Title:  The  Preparatory  Program:  An  Effective  Vehicle  for  Preparing  Studio  Teachers?    Author(s):  Carolyn  Livingston  and  Jane  Murray    Source:  Livingston,  C.,  &  Murray,  J.  (1992,  Summer).  The  preparatory  program:  An  effective  vehicle  for  preparing  studio  teachers?  The  Quarterly,  3(2),  pp.  51-­‐55.  (Reprinted  with  permission  in  Visions  of  Research  in  Music  Education,  16(3),  Autumn,  2010).  Retrieved  from  http://www-­usr.rider.edu/~vrme/    

It   is   with   pleasure   that   we   inaugurate   the   reprint   of   the   entire   seven   volumes   of   The  

Quarterly   Journal   of   Music   Teaching   and   Learning.     The   journal   began   in   1990   as   The  

Quarterly.     In   1992,  with   volume  3,   the  name   changed   to  The  Quarterly   Journal   of  Music  

Teaching  and  Learning  and  continued  until  1997.    The  journal  contained  articles  on  issues  

that  were  timely  when  they  appeared  and  are  now  important  for  their  historical  relevance.    

For   many   authors,   it   was   their   first   major   publication.     Visions   of   Research   in   Music  

Education  will  publish  facsimiles  of  each  issue  as  it  originally  appeared.    Each  article  will  be  

a  separate  pdf  file.    Jason  D.  Vodicka  has  accepted  my  invitation  to  serve  as  guest  editor  for  

the   reprint   project   and   will   compose   a   new   editorial   to   introduce   each   volume.     Chad  

Keilman  is  the  production  manager.    I  express  deepest  thanks  to  Richard  Colwell  for  granting  

VRME  permission  to  re-­publish  The  Quarterly  in  online  format.    He  has  graciously  prepared  

an  introduction  to  the  reprint  series.  

The Preparatory Progratn:An Effective Vehicle For

Preparing Studio Teachers?ByCarolyn Livingston

and Jane MurrayUriioersity of Rhode Island

Preparatory p.rob,rams exist in manycollege and university music de-partments as well

as in conservatories through-out the United States. Whethersuch programs are called Pre-paratory Program, Precollegeand Adult Music EducationDivision, or Community Divi-sion, for the most part theirpurpose is either to providemusic lessons for members ofthe community or to serve asa feeder program for thesponsoring institution.

Music departments in insti-tutions of higher learning areoften able to provide facilitiesand faculties for lessons at alower tuition rate than that ofprivate studios. This makessuch programs attractive tothe general public. The uni-versity community is also asource of clientele for theseprograms, for members offaculty and staff often desiremusic lessons for themselvesand/or their children. An-other function of these programs (which weshall call "preparatory programs"), and the one

on which this paper will focus, is the use ofthese programs as a training laboratory for

applied studio teachers.Teaching is an economic

fact of life for many musi-cians. Some are blessedwith the gift of teaching,some develop a love forteaching over time, andsome teach to pay the bills.For many, the path to be-coming a confident, suc-cessful applied teacherwho enjoys teaching islong and fraught with trialsand errors.

A well-organized collegepreparatory program canassist young musicians indeveloping a sound, effec-tive teaching style. Manyprograms exist in whichgraduate students, musicfaculty members, and pro-fessional musicians serve asthe teachers. Properlytrained undergraduates canalso be effective and enthu-siastic teachers while simul-

taneously gaining experience in studio teach-ing. Thus, in addition to providing music les-sons for members of the community and fun-neling students into the sponsoring institution,an important function for the preparatory pro-gram is to prepare teachers to teach music.

"[IJnaddition toproviding music

lessons formernbers of thecommunity and

funnelingstudents into

the sponsoringinstitution, an

important func-tion for thepreparatory

program is toprepare teachersto teach music."

Both Jane Murray and Carolyn Liuingstonteach in the Department ofMusic at the Uni-uersitv C!lRhode Island. Murray is Instructorof Oboe and Director of the Preparatory Pro-gram. Liuingston is Assistant Professor midCoordinator ofMusic Education.

Volume Ill, Number 2, 7992

Related LiteratureFew publications have addressed in detail

the role of preparatory programs. 17Je

51

"[S]ince 'Wedo not encourage learning to play an instrument bythe trtal-arid-error method, neither should 'Weexpect teachers to

learn to teach by trial and error."

