As you know the artistic playing
of the accordion has developed immensely during the last years.
In various countries and at universities the accordion has been
acknowledged as fully equivalent to other instruments, famous
composers such as Sofia Gubaidulina have written parts for the
accordion, and - last but not least - the quality of the instrument
has been improved to a large extent. People celebrated this
development euphorically, but very often they forgot the basic
problems of the education of beginners : Which instruments are
apt for children? What about the repertoire - only original
music or transcriptions as well? Is it better to begin with
the stradella bass or the baritone bass manuals? Before dealing
with these specific questions I would like to comment on some
pedagogical and psychological questions concerning general music
education, as the formation of many accordion teachers can be
said to be rather unsatisfactory with regard to these questions.
Music education is part of general
education. Singing and playing an instrument, listening and
watching offer creative attractions, raise the fantasy and the
capability of concentrating. This experience, to create something
together, to feel joy and to gain the others' confidence, means
a decisive experience in a young person's life. Music also influences
the child in his emotional feelings. Music helps the developing
personality, strengthens one's power of judgment and has even
an important social function : it connects people - even where
communication through language is hardly possible.
What would life be like without
the movements of music, the breath of melodies, without rhythm
and harmony? That's why music education has been one of the
most important tasks of all music cultures. Music education
begins with babies and in nursery homes, it's one of the most
important aspects of teenager-education as well as the education
of adults. Music education begins with the most simple game,
with a simple song and it ends in the most difficult thinking
processes. The whole music education, however, aims at happiness
and joy. If a child can't be made happy with music there is
no music education. If this education does not begin with music
and lead to music in the end, if it does not create massive
joy and life, it stays without aim and is therefore senseless.
Music and music education, when they are in the hands of good
musicians and teachers, cannot be parted, they must form a unit,
like for example man and life. Thus the musician is a teacher
and the teacher a musician.
The music schools represent an
important fact in music life. The individual basic requirements
and conditions of pupils demand a flexible and varied pedagogical
and psychological approach of their educational process to gain
the optimal results concerning the development, and encouraging
their musical abilities and skills. The latter very often need
a long time to develop, in an active study of the respective
contents and the specific work of the pupil. They are basic
requirements as well as results of this work.
The development of capabilities
is different for everybody, but there are, for example, certain
age groups showing particularly apt requirements for developing
certain abilities. The pupil's abilities and will to achieve
something play an important part and can be different from person
to person. Movements which are already present in the child's
motor skills should be developed very early. Experience shows
that the growth of sensory-motor abilities (sense and feeling
for equilibrium, balance and mobility) are important for playing
an instrument and can only be learnt very hard later. Sensory-motor
abilities are - above all - acquired and firmly established
through practice of playing an instrument. Research work shows
that the manual or better said the sensory-motor abilities of
a child are much higher as expected so far. The musical imagination
of a child (singing, listening, rhythm) must not be ignored,
either.
In addition to the pedagogical
and cultural influence of our environment, especially by instructors
and teachers, the pupil's own work is very important. To be
successful he needs motivation, interest in learning and in
the subject, as well as a lot of activity. The more he is motivated
the better his achievements and results will be. Dealing with
music must give the pupil joy, he must earn it, must identify
himself with this joy, because this art only shows results if
you work with it practically and emotionally. We must refuse
a teaching that reduces the playing of an instrument to reproduction
of correct sounds, to useful fingerings, movements or technical
exercises. A vast general music education as well as the development
of understanding of music on an aesthetical basis is essential.
This esthetical education can be reached by working on the oeuvre
emotionally, understanding and reproducing it. This holds true
for the forming of a simple tone, a melody, a folk song as well
as high-brow oeuvres.
The development of abilities
is part of the development of a person's personality, and that
is also true for everyone's specific musical capabilities. General
talent can be defined as the respective development of personality.
The level of such a talent is determined by concentration, perseverance,
availability, speed of psychic issues, fantasy, ideas and abilities
to analyse facts. Talent can only be developed through hard
work, that happens - above everything else - in a systematic
and purposeful educational process. In its entirety musical
talent appears as dominating quality of one's personality and
influences the latter's behavior and interests to a great extent.
Talent also shows itself in a pupil's productivity, in the numerous
forms of sensuous and logical experience of music, of emotional,
aesthetical and intellectual comprehension of contents.
