then. You can’t work like that. There’s a certain amount that you have to be […] somebody who is stern to a certain extent because you have to know how to use your 45 minutes without a lot of nonsense going on. You can have that with some children, some children […] like to argue […]. But I have always found that asking them, “how was school today?”. I can get the feeling when they come. Especially after school if it’s been a good or a bad day, especially high school students, you come here with such tough stuff going on. But I have always felt that the school music teachers have the hardest job. I’ve said it since I was a young teacher. Because you’re not only dealing with one, but you’re dealing with so much else going on, […] and the school system. And are they valued in the school system? In my experience hearing music students throughout the years, [music is] not as valued as sports. How do we change that? It’s like our society doesn’t value it. You see, society values sports. […] The first thing is, “do you play basketball […]”. And that’s great, group sports, like playing in an orchestra, is probably one of the most exciting things. But people would never compare [playing in an orchestra] to playing football or hockey. Canada has a different attitude.
I: Do you have any thoughts about why that is? Why music isn’t as valued?
T: I’m not sure, but it’s the same in the States I think— in Europe it’s a totally different thing. I recall teaching an exchange student from Germany. He was at Catholic Central. Every week he kept saying, “the kids tease my because I’m coming to piano. But we all take piano, we all take [a] musical instrument in Germany”. It is so valued. His wording, however the put it to me, my understanding was, “it’s wonderful to play the piano”. He was actually very good. He stayed [for] 2 years and then he went back to Germany. I do know from my experience, having been in Holland visiting friends and going to a concert, seeing young people of 14-20 sitting absolutely spellbound listening to an orchestra […]. And they weren’t with their parents, they just have that different attitude about music. When you look over music having taken it in high school, how do you feel the attitude is? The overall attitude, other than the music students?
I: I think it was, especially in high school, it definitely wasn’t as valued. People would kind of look at us and say “oh, they’re the music kids, the band geeks”. So it definitely wasn’t as valued, but I found it was good because there was a couple of teachers who would always show up to concerts or the play, and they were involved in sports. So that was a good example, and even this year [my high school] has had a lot of problems with attendance and people dropping out of band. Mrs. Gosse (my high school music teacher) is kind of worried about that, because even the seniors kind of just left her.
T: It’s a very tough job. You have to be the toughest teacher in the program, as well as the drama. […] And that comes back to the foundation [that] there is not the same value as there is in sports. I don’t know why it is, other than I think the majority of Canadians [prefer sports]. Look at the example of a hockey arena and a music hall, for performance. The ‘snobs’ want the music hall. [If they want a hockey arena] somewhere else, they’ll build it tomorrow. It’s an overall feeling. How do we change it? I wish I knew, Naomi. As a music teacher, […] when I was [teaching] groups, I would talk about it quite regularly. It has to come from the home environment, the school environment. You can work as hard as you want with a group of students, let’s say in grade 12, in the music program like in your grade. How wonderful, it was to hear you play. But if you don’t have the kids that have the interest, it’s tough. It’s very, very tough. You change it for them? One thing I know if hard for the high school kids is the early morning practices. I have a student right now, Alex, and he is in grade 10. He’s just joined the band. And he’s getting up—he’s a good musician, he’s a very good piano player—he’s getting up at 5:00 in the morning so he can be picked up at, is it five to 7:00, ten to 7:00? It’s only two mornings, but he’s finding it hard. He’s trying to get some other friends to do it, but they don’t want to get up at that hour. I don’t know how they could change it but I know for a long time it’s been a complaint. You have to have such passion, like yourself, to do that. And that’s why some of them drop out. Because it’s to do with that whole thing of committing to getting up early, and being at school so early and having the day extended.
I: And maybe another thing is some people, they can’t see the outcome of it too. It’s hard to see how it pays off, I guess, in the end.