Schirmer Guide to Schools of Music and Con-servatories Throughout tbe World (Uscher,1989) describes university music departmentsas well as music schools and conservatories.United States entries include those schoolswhich offer at least a master's degree in mu-sic or have more than ten full-time facultymembers in music above the instructor rank.

One or more institutions for each state inthe United States is listed, for a total of ap-proximately 200 entries. Elements of themain entry include Chief Administrator, Ac-creditation, Admission Procedure, DegreesOffered, Degree Requirements, General Pro-gram Areas, Music Library, Costs, and SpecialPrograms. Under the Special Programs title,subcategories included are Featured Pro-grams, Affiliated Programs, Foreign Programs,and Performing Groups. When preparatoryprograms are listed, they appear under thesubcategory of Affiliated Programs.

A surprisingly small number of preparatoryprograms are mentioned as being sponsoredby institutions included in T7JeSchirmerGuide. The institutions are: Brooklyn Col-lege, Central Washington University, Con-verse College, Illinois Wesleyan University,Juilliard School, Memphis State University,Millikin University, Princeton University,Temple University, University of Louisville,University of Tennessee at Chattanooga, andVirginia Commonwealth University. It maybe surmised that a number of administratorssimply did not think to include a descriptionof their institution's preparatory program un-der the Affiliated Programs subcategory whenthey provided information for The SchirmerGuide. Unfortunately, this omission may beindicative of a lack of commitment and senseof pride toward preparatory programs on thepart of music department and conservatoryadministra tors.

The descriptions given for these programsindicate that they differ widely in focus andclientele. For example, Illinois \vesleyanUniversity accepts a limited number of pianoand string students into its program to serve

as a laboratory group for students preparingto become music teachers (pp. 93-94). Thedescription of the preparatory program at theUniversity of Tennessee at Chattanooga is thelongest such entry in The Schirmer Guide.Cadek Conservatory of Music, an auxiliaryunit of the Cadek Department of Music, hasas its mission the education of music stu-dents who are not enrolled at the universitylevel. The comprehensive curriculum offerslessons on all instruments and voice, en-sembles (including chamber music), theory,and a course designed to give precollegepreparation to students intending to major inmusic at the college level. Suzuki training isoffered in flute, harp, violin, and piano (p.301)

Inferences about these and other prepara-tOIYprograms can be drawn from Kreader's(1986) discussion of programs in piano peda-gogy. Her article features interviews with fourprize-winning beginning piano teachers andtheir pedagogy professors. The institutions atwhich the students received their training wereBob Jones University, Southern Methodist Uni-versity, University of California at Santa Bar-bara, and University of Michigan. Althoughpractical teaching experience is included in thepedagogy programs at each university, onlySouthern Methodist and Michigan are referredto in the article as sponsoring preparatory pro-grams.

The beginning teacher who studied atSouthern Methodist stated that a practicumteaching course was the most helpful class inher pedagogy program. During the five aca-demic quarters she taught, planning meetingswere held with her professors at which vari-ous teaching approaches were explored.Lessons were tape recorded, and studentswere expected to critique their own teachingin writing.

At the University of Michigan, a master'sdegree is awarded in piano pedagogy andperformance. The program includes compo-nents in both pedagogical research and prac-tical teaching experience. Teaching by the

52 Tbe Quarterlyfournal ofMusic Teaching and Learning

students enrolled in the program is evaluatedby peers and instructors, Self-evaluation isalso part of the program, Video- and audio-taping are used in the evaluation procedure.

Without mentioning preparatory programsspecifically, Maris (991) details a four-levelplan which would train performance majorsto teach their instrument or voice, At thethird level (junior and senior year andmaster's degree students) "emphasis wouldbe placed on providing a balance of informa-tion about teaching, observation of modelteaching, and supervision of student teach-ing" (p. 54). At Level Four in the Marismodel (doctoral study), students would super-vise the teaching being done by students inLevel Three, Maris makes a strong case forformal training in performance pedagogy, stat-ing that since we do not encourage learning toplay an instrument by the trial-and-errormethod, neither should we expect teachers tolearn to teach by trial and error. "Performingmusicians need help in preparing to becomeeffective teachers who will enrich their stu-dents' lives and cause no damage to them,physically or emotionally" (p. 55).

