When Should Piano Lessons Begin?
Identifieur interne : 001802 ( Istex/Corpus ); précédent : 001801; suivant : 001803When Should Piano Lessons Begin?
Auteurs : Janet Russell OwensSource :
- Music educators journal [ 0027-4321 ] ; 1958-04.
English descriptors
- Teeft :
- 3arnold gesell, 4gladys gardner jenkins, Activities approach, Additional income, Adult beginners, American panorama, Ample opportunity, Bach cantata arias, Bandstand april, Best fred waring music workshop, Better chance, Better coordina tion, Bodily movement, Busse janet russell owens, Child development, Choral group, Clara burri, Cogent argument, Complete sample score, Comprehensive collection, Considerable amount, Considerable strain, Contemporary songs, Coordination troubles, Definite improvement, Delaware water, Development child development, Difficult adjustment periods, Difficult relationships, Elementary education, Elementary school, Experience difficulty, Explosive practice sessions, Familair melody, Familiar tunes, Festival finale, Festivals memorial octavo, Flighty attention, Folk songs, Formal lessons, Formal piano lessons, Formal sense, Formal training, Good music, Good opinion, Great artists, Greater appeal audience, Green company, Hard work, Helen schacter, Highland avenue, Honor heritage, Hurry things, Important factor, Information mitch, Integral part, Interesting things, Kjos music, Life right, Many children, Many parents, Many years, Maximum weight capacity, Melodic problem, Mental readiness, Modern piano pedagogy, Music catalog, Music consultants, Music education, Music educators, Music lessons, Music reading, Music reading difficulty, Music sight, Musical language, Musical readiness, Musicianship classes, Name address affiliation, Normal growth process, Oberlin conservatory, Page music educators journal showyour, Page text book catalog, Parental exasperation, Parents demand instruction, Park ridge, Piano lessons, Precise movements, Primary period, Private teachers, Professional appearanceo, Professional sound, Psychological readiness, Quick removal legsfoldunderfor, Reading difficulties, Reading experts, Real association, Real strain, Rhythmic development, Rhythmic sense, Safe thing, Salesterritories page, Same cause, Sample scores bandstand series name school address, Sample scores festival band, School dance, School program, Serious matter, Simple instrument, Simple instruments, Small muscles, Song approach, Song bells, Source materials, Special interest, Special numbers, Specials bandstand, Storage qed4arcdl, Studio teachers, Sure formula, Tapered ends, Teachers columbia university, Teachers need, Texas state college, Text price, Time account, Time lessons, Tonal relationships, Traditional type, Tubular steel, Ucational psychology, Unit section, Utmost safety, Violent changeability, Wide tops, William bauer, York grieg, Young children, Younger child, Younger children.
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DOI: 10.2307/3388761
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ISTEX:88E9CBA9F73348EB7FB4B6349D6EA9840CF8D816Le document en format XML
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<pub-date pub-type="ppub"><month>4</month><year>1958</year></pub-date><volume>44</volume><issue>5</issue><fpage>56</fpage><lpage>58</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>April/May 1958</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> TWO Texts Prentice-Hall IN MUSIC THE ELEMENTARY SCHOOL: An Activities Approach to Methods and Materials by ROBERT E. NYE and VERNICE T. NYE, both of Univ. of Oregon Here your students find themselves in the child's world of music, a world that becomes an integral part of education. The authors recognize and use music as an important factor in the elementary education. It takes on new responsibilities as a means of selfrealization for the individual. 290 pp. Pub. 1957 Text price $4.50 When Should Piano Lessons Begin ? IME after time we, as music consultants, are asked to advise parents concerning the proper age to start music lessons. Many of us know from experience that an eight- or nine-year-old child has a far better chance of success than a six-year-old, yet we lack sufficient knowledge of child development to present a cogent argument for our position. We are concerned here with formal piano lessons of the type, unfortunately, found in the majority of studios, i.e., those which introduce music reading immediately, those which do little to help the child learn the language of music, and those which require a considerable amount of practice. It is evident to the student of child development that such a program is fraught with hazards for young children because of their unreadiness. FOR MUSIC SIGHT SINGING by ROBERTW. OTTMAN, North Texas State College This text is a comprehensive collection of good music minutely graded and arranged to introduce one new rhythmic or melodic problem at a time. It contains over 600 compositions ranging in difficulty from folk songs to Bach cantata arias and contemporary songs by Debussy, Hindemith and others. 