T: Yes, because in a lot of ways, music is to be enjoyed. And I often say to a student who says, “but I don’t really enjoy it” but [they’ve] only played it for a week and aren’t playing it well enough. Once you play it, and after that happens, you can see a difference in their expression. But if you give up right away… and one other point I wanted to make, because it will relate to the teaching, and University, [is that] the parents are different. If the child comes, and the parent says “I just want them to try it out and if they don’t like it they’re going to try something else”. That’s happening a lot. And that’s a real sore point. Because as a music teacher, as any teacher, you make a commitment. As this friend said to me last week, one child came to her […] and after the second lesson, [the parent said] “she doesn’t like it, I’m taking her out”. The teacher said to me, “what would you do?”, and I said that I was fortunate enough to work at the school of music, a totally different environment. The parent has made the decision, the child is willing to give it up and try something else. How do you change that, Naomi? You can’t change the parents. How much control do we have? In the high school music, which you’re looking at, or the grade school, if you’re really motivated, they will be. Now there’s an example, Mrs. Gosse. Could you find anybody more motivated? I’ve watched many school projects, many school bands, many school orchestras and I probably have been the most impressed with her. […] I have watched the work they do. It’s a huge commitment. You know yourself, as a student, the commitment you have to make to that. And just think of what the teacher has to do. I admire them, I always have, and I’ve always said, “thank God I’m teaching privately”. Doesn’t matter the amount I get or anything, it’s more the pleasure I get out of it and the enjoyment of seeing somebody finish and come back to see me and say, “I’m so glad you kept after me every week”. It’s true, some people I did have to. I did help and you do have to do it. You can’t just always be a real sweet person. You have to learn how to do the strong, “this is what I really want you to do and I’ve been trying to do it with you, and [if you don’t do it] we’ll have to have some kind of other consequence”. In other words, give the parents a call, which I always try to do. But if you don’t get the support from the parents then you’re lost. […] Where has the interest gone, Naomi? You know yourself, I’m not into all the social media things, but I do believe it has interfered with music tremendously. Because if a child wants to play all those pieces right off the bat, and can get them off the internet, but can’t play them because they don’t have the notes… they have to have a foundation first. Different for somebody who comes with music off the internet and has learned. Like Jessica, in her ninth year, because she didn’t want to get grade 9, she downloaded all these pieces and you can’t believe how she’s playing. […] I’m so impressed. [She said], “I wasn’t going to continue because you kept after me, I didn’t know rhythm before I came here” . If you can’t count, how can you play piano? Rhythm is the biggest thing, and they don’t like that comment. Rhythm, notes…it sounds like it’s a real burden and I don’t want to give that impression. You know I don’t think music teaching is a burden. But I [want to give] the most realistic points because I’ve been doing it for so long, and how it’s changed. I would love to be able to say it’s getting better and better. Even the purchase of music is changing. This student I have who loves Taylor Swift, and only wants to play Taylor Swift make her read music. I make her buy books that I think are suitable for her, to make her read. So she’ll be able to play by ear, and with music. I said, “I’ll look and see what’s in the music store”. And next time she came for a piano lesson, she had purchased two books on the internet. And she got two Taylor Swift books over night almost. Two days, her mom said. And that’s changing the purchase of music. I know for music stores, it must be a change. […] What I’m trying to do now, even though I didn’t learn by ear, I’m trying to learn, because I know the chording having had the foundation, teaching them how to chord with those pieces. Using those chords, chord IV and chord V, just very basic. And trying to add dominant sevenths as they get better so they can play those pieces and add a chord. I think that brings more enjoyment.
I: Giving them the chance to be in charge.
T: Yes, being in charge, and I’ll say, “you can use the chord in root”. If they’re […] just sort of in their third year, they’ve done triads but they haven’t done enough I’ll just write the notes out and show how you change them around, move the chords around. I have one student who’s excelling with it. You remember Jade? She has learned by ear. She has learned more music, by ear. Since Sydni quit, she’s been playing everything by ear, and she’s been adding chords. And she just loves it. But Jade is coming, and she wants to keep coming. And I insist on reading. I insist on 20 minutes reading, and the rest […] with her pieces. And I’m real happy with it. I’ve never done that before, but she wanted to keep coming. I thought, “you know, I can’t keep doing this. She keeps playing Taylor Swift and I have nothing to offer”. You have to feel as a person that you’re offering something to them. You know that, yourself.
I: In class, we were talking about progressive education; being in charge of what you’re learning. The student are taking charge and the teachers are there as the mediators to make sure everything is going smoothly. So I think what you were saying, it’s not fully progressive, but I think there’s a little bit in there because you’re giving the student a little bit of room to be creative and explore for themselves.
