Worth reposting: The Benefits of Music

A review compiled and written by Iain Moncrieff Rossouw

(I’m still impressed with the enormous list of references he reviewed for this. The evidence is overwhelming.)

The Benefits of Music – A Review
[ Compiled by Iain Rossouw – Guitar Tutor]


As parents, what is our duty toward our children? Surely it is to prepare them in the best possible way we can find for being the most successful they can be in adult life. We all know that where you are at any point in life is determined by what you have done and thought in your life prior to where you are now.
In retrospect the stigma of peer pressure at school is irrelevant to the ultimate goal of success as an adult. So the “nerd” or “cool” aspects that present themselves in schools are symptomatic of school, not necessarily of real adult life. So as a parent it is paramount that we give our children all the development opportunities we can to ensure that they achieve their maximum success and goals as adults.
To this end I have compiled a list of benefits that the study and practice of music will give our children. This list is extensive and supported by a growing body of evidence both scientifically and psychologically. They are grouped in such a manner to first highlight the intellectual benefits (first school and then university) because this is first and foremost the building block upon which all other success is based. The next group of benefits are social advantages and then evidence of the success that the study of music gives to our children as they develop in their careers as adults.


EFFECTS OF MUSIC IN PRIMARY AND SECONDARY SCHOOL.
Elementary school:

Students in top-quality music programs scored 22% better in English and 20% better in mathematics than students in deficient music programs. (1)
Middle school:
Students in top-quality instrumental programs scored 17% higher in mathematics than children in schools without a music program, and 33% higher in mathematics than students in a deficient choral program. (2)
Music enhances the process of learning. The systems it nourishes, which include our integrated sensory, attention, cognitive, emotional and motor capacities, are shown to be the driving forces behind all other learning. (3)
Young Children who take music lessons show different brain development and improved memory over the course of a year, compared to children who do not receive musical training. Musically trained children performed better in a memory test that is correlated with general intelligence skills such as literacy, verbal memory, visiospatial processing, mathematics, and IQ. (4)
Data from the National Education Longitudinal Study of 1988 showed that music participants received more academic honors and awards than non-music students, and that the percentage of music participants receiving As, As/Bs, and Bs was higher than the percentage of non- participants receiving those grades. (5)
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Nearly 100% of past winners in the prestigious Siemens Westinghouse Competition in Math, Science, and Technology (for high School students) play one or more musical instruments. This led the Siemens Foundation to host a recital at Carnegie Hall in 2004, featuring some of these young people. After which a panel of experts debated the nature of the apparent science/music link. (6)
Students of lower socio-economic status who took music lessons in grades 8–12 increased their math scores significantly as compared to non-music students. But just as important, reading, history, geography and even social skills soared by 40%. (7)
Learning in the arts nurtures motivation, including active engagement, disciplined and sustained attention, persistence and risk taking. It also increases attendance and educational aspirations. (8)
The College Board identifies the arts as one of the six basic academic subject areas students should study in order to succeed in college. (9)
In an analysis of U.S. Department of Education data on more than 25,000 secondary school students (NELS:88, National Education Longitudinal Survey), researchers found that students who report consistent high levels of involvement in instrumental music over the middle and high school years show “significantly higher levels of mathematics proficiency by grade 12.” This observation holds regardless of students’ socio-economic status, and differences in those who are involved with instrumental music vs. those who are not are more significant over time. (10)
A research team exploring the link between music and intelligence reported that music training is far superior to computer instruction in dramatically enhancing children’s abstract reasoning skills, the skills necessary for learning math and science. (11)
Learning and performing music actually exercise the brain – not merely by developing specific music skills, but also by strengthening the synapses between brain cells…What is important is not how well a student plays but rather the simultaneous engagement of senses, muscles, and intellect. Brain scans taken during musical performances show that virtually the entire cerebral cortex is active while musicians are playing. Can you think of better exercise for the mind/brain? In short, making music actively engages the brain synapses, and there is good reason to believe that it increases the brain’s capacity by increasing the strengths of connections among neurons. (12)
Researchers at the University of Montreal used various brain imaging techniques to investigate brain activity during musical tasks and found that sight-reading musical scores and playing music both activate regions in all four of the cortex’s lobes; and that parts of the cerebellum are also activated during those tasks. (13)
Researchers in Leipzig found that brain scans of musicians showed larger planum temporale (a brain region related to some reading skills) than those of non-musicians.
They also found that the musicians had a thicker corpus callosum (the bundle of nerve fibers that connects the two halves of the brain) than those of non-musicians, especially for those who had begun their training before the age of seven. (14) Researchers at the University of Munster in Germany reported their discovery that music lessons in childhood actually enlarge the brain. An area used to analyze the pitch of a musical note is enlarged 25% in musicians, compared to people who have never played an instrument. The findings suggest the area is enlarged through practice and experience. The earlier the musicians were when they started musical training, the bigger this area of the brain appears to be. (15)
Students at risk of not successfully completing their high school educations cite their participation in the arts as reasons for staying in school. Factors related to the arts that positively affected the motivation of these students included a supportive environment that promotes constructive acceptance of criticism and one where it is safe to take risks. (16)
Students in two Rhode Island elementary schools who were given an enriched, sequential, skill-building music program showed marked improvement in reading and math skills. Students in the enriched program who had started out behind the control group caught up to statistical equality in reading, and pulled ahead in math. (17)
Young children with developed rhythm skills perform better academically in early school years. (18)
Students who are rhythmically skilled also tend to better plan, sequence, and coordinate actions in their daily lives. (19)