A lot of pupils and students
do not know how to approach an oeuvre, how and what they should
practice. Whoever wants to achieve new knowledge and abilities
must learn to be able to practice and must practice to be able
to learn more. That also means that you have to learn what and
how to practice. Practice is a specific form of learning, it
also is new acquisition and development of abilities as well
as the stabilization of these abilities. The better the results
are the more one approaches one's aims, postponing them at the
same time, that means that you have learnt through practice
that you can learn even more and that you have to practice more.
This circle - which leads to a higher level - is helped by constant
learning. The success of practice and ability depends very much
on the pupil's knowledge about aim and purpose, if he knows
of his progress, that means in which way this practice is experienced
by the learner. Practice must be more and more efficient concerning
the time of practice and its results. Experience shows that
success depends to a great extent on the pupil's willingness
and it shows, as well,that willingness leads back to success.
Concerning the memory, the knowledge of a musical performance
consists very often in the intensity of the first impression.
We know that the practice of sensible contexts is much more
successful and musical than practicing cut up knowledge. Small
steps of learning should mark the success, first practice and
repetitions are to be introduced soon after learning new parts.
For the teacher it is important to change methods to increase
the pupil's concentration, motivation and results, for practice
does not simply mean a repetition of the same things. Mechanical
repetition necessarily leads to monotony, it is boring and tiring.
The teacher must find studies in which technical problems can
be overcome quite easily. It is also very important that the
program contains parts of various musical eras. By and by the
pupil must learn how to praxes an oeuvre even without the direct
help of his teacher (e.g. manual abilities like fingering, changing
of the bellow, articulation, on a higher level he must be able
to complete analyses of oeuvre with their philosophical and
music-esthetical background).
The pupil's willingness to praxes
and to learn depends to a great extent on the teacher's pedagogical
instinct, which shows that the teacher is highly responsible
and a model for the pupil. We recognize, for example, the pupil's
good will if the teacher - pupil relationship is based on frankness,
honesty and willingness to work. Very important, too, is the
right motivation, as it helps the pupil to estimate and form
all his learning. Throughout this practice the teacher - pupil
relationship changes, which means that the pupil's independence
increases in proportion to learning and domination of a certain
subject. Generally we can state a constant increase of self-education,
as well as a decrease of the teacher's influence.
All in all we have to encourage
the pupil's creative abilities. Particularly talented pupils
must be challenged! We can activate a pupil's independence by
demanding solutions of certain problems, and he comes to know
that solving a problem can give him joy. At the same time he
learns to estimate and to value his achievements and his conduct,
as well as to increase his ability. Self-education and self-evaluation
are necessary elements in the process of personal development
- which is the target of all education, and therefore also of
music education.
Another important aid for a pupil's
artistic development are performances, for instance concerts
or competitions. It is important to develop attitudes and engagement
and the immensely valuable self-discipline. Competitions themselves
are a certain means to increase achievements, however, we must
fail to notice certain dangers : very often "music teachers"
overstrain pupils by giving them too difficult oeuvres. This
often destroys the development of musicality.
Every teacher is responsible
for his teaching. The relationship between the teacher and the
pupil should always be a basic concern, and this relationship
must be dominated by the teacher's confidence in the abilities
of his pupils. A teacher's optimism, his pedagogical ideas are
important for a good atmosphere and therefore for the achievement
of good results. That does not mean that we have to find excuses
for difficulties or failures. On the contrary, we must find
out the reasons for problems or difficulties to be able to find
pedagogical or psychological methods to change and solve certain
problems. It depends on the teacher's pedagogical skills to
find an effective middle course between criticism and approval.
Education in its contents is very much determined by the aim
to offer the pupil solid knowledge, artistic abilities and to
firmly secure them. Many accordion teachers are content to teach
their pupils certain techniques, they neglect, however, the
development of their musicality. Techniques should only be a
means to convey the musical contents. The pupil learns how to
control his instrument to turn outwards his "inner self". To
reach this aim the lesson must be as interesting as possible,
varied and exciting - simply a work of art! A music teacher
is expected to teach his subject in an artistic way. A certain
knowledge of basic physiological and psychological processes
in learning and playing, an exact know-how of possible methods,
and pedagogical well founded and individual application of these
knowledges is required to attract the pupil also emotionally.
Interest in and love of music, the basis of the pupil's motivation,
which is so important for his professional development, are
decisively formed after the model of the teacher. "Teaching
must be his passion"! (As it is the pupil's passion to learn!)