T: And they like that. [Jade] is in grade 10 at Beal and she’s going to keep coming when she can, so I would feel guilty if she had have kept coming and I hadn’t found a program. And I’m insisting she continue with theory. Because I tell her, “if you understand the theory, even though you don’t like it, and you don’t like the reading, you’re going to be better off than a lot of us”. And I put myself in there because I don’t play by ear. She can entertain friends at their homes. Jessica played in Germany on a trip for STA […] at a train station. She said, “Mrs. Hobbs, I can’t believe it! I played for 20-25 minutes and everybody started coming over”. Now to me, that was terrific. And if I had have said to her, you have to do grade 9, it would have been a battle. She would have quit. And we talked about it and [she said], “no, I really don’t want to keep doing it, but I’d like to keep coming”. […] I can’t believe the difference. So the value of playing your own music is so important, because then you make it your own. The other program can become your own if you’re motivated like you were. But it doesn’t become your own if all it is is, “I’ve got this grade 8”. And it’s not as valuable as it used to be unfortunately. […] Private music teachers have been fighting forever to be licensed. We’re not licensed. We cannot be licensed. I belong to the registered teachers and I pay a fee every year. But as far as being a licensed teacher like a licensed massage therapist […] they just won’t get it. Anybody can teach. A student down the street can come along and teach ten or twelve or fifteen kids in the neighbourhood, […] and we have no control over that. […] So that shows you the value that is being put into music teaching. […] It’s a totally different attitude. But that exists in life, I think, in a lot of areas. […] I worked really hard to get my Associate piano from the Western Conservatory, 12 grades, and it was a lot of work. And I really feel for me, it’s probably the best thing I’ve ever done. And the people I’ve met. The value of the people that I have met, the people I have seen is more important. The young people that I have come to just love. And they have taught me so much. If I had’ve stopped teaching, I might have not. I’ve always loved kids […] but I have learned to be so much more open-minded having young people come in. Even if yo don’t say very much. It’s just something that’s so rewarding, and have friends stop when they come to visit, and they say, “how do you enjoy it all the time? They all play the same”. And I say, “no, they don’t”. Every single person is totally different, as they will be in a classroom of grade 9 orchestra and grade 10 singing. Not one has the same voice, the same feeling in response to that teacher. So I think, as I get older Naomi, I’m that much more convinced. […] And I say it with the most sincerity. Meeting someone like yourself, I mean, it’s just been…and Tony talks about it. I mean, he tells people, “you should see her, she just beams. She’s a lovely, lovely human being”. I mean [he’s seen] your plays. To me, that’s more valuable than going home and thinking, “well, that was okay today”. […] There’s something different [about] teaching in your home. Because I feel privileged to do it in this environment. Because I did live on my own, but I was lucky to not have to teach at home. Of course, teaching at the school of music I was very fortunate. But doing it this way has brought more joy, I like teaching at home more, and when people who are really passionate come back to visit, and say “I wasn’t really too excited about it, but I really enjoyed the lessons”. There’s something to be treasured in the teaching of music. I think in the relationship with the student. Look what you developed, even with me. I say it with pride. And what you developed with Mrs. Gosse. Seeing her, and the love…that’s unusual in a high school band. In high school, period. If any english teacher or any french teacher […] and every person there, it’s not like you have her every day, like 5 days a week. The value…you learned how to be with other people, what they’re like on a trip, when you’re not at your own homes or at school. You learn what the music teacher’s like the love she has, she wants you to do well…there’s just so much that people miss that don’t do that program. And later on they’ll say, “I’m so sorry I didn’t keep it up”. Many people say it. To this very day, I get it all the time. “I wish my parents would have made me stay at it”. […] It’s such a wonderful thing, to be able to play the piano.
[…] That’s the whole thing with the study of music: being able to be disciplined, to practice, to prepare for what for you’re going to be going to, have that ownness yourself, not just your teacher. I used to do practice sheets, but it got to a point where the parents wouldn’t sign it so I gave those up. I tried all kinds of different things in my younger years and even here. It doesn’t work. You just hope when you teach there’s a lesson to be learned. Number one, respect for the other person. When the first child sits on that bench, they don’t know who you are. That’s scary. Since I’ve been on my own, I interview when the parent calls, with a younger child especially. With some of them transferring I’ll say, “would you like to come and see me?”. I just do it automatically. Because I think they can get a fair idea, if they want. If you’re there because you need piano students, it’s not going to work. Kids see through you faster than adults do. […] I haven’t always had great times, sometimes I’ve moved around, school to school, but I’ve always been fortunate that people have followed me. And I think that comes back to the respect and the interest I have in the child that’s coming.
Saturday, October 15, 2016 I: Interviewer
Duration: Approx. 38 mins.