Music education promotes a habit of excellence.
Students who learn to play music experience the intrinsic value of excellence. One bad note can ruin a performance. These lessons translate to other academic areas and life skills—employers seek out individuals who can demonstrate proven abilities and commitment to quality work. (20)
In music, a mistake is a mistake; the instrument is in tune or not, the notes are well played or not, the entrance is made or not. It is only by much hard work that a successful performance is possible. Through music study, students learn the value of sustained effort to achieve excellence and the concrete rewards of hard work. (21)
Through music education, students learn very useful and necessary skills and traits beneficial to the rest of their lives. There is solid, concrete evidence that the study of music increases a students intelligence. It strengthens them emotionally and socially as well. Strong developments in these areas will inevitably have positive advancements on a students entire life. (22)
Skills learned through the discipline of music may transfer to study skills, communication skills, and cognitive skills useful in every part of a child’s studies at school, though. An in-depth Harvard University study found evidence that spatial- temporal reasoning improves when children learn to make music. (23)
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Precision, discipline and focus: In addition to fostering the development of discipline, music enables children to learn precision and accuracy. I know of no other form of education that can help students learn this kind of focused precision at a young age. Students learn to pay close attention to exactly how a particular skill looks, sounds and feels. The brain learns to notice more detail.
Patience: Students gain the valuable quality of patience, especially with a more complex instrument like violin or piano. Each skill requires hundreds of repetitions to become easy. Students must have the confidence that they will get it if they just keep practicing.
Problem-solving and persistence: Practicing is always about problem-solving. Why do I make a mistake here or why does it sound squeaky? What solutions can I come up with to fix the mistake? Good practice techniques require creativity and patience to identify and solve the problem. From this, students learn persistence. No passage is impossible to play correctly. It’s just a matter of finding the right way of practicing. Fine motor skills: “I have seen the development of fine motor skills in my violin students, particularly the ability to isolate certain muscles and joints as well as the independent use of each finger.”
Healthy habits: Learning a musical instrument requires good posture and the ability to keep muscles relaxed even while doing something challenging. Students also strengthen muscles and gain flexibility, both of which contribute to overall health. 

