Patricia Williams, Open House: Of Family, Food, Piano Lessons, and the Search for a Room of My Own

2005 ◽  
Vol 90 (4) ◽  
pp. 452-454
Author(s):  
Genna Rae McNeil
Keyword(s):  
Patricia Williams ◽  
Piano Lessons

Practicing Liberatory Pedagogy

2012 ◽  
Vol 12 (2) ◽  
pp. 96-108 ◽  
Author(s):  
Dalia Rodriguez ◽  
Afua O. Boahene ◽  
Nicole Gonzales-Howell ◽  
Juliann Anesi
Keyword(s):  
Social Justice ◽  
Predominantly White ◽  
Women Of Color ◽  
Classroom Practice ◽  
White Student ◽  
Student Resistance ◽  
Policy Recommendations ◽  
Bell Hooks ◽  
Patricia Williams ◽  
Experiences Of Women

Following the works of Patricia Williams, bell hooks, and other feminist scholars of color, we address what it means for women of color teaching social justice issues in predominantly white classrooms. Very little research has been done to illuminate the challenges women of color face in classrooms and what this means for liberatory practice. We grapples with the question, “What are the particular experiences of women of color from various racial and ethnic backgrounds with white student resistance, specifically in relation to issues of authority?” We also provide recommendations for classroom practice as well as address policy recommendations to structurally support women of color.

Training Teaching Skills and Practices

2019 ◽  
pp. 96-121
Author(s):  
Courtney Crappell
Keyword(s):  
Best Practices ◽  
Teaching Skills ◽  
Mental Processes ◽  
Piano Teachers ◽  
Piano Lessons ◽  
Performance Problems

Chapter 4, “Training Teaching Skills and Practices,” covers topics related to what teachers do in piano lessons. Essentially, it presents the best-practices with which piano teachers should be prepared before entering the teaching studio, and it outlines how pedagogy students can practice and begin to master these skills. After a brief introduction, it includes models and frameworks that serve to guide the mental processes of teachers as they make decisions about performance problems. It helps the pedagogy teacher understand how to train pedagogy students to think and act during lessons. Several classroom exercises are provided to demonstrate how pedagogy students can apply and practice the principles and suggestions within this chapter.

The Flame: Teenage Years

2002 ◽  
Author(s):  
Joanne Haroutounian
Keyword(s):  
Elementary School ◽  
Musical Training ◽  
Talent Development ◽  
College Education ◽  
Music Students ◽  
Ivy League ◽  
Piano Students ◽  
Piano Lessons ◽  
Private Studio ◽  
Late Starters

Close to a dozen years have gone by and we find ourselves seated on folding chairs enjoying the final recital of a private studio of talented piano students. Each year there are a few new eager faces as the younger students deftly work through pieces that seem very complex for such little fingers to play so quickly. We notice the students who have been seasoned through training, now in those tenuous intermediate years. Their intense desire for precision shows maturing musical ideas, but often arrives at awkward adolescence when being on stage has an added gravity of meaning. We search for the advanced teenagers—those students we have seen truly blossom through the long process of talent development. Numbers have dwindled in this studio. One has decided to move out of state and is now studying at a conservatory. Another has decided to concentrate efforts on the oboe, begun in elementary school band, with time restraints easing piano lessons out of her schedule. Academic and parental pressures have caused last year’s shining star, a junior seeking an Ivy League college education, to quit as well. There remains one teenager who ends the program with a flourish, receiving many hugs from young admirers and awards galore following the program. This is our tiny, eager student from the front steps. A senior, having completed a full twelve years of instruction with many competitions and solo recitals under his belt, he bids farewell to this comfortable, nurturing studio. He enters college as a math major. Many private teachers, parents, and music students may recognize this scene as a very realistic portrayal of possibilities in musical talent development. The first years of training are “romance,” with parents aglow when hearing their talented youngster perform with such confidence and flair. The middle years consist of flux and flow, a phase when students search for the “whys” and “hows” beneath the notes that were so easily played in prior years. Musical training now presents persistent challenges. Late-starters may speed into these years with determination. Others may begin a second instrument or composition classes to broaden musical experiences.