I: So, if we could start with you introducing yourself…
T: I am a piano teacher in the city. I’ve been teaching here for 35 years plus, and when I first started I felt very privileged that I was at a school of music, which involved a large number of students. Our program was the same for everybody, beginners, take them through examinations and try as hard as you can to get them to the end of grade eight. At that particular time, the most [important] thing for most families was if they could get the grade eight exam. Along with recitals—we had a wonderful recital hall—festivals, we used to have a performance every November, where we had an awards night. We would do [a] recital with three pianos on stage and do trios and duets and all the kids who did exams got their certificate. It was a wonderful setup. Through that, then I was asked to go to the school of music. They were starting a school of music at St. Mary’s Choir School. It started out as St. Peter’s but they eventually moved to St. Mary’s and I felt very good that I was asked to go there. I did teaching there for a long time, [it] closed in the ’80’s, and then I moved over to the Conservatory, the Conservatory of Music, and continued to do the same program there. After 3 years I felt that was not for me, that I wanted to go on my own. So I’ve been teaching on my own. Just to explain what I’m finding, the difference in when you don’t just focus on […] getting grade 8 and I’m more convinced every day and every year that I teach, you have to expose children to their music as well. So I started introducing, and I always try with the knowledge of the key board; they must know their notes, then the lines and spaces, which takes some time. I went to the States for two years to take a course in teaching group piano through the Francis Clarke method, and it was all through interval reading. They don’t learn lines and spaces: E-G-B-D-F, or intervals really. So then I decided when I was on my own, I’ll just run a different program. So I do do some with the keyboard and then with a young child, I usually start them in the beginners book. There’s many different varieties of beginner’s books now, they’re very attractive, lovely. You know, with pictures for them to observe and they colour their theory books. It’s all just so much better than it used to be; it gets them excited. So I have enjoyed doing that. Then I start the child, in a few months I start in with some folk songs, some disney songs at their level, and then I introduce classical. Possibly in the second year depending on the child. If the child is, you know, keen enough and learning fairly well I usually introduce them to a Conservatory book and I always do technique because I fully believe without technique, you just cannot become a performer. It is the basis and most people would agree, technique is tricky, and not lovable or likeable for anybody to practice. So then as we go along, I have noticed, let’s say for 15 years, the whole program is changing. The whole attitude towards the study of music is totally different. It’s to do with parents being very, very busy, and children have many interests outside of sitting for 20-30 minutes at a keyboard or standing up practicing the violin or whatever the instrument is, it has been, I believe, my point of view, it has been on the bottom of their priorities. So you’re constantly trying to work with children in a different fashion, I believe. Unless you find somebody who is really keen. And of course when I started Naomi, she was so keen, we worked so well together, and I do find people still like that. But as a whole, I do notice, talking to younger teachers, it is a difficult task at this point. How we change it, I think is up to the individual teacher. I think, on the one-to-one, every child is different. And I usually think, for example, 7 is a good age for reading, and they understand the theory. I always get the impression that if a parent is [supportive] they’ll progress. If they don’t show interest, there’s not much progress. Parents are very busy today. They haven’t them in many other things. So you’re constantly working with that, saying “how can I make it interesting?”. As you continue to teach music I think you believe, I believe, that you are more interested in seeing if the child is loving the music. They don’t like certain parts, but do they love the idea of coming to a lesson and playing a piece they really enjoy. Playing a piece that they learn themselves. Some of them have their own music, they’ve got [a] good ear, snd they create their own music, learning to add little chords at the bottom. What I have found in the last 5 years is, students who are getting old, in other words people let’s say who are starting 13 and up, are finding their own music online. And playing a lot of that music, and I’m having to say to myself, “this is important”. What I’m trying to do is I’m trying to combine, what I still feel is important, the love of other kinds of music. Because as a music teacher you have to be open to the childrens music of today. And I find I have more success when I do that. That’s just my impression from having been teaching for a long, long time. It’s a wonderful thing, you have a child come, they could be an older student ,and they don’t really know a lot about music but they’ve tried the piano somewhere or the keyboard, and they know very little and in a short period of time they’re able to play a piece and there’s probably nothing more satisfying than teaching a child on a one-to-one. It’s a tremendous satisfaction. And that’s where I feel privileged that I’ve been able to do it for those years, and continue to do, and look forward to continuing to do it. Having wonderful students, like Naomi, and as time goes on—because right now I have a lot of younger ones, but I’m enjoying them, and I’m doing different than I ever did with these younger ones because you have to plan it according to the child. You cannot do the same program. That’s what I’ve [learned] since I’ve been on my own. For me, that was better. So that’s a big part of what I’ve been doing.