Memory: As music is memorized, the capabilities of memory are greatly enhanced. Education then becomes a matter of drawing conclusions and making connections between concepts rather than an exertion to merely memorize all the material. The younger a child can begin learning music, the greater the benefit for their short- and long-term memory.
Creativity: The wonderful thing about music is that, although it requires precision and accuracy in terms of rhythms, notes and playing technique, when it comes to interpretation, there is so much room for individuality. The skill of improvisation allows even greater creativity. Students learn to think for themselves and make their own artistic choices rather than being told how to do everything.
Cultural Understanding: Students are introduced to music of different cultures and from different times. This exposure is useful for kids to learn about and appreciate the differences and individuality of all people.
Confidence and work ethic: Students learn that if they apply themselves intelligently, efficiently, and persistently they achieve the desired result.(24)
• Playing music promotes cooperation and teamwork. An orchestra depends on every musician to work together in a performance. Ability to work in a team is often cited as a key workforce skill and one that is rarely developed in classroom settings that measure individual performance. While sports also develop team skills, only music develops these skills in a non-competitive environment.(25)
• Music education develops a quick mind. When playing a composition, thoughts must be quickly turned into action. Music researcher Frances Rauscher, Ph.D. says, “The combination of constant vigilance and forethought coupled with ever-changing physical responses is an educational experience of unique value.” (26)

SOCIAL ADVANTAGES
In a 1999 Columbia University study, students in the arts were found to be more cooperative with teachers and peers, more self-confident, and better able to express their ideas. These benefits exist across socioeconomic levels.(27)
A report released by the Texas Commission on Drug and Alcohol Abuse found that students involved in courses beyond the required ‘basics’ were less likely to be involved with drugs. The study went on to show that ‘Secondary students who participated in Band or Orchestra reported the lowest lifetime and current use of all substances’ (Alcohol, Tobacco, Marijuana or any illicit drug).(28)
College-age musicians are emotionally healthier than non-musician counterparts.(29)

ADVANTAGES OF MUSIC FOR UNIVERSITY AND ADULT LIFE
College admissions officers continue to cite participation in music as an important factor in making admissions decisions. They claim that music participation demonstrates time management, creativity, expression, and open-mindedness.(30)
Physician and biologist Lewis Thomas studied the undergraduate majors of medical school applicants. He found that 66% of music majors who applied to medical school were admitted, the highest percentage of any group. 44% of biochemistry majors were admitted.(31)
Considering the vast skill set that a music education delivers to students it should be no surprise that students who receive a music education outperform their peers later in life on measures of professional success. A 2007 Harris Interactive poll revealed that 88% of people with graduate degrees had past music education experience. Further, 83% of individuals with incomes above $150,000 participated in music.(32)
The very best engineers and technical designers in the Silicon Valley industry are, nearly without exception, practicing musicians.(33)
There is so much evidence to suggest that music education is key to a child’s academic and life skill development from early childhood education through high school and beyond that it is difficult to recognize that many people consider music education to be expendable in public schools.
As communities consider what they can do to improve their children’s future, music education should be at the top of the list.(34)


CONCLUSION
From the evidence it is very apparent that the advantages that the study and practice of music gives our children are vast and lifelong. This should be especially important to us as parents because the current economy only favors those that can manage to stand out in their chosen field.
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The fact remains that life does not give hand-outs and our children need every edge they can get in an economy with a growing population. We should train brains to stop the brain drain that has become a constant reality over the past twenty years.

[ Compiled by Iain Rossouw – Guitar Tutor]

