|
|
|
What was the most important thing you learned?
“The most important thing I have learned is that you create a culture within the classroom. This culture can be child centered and focus on their
individual personal needs. A teacher can gain respect from their students by making the learning environment fun and safe and progressive.”
“The importance and the way of deciding on an ensemble culture and musical result - and absolutely not budging until it happens.”
“The reinforcement of the concept that pause and reflection is Okay - often in the daily rush to meet the demands of it all there is no time to
stop and think about how to move on. This was a difficult lesson for me to try and implement. Patience with others is fine but I must concepts
immediately and without struggle. So - to struggle and mentally overcome it - that was quite a new and difficult experience. (sorry - this is
more touchie-feelie rather than the how-to of gesticulating) That's in the top #1.”
“It is so important to portray a trust in your students as individuals and musicians. Without this sense of trust you cannot create a comfortable
learning environment for kids to take risks and assume their own responsibilities.”
“There were many important things that mean very much, which I got from this workshop, but I think the most important was the importance of
affirmations. I noticed that regardless of what we do, David always affirms, compliments so that you always feel good about what you have
done or are doing.
I realize from past experiences that being so task oriented and so wanting my students to perfect the music, I would only compliment them
when things were going well and for some, they needed more. I will now compliment. I will now affirm. I will always find something good
about what my students do before I correct.”
“Being comfortable with the flexibility of the lesson plan. Teachers are very time conscious and for a lesson to really focus on the students
instead of the music, you need to be flexible with timing issues. When you give responsibilities to the students, it might take them longer to find
the answer, but they are active in the learning and will end up understanding in a better way.”
“Focus on learning, not teaching; the person, not the music. So often I tell my students what to do and how to do it instead of drawing it out of
them.”
“I have been inspired in many diverse ways to be a “conductor” of music to all those who desire to grow – and my instincts have been confirmed
many times. The drawing out of the truth of my art is constantly being affirmed and validated – and thus I am being validated and confirmed.
This gives a renewed sense of resolve to carry on to grow, to excel, etc. I can only say… I want more…”
“What has come across so strong is the importance of the Whole Person Method and the responsibility we have to draw out that whole person
and inspire the individual and group by working with their at-tributes.”
“To be sure my motivation is always pure towards the individual or group; as in they sense my desire of wanting them to overcome for them,
not for my ego - that they know I really care about them as individuals and therefore their study of music will be more fulfilling and a powerful
tool they can draw on for all aspects of life.”
“Connecting and relating to the students and putting the students before the music.”
“When we watch another person’s inner growth in front of the ensemble, it is amazing to see how behaviors change and inner lights shine in
each of us from within. What a revelation to all who listen, reflect, and learn!”
“The most valuable thing that I learned from this workshop has been the idea of looking beyond the music and to make contact with the
individual student. This is an approach that I am familiar with but his workshop has reinforced those beliefs.”
“Empower the children and make them responsible.”
WHAT DO YOU INTEND TO IMPLEMENT?
- “Creating a class culture - first by defining it, then by using this approach to get students involved.
- Working with other teachers/ensemble directors to help increase their rapport with their students.
- Getting musicians physically involved in rehearsals.
- Asking them questions and get their minds involved.
- More quality music and less quantity.
- Developing a culture in my ensembles.
- Taking time to connect with the children in the ensemble by providing opportunities for feedback.
- As a director I will try to reflect the character of the piece in gesture and baton technique.
- I will use the questioning technique.
- I will change facial expressions to reflect the mood of the music.
- Asking questions instead of telling them how to play.
- Putting emotion in my conducting.
- Applying techniques for watching I learned.
- Getting the students engaged more so they sense ownership of the process and result.
- Enforcing concepts and expectations till completion.
- Know what I want specifically before each encounter; consistently, methodically work towards it.
- Be more interactive and inclusive in my approach to draw the ensembles into what we are doing.
- Rehearsing a point until it is right.
- Surely more facial expressions on my part and implementing physical activity/dance and so on (on students' part) while solving problems with
phrases, rhythm and such (physical is stronger than mental).
- Ask more questions to put the responsibility on the students and give them time to answer.
- Be persistent and you will get better results.
- Focus on the students, not on the music.
- Model the behavior you expect from the students.”
|
|
|
|
|
|
|
|
|