299 pp. Pub. 1956 Text price $4.00 IC Send for FREE, 12 page text book catalog + Let us first consider musical readiness. As music educators we are well aware that a child must understand the musical language before he is asked to read it. We know that until he can show melodic direction with his hand, and can readily pick out familiar tunes on the song bells, his perception of tonal relationships is still pretty hazy. We know, too, that until he can show us that he hears the difference between quarters and eighths by responding to them physically, he can make no real association between sound and symbol. Those of us familiar with modern piano pedagogy recognize the value of the song approach in teaching an instrument. Consequently, we would hope that the child could sing at the time lessons were started. Yet how many six- or even seven-year-olds have had sufficient musical experience to do all of these things? Ask them to pick out a familair melody on the song bells. When the music goes up they go down; when it moves by skips, they often proceed by steps. However, musical readiness is only a part of the story. Physical, mental, and psychological readiness must also be considered. Anyone who has watched the coordination troubles of adult beginners at the piano can testify that this is no simple instrument. At six years the small muscles of the arm and hand are not yet completely developed. Authorities agree that at this age eye-hand coordination is difficult and precise movements involve considerable strain. Many of us have watched six-year-olds struggling with scissors or with shoelaces. Changes taking place in the eye at this time account, in part, for the difficulty. Children's eyes are not completely developed until some time between eight and ten. The percentage of youngsters with vision below 20-20 declines from slightly over fifty percent, in the prereading and primary period, to twenty to thirty-five percent in the early elementary and junior high school.' properly trained left-to-right eye movements. Reading experts tell us that many children read poorly because this skill has not been properly developed. Some children, for example, will read “saw” for “was” simply because they are looking from right to left rather than vice versa. Is it not reasonable to assume that part of the six-year-old's music reading difficulty stems from the same cause? The average six-year-old also will be likely to experience difficulty with rhythm, since the rhythmic sense is tied in with maturation. Jersild and Bienstock2 found in their experiments with the rhythmic development of young children that with age comes a definite improvement in their ability to keep time to the music, and that there is a decided difference between the ability of the five-year-old and the adult. They found also that the improvement of this ability is associated in part with factors involved in the process of growth, and that apparently repeated practice cannot materially hurry things along or enable the child to achieve the degree of competence he will eventually attain as a result of the normal growth process. + But what of mental readiness? Can the six-year-old give the sustained attention required by both lessons and practice? Experts tell us that his attention is short-lived even in games, and that it is even more fleeting when hard work is involved. GesellP feels that children are not really ready to practice alone until age nine or ten. Consider, then, the real strain involved for both parent and child when a six-year-old sits down at the piano ! In any case, this age is likely to be a period of rather difficult parent-child relationships. According to Jenkins, 4 six's explosiveness and violent changeability are normal and must be expected. Add to this his tendency to dawdle, which Gesell says is normal for this age, his flighty attention, and his wriggling and leg-swinging (also normal), and the result is a sure formula for parental exasperation. Moreover, to the six-year-old this exasperation is a serious matter. His concept of self is just in the process of formation, and he wilts under criticismin. He thinks he is what his parents say he is. For his security rests on their good opinion of him. And after a few rather explosive practice sessions, the idea begins to form in his mind that these piano lessons are not a very safe thing, and that maybe he'd better say he doesn't like music. Life right now is pretty hard anyway, because of having to adjust to all those children at school and to all those things the teacher expects him to learn! And he's right. Psychologists say he is going through one of life's most difficult adjustment periods. The trouble is that too many parents just don't understand. They think that music is not for him. They've tried. And that ends it. Had they only waited until he was older, this need not have happened. The seven-year-old often expresses a desire to take lessons, but GeselP feels that even at that age there is some question about the wisdom of starting, unless the teacher is willing to dispense with the requirement of practice. CONTINUED ON PAGE FIFTY-EIGHT Prentice-Hall, Inc. Box903 Cliffs, Englewood N.J. Please send me a , nc-, Stextbook Name Address Affiliation. ……. free copy of your catalog. latest MUSIC i * 0 0. ':'S. S S11(t *0O 1125 N. HIGHLAND AVENUE HOLLYWOOD38, CALIFORNIA AVAILABLE SALESTERRITORIES + Another factor which must be taken into consideration is the necessity for Page 56 Music Educators Journal Showyour CHORAL GROUP at its BEST FRED WARING MUSIC WORKSHOP, Delaware Water Gap, Pa. Add “Professional Appearanceo” for Greater Appeal Audience 3 Unit section erected Your Choral Group will “Look Better” and it will “Perform Better” with the semi-circular stepped-up stand arrangement because, there is better coordination between director and singers. MITCHELL CHORAL STANDS have strong, plywoo. tops and are made rigid, tubular steel with 18” wide tops folding legs. Stands for standing groups, “But,” parents will say, “isn't it true that most great artists started lessons very young?” No, it is not true. On the contrary, many of them started formal training when they were eight or nine. The earlier years were spent in exploration, in learning the language of music. We do not say that it is impossible to teach a younger child to play; children of a