I: Just on your last point, about having the one-on-one and having the child decide for themselves to learn, how do you think that they could make that happen more in classroom settings? I guess on a one-on-one basis it might be easier for the kid to decide, but in the classroom do you have any ideas for how teachers could make that a better experience?
T: It has a lot to do with the teacher. If the teacher’s really passionate, you know yourself from being in the high school with Mrs. Gosse, look what she did. Let’s say for you alone, I saw you at your concerts and I’m so impressed with her. How they do it in the classroom, I honestly believe [it has a lot to do] with the teacher. I saw it at St. Mary’s Choir School where the children […] had to be good academically. But they were there to learn to play the violin or cello, and to sing. They became very enthusiastic because the teacher wanted to do this. If you’re a teacher, doing is because it’s a job, like teaching any other subject, you’ll always find there’ll only be the few who will respond to you. I have known music teachers from the classroom, from the high school[s] especially, who were wonderful music teachers. But [they] got into the classroom and with the change in the program, […] that made a huge difference. That has really interfered, I think, with a lot of kids going on. And as student who was about 17 before he finished and he said to me, “nowadays, my friends don’t want to go on with music because they have so many more subjects they can take”. It used to be, “I’ll take music if there’s nothing else”, which in some ways is a bit of an insult, but, you know what I mean. A person doesn’t understand that unless they’ve been taught the love of music. I think the approach by the teacher— you would probably agree with that would you, if you stood up in front of a classroom tomorrow, your whole being would show interest because that’s who you are. If you get someone up there that’s not able to control the classroom, hasn’t learned that interaction with let’s say teenagers especially, you probably won’t have the success.
I: Yeah, we actually talked about that in class, how the teacher, whatever situation they’re in, it’s important for their inspiration, their passion for music to show too [because] the kids can pick up on that. So I think that’s a big part.
T: You know, Naomi, you know yourself, how you’ve been through school, and now you’re going through music college, how the people there are enthusiastic to teach and how you really love what you’re doing. On a one-to-one that’s why I’ve always liked a one-to-one, and I did teach group, at the school of music. I enjoyed that, a lovely experience, [there were] 8 to 10 [children] in a group. Then when I went on my own there wasn’t an opportunity in my environment but I actually prefer one-on-one. I just feel like I relate better [on a one-to-one] and I get to know the child better. I think it’s important, first of all, to make the person you’re teaching feel really comfortable. […] The very first student I started, I remember, a little blonde girl, 6 years old, I remember seeing her. The first thing I said was, “I will show her the utmost respect” to every child that comes into my studio. And they pick that up, even if they don’t love music and don’t love the idea of playing piano, and fighting it at home. And I think getting them to practice, […] it would be the same with the instrumental, trying to get the kids to practice. That is difficult. It has never been easy. I don’t think any teacher has a program where they just rush home to practice. It has a lot to do with what’s going on at home, what the plans are in the family. It’s a discipline thing. You know yourself, Naomi, music takes a lot more study than most other subjects. Not to belittle anything else, but it’s constant. It doesn’t come because you’ve heard it, and now you can play it perfectly. And as one teacher told me the other day at a meeting, her biggest problem, she feels, is similar to mine. She’s been teaching about the same amount of time I have, and [she’s] had people coming and saying “I want to play Taylor Swift but I don’t want to learn anything else”. And they don’t know notes. So you’re fighting a battle when that happens. I haven’t had that and I am glad, and I probably will get it some time. I’ve had parents come and say, “I want her to play Fur Elise” right away, and I think “well, that’s not going to happen for a while”.
I: Have you ever found that they lose interest because they can’t play right away? What’s your approach when that happens? What would you start out saying or how would you help them along with that?
T: I have found, […] you really don’t like playing particular kinds of pieces, let’s say Etudes in grade 1 or grade 2. Let’s find something that you really enjoy. You basically feel like you do have to go along with what the child likes. That doesn’t been, forever and ever, you do what they want, because they do have to learn the basics. When they’ve learned the basics I have had more success because, and I say to them, “let’s hear a piece, which one of these pieces do you like the best”. I think that’s really important.
I: Giving them the choice.
