2006 Edition 2 (Issue 144) - Sasmt-savmo.org.za

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aspiring music teacher. The aims of the book is stated clearly and achieved smoothly: to share experience with new teachers who works with ‘ordinary’ children and turn them into extraordinary adults, and to give guidance to parents and pupils to achieve the best they can. She writes with humour and a no-nonsense attitude on getting organized, how pupils differ, which tutors to use, ‘good’ and ‘bad’ music, practising, scales, stage fright and festivals. Her ideas are presented in short chapters, and will stimulate reflection. Her valuable advice, tailored to our South African environment, may prevent young educators from taking a few unnecessary detours and ending up in unexpected culs-de sac. stauffer@lantic.net (018) 468 6806 Philip Johnston’s books have become classics in the field. Whenever one sees something written about practising, his The Practice Revolution and Not Until You’ve Done Your Practice are bound to be mentioned. His website — www.practicespot.com — is used by millions around the world, and his studio is considered to be one of the fastest growing studios ever. When Mr Johnston writes, people notice and learn. His chatty writing style is entertaining and fresh, and the way his books are presented makes them a pleasure to read. He certainly is a master of persuasion. In these attractive shells one will find loads of very valuable information. Two of the students I quote in this review had questions about advertising. If they read The PracticeSpot Guide to Promoting Your Teaching Studio (ISBN: 0-958- 19051-8) they will have few questions left. In the introduction eleven compelling reasons why teachers need full studios sets the tone for what follows: a cornucopia of important ideas and strategies to realise these ideas. After a careful study of the text and some experimentation with ideas, almost everyone will have a clear grasp of the basics of marketing as it applies to music studios New Subscribers #144 Help us to boost our list of subscribers, and to enlarge the membership of the society. We can all contribute to inform many of those who are involved in music education. Please fill out this form. You do not have to enter four names, and if you want to nominate more than four people, please photocopy this form and post all your copies to us. (See address on page 47.) The new subscribers may be determined by way of a lucky draw. Deadline: 27 Febuary 2007. your name: parents name: postal address: name: postal address: and even other small businesses. This clear grasp will be very practical, thanks to the writer’s attention to detail and instructions on how to do promotion. There are so many useful ideas in the book, and the relations between ideas are so well presented that I am not brave enough to attempt a synopsis. The best I can do is to encourage all educators who are in any way dependent upon the marketing of their ventures to digest this book, and pass it on to others. In the January 2002 issue of SAMT two publications on music studios were reviewed by Bertha Spies: The Music Teacher’s Companion: A Practical Guide by Paul Harris and Richard Crozier (ISBN186096219X) The Complete Guide to Running a Private Music Studio by Mimi Butler (ASIN B0006RHU50) These books are still as relevant and useful as when they first appeared. During a search on the internet, I discovered another eight relevant publications: My Many Hats: Juggling the Diverse Demands of a Music Teacher by Richard Weymuth (ISBN 0893281972) Making Each Minute Count: Time-Savers, Tips and Kid- Tested Strategies for the Music Class by Cheryl Lavender (ISBN 0793503485) Transforming Music Education by Estelle Jorgensen (ISBN 0253215609) The Private Music Instruction Manual: A Guide for the Independent Music Educator by Rebecca Osborn (ISBN 1412025311) How to Make Money Teaching Music: The Music Teacher’s Manual by Steve Stockmal (ISBN 0970534213) Making Money Teaching Music by David & Barbara Newsam (ISBN 1582971560) How to Make a Living Teaching Guitar (And Other Musical Instruments) by Guy Lee (ISBN 0974779512) Making a Living in Your Local Music Market by Dick Weissman (ISBN 0793595622) teachers name: postal address: name: postal address: Suid-Afrikaanse Musiek Onderwyser |144 | November 2006
It was a great joy for me to play through some of the pieces in BlueBaroque: Contemporary Arrangements of Baroque Keyboard Classics by Mike Cornick (ISBN 3-7024-3006-7; UE 21 325). Published by Universal Edition these pieces might be exactly what piano pupils need over the holidays to stay interested and keep practising. These pieces are tempting me to teach piano again! Just imagine how stimulating lessons can be if a pupil first learns either the original or the arrangement. Then the teacher can very easily integrate different aspects of music into subsequent lessons. • aural training: listening to the other version and noting differences • theory: trying to understand rhythmic and harmonic idioms by studying real music South African Music Teacher |144 | November 2006 r e v i e w s ~ r e s e n s i e s • history: the pupil can do research on the internet and try to note and understand some of the stylistic differences • improvisation and composition: the pupil can try to improvise and then make own arrangements Their pedagogical value aside, a teacher will definitely score ‘supercool points’ by playing and teaching the updated version of The Harmonious Blacksmith! www.universaledition.com PWM Edition (Polskie Wydawnictwo Muzyczne SA) is not well-known in South Africa, but deserves to be. In addition to The Most Beautiful Beethoven — for piano (ISMN M-2740-0004-2)— they also publish piano music by Chopin, Lutoslawski, Paderewski and Szymanowksi, as well as violin, piano and organ music by JS Bach. Compositions for piano and violin by Wienawski are also included in their catalogue. www.pwm.com.pl
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2006 Edition 2 (Issue 144) - Sasmt-savmo.org.za

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