References:
1— Nature Neuroscience, April 2007
2—Journal for Research in Music Education, June 2007; Dr. Christopher Johnson, Jenny Memmott
3— From Empathy, Arts and Social Studies, 2000; Konrad, R.R.
4— Dr. Laurel Trainor, Prof. of Psychology, Neuroscience, and Behavior at McMaster University, 2006
5—NELS:88 First Follow-up, 1990, National Center for Education Statistics, Washington DC
6—The Midland Chemist (American Chemical Society) Vol. 42, No.1, Feb. 2005 7—From Nature, May 23, 1996; Gardiner, Fox, Jeffrey and Knowles
8— From Critical Links: Learning in the Arts and Student Academic and Social Development, Arts Education Partnership, 2002
9—Academic Preparation for College: What Students Need to Know and Be Able to Do, 1983 [still in use], The College Board, New York
10
Catterall, James S., Richard Chapleau, and John Iwanaga. “Involvement in the Arts and Human Development: General Involvement and Intensive Involvement in Music and Theater Arts.” Los Angeles, CA: The Imagination Project at UCLA Graduate School of Education and Information Studies, 1999.
11—Shaw, Rauscher, Levine, Wright, Dennis and Newcomb, “Music training causes long-term enhancement of preschool children’s spatial-temporal reasoning,” Neurological Research, Vol. 19, February 1997
12— From “The Music in Our Minds,” Educational Leadership, Vol. 56, #3; Norman M. Weinberger
13—Sergent, J., Zuck, E., Tenial, S., and MacDonall, B. (1992). Distributed neural network underlying musical sight reading and keyboard performance. Science, 257, 106-109.
14—Schlaug, G., Jancke, L., Huang, Y., and Steinmetz, H. (1994). In vivo
morphometry of interhem ispheric assymetry and connectivity in musicians. In I. Deliege (Ed.), Proceedings of the 3d international conference for music perception and cognition (pp. 417-418). Liege, Belgium.
15—From Nature, April 23, 1998; Christian Pantev, et al
16—From The Role of the Fine and Performing Arts in High School Dropout Prevention, 2002; Barry, N., J. Taylor, and K. Walls
17—Gardiner, Fox, Jeffrey and Knowles, as reported in Nature, May 23, 1996 18—( Debby Mitchell, University of Central Florida.)
19—TCAMS Professional Resource Center, 2000.
20Dynamic Presentations Unlimited Research; Band Director Focus Groups, December 2001. As referenced in “Discover the Power of Music Education,” Yamaha Advocacy Report, 2002, pg. 2.
21— http://www.childrensmusicworkshop.com/advocacy/12benefits.html
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22— http://www.johnmastro.com/author/cyberjcm/ on September 25, 2009 in http://www.johnmastro.com/category/educational/
23— Rauscher, Shaw & Ky, 1993
24— http://parentesource.com/2011/01/24/nine-benefits-of-music-education-for-kids/ 25— CaseForMusicEducation.pdf (Lang Lang International Foundation)
26— University of Wisconsin, Oshkosh; NAMM 1997 publication: “Making Music Makes You Smarter.”
27— The Arts Education Partnership, 1999
28— From Houston Chronicle, January 11, 1998
29— Commission on Drug and Alcohol Abuse Report. Reported in Houston Chronicle, January, 1998
30— The Associated Press, October, 1999
31— As reported in “The Case for Music in the Schools,” Phi Delta Kappan, February 1994
32— “Those with More Education and Higher Household Incomes are More Likely to Have Had Music Education: Music education Influences Level of Personal Fulfillment for Many U.S. Adults.” The Harris Poll® #112, November 12, 2007 33—Grant Venerable, “The Paradox of the Silicon Savior,” as reported in “The Case for Sequential Music Education in the Core Curriculum of the Public Schools,” The Center for the Arts in the Basic Curriculum, New York, 1989
34—.- CaseForMusicEducation (Lang Lang International Foundation)

Happy New Year

May 2022 be a tremendous year for all of you, my students, studio parents, studio friends, ex-students.

Thank you all for the wonderful online Ceilidh we had beginning of December (now a month back). It marked a very big, significant step – our first Ceilidh in Ireland! Also our first online Ceilidh ever; let’s hope that this remains the temporary measure it had to be and that we can soon take the studio back into the living room.

As you all know, music is a family project, and I want to thank the parents, wives, daughters and siblings of my students especially for participating in the Ceilidh. Music must be the oldest human language, and all of our heritage; the special kind of bonding of families and friends playing music together is something that is to be treasured and nurtured.

2022 will be absolutely tremendous! 🙂

Happy 1st of February

And belated happy New Year, 2021, to all my students, past and present!

Things seem to be stabilizing around a schedule of a dayjob that shifts, amidst lockdowns and online lessons.

We have tried lessons on Whatsapp and Skype, but for now the most stable platform seems Zoom; one can schedule exact meeting times, making the start of a lesson relatively easy. Also, the children have no problem operating the Zoom.

Online lessons bring their own challenges and limitations, so personally I can’t wait for the lockdowns to be lifted and us being able to have 1:1 and even group lessons again. But in the interim I think we are all not doing badly. I’m impressed with the focus of my students over the digital medium.