T: Giving them the choice. They’re used to that. […] I think if you’re open minded, you’ll have more success with children than, “this is how it’s going to be”; they don’t want to do it then. You can’t work like that. There’s a certain amount that you have to be […] somebody who is stern to a certain extent because you have to know how to use your 45 minutes without a lot of nonsense going on. You can have that with some children, some children […] like to argue […]. But I have always found that asking them, “how was school today?”. I can get the feeling when they come. Especially after school if it’s been a good or a bad day, especially high school students, you come here with such tough stuff going on. But I have always felt that the school music teachers have the hardest job. I’ve said it since I was a young teacher. Because you’re not only dealing with one, but you’re dealing with so much else going on, […] and the school system. And are they valued in the school system? In my experience hearing music students throughout the years, [music is] not as valued as sports. How do we change that? It’s like our society doesn’t value it. You see, society values sports. […] The first thing is, “do you play basketball […]”. And that’s great, group sports, like playing in an orchestra, is probably one of the most exciting things. But people would never compare [playing in an orchestra] to playing football or hockey. Canada has a different attitude.
I: Do you have any thoughts about why that is? Why music isn’t as valued?
T: I’m not sure, but it’s the same in the States I think— in Europe it’s a totally different thing. I recall teaching an exchange student from Germany. He was at Catholic Central. Every week he kept saying, “the kids tease my because I’m coming to piano. But we all take piano, we all take [a] musical instrument in Germany”. It is so valued. His wording, however the put it to me, my understanding was, “it’s wonderful to play the piano”. He was actually very good. He stayed [for] 2 years and then he went back to Germany. I do know from my experience, having been in Holland visiting friends and going to a concert, seeing young people of 14-20 sitting absolutely spellbound listening to an orchestra […]. And they weren’t with their parents, they just have that different attitude about music. When you look over music having taken it in high school, how do you feel the attitude is? The overall attitude, other than the music students?
I: I think it was, especially in high school, it definitely wasn’t as valued. People would kind of look at us and say “oh, they’re the music kids, the band geeks”. So it definitely wasn’t as valued, but I found it was good because there was a couple of teachers who would always show up to concerts or the play, and they were involved in sports. So that was a good example, and even this year [my high school] has had a lot of problems with attendance and people dropping out of band. Mrs. Gosse (my high school music teacher) is kind of worried about that, because even the seniors kind of just left her.
T: It’s a very tough job. You have to be the toughest teacher in the program, as well as the drama. […] And that comes back to the foundation [that] there is not the same value as there is in sports. I don’t know why it is, other than I think the majority of Canadians [prefer sports]. Look at the example of a hockey arena and a music hall, for performance. The ‘snobs’ want the music hall. [If they want a hockey arena] somewhere else, they’ll build it tomorrow. It’s an overall feeling. How do we change it? I wish I knew, Naomi. As a music teacher, […] when I was [teaching] groups, I would talk about it quite regularly. It has to come from the home environment, the school environment. You can work as hard as you want with a group of students, let’s say in grade 12, in the music program like in your grade. How wonderful, it was to hear you play. But if you don’t have the kids that have the interest, it’s tough. It’s very, very tough. You change it for them? One thing I know if hard for the high school kids is the early morning practices. I have a student right now, Alex, and he is in grade 10. He’s just joined the band. And he’s getting up—he’s a good musician, he’s a very good piano player—he’s getting up at 5:00 in the morning so he can be picked up at, is it five to 7:00, ten to 7:00? It’s only two mornings, but he’s finding it hard. He’s trying to get some other friends to do it, but they don’t want to get up at that hour. I don’t know how they could change it but I know for a long time it’s been a complaint. You have to have such passion, like yourself, to do that. And that’s why some of them drop out. Because it’s to do with that whole thing of committing to getting up early, and being at school so early and having the day extended.
I: And maybe another thing is some people, they can’t see the outcome of it too. It’s hard to see how it pays off, I guess, in the end.