Scelsi, Giacinto (1905–1988)

2018 ◽  
Author(s):  
Eric Drott
Keyword(s):  
Musical Training ◽  
Twelve Tone ◽  
Early Music ◽  
Avant Garde ◽  
Piano Lessons ◽  
The 1950S ◽  
To Come ◽  
The Way

Giacinto Scelsi was an Italian avant-garde composer best known for the single-note style he developed during the 1950s and 1960s, which minimizes harmonic and melodic activity in order to allow microtonal fluctuations and subtle transformations in timbre, intonation, dynamics, and articulation to come to the fore. Although his works were little known and infrequently performed during his lifetime, they gained considerable acclaim in the 1980s. Scelsi’s œuvre has proven extremely influential, and is generally regarded as a precursor to the spectral movement. Many of the elements of Scelsi’s biography remain uncertain, due in part to the composer’s penchant for self-mythologization. His family belonged to the southern Italian nobility, and it was in their ancestral chateau in Irpinie that Scelsi’s interest in music first manifested itself. He had little in the way of formal musical training, apart from receiving private piano lessons in his youth. Scelsi spent much of the 1920s and 1930s abroad, principally in France and Switzerland. It was during this period that he composed his first pieces, most notably Rotativa for pianos, strings, brass and percussion (1930). His early music was stylistically eclectic, embracing post-impressionist, neo-classical and twelve-tone idioms at various points in his life.

“I had never had a dancing lesson in my life, but somehow, I knew I could train those other children, and I did.”

2020 ◽  
pp. 7-16
Author(s):  
Sharon Skeel
Keyword(s):  
Civil War ◽  
German Immigrants ◽  
Piano Lessons ◽  
The Us

Catherine Littlefield’s great-grandparents, Gottlieb and Catherine Doebele, are German immigrants who settle in Philadelphia in the 1850s and raise six children. Gottlieb dies from injuries sustained while serving with a German regiment in the Civil War, and Catherine Doebele becomes a surrogate parent to her granddaughter, Caroline Doebele, after the girl’s parents divorce. Catherine Doebele (Grandma Doebele) is very religious and disapproves of Caroline’s early interest in dancing but provides her with piano lessons instead. James H. Littlefield, born and raised in Maine, serves in the US Cavalry and later takes a job with the PRR-YMCA in Philadelphia. He loves music and theater and meets Caroline. They marry in 1904.

Aphanisis: Patricia Williams and Ernest Jones

2015 ◽  
Vol 20 (2) ◽  
pp. 176-191
Author(s):  
Vicky Lebeau
Keyword(s):  
Patricia Williams ◽  
Ernest Jones

On-site and distance piano teaching: An analysis of verbal and physical behaviours in a teacher, student and parent

2019 ◽  
Vol 12 (1) ◽  
pp. 49-77 ◽  
Author(s):  
Gilles Comeau ◽  
Yuanyuan Lu ◽  
Mikael Swirp
Keyword(s):  
Striking Difference ◽  
Distance Teaching ◽  
Analysis Software ◽  
Piano Teaching ◽  
Long Period ◽  
Teacher Student ◽  
Behavioural Analysis ◽  
Piano Lessons ◽  
Interface Behaviour

This study was designed to examine how distance piano teaching might affect the verbal behaviours and physical actions of a teacher, a student and a parent. Weekly 30-minute piano lessons over a year-long period were taught to a 5-and-a-half-year-old on-site student and a 6-year-old distance student. All lessons were delivered by the same teacher who followed the Suzuki programme. All sessions were recorded and then analysed using Simple Computer Recording Interface Behaviour Evaluation (SCRIBE), a video analysis software that provides frequencies and durations of pre-coded events. The observation of recorded lessons showed that distance teaching did not slow down student progress. In addition, behavioural analysis revealed that in most aspects, distance and on-site delivery were remarkably similar. The most striking difference was the interaction between the teacher and the parent. During on-site teaching, most of the teacher’s instructions were directed to the student while the parent was listening and observing attentively; during distance teaching, half of the teacher’s instructions were addressed to the student and the other half to the parent. The distance student also tended to relate more to the parent than to the teacher. In the distance environment, when interacting with a young beginner student, the role of the parent becomes very central to the success of the lessons.

Sign in / Sign up

Export Citation Format

Share Document