There are a few extra things to be mindful of, and they are really quite the same as in face-to-face lessons:

  • Ideally, please log on 5 – 10 minutes before the lesson starts, so that no precious lesson time gets lost with technical fumbles. The internet is a devil for costing time connecting.
  • Also, please tune beforehand – I’m actually pretty impressed with the way this is normally the case. The exception would be new students who have not yet been instructed fully in how to tune the violin.
  • Sheet music needs to be close at hand; the music stand open. Like in face-to-face lessons, time is lost searching. A half-hour is a short time.
  • Of course it is helpful, while waiting to be let in, to play a few tunes so long to warm up. The lesson works so much better when the fingers are already fluid.
  • I don’t even have to mention it, and once again I have to applaud my students on the whole: To be fully prepared for your lesson, you must practise through the week, and the aim is to make it a daily habit. How long you practise is less important than how regularly.

These are little professional tips; they will come in good stead everywhere later in life, not only if music is chosen as a career.

Pro Tip: If you don’t know what to practise, pick up a pencil and practise your bow grip and your bow hand exercises. Then run through a few scales, and practise 60-second bows. By then you should have remembered what you were supposed to practise. 😀

Oh:

And don’t forget to play!

Remember to have fun!

Your teacher Lyz

Welcome to the new academic year.

Here are a few ace tricks how to integrate violin into your busy life – that is overflowing with new homework from school, sports, new friends and lots of new activities.

  1. Keep the violin open.  Put it somewhere safe where it can be accessed with one single reach.  Suggestions are to put the open box up on a bookshelf or place that cannot be reached by dogs, cats and little siblings, but can easily be reached by you.  Or hang it up on the wall.  (Ask me for instructions.)  It looks very cool up on the wall.   And then, whenever you have a few moments, pick it up and play a “riff”.  Your favourite tune, or those tricky 2 – 3 bars you are working on.
  2. Practise short and often.  Find those “little corners” to practise in:  5 minutes after brushing your teeth in the mornings; in the afternoon while waiting for lunch to finish cooking; quickly before doing your homework;  20 minutes before you watch TV.
  3. Move aside a few minutes of less important activities.  Like watching telly.  Or checking Facebook / playing that game.  Professionals do it; ambitious people do it; winners all do it.  It’s called prioritizing.
  4. Did you know:  Practising wakes up your brain.  You may not know this, but early in the morning, and just before doing your homework, are both great times to practise as playing violin activates your whole brain.  After practising, you are awake, alert and focused, ready for that academic stuff.
  5. Pay yourself.  Every time you have practised even for 5 minutes, you can give yourself a “virtual dollar”.  If you put aside 50c into a piggy bank for every time you have practised 5 minutes or more, you will see how fast that adds up – especially if you know that there is no limit how often per day you can play.

So:  My challenge to you these next 3 weeks is to find your balance, your violin routine.  Find it, and you’re on the highway to success.

See you in lessons!  🙂

Thank you for the beautiful concert!

Here’s  big thankyou to our students for the lovely performances on Friday!

I made each student work twice as hard as is usual at our concerts – playing four tunes each! And they acquitted themselves very well.

A big bravo also goes to the parents, who have taken my advice to heart and ensure that their children practise.  The results are self-evident.

So here is a Well Done to everyone.  Thank you!

Take A Bow.

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Studio Concert on Friday!

Our first Studio Concert in Ireland is taking place this Friday evening!

It is small-scale:  A house concert, with 5 students.  It marks a beginning, and a celebration (there should be balloons!  Or maybe flowers.)  Due to limited space we are not publishing the details of the address, but it starts at 19h00.

Studio Rules:

  • Bring your good mood!
  • Dress smartly.  Even at a house concert, this adds a sense of celebration and excitement.
  • Make sure you practise beforehand!
  • Parents:  Please keep control of the siblings who are attending, and not currently playing.  Especially of any tiny tots.  Bring a distraction for them, but nothing noisy.
  • Do not let them run wild in the house while we are performing; as the hostess, I will be fully occupied with performances and cannot guarantee your unsupervised child’s safety in my house.  If necessary, take them outside to play, and supervise them.
  • Bringing some finger food will be appreciated – just enough for you and your own family.

There shall be coffee, tea, something to drink for the kids; and some cookies. The refreshments will be served after the concert.  (It’s such a short program, there will be no interval.)  Please make sure your kids eat something proper, something salty and preferably with protein, before arriving.  It helps against nerves.

