Making Music and Enriching Lives: A Guide for All Music Teachers (Music for Life)

337 Pages·2007·2.49 MB·English

by  Cynthia Blanchard Acree

Music | Education $24.95
“Beginning and experienced teachers will fnd new tricks
and inspiration here to rekindle their love of teaching and
music. Bonnie’s tips and stories will show how to run a
studio, motivate students, deal with stage fright, teach
artistry, and involve the whole family in music. This bok MAkinG
is serious about music, but it’s also fun—something that
should always be part of good music instruction.”
—Sir James Galway and
“The Music for Life series stands alone as an incredible re- Music
source for all professional musicians—whether performing
or teaching. Music for Life deserves a standing ovation!”
—Gerard Schwarz, Conductor, Seattle Symphony
Bonie Blanchard e nrichinG
“Bonnie Blanchard shares the teaching tricks that have
worked so well in her own studio to produce successful
students who are energized about their lessons and their
music. . . . Ms. Blanchard’s entertaining style makes this
series a thoroughly enjoyable read.” lives
—Bradley Garner, Professor of Flute, University of Cincinnati
College, Conservatory of Music, and Pre-Collegiate Faculty,
Juiliard School A Guide for All Music TeAchers
Making Music and Enriching Lives is unlike any other in- Bonnie Blanchard
structional book in the way it addresses comprehensive issues
that affect al teachers, students, and musicians. In this book, with
you wil fnd specifcs not only about how to teach music, but cynthia Blanchard Acree
also about how to motivate and inspire students of any age.
Blanchard shares successful approaches with both students
and teachers that have worked wonders in her own studio
to produce successful students who are energized about their
lessons and their music.
INDIANA
University Press Bonnie Blanchard holds music and teaching de-
Bloomington & Indianapolis grees from the University of Washington. She has long been
respected in the Pacifc Northwest as a versatile freelance
http://iupress.indiana.edu musician, yet she is best known as a dynamic instructor with
1-800-842-6796 unique teaching techniques that create skilled musicians with
a lifelong love of music.
cynthia Blanchard acree’s dual memoir (with Cliff Acree) The
Gulf between Us was featured as a “Today’s Best Nonfction”
excerpt in Reader’s Digest.
Music for life INDIANA
Blanchard MAkinG Music And enrichinG lives
photo by yuen lui studios, inc.
MAKING MUSIC AND
ENRICHING LIVES
Making Music
and
Enriching Lives
A Guide for All Music Teachers
BONNIE BLANCHARD
WITH CYNTHIA BLANCHARD ACREE
Indiana University Press
Bloomington & Indianapolis
This book is a publication of
Indiana University Press
601 North Morton Street
Bloomington, IN 47404-3797 USA
http://iupress.indiana.edu
Telephone orders 800-842-6796
Fax orders 812-855-7931
Orders by e-mail
Music is the bridge from one heart to another.
—Unknown
CONTENTS
acknowledgments ⁄ ix
Part 1. Enriching Lives
1. Transform Your Teaching Style: The Music for Life Method 3
2. Focus on Relationships First 16
3. Instill Pride and Respect 26
4. Show Students Your Commitment to Excellence 36
5. Promote a Love of Learning and Independence 48
6. Create an Atmosphere of Achievement 57
7. Attitude Is Everything 65
8. Make Practice a Priority 70
9. Increase Success with the Music for Life Notebook System 78
10. Energize Students with Goals 86
11. Recognize and Reward Results and Effort 96
12. Foster Happy, Confident Students 104
13. Host Fun Musical Events 111
Part 2. Making Music
14. Use Practice Tricks for Fast Results 123
15. Musicality Makes the Difference 137
16. Multiply the Fun in Chamber Music 157
17. Take the Fear Out of Memorization 170
18. Help Students Become Confident Sight Readers 175
Part 3. Tackling Your Toughest Teaching Challenges
19. In the Beginning 185
20. Make Learning Fun (and Less Painful) for Adults 192
21. Troubleshoot Problems and Turn around Complaints 200
viii | Contents
22. Prepare Students for Performance 211
23. Conquer Stage Fright 217
24. Ace the Audition 231
25. When It’s Time to Say Goodbye 241
26. Ask the Teacher 248
Part 4. Running Your Private Music Studio
27. Establish Your Private Studio and Develop a Business Plan 271
28. Get Paid What You’re Worth 283
29. A Life in the Arts: Is It for You? 295
30. Make the Teacher’s Life Easier 300
for further reading ⁄ 307
index ⁄ 311
ACKNOWLEDGMENTS
Making Music and Enriching Lives was born of a one-hour speech to the National Flute
Association. Over the years, teachers had often approached me saying, “Please write a
book so we can share your techniques.” I had envisioned writing a mentoring book for
teachers. It wasn’t until Karen Iglitzin, a fine violinist and youth chamber music pro-
gram director suggested, “With handouts, your speech could be a book,” that I turned
my vision into action. Several years and challenges later, I’m grateful for the impetus
she gave me to undertake such a demanding yet rewarding project.
Once I started writing, the natural person to turn to was my sister, Cynthia Acree,
a writing consultant and author of The Gulf between Us. She helped me to find my
writing voice while working tirelessly to organize and edit my writing, and add her own
ideas. Most importantly, Cindy was my partner every step of the way. Without her pa-
tience, skill, and computer tutoring, I would have given up years ago. I’m indebted to
her husband, Cliff, and boys, Stephen and Mark, for sharing her for so long.
Cindy introduced me to her remarkable literary agent, Jim Sutton. I felt flattered
and grateful when Jim, a mainstream professional publishing executive, saw the value
of the project, even in the early stages. With his guidance, I found the ideal publisher
to share my vision. At Indiana University Press, I have had the good fortune to work
with Assistant Music Editor Donna Wilson, who chose the book; copyeditor Carrie
Jadud, who did an insightful job of editing; and Managing Editor Miki Bird, who en-
thusiastically oversaw the whole project. With their skill and support, my vision be-
came reality.
Many talented music friends offered formative suggestions and encouraged me. It’s
impossible to name them all on this page. I sincerely appreciate Sir James Galway for
his kind words and his brilliant performances that inspire me. I especially wish to thank
my dear friend Melinda Bargreen, Classical Music Critic for the Seattle Times. My un-
failing anchor and advocate, her invaluable advice and perpetual enthusiasm energized
me and the book. Mary Kay Wilson, my talented accompanist, read every version of
the manuscript and used her top notch grammar skills to spot even the most esoteric of
errors. Hal Ott, Professor of Flute at Central Washington University, tested my ideas
against reality and continually supported me.
I also wish to thank my teachers and colleagues who instilled in me a lifelong love
of music and the skills to share it. They include my flute teacher, the late Dorothy Bjar-
nason, my college choir director, Rodney Eichenberger, and my viola teacher, Eileen
Swanson. I became a better player and teacher by attending master classes from Amy
Porter, Brad Garner, Tim Day, Michel DeBost, Patricia George, and Jill Felber. And I
can’t forget my students and their parents who allowed me to experiment with them
and test my ideas. I’m privileged to be your teacher and your friend.