given age show wide variation in their development. We only question the wisdom of it, believing as we do that it is better to go along with nature than to precede her. The wisdom of this position will perhaps become evident when we consider that according to a survey6 made a few years ago, fifty-four percent of younger children beginning piano lessons dropped out during the first three months. It becomes increasingly apparent, then, that almost all six-year-olds and probably most sevens are not ready for piano lessons in the formal sense of the word. Yet this is just the time so many of them express special interest in music and have the time to give to it. What, then, should we advise parents to do? If the school program provides ample opportunity for singing, for experiences with simple instruments, for interpreting music through bodily movement, and for listening, we might well invite parents and teachers in to see what is being done, and encourage them to supplement the program outside. If, however, we are not so fortunate, by all means let's urge private teachers in the community to start the kind of program we know children should have. Many private teachers are unhappy about accepting six-year-olds for the traditional type of lesson. Yet parents demand instruction, and teachers need the additional income. Let us encourage teachers to set up musicianship classes. These are interesting, appropriate to the age level, and constitute a tremendous saving of time and effort when formal lessons begin. However, most studio teachers, being untrained in music education, will need some help and advice from us. Why not invite them to visit the schools, and show them some of the interesting things primary children can do with music? We could also prepare a list of source materials both for their own use and for use with the children. Let's do something now about this problem which has plagued both teachers and children for many years. JANET RUSSELL OWENS, 36” wide tops for seated groups. Available in 1, 2, r TAPERED ENDS FOR * QUICK SET-UP, REMOVAL * LEGSFOLDUNDERFOR COMPACT STORAGE SEMI-CIRCULAR SET-UP in heights of 8”, 16”, 24” and 3, or 4 elevations for 32”. Units and sections clamp securely together utmost safety and maximum weight capacity. Write for detailed information MITCH E LL MF 2744 . CO. S. 34th Street, Milwaukee 46, Wis. qed4Arcdl qoieda'e /04t FESTIVALS DAY-COMMENCEMENT-SPRING MEMORIAL Octavo FB.22 $4.50 4.50.20.20.18×4.50 4.50 4.50 American Panorama (Williams) ………… Born to Be Free (Williams)……………. (String Parts--$2.00) Come All You True Good Christians……… availableon rental-$6.00) (Orchestration Dry Bones (Yoder) ………………… Sym. Bd $6.50 6.50×6.50 6.50 6.50 .20 Ever Onward (Williams) ……………. Festival Finale (God of Our Fathers) (Maddy) … 20 (Full Orchestra--$4.50; Sym.-$6.50) Flag of the Free (Buchtel) ……………… 20 2.00 5.00 x x 7.50 x Glory and Honor (Rachmaninoff-Houseknecht) Heritage of Freedom (Cassler) …………. .22.22 availableon rental--$10.00) (Band Accompaniment.20 Joshua (Yoder) …………………….22 Lift Up Your Heads (Buchtel) …………. Salvation Is Created (Tschesnokoff-Houseknecht).201 Awake (Wagner-Houseknecht)……………20(.18 Songs My Mother Taught Me (Gillette)…… 18 Thanks Be To Thee (Handel-Houseknecht) … This Day We Honor (Williams) ……………20 4.50 4.50 5.00 2.00 5.00 4.50 6.50 6.50 7.50 3.00 7.50 6.50 fessor of piano, Oberlin Conservatory of Music, Oberlin, Ohio. 1G. E. Park and Clara Burri, “Eye Maturation and Reading Difficulties,” Journal of EdXXXIV (October 1943), ucational Psychology, pp. 535-546. 2Arthur T. Jersild and Sylvia F. Bienstock, of Rhythm in Young Children,” “Development Child Development No. 22. (New Monographs, York: Teachers Columbia University, College, 1935), pp. 95-96. 3Arnold Gesell and Frances Ilg, The Child From Five to Ten (New York: Harper and Brothers, 1946), p. 156. 4Gladys Gardner Jenkins, Helen Schacter, and William Bauer, These Are Your Children (Chi Foresman and Company, Scott 1949), cago: p. 49. 5Gesell and Ilg, op. cit., p. 156. 6A. E. Wier, The Piano (New York: Longmans, Green Company, 1948), p. 258. assistant pro- /, Ve! Request miniature scores of those you wish to see! Please send [L Sample Scores Festival Band [L Sample Scores Bandstand Series Name School …………………………. SPECIALS BANDSTAND by Jack Thompson 3 new special numbers for school dance bands-with that professional sound. 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Park Ridge, Ill. 525 Busse Page 58 Music Educators Journal </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>When Should Piano Lessons Begin?</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>When Should Piano Lessons Begin?</title></titleInfo><name type="personal"><namePart type="given">Janet Russell</namePart><namePart type="family">Owens</namePart><affiliation>assistant professor of piano, Oberlin Conservatory of Music, Oberlin, Ohio</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1958-04</dateIssued><copyrightDate encoding="w3cdtf">1958</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1958</date><detail type="volume"><caption>vol.</caption><number>44</number></detail><detail type="issue"><caption>no.</caption><number>5</number></detail><extent unit="pages"><start>56</start><end>58</end></extent></part></relatedItem><identifier type="istex">88E9CBA9F73348EB7FB4B6349D6EA9840CF8D816</identifier><identifier type="ark">ark:/67375/M70-NMHMCP45-T</identifier><identifier type="DOI">10.2307/3388761</identifier><identifier type="ArticleID">10.2307_3388761</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/88E9CBA9F73348EB7FB4B6349D6EA9840CF8D816/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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