Can’t wait to welcome you all!  🙂

Why you can NOT learn the Violin in 30 days

Stumbling across a pirate site that had stolen not only my studio name but an actual photo of my face (don’t worry, I’m probably going to be rich soon suing them), I found another site advertising software that “teaches you to master the violin in 30 days”, “no more life-long lessons, no more dull practising for thousands of hours”.  And I grabbed my skull and thought:  ‘Are you guys still out there?’

No, you cannot “acquire” violin, or karate, or become an Olympic athlete in 30 days.  Nor can you become a medical doctor, create an artificial intelligence from scratch (from being a layman), or become an international chess master, in 30 days. These “Zero to Hero in 30 Days” schemes are just that: schemes.

Anyone with half a brain knows this.  But there are tons of people who haven’t passed the Marshmallow Test, who still fall for it every time.  Because they see practice as “dull” and “boring” and look for shortcuts so they can become a master without the required 10000 hours.

Dear aspiring musician.  If you cannot envision making playing your instrument daily or at least plenty of hours per week, a lifestyle, if you cannot envision developing a culture of being a musician, then you have no business calling yourself one.  Music is an identity; it is a culture.  Not only is it an actual culture; but also a method of cultivating yourself – like growing bonsai or practising meditation or art.

Can you purchase such a package?  Sure you can!  You could also, if you wanted, take your hard-earned money, roll it up and flush it down the toilet.  What you do with your money is nobody’s business but yours.  But don’t believe you’ll be playing like David Garret or Lindsey Sterling on the “express course”.  (And don’t believe any teacher who claims to be able to get you to that level in less time or with less commitment than it actually takes: 10000 practice hours.)

If you are moderately physically talented, I can teach you how to play “Twinkle Star” in one single half-hour.  And if I put you on my studio stage and allow you to play at a studio concert, voilá, I’ve just helped you become a “performer” in half an hour. Does that make you a master violinist?

Let’s keep the perspective here.  Sure those packages might impart tips and tricks on you.  Will the package climb out of your computer and correct your posture if you’re doing it wrong?  Will it give you feedback on why your intonation is off?  Will it work with your strengths and build up where there were weaknesses, to produce an all-rounded player?

I would like to encourage everyone to buy such a package and try your hand at it.  One of two things will happen.

Either you will realize that you actually cannot stand the violin (heads-up, it’s not an instrument that suits everybody), or you will end up coming to a teacher near you, who can give you genuine tuition.  One month is hopefully not enough for those bad habits you will inevitably pick up from the package (because nobody is correcting you), to become irreparable.

The most important aspect of the journey of learning music, however, is this:

Music is not only a culture and a discipline; it is also a community, a way of looking at life, and a tribe.  Learning to play an instrument, you build a circle of friends who share an outlook, and you build life-long connections with other players, to play together in ensembles.  Ensemble play (especially in small groups) is an experience and a bond that is impossible to describe to outsiders.

Why would you want to pass up on all that, and trade it in for a “quick-fix”?

Some Practising Magic

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2006 – Ceilidh

Here are resources for parents of violin kids, and more independent violin students, alike.

I have organized them like a drop-down menu.  Go to the top of the page and have a look.

Most importantly remember this key nugget:

We’re not trying to remember content when we practise.  It’s not like studying for a test.

We are learning movements.  We are training our hands, arms, fingers into performing accurate, fast and good movements to produce a number of sounds, runs, “riffs” and so on.  In the first place practising is much more like training for a sport than like learning about a topic.  Violin is practical.

So here is how we do this:

We repeat

1) small clusters of notes (movements), in about 2-3 second “bytes” (that’s one or two bars at a time)

2) several times over (8 repeats is a good rhythm to start with, then a 30 second “brain break”, then another 8 times)

3) slowly and accurately

4) paying close attention to the movement.

Having said this, that is how we drill technique.  Now go read “The 5 Levels of Practising” from the drop-down menu.  🙂

Best.

Your teacher Lyz

What to do if your child will not practise

I can tell from a mile away when a student hasn’t practised.