Studio Teacher PreparationThe entry into private reaching can be an

intimidating experience for a person with notraining for the profession, Without anyother form of training, most beginning studioteachers will look to their own private teach-ers for guidance, Very often a new teacherwill model the lesson on the methods of hisor her most recent teacher. Especially withbeginning students 'who have no previousmusical training, this model will probablycause frustration on the part of teacher andstudent, for there also is no guarantee thatone's mentor is indeed a good teacher.Many colleges hire renowned performers toteach in their departments, hoping to attractthe highest caliber students, This is an effec-tive policy for recruitment, but it does notassure that students will receive the bestteaching,

What might a teacher training program in-clude? Teaching techniques for both groupsand individuals are at the top of the list. AsMaris 0991, p. 31) maintains, teaching skillcan be "refined and enhanced through teach-

Volume III, Number 2, .7992

ing, evaluation, practice, and observation ofeffective teaching models," The integrationof theory into the studio lesson and the se-lection and presentation of appropriate mate-rials would ideally be included. Nonmusicalaspects of the curriculum such as studiomanagement, business procedures and finan-cial planning, information about professionalorganizations, and selection of instrumentswould greatly enhance the preparation ofstudio teachers, Such teachers also can ben-efit from training in the business aspects ofestablishing and maintaining a private studio.Resulting outcomes include self-confidencefor the teacher, increased financial gain, andtime savings which then can be spent, forexample, in teaching additional students,

A college preparatory program can serve asa training laboratory to help college musicmajors learn how to be effective studioteachers, The unique situation provided bypreparatory programs gives student teachersa chance to learn about themselves in a re-versed role-that of teacher, rather than stu-dent. It provides supervised practical experi-ence in studio teaching, something that isdifficult to get any other way, In the field ofprivate teaching, experience really has noequal as a teacher.

Participating in the PreparatoryProgram

College music majors who would like toparticipate in preparatory program trainingshould have completed at least one year of aconcentrated music curriculum includingtheory, history, and private lessons, Theyshould also have the recommendation oftheir own private teacher, who can deter-mine if the student's skills are at an appropri-ate level to begin teaching, Where possible,another benefit would be a semester ofpedagogy seminar, taught by the preparatoryprogram director, which would prepare stu-dents in the areas of teaching philosophyand practice in the private studio as well asin the business aspects of teaching.

Many preparatory programs hire local pro-fessional musicians as faculty, These teach-ers are needed to provide instruction for ad-vanced students for whom a college-agedteacher would be inappropriate, Professional

53

"[A] preparatory prograrn can provide lessons to nonnrusic rria-jors at the sponsoring college or university as -w-ellas to children

and adults from the surrounding cornrnuriity."

teachers can also serve as mentors for teach-ers-in-training.

Teachers-in-training must be evaluated ona regular basis. There are several ways to dothis, and one of the best is through the useof videotape. Lessons are taped severaltimes during a semester. The tape is thenviewed by the program director, who makescomments and sets up an appointment toview the tape with the teacher-in-trainingand his or her mentor teacher or privateteacher. This establishes an important clia-logue among all parties concerned.

Also, a journal can be an effective meansof evaluating a teacher-in-training. Theteacher records the lesson plan, progress ofthe actual lesson. and personal thoughts andcomments about each lesson. The journal isthen shared with the director and mentorteacher or private teacher on a regular basis.Finally, the director can visit lessons for di-rect observation. This is the least recom-mended method of evaluation, however. be-cause it can put unnecessary pressure on theteacher trainee as well as on the student.

Some consideration should be given as tothe population to be served by a preparatoryprogram. To attract and benefit the largestpossible audience, a preparatory programcan provide lessons to nonmusic majors atthe sponsoring college or university as wellas to children and adults from the surround-ing community.

Teacher-student assignments should bemade by the director of the program basedon a personal or telephone interview, or, inthe case of more advanced students, by audi-tion. Usually students pay lesson fees basedon the category of the teacher, with experi-enced graduate students and mentor teachersat higher rates than undergraduate teachers-in-training. Normally, preparatory programteachers are paid an hourly rate: teacherssubmit a time card outlining the number oflessons taught during a certain period. Theprogram retains a percentage of the lessonfees to cover administrative costs, advertising.

54

printing, and postage. The director's salarymay be subsidized by the sponsoring institu-tion or may be paid from the proceeds of theprogram. Lessons generally correspond tothe university calendar, with sessions typi-cally running from September through De-cember, january through May, and Junethrough August.