T: Yes, because in a lot of ways, music is to be enjoyed. And I often say to a student who says, “but I don’t really enjoy it” but [they’ve] only played it for a week and aren’t playing it well enough. Once you play it, and after that happens, you can see a difference in their expression. But if you give up right away… and one other point I wanted to make, because it will relate to the teaching, and University, [is that] the parents are different. If the child comes, and the parent says “I just want them to try it out and if they don’t like it they’re going to try something else”. That’s happening a lot. And that’s a real sore point. Because as a music teacher, as any teacher, you make a commitment. As this friend said to me last week, one child came to her […] and after the second lesson, [the parent said] “she doesn’t like it, I’m taking her out”. The teacher said to me, “what would you do?”, and I said that I was fortunate enough to work at the school of music, a totally different environment. The parent has made the decision, the child is willing to give it up and try something else. How do you change that, Naomi? You can’t change the parents. How much control do we have? In the high school music, which you’re looking at, or the grade school, if you’re really motivated, they will be. Now there’s an example, Mrs. Gosse. Could you find anybody more motivated? I’ve watched many school projects, many school bands, many school orchestras and I probably have been the most impressed with her. […] I have watched the work they do. It’s a huge commitment. You know yourself, as a student, the commitment you have to make to that. And just think of what the teacher has to do. I admire them, I always have, and I’ve always said, “thank God I’m teaching privately”. Doesn’t matter the amount I get or anything, it’s more the pleasure I get out of it and the enjoyment of seeing somebody finish and come back to see me and say, “I’m so glad you kept after me every week”. It’s true, some people I did have to. I did help and you do have to do it. You can’t just always be a real sweet person. You have to learn how to do the strong, “this is what I really want you to do and I’ve been trying to do it with you, and [if you don’t do it] we’ll have to have some kind of other consequence”. In other words, give the parents a call, which I always try to do. But if you don’t get the support from the parents then you’re lost. […] Where has the interest gone, Naomi? You know yourself, I’m not into all the social media things, but I do believe it has interfered with music tremendously. Because if a child wants to play all those pieces right off the bat, and can get them off the internet, but can’t play them because they don’t have the notes… they have to have a foundation first. Different for somebody who comes with music off the internet and has learned. Like Jessica, in her ninth year, because she didn’t want to get grade 9, she downloaded all these pieces and you can’t believe how she’s playing. […] I’m so impressed. [She said], “I wasn’t going to continue because you kept after me, I didn’t know rhythm before I came here” . If you can’t count, how can you play piano? Rhythm is the biggest thing, and they don’t like that comment. Rhythm, notes…it sounds like it’s a real burden and I don’t want to give that impression. You know I don’t think music teaching is a burden. But I [want to give] the most realistic points because I’ve been doing it for so long, and how it’s changed. I would love to be able to say it’s getting better and better. Even the purchase of music is changing. This student I have who loves Taylor Swift, and only wants to play Taylor Swift make her read music. I make her buy books that I think are suitable for her, to make her read. So she’ll be able to play by ear, and with music. I said, “I’ll look and see what’s in the music store”. And next time she came for a piano lesson, she had purchased two books on the internet. And she got two Taylor Swift books over night almost. Two days, her mom said. And that’s changing the purchase of music. I know for music stores, it must be a change. […] What I’m trying to do now, even though I didn’t learn by ear, I’m trying to learn, because I know the chording having had the foundation, teaching them how to chord with those pieces. Using those chords, chord IV and chord V, just very basic. And trying to add dominant sevenths as they get better so they can play those pieces and add a chord. I think that brings more enjoyment.
I: Giving them the chance to be in charge.
T: Yes, being in charge, and I’ll say, “you can use the chord in root”. If they’re […] just sort of in their third year, they’ve done triads but they haven’t done enough I’ll just write the notes out and show how you change them around, move the chords around. I have one student who’s excelling with it. You remember Jade? She has learned by ear. She has learned more music, by ear. Since Sydni quit, she’s been playing everything by ear, and she’s been adding chords. And she just loves it. But Jade is coming, and she wants to keep coming. And I insist on reading. I insist on 20 minutes reading, and the rest […] with her pieces. And I’m real happy with it. I’ve never done that before, but she wanted to keep coming. I thought, “you know, I can’t keep doing this. She keeps playing Taylor Swift and I have nothing to offer”. You have to feel as a person that you’re offering something to them. You know that, yourself.
I: In class, we were talking about progressive education; being in charge of what you’re learning. The student are taking charge and the teachers are there as the mediators to make sure everything is going smoothly. So I think what you were saying, it’s not fully progressive, but I think there’s a little bit in there because you’re giving the student a little bit of room to be creative and explore for themselves.
