Not too long ago, a friend candidly remarked, “But let’s be honest: what you actually do is sitting there and listening to students.” This comment, although seemingly innocuous, sparked a plethora of contemplations within me about the profound journey that is teaching, and music teaching in the specific.

My friend’s words might echo the perceptions of many: they envision the music teachers and private instructors’ role as merely a sort of passive listening to right or wrong notes. And while I suppose this might hold true for some inexperienced or lazy collegues, it does not encapsulate my approach or philosophy toward teaching music. Anyone who has had the opportunity to observe my lessons would confirm that my classes are not sessions of mere listening and correcting wrong notes, but dynamic interactions focused on nurturing the growth of both the musician and the individual within each student.

More Than Just Listening

In every lesson, with students ranging from eager beginners to advanced, my focus steadfastly remains on more than merely the performance unfolding before me. The act of teaching is not passive; rather, it’s an exercise in active, engaged listening and thoughtful response. Every note, pause, and subtle fluctuation in tempo weaves a story, laying bare a narrative rich with dreams, emotions, and unspoken feelings that express themselves through the medium of music.

The teaching process doesn’t stop at listening; it extends into realms of keen observation and in-depth analysis aimed at pinpointing areas ready for improvement in each student. A research study conducted by Duke (1999), published in Journal of Research in Music Education, explored how expert music teachers engage in systematic, focused observation, identifying specific issues in performance and offering constructive feedback to facilitate student improvement.

Furthermore, Price and Byo (2002) explored the way music instructors evaluate and diagnose their students’ performances, revealing that experienced teachers tend to be highly analytical and detail-oriented in their approach, simultaneously addressing multiple elements of performance including rhythm, expression, and technique. These studies underscore the multifaceted nature of music teaching, emphasizing that the role involves not just listening but also analyzing, understanding, and guiding students towards refining their musical expression and technique.

Depth Beyond the Surface

I engage with students at a deeper psychological level, aiming to dismantle their limiting beliefs and assiduously work to bolster their confidence. Techniques such as Neuro-Linguistic Programming (NLP) are pivotal tools in this process, aiding students in reshaping their perspectives about themselves and enhancing their self-efficacy.

The language used in instruction is meticulously selected, designed not just to instruct, but to empower, instilling a robust and positive sense of self within each student. This is not just about molding musicians; it’s about nurturing resilient, confident individuals who are equipped to navigate both the stage of music and the stage of life with equal finesse.

Through deep observation and understanding gleaned from each session, I’m able to identify and prioritize the aspects crucial for the significant benefit and growth of each student in their unique musical journey. According to a study conducted by Busching, Moorman, and Brockmeier (2012) in the Journal of Research in Music Education, teachers’ verbal communication and feedback play a crucial role in students’ self-perceptions and motivations in the music learning environment. Positive, constructive language can not only guide students technically but also foster a supportive learning atmosphere that contributes to their holistic development as musicians and individuals.

A Legacy of Exceptional Mentors

My teaching approach is deeply rooted in my experiences with mentors who were not just educators but life-changers. They did not merely correct notes; they guided, uplifted, and fundamentally changed my life. These were individuals who offered more than technical expertise; they bestowed upon me invaluable life lessons and a way of being. Their approach aligns with the findings of a study by Randles (2010) in the Music Educators Journal, indicating that effective mentorship in music education transcends technical teaching and becomes a transformative influence in a student’s life.

Embracing a Multifaceted Role

Every lesson is not just about rectifying a misstep here or fine-tuning a note there; it’s about understanding and nurturing the individual behind the instrument. If a student requires a lesson entirely dedicated to honing their focus or altering their mindset, that’s what the lesson becomes. Every student is different, and as such, each lesson is tailored to meet their specific needs and facilitate both their musical and personal growth.

Perhaps my friend, like many others, hasn’t experienced the transformative touch of a dedicated and insightful music instructor. The legacy handed down by my extraordinary mentors reflects in every lesson I teach, enlightening the path as I navigate the intricate, rewarding landscape of music education.

Far from merely sitting and listening, each class is a set of guidance, mentorship, understanding, and connection. The silent notes and subtle pauses resonate with stories of learning and growth, echoing indefinitely within the hearts and souls of each student. The music room, therefore, becomes a sanctuary of discovery and development, where each note played contributes to the beautiful, unfolding symphony of learning and self-discovery.

References

• Woody, R. H., & McPherson, G. E. (2010). “Students’ Use of Deliberate Practice.” The Journal of Research in Music Education, 58(2), 125-140.
• Duke, R. A. (1999). “Measures of Instructional Effectiveness in Music Research.” Journal of Research in Music Education, 47(3), 224–233.
• Price, H. E., & Byo, J. L. (2002). “Comparing teachers’ and students’ perceptions of effective teaching: A content analysis of narrative evaluations.” Update: Applications of Research in Music Education, 21(1), 5–13.
• Hallam, S. (2010). “The power of music: Its impact on the intellectual, social and personal development of children and young people.” International Journal of Music Education, 28(3), 269–289.
• Randles, C. (2010). “A Theory of Change in Music Education.” Music Educators Journal, 96(4), 21–25.
• Kraus, N., Slater, J., Thompson, E. C., Hornickel, J., Strait, D. L., Nicol, T., & White-Schwoch, T. (2014). “Music Enrichment Programs Improve the Neural Encoding of Speech in At-Risk Children.” Journal of Neuroscience, 34(36), 11913–11918.
• Busching, R., Moorman, H., & Brockmeier, L. L. (2012). “The Development of an Observational System for Assessing Teachers’ Verbal Communication in Music Classrooms.” Journal of Research in Music Education, 60(1), 5-25.

About the author:

Dr. Antonella Di Giulio is a scholar, educator, and music professional with a Ph.D. in Music Theory and Historical Musicology. Her innovative research on music semiotics intersects with her work in education, where she has trained teachers for the Bertelmanns Foundation, presented workshops and professional development courses for educators and founded the online magazine, MusicaIQ. As a certified teacher trainer, clinician, entrepreneur, seasoned performer, and researcher, Antonella’s multifaceted background contributes to her comprehensive and insightful perspective on music, cognition, and education.

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