Klarinet Archive - Posting 001074.txt from 2000/01

From: Neil Leupold <leupold_1@-----.com>
Subj: [kl] Re: Good teachers
Date: Sun, 30 Jan 2000 18:08:53 -0500

--- Patricia Smith <david-patty@-----.net> wrote:

> IMHO, there are certain characteristics that a good private teacher will
> possess.

> s/he will show enjoyment of teaching.

> the teacher will always offer any critique in a positive,
> pleasant manner

> the best teachers always give detailed, knowledgeable responses
> to student questions and do not try to put students off with pat
> answers.

> The best teachers admit when they are not sure or do not know, and
> invite the student to join them on a quest for knowledge.

> a good teacher will be a good player and will enjoy performing in some
> manner or form.

In my opinion, these are some interesting ideas about what makes a
teacher "good", but I wouldn't consider the above attributes to be
universal marks of that quality. The quality of the teacher is
very much dependent on the quality of the student, with respect to
that student's goals and personality. While I personally like some
of the above qualities in my own teacher, I can name several dozen
people who would say, "To hell with the niceties and pleasantness.
I want to learn clarinet. Get angry and be aggressive. Belittle
me, put things in ambiguous and nebulous terms. Parade around the
studio like an annointed peacock at a pelican festival. That's how
I learn best!" The perfect example would be Steve Girko, former
principal of the Dallas Symphony, and former professor at Southern
Methodist University in Dallas (all until he was dismissed from the
DSO). Students either loved the guy's teaching style, or they hated
his guts -- there was no middle ground. He was one of the most con-
descending and abrasive teachers I'd ever met, yet the students in
his studio were there entirely by choice, because they felt that
his style of instruction was a genuine benefit to their develop-
ment. My skin wasn't that thick, so I didn't stick around, but
there was no denying that his approach to private clarinet in-
struction was seen as an effective and inspiring methodology by
many players. There was no shortage of top conservatory under-
grads migrating to Dallas specifically to earn their Master's
or Artist Certificate with him.

Plainly, I think the measure of whether a teacher is good or not
is reflected in how effective (s)he is at facilitating the student's
development. Up to a certain level of advancement, I do *not* be-
lieve that it is necessary for a good teacher to be an experienced
orchestral performer. S(he) needs to have performance experience
in some capacity in order to be credible, but in the early stages
of learning, I think it is more critical that the teacher be an
effective communicator. This might entail frequent demonstrations,
or it might entail verbal descriptions and recommendations, or both
of these approaches combined. Approaches vary, and that's the point.

As the student develops, the experience factor for the teacher be-
comes more and more relevant, especially as it relates to interpre-
tation according to period performance practice. This is one reason
that students sometimes 'graduate' from one teacher to another, in
recognition of the fact that it is time for exposure to new influ-
ences. Whether the teacher at the earlier level was an experienced
orchestral performer or not, it is fairly common to change teachers
for the purpose of broadening a player's conceptual palette. Each
instructor puts a different slant -- if not an outright contradic-
tion -- to ideas learned in the past, in addition to ideas hereto-
fore unheard of. And in each case, there must be some level of
consistency between the teacher's approach and the student's abil-
ity to respond. If the instructor's commands are all in colorful
verbal terms, and the student is only capable of responding to
literal demonstration, the relationship will not be fruitful...un-
less the teacher can adapt his/her approach to the student's learn-
ing style. This is much more critical at the earlier stages of
development. By the time a student reaches the graduate conserva-
tory level, (s)he is typically quite adept at discerning the idea
and intention behind a given instruction, as well as what (s)he must
do to generate the desire results, and does not require in-depth ex-
planation relative to either technique or nuance. At this level,
people study with a particular teacher to receive that teacher's
particular concept of musicianship and musicality, whatever the
manner in which those things are communicated. The more advanced
the student, the greater the burden of responsibility for adjust-
ment leans toward the student, although there is always room for
collaboration in the learning process, depending on each partici-
pant's temperament.

These are all just my meandering thoughts, not carved into a
head of stone, and I'd be interested to hear others' ideas on
the criteria which they feel are essential in an effective pri-
vate clarinet teacher.

-- Neil
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