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Playin it by ear
It was biologist Cindy Hornings study of singing birds that led her to choose a Suzuki method piano teacher for her daughter.
The Suzuki theory of training a childs ear seemed to parallel what Horning, a researcher at the University of Washington, had observed about how birds acquire song.
Birds and humans have this in common, Horning said. Birds learn their song by listening to it, just like human children learn language.
Suzuki is taught to children as if it were a language they listen to it, they absorb it and then they produce it.
Donna Horning, a fifth grader at Voyager Montessori Elementary School, is in her fifth year of lessons with Suzuki teacher Peggy Swingle.
At 5, she was actually a little older than most of the students who start Suzuki, Horning said.
Donna, now preparing for the recital Swingles students will put on this Saturday, started her musical training like all beginning Suzuki students listening to music and then singing it, before touching the piano. And like other Suzuki students, she was taught to read music only gradually.
Horning compares her daughters piano lessons with her own.
I had the classic experience of having to play music I myself hadnt heard very much, Horning said, and it was lonely, because you were always practicing by yourself.
In contrast, she says, her daughter heard the same music many times before singing it, and meets with other students monthly. She practices for 50 minutes every day.
We break it up into a before-school and an after-school session, Cindy Horning said. It takes some dedication in Suzuki, parents have a greater role.
We attend the classes and we take notes. Peggy makes the lessons a lot of fun for the parents, too.
Swingle, who came to Suzuki from academic teaching in a Montessori setting, apprenticed with several Suzuki teachers to learn the methodology and in 1986 completed her training with four months of intensive study in Japan.
Swingle has 27 piano students ranging in age from 3 to 17.
The kids are supportive of each other, Swingle said. We emphasize cooperation rather than competition. The premise of Suzuki is that every child can be a wonderful musician, given the proper environment.
The method was developed by Suzuki Shinichi in Japan in the late 1940s and early 1950s. He worked with very young children at his experimental pre-school and Talent Education Research Institute, and the method spread to the United States by the 1960s.
Suzuki believed that, just as all nearly all children acquire language without effort, they are capable of playing music, in the right environment. The mother tongue approach inspired music pedagogy based on listening, imitation and repetition.
Suzuki, who died in 1998 at age 99, believed that the discipline and sensitivity required to learn music could be a powerful catalyst in the development of childs overall character.
Wish for a beautiful tone for a beautiful heart, he once wrote.
His method, however, has sometimes been dismissed as mechanistically imitative.
Suzuki method has gotten some bad press, Swingle admits, but its generally agreed now that Suzuki was ahead of his time. Children learn language through exposure, and they learn music the same way.
A persistent misconception about Suzuki, Horning says, is that students dont learn to read music.
They just dont believe in trying to teach a child to read music when that student is so young that that they cant read language, Horning said. But ultimately, they do learn.
Donna Horning can still remember the day she got how to read music.
Youre just struggling and struggling, Donna said, and then it just clicks into place. It was really cool. I could just sit down and look at a piece and I was reading.
While the difficulty of the Partita in B flat by Johann Sebastian Bach has Donna a little anxious about Sundays performance, she isnt frightened.
Suzuki students, she says, meet regularly to play with, and for, each other.
Its just more people, she said, and its parents a really forgiving audience.
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Student of Suzuki piano teacher Peggy Swingles give a free recital 1:30 p.m. Jan. 27 at Bainbridge Performing Arts. Call 842-5023 for more information.