A survey of the 20 teachers-in-training inthe preparatory program sponsored by theUniversity of Rhode Island's Department ofMusic sought their comments on the pro-gram. The students' experience ranged fromone semester to three years in the program.The survey asked how the program hadhelped them to become better teachers, whatspecific skills had they learned by teaching inthe program, whether the students plannedto continue teaching after college, whetherthey would recommend the program to newmusic majors, and whether they had enjoyedteaching in the program?

Over half of the participating teachers an-swered the survey. All of the respondentsreported that they enjoy teaching in the pro-gram, and would recommend it to a newmusic major. Many of them mentioned theirappreciation of the requirement that all stu-dent teachers in the University of Rhode Is-land program present a student or studentsin at least one recital performance each se-mester. They reported that this gave them afirm objective toward which they could aimtheir students. The specific skills which werementioned as having been gained throughparticipation in the program included pa-tience, communication (especially with differ-ent age levels), organization, time manage-ment, different approaches to teaching, anddealing with parents.

Many respondents felt that their participa-tion in the program automatically made thema better teacher, while others reported thatthey learned to adapt their teaching style todifferent types and ages of students. Onethird-year violin teacher said that he benefitedfrom his experiences in dealing with parents.

The Quarterlyjournal ofMusic Teaching and Learning

"The parents' knowledge of my being a noviceteacher makes it a positive learning experiencefor myself and the student. There is such avaried spectrum of parental support. Howdoes one deal with a parent who doesn't care,or one who is too meddlesome and bossy?' Afirst-year piano teacher stated, "Exposure tolots of beginners helps me to standardize mymethod of teaching and tryout different tech-niques, since not everyone learns well by thesame approach."

Students (or parents) enrolled in the Uni-versity of Rhode Island program have thechoice of an undergraduate teacher-in-train-ing, a graduate student, or a faculty member.Many parents have expressed their delightwith the enthusiasm of the younger, less-ex-perienced teachers. The younger studentsfeel less intimidated by these teachers be-cause they are closer in age to their brothersand sisters or baby-sitters. This creates ateaching environment which is more com-fortable for teacher and student. The teach-ers don't feel pressure to act as if they haveyears of experience, because the student (orparent) knows that they are "in training."

SummaryThe literature concerning the role of prepa-

ratory programs in preparing studio teachersis sparse. A review of the material whichdoes exist clearly indicates that preparatoryprograms in colleges, universities, and con-servatories have differing roles and missions.Training skilled, self-confident studio teach-ers by providing practical teaching experi-ence is a viable primary purpose for a prepa-ratory program. Additional benefits of a sucha program include the following: prepara-tory training for both future professional andamateur musicians, musical training for adultpopulations, increased enrollment for thesponsoring institution, and an enhanced rela-tionship between the sponsor and the com-munity in which it exists.

ReferencesKreader, B. (986) A new generation of profes-

sionals. Clacier 25 (8). 36-41.Maris. B. E. (991) Training musicians to teach.

American Music Teacher 41. (2), 30-31, 52-53.Uschcr, N. (989) T/.1!' Schirmer guide to schools

Q( music and conserratories throughout theu.orld. New York: Schirmer. ~

THE COLLEGE MUSIC SOCIETY• CBSRecords' Black Composers SeriesThe Black Composers Series, recorded by Columbia Records between 1974 and 1979, hasbeen reissued as a boxed set of nine records with an informative booklet describing themusic, the lives of the composers, and the history and significance of the series.

The Black Composers Series, an important component of the documentation of Blackachievement in western culture, contains music written by Black composers during theeighteenth, nineteenth, and twentieth centuries, and, in part, demonstrates the working outof a Black aesthetic in the western concert music tradition over a two-hundred-year period.Composers whose work is presented are TJ. Anderson, David Baker, Samuel Coleridge-Taylor, Roque Cordero, Jose Mauricio unes Garcia, Adolphus Hailstork, Talib RasulHakim, Ulysses Kay, the Chevalier de Saint-Georges, Hale Smith, Fela Sowande, WilliamGrant Still, George Walker, Jose White, and OIly Wiolson. The works in the Series areperformed under the direction of Paul Freeman by major symphony orchestras of the UnitedStates and Europe, and by some of the world's leading concert artists.

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• Order InformationThe series will be mailed to you via first-class maiL To order, please send a check ormoney order for $35, to The College Music Society, 202 West Spruce Street, Missoula,MT 59802.

Volurne III, Number 2. 1992 55