Teachers, Learning and Teaching
Unleashing Talent by Ricardo Iznaola
TRADITIONAL musical pedagogy is still tainted by the conventional wisdom which teaches us that musical talent is an innate ‘gift’ with which a few privileged people are blessed, and that its presence or absence is not necessarily related to a vocational calling, which may exist in the ‘untalented’ individual. This deleterious viewpoint shuts the door to the riches of musical training to untold numbers of people who never give themselves a chance to pursue their musical dreams, in the belief that they were born without a talent for music.
Unleashing Talent: a lecture by Ricardo Iznaola
A keynote lecture delivered at the American String Teachers Association’s National String Forum & Festival in Dallas, Texas, March 13, 2004, revisiting the ideas of the previous article from the perspective of ten years later
Using Visualization Techniques to Improve your Memorization by Richard Provost
The Beginner and Good Movement by Rebecca Crosby
MOVEMENT IS ALL-IMPORTANT in the development of good musicians. Control of finger movements from the earliest stage forms an integral part of rhythm. The beginning, and more significantly for guitarists, the end of the note, are formed through movement.
Kondolghia: aphoristic reminders to myself, by Gilbert Biberian
WE ALWAYS MAKE assumptions, often wrong ones, especially about our communications. We assume shared meanings, a common language. Teaching is one process, learning quite another.
Aural Perception by Stuart Button
The discussion focuses on children and the pedagogy of singing and hearing, touching on the work of Wilhem and Hullah, Curwen, Kodály, etc, up to the present day (guitar students are not specifically discussed).
The Teaching of the Guitar in England during the 19th Century by Stuart Button
From a young lady’s fashion accessory to the artistry of Julian Bream: the transformation in guitar pedagogy in England during the nineteenth and early twentieth centuries is described here.
The Role of 'Expressive Doing' in Education by Ricardo Iznaola
Comments presented during the ceremony of initiation to honorary membership in Phi Beta Kappa, Gamma Chapter, at the University of Denver, Phipps Mansion, Colorado, USA May 27, 1999
A Conversation with George Hadjinikos by Graham Wade
During his long career, pianist and conductor George Hadjinikos has profoundly influenced a number of guitarists, notably Paul Galbraith. In this conversation he acknowledges that the guitar has had difficulties taking its place in the mainstream of classical music, but suggests that there are fundamental problems in musical education that afflict performers on all instruments.
Guitar Teaching: the process and the product by Adrian Ingram
IT HAS BEEN SUGGESTED that musical performance can contribute positively to certain areas of personal growth.
Musicianship and Guitar Playing Using a Kodaly Approach by Luke Dunlea
Luke Dunlea’s Jigsaw Guitar Course, with its innovative Kodály-based approach, now runs to three children’s books with one accompanying teacher’s manual. A fourth children’s book and second teacher’s manual are in preparation. At the time that this article was written, only the children’s book one and teacher’s manual had been completed.
Maps and Memes: Mental Modelling for Guitar Acoustics by Trevor Semple
Trevor Semple specialises in building hi-tech guitars using modern techniques and materials. He is currently in the process of prototyping a new series of fourth-generation concert guitars called ‘Q’.
Rethinking Guitar Pedagogy by Richard Provost
Richard Provost is the founder and former chairman of the guitar department at The Hartt School. Provost is regarded as one of the country’s leading guitar pedagogues. His students have won or been finalists in major guitar competitions including the Guitar Federation of America, Music Teachers National Association, American String Teachers Association, and Alirio Diaz Competition.
Some Thoughts on Posture and Holding the Guitar by Graham Wade
THE HOLDING OF MUSICAL INSTRUMENTS such as flute, oboe, clarinet, trumpet, trombone, euphonium, violin, cello, etc, is universally acknowledged as being one of the most crucial aspects of fundamental technique. Musicians, whether practising alone or performing in orchestras for long hours, must assume a playing posture utterly compatible with the natural disposition of the body
The Reflective Teacher by Rebecca Crosby
IN AN ACCOMPLISHED MUSICIAN there is no clear distinction between technique and musicality, as each constituent part of every movement is involved in the production of sound. Technique is not simply used in service to the music, but shapes the form and direction in an integral way. The successful marriage of good movement and musical ideas will result in enhanced communication between the performer and audience, teacher and pupil
Guitar Teaching in Germany by Marco Schmidt
IN GERMANY, guitar teachers’ education always takes place in music academies or conservatoires. Music academies (Musikhochschulen) are always financed directly by the central Government. Conservatoires are financed by the cities – so they have less money.
The Teaching of Andrés Segovia by John Mills
A first-hand account of Segovia’s masterclasses by a leading player
Segovia's Contribution to Technical Studies by GRAHAM WADE
SEGOVIA’S RECIPE for success in music was encapsulated in a letter to Bernard Gavoty, written from New York, 20 December, 1954:
Teaching Very Young Children by Penny Sewell
Full of enthusiasm and original ideas. The PDF version gives the music to two songs mentioned in the article.
What Makes a Musician by John Sloboda
John Sloboda is internationally known for his books and research papers on the psychology of music. It is thought-provoking to consider this article alongside Ricardo Iznaola’s Unleashing Talent. Both writers address what they refer to as the ‘myth of talent’ and point to a minefield of external factors which may prevent aspiring musicians from even approaching their potential. But where Iznaola’s article addresses the pedagogy of adults and young adults, Sloboda is concerned with the development of musical ability in children from an early age.
Studies and Exercises for the Guitar by Brian Jeffery
Role and Function of Musical Analysis in Guitar Teaching by Angelo Gilardino
The 'a' Finger - Taking a closer look by Stephen Kenyon
THE AIM OF THIS ARTICLE is to examine the functioning of the a finger of the right hand and the defects which arise from its underdevelopment, and to suggest ways in which the improved use of this finger can lead to better technical and musical results.