They walk through the door with dodgy eyes. Their usual confidence is not there.  Some try to engage me in games or chats to avoid playing.  Now, there is important value in chatting to one’s student, as I need to gauge where their emotional levels are, so that I can responsively create the lesson around their capacities.  (That is one of the powerful advantages of 1:1 lessons.)

But if a student hasn’t practised, they make small-talk.  They don’t share important events of the day or week with me (revealing their state of mind); they chit-chat.  Or they play around.  Or some of the younger ones point-blank refuse to pick up their violin.

Now.  I have persuaded a lot of children into playing anyway.  I have worked around a lot of attitude in lessons.  But it is not ideal, and in fact sometimes it fails, when a particularly stubborn little one simply refuses.

Parents.  You need to realize that if you don’t call your child to practise each and every day, even if it’s only for 1 minute at the start (a strategy I’ll share in a second), you are 1) wasting your money letting them take violin; and 2) ruining their self-image about what they can and can’t achieve.

Does that sound harsh?  I’m sorry.  I’ve been there myself as a mother, and it’s not a violin question; it’s a parenting question.

They tell you “I don’t wanna” when you tell them to practise?  Do they do the same with brushing their teeth, doing their math homework, going to the potty rather than hanging onto nappies, eating their food before demanding sweets, bedtime… and so on?  Is this a battle of wills between a wilful child and a pushover parent?

Or do you let them get away with it exclusively with the violin?  And why?  You are undermining your own parenting power!  Children do respond to “because I say so”.  They respond perhaps with “it’s not fair”; but later in life, when their boss tells them to do something that they don’t want to do, they are once again faced with a choice, and if they have always been allowed to get out of unpleasant tasks, well…  you know how that goes.

But if one looks more closely, often the practising question is not about pushover parenting.  It’s about the parent being in overwhelm, having too much on their plate.  Juggling job, family, kids, school, cooking dinner, patrolling homework…  and so violin practice becomes one more item that can slip attention.  The reason it is forgotten, is because it’s not of high priority on the parent’s list.  Believe me, on the child’s list there are only two items:  Homework and violin practice.  She knows she can’t dodge out of homework (because there is a whole heavy school system backing up the parent even if Mom forgets to check).  But violin?  That’s only neeeext Monday. We don’t worry yet, today.  We’ll rather put up with the little niggle of bad conscience.  It’s not a big niggle.

And so, violin lessons get transformed from treats into ordeals.

What a loss!

Three Number One Tricks to get your child to practise

First of all, as a parent, be aware that once the child is practising, the resistance phase lasts only between 30 seconds and 2 minutes.  After that there is acceptance and getting on with the job, and hopefully, good focus.

So here’s what you can do to facilitate this process and get rid of resistance altogether.

1.  Set an alarm.

You have a smart phone? Yes? Good.  Program an alarm.  If possible, it should go off at the same time every day; otherwise, customize it by the day.

The alarm is not for your child.  It is for you.  This is the point in time where you interrupt whatever you are busy with and take a minute to inform your child that it’s practising time; open the violin case; put the violin together (shoulder rest, tuning etc) while your child tightens the bow hair and puts the rosin on the bow; open the music stand, put the books on it and open them; hand your child the violin, point to the first song he is supposed to play, and say “start there”.

Depending on how independent your child is, you can now return to what you were doing (cooking, or clearing up, or whatever), but keep your ear on the music.  (Don’t do office work at this point.  You’ll forget that he’s practising and he’ll cotton on and pack away after 1 song.)  Of course, if you are a Suzuki parent, you need to sit down on the couch and give your child’s practice session your full attention.

The longer your child plays, the more he’ll start setting these things up himself, and all you need to do is remind him that it’s time (this even applies to teenagers) and then check that he follows through.

2. The one-minute “mile”

This is for highly resistant, defiant children who have the attitude “which part of ‘no’ doesn’t Mommy understand?”

Set a timer for 1 minute.  Yes: Sixty seconds.  That’s all.

Give your child the violin, and tell them to hold it for 1 minute.  The first day, she’ll be confused, and hold onto the violin, looking at you funny, waiting for the next instruction.

