NOTES FROM TRADITIONAL MUSIC TEACHING MUSICIANS' GATHERING CITY HALLS, CANDLERIGGS, GLASGOW
30 SEPTEMBER 2011
Siobhan Anderson Fèis Fhiort Celine Donoghue Freelance Alison Duncan Lochgoilhead Fiddle Workshop Marie Fielding Freelance Fiddle Tutor, Composer Ally Forsyth Freelance Callum Forsyth Freelance Gillian Frame North Ayrshire Council; Glasgow Fiddle Workshop Ros Gasson Scots Music Group Nigel Gatherer Glasgow Fiddle Workshop; Scots Music Group; LGMA; NGMS Sharon Hassan Gadie Music Amy Lord Liltin' Lassies; Freelance Rua Macmillan Freelance Jo Miller Riverside Music Project; Freelance Findlay Napier Royal Conservatoire of Scotland; Glasgow Fiddle Workshop Jennifer Port Clarsach Society Patsy Seddon Freelance Susan Streater Sangschule Lynsey Tait Glasgow Fiddle Workshop; Junior Academy Gordon Turnbull The Flow Music; Freelance Innes Watson Freelance Irene Watt Elphinstone Institute, University of Aberdeen; Freelance Stephen Deazley David Francis Jill Rodger
Workshop Leader Traditional Music Forum Registration & Notes
Welcome and Introduction – David Francis, Traditional Music Forum DF explained that the day had been organised by the Traditional Music Forum in response to a recent report on teaching Scots music by Heather Downie and following a meeting in June which was for organisations involved in non-formal education. This session was aimed more at teachers than the organisations which employed them. MORNING SESSION Practical Session – led by Stephen Deazley Groupwork Dynamics SD introduced himself and gave the group some background on his experience. Stephen Deazley has fifteen years experience as a creative musician and composer working in mainstream education and in the wider community; within health care settings, with amateur musicians, children and disadvantaged young people. He has planned, managed and delivered many music education programmes for professional arts companies.
He then introduced a workshop he had devised, called “Timebomb” - a musical cat and mouse game aimed at Primary School Pupils aged c. 8 years. It was specifically designed to start with
small elements which were continually added to in order to make a final outcome that was complex yet simple in its constituent parts. Normally the material in the workshop would be spread over several weeks. SD asked for one member of the group to be outwith the circle at all times and to jot down their impressions of the group on the flipchart then rejoin the group passing the pen to another member. Impressions of the workshop, with leadership pointers “lots of opportunity for creativity within the task” “task makes everyone feel included” “balances time fairly between the smaller groups – only providing help if needed” “don't just concentrate on your own thing – be aware of the whole sound structure” “uses lots of reinforcement to ensure that everyone understands exactly what they need to do” “each part is simple but altogether it sounds like something complicated” “use of hands and physical gestures is great – holds the space and keeps everyone focused” “use of humour – very encouraging” “mistakes are ok when starting a new task” “each group (and each person within the group) is a valuable piece of the “jigsaw” “it's counter-intuitive – it makes you think” SD informed the group that the “Timebomb” workshop was a free resource for them to use. Following the “Timebomb” workshop SD invited 2 volunteers to “Do Something New”, something they hadn t taught before, with the group. (Everyone had been asked in advance to prepare something for the day). Nigel Gatherer led some instrumentalists within the group to make up a short, simple tune in the key of “D”. Amy Lord taught the group the “Ukrainian Frog Song”. SD then lead a short Q & A session on the morning's activities AFTERNOON SESSION Practice Sharing and Networking (Small Groups) DF asked the group to propose some key issues facing them as teaching musicians. The group then split into smaller sub-groups and circulated around 7 key issues, sharing ideas. What do I do if “I m intimidated by the group” • • • • •
traditional musicians often begin their teaching at an early age and can be faced with a group who may seem older/more experienced you are there to facilitate their ideas and help them along the way adopt positive body language get there early and be well-prepared agree mutual expectations beforehand
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be confident enough to turn down a job
The group doesn't want to do what I've planned in advance?” • • • • • •
don't be overly sensitive be flexible but don't abandon your plan entirely ask the group to give it a try – even for a short while – explain why you chose it some leadership is a necessary process take the long view give the class an “illusion” of choice
“The class is draining and demoralising” • • • •
don't under-estimated the amount of energy you require lack of planning – plan your time well and allow yourself some “down” time try a new format for the class visit other classes to get some new ideas
“The employer has a policy about learning styles? – i.e. by ear or not” • • •
learning by ear is a great leveller always try to be flexible and do both – shouldn't be an issue every situation is different
“The group won t focus – i.e. ways of dealing with twiddlers/noodlers” • • •
set out a clear etiquette at the beginning of the lesson – a “contract” with the group practical suggestions – get them to sit on their hands! Allow 10 minutes “twiddling” time
“I need to communicate with different age groups who are at the same level?” • • •
be clear about your expectations of group learning allow the more advanced to help the less advanced regardless of age be prepared with a wide variety of materials (tunes)
“I have mixed abilities within one group?” • • • •
have a variety of materials available be very structured don't be afraid to use the same voice/body language for all groups/ages need training opportunities in tutoring and groupwork
PRIORITIES FOR FUTURE WORK (rated in order of importance by the group) • • •
more networking opportunities mentoring system shadowing opportunities
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assertiveness and leadership training a recognised index of good practice instrument specific training development structure evaluation