At the beginning sound patterns, musical memory and the wish
to form something oneself can be aroused with simple means of
improvisation.
Onomatopoeic presentations of
children's themes, the "telling" of stories or legends creates
a certain connection of life and music in the pupil's mind.
At the same time a new basis for auditive teaching methods for
beginners is created. The importance of sound patterns vis-a-vis
instrumental techniques has already been stated. Unfortunately
failures during early musical education, which are very important
for a pupil's personality, can hardly be compensated at universities.
Criteria for a teacher's authority are respect and appreciation,
and they can to be constantly renewed. Authority is characterized
by high professional knowledge and skill, firm ideological and
moral attitudes, consequence, love of justice and the ability
to offer the pupil an example for doing the right thing.
The search for optimal repertoires,
instruments and playing systems represent basic problems in
the teaching of beginners, and there are still no final solutions
in sight.
Music literature used for beginners
should in any case correspond with the mentality, the talent
and the interests of the pupils, and it should never be chosen
according to competitions. Music renews itself constantly. A
lot of oeuvres the sound of which was unpleasant for people
of earlier centuries, are popular works of art today. Accordionists
often lack frankness of new and strange things, which - in the
end - also helps traditional music. For its further development
the accordion needs the impulse of contemporary artists and
composers, and that not only in the artistic field, but also
for the teaching of beginners. Where are such oeuvres for the
accordion like the one Schumann and Tchaikovsky wrote for beginners
learning to play the piano? Studies and methods are numerous,
but their profitable use depends very much on the pupil's qualification.
("The pupil is the method!") Good music for beginners is unfortunately
very rare! If there were enough good original oeuvres for the
accordion, there would not be the problem of having to use transcriptions.
For playing an instrument special
anatomic and physiological conditions are very important. The
anatomy of a musician, the structure of his hands (which can
be measured) and their relation with the nervous system set
natural limits. Today we can find out the possibilities of a
player which are limited by his physiology, we can study his
playing, we can show his mistakes and measure and bring out
the ones which are not always to be heard. Thus there are bases
for new teaching methods. Generally seen, a normal physical
development is enough for the successful accordion player. No
special body measurements, functions of muscles or processes
concerning the nervous system are necessary. On the contrary,
we must find such measurements which interfere with playing
the accordion to advise a pupil against choosing this instrument.
Unfavorably anatomical or physiological conditions can, however,
be compensated by high musicality, strong will and mental flexibility.
Laxity in movement is certainly an essential qualification for
successful playing. The necessary fingerings should be reached
without bracing, the player should have developed a normal body
size and a certain ability to open, move and stabilize his fingers.
The absolute aim should be the often discussed standardization
of instruments - correspondence of beginners' instruments, those
of advanced learners, up to the concert instruments. The button
accordion has gained its practical position in the artistic
playing, but a similar development will certainly be necessary
for the education of beginners. Today's participants in competitions
will certainly influence their pupils towards this direction.
Similar to the problem of button
or piano accordion there is also the question, if beginners
should start with the stradella bass or baritone bass manuals.
One of the mistakes of accordion teachers is to discuss systems
instead of creating the basic requirements for a musically incontestable
playing. Today the accordion is - concerning the quality of
sound, the technical possibilities, as well as those of expression
- an instrument which meets all technical, musical and artistic
demands. Systems are only a means to an end, the music must
absolutely be the dominating purpose : this holds true for the
folklore and also for the artistic domain of all instruments,
not only for the accordion. Modern accordion teachers have to
face the difficult task of being ready for both directions.
As an artist he aims at an artistic appreciation of his instrument
in concert, but at the same time he makes propaganda to gain
more prestige for the instrument and he educates a not too small
part of the audience. Finally, we need both, a great number
of accordionists and top performances of some exceptional players.
If compromises are out of the question for artistic playing,
there are - however - different criteria for beginners : next
to consequent work (forming of sound already starting with the
first lesson!) the love of making music should be a central
aspect!
Although time is high, a basic
and solid development of the accordion will take its time (like
any other instrument), and the realization of certain aims of
today will be the task of oncoming generations of pupils and
teachers. We must not be impatient! Even small steps towards
a developing process are precious! If, however, we want to raise
the ability of top players, we will first have to raise that
of the education of beginners. Even the best teacher is good
enough for that!
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