T: And they like that. [Jade] is in grade 10 at Beal and she’s going to keep coming when she can, so I would feel guilty if she had have kept coming and I hadn’t found a program. And I’m insisting she continue with theory. Because I tell her, “if you understand the theory, even though you don’t like it, and you don’t like the reading, you’re going to be better off than a lot of us”. And I put myself in there because I don’t play by ear. She can entertain friends at their homes. Jessica played in Germany on a trip for STA […] at a train station. She said, “Mrs. Hobbs, I can’t believe it! I played for 20-25 minutes and everybody started coming over”. Now to me, that was terrific. And if I had have said to her, you have to do grade 9, it would have been a battle. She would have quit. And we talked about it and [she said], “no, I really don’t want to keep doing it, but I’d like to keep coming”. […] I can’t believe the difference. So the value of playing your own music is so important, because then you make it your own. The other program can become your own if you’re motivated like you were. But it doesn’t become your own if all it is is, “I’ve got this grade 8”. And it’s not as valuable as it used to be unfortunately. […] Private music teachers have been fighting forever to be licensed. We’re not licensed. We cannot be licensed. I belong to the registered teachers and I pay a fee every year. But as far as being a licensed teacher like a licensed massage therapist […] they just won’t get it. Anybody can teach. A student down the street can come along and teach ten or twelve or fifteen kids in the neighbourhood, […] and we have no control over that. […] So that shows you the value that is being put into music teaching. […] It’s a totally different attitude. But that exists in life, I think, in a lot of areas. […] I worked really hard to get my Associate piano from the Western Conservatory, 12 grades, and it was a lot of work. And I really feel for me, it’s probably the best thing I’ve ever done. And the people I’ve met. The value of the people that I have met, the people I have seen is more important. The young people that I have come to just love. And they have taught me so much. If I had’ve stopped teaching, I might have not. I’ve always loved kids […] but I have learned to be so much more open-minded having young people come in. Even if yo don’t say very much. It’s just something that’s so rewarding, and have friends stop when they come to visit, and they say, “how do you enjoy it all the time? They all play the same”. And I say, “no, they don’t”. Every single person is totally different, as they will be in a classroom of grade 9 orchestra and grade 10 singing. Not one has the same voice, the same feeling in response to that teacher. So I think, as I get older Naomi, I’m that much more convinced. […] And I say it with the most sincerity. Meeting someone like yourself, I mean, it’s just been…and Tony talks about it. I mean, he tells people, “you should see her, she just beams. She’s a lovely, lovely human being”. I mean [he’s seen] your plays. To me, that’s more valuable than going home and thinking, “well, that was okay today”. […] There’s something different [about] teaching in your home. Because I feel privileged to do it in this environment. Because I did live on my own, but I was lucky to not have to teach at home. Of course, teaching at the school of music I was very fortunate. But doing it this way has brought more joy, I like teaching at home more, and when people who are really passionate come back to visit, and say “I wasn’t really too excited about it, but I really enjoyed the lessons”. There’s something to be treasured in the teaching of music. I think in the relationship with the student. Look what you developed, even with me. I say it with pride. And what you developed with Mrs. Gosse. Seeing her, and the love…that’s unusual in a high school band. In high school, period. If any english teacher or any french teacher […] and every person there, it’s not like you have her every day, like 5 days a week. The value…you learned how to be with other people, what they’re like on a trip, when you’re not at your own homes or at school. You learn what the music teacher’s like the love she has, she wants you to do well…there’s just so much that people miss that don’t do that program. And later on they’ll say, “I’m so sorry I didn’t keep it up”. Many people say it. To this very day, I get it all the time. “I wish my parents would have made me stay at it”. […] It’s such a wonderful thing, to be able to play the piano.
[…] That’s the whole thing with the study of music: being able to be disciplined, to practice, to prepare for what for you’re going to be going to, have that ownness yourself, not just your teacher. I used to do practice sheets, but it got to a point where the parents wouldn’t sign it so I gave those up. I tried all kinds of different things in my younger years and even here. It doesn’t work. You just hope when you teach there’s a lesson to be learned. Number one, respect for the other person. When the first child sits on that bench, they don’t know who you are. That’s scary. Since I’ve been on my own, I interview when the parent calls, with a younger child especially. With some of them transferring I’ll say, “would you like to come and see me?”. I just do it automatically. Because I think they can get a fair idea, if they want. If you’re there because you need piano students, it’s not going to work. Kids see through you faster than adults do. […] I haven’t always had great times, sometimes I’ve moved around, school to school, but I’ve always been fortunate that people have followed me. And I think that comes back to the respect and the interest I have in the child that’s coming.