Don’t give another instruction.  Just wait with her, silently, patiently, until the 60 seconds are over and the timer beeps.  Then tell her she can put the violin away.

The next day, make her take the violin on her shoulder and hold it there for 1 minute.  After that, she can pack it away.

The day after, ask her to play soft, long bows and focus only on the sound – for 1 minute.  Gently stop her if she wants to make ugly noises, and tell her to keep making pretty sounds.  The minute will be over before she gets bored.

The next day, once again help her set up, and once she has the violin, tell her she can play whatever she likes, as long as it sounds pretty.  Then hang tight.  A minute is short.  Only interrupt her when she starts deliberately making ugly noises in defiance.  This is not about violin.  It’s about getting past her feelings of defiance.

The next day, set the timer for two minutes.  Tell her to start with pretty bows again and when she feels like it, to start playing whatever tune she wants.  The other rules remain in place.

From there on, day after day, you add one minute every day.  Soon (2 weeks later) she’ll be playing for 15 minutes.  By then, out of boredom and self-defence, she’ll be playing a variety of tunes or scales, and sooner or later she’ll play whatever the teacher has told her to.

3. Reward your child’s effort.

Sticker-charts are a miracle of the modern age.  Every successful practice receives one sticker.  If there are six stickers at the end of the week (we count a “week” as seven days, not five), your child gets a prize that was picked at the beginning of the week.  Keep the prizes small, but fun.  (E.g. a prize could be that on Friday evening we have pancakes.)  Why small?  Because if you are giving huge rewards for tiny practising sessions, it just breeds the wrong attitude.  Eventually your child should learn to feel that progress on the violin is a fitting reward for practising.  You see:  Music is the reward.

For teenagers, if you have a firm grip on their electronic lifestyle, time on the cellphone / tablet / PC could be a reward for practising.  Of course, if your child plays games online non-stop and you have to pry him away from the PC to get him to practise, that doesn’t bode well.  It’s the wrong way round.  First the healthy meal; then the ice-cream.

But if your child is addicted to electronic media, that is an entirely different discussion.  Two words:  Get help.

And what if your child doesn’t like music whatsoever?

Let me ask back:  Should she, in that case, be learning violin?  Book her into ice skating instead!

 

If you start now, you can play a song by Christmas

Do you have a family tradition of a concert under the Christmas tree?

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If you start learning violin now, by Christmas you will be able to play at least one song.  The chances are better that you will be able to play a number of them.

In 2014, we had a Christmas Music Workshop, something we wanted to continue as a yearly tradition in our studio (the Moncrieff Music Studio, of which my violin studio was  a part).

A small bit of our story

2015 rolled around and my mom-in-law had terminal cancer.  We were looking after her, as a family.   There was no time for organizing a workshop.

2016, we were in the throes of moving house – and we had moved out our studio concert into December as there were flash floods on the roads on its original date.

The concert was followed one week later by our year-end Ceilidh (usually we tried spacing these out).

For Christmas, after an eventful year, we had a small chamber concert – with my son, daughter, father, and myself, we played some quartets for the family.

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It is 2018.  We have spent almost 2 years in a daze mourning the death of our beloved Iain – husband, father, soulmate, band-mate, and also the hub, the mover and shaker of our music studio.  We relocated to Ireland last year, here we are.  Do I miss my South African students?  Terribly.  But without Iain, I simply could not carry on there.

 

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I still teach violin.  There is no reason Cobh should not enjoy at least some of the benefits of the Violin Studio and its vibrant activity and ideas.  The focus is on enjoyment of music; I’m strict with technique but as soon as is practical, move children towards playing together.  First comes the love of music, then the facility.

So, if you want to learn how to play a few Christmas carols before Christmas, to perform under the tree, for your family, grandparents, parents, children, siblings, cousins…  you’re at the right address.

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There are 7 Christmas carols, varying from “Jingle Bells” to some traditional German ones, hidden between the 30 well-known tunes in this book.

Most of them are easy to play even for very basic beginners.  Some are really easy.  One has some interesting string changes.

And here is the cutie who sat and posed for the cover (without realizing it at the time – don’t worry, I have her permission to use these images):

Practicing with her Daddy.

 

 

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Getting organized on stage. 🙂

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