Saige-Coyle-Ch8
The principles talked about in this chapter resonated with me quite a bit, and it reminded me of so many of the things we have talked about already. To teach our students well, we need to find ways to understand each individual students’ needs, just like Hans Jensen does with each of his cello students. I noticed that with Jensen, Wooden, and Miss Mary, each person has effective strategies for their students while having their own ways of correcting and praising students. What I liked most, however, was that each teacher taught their students with their own way of showing genuine compassion for their students. I think overall that is the most important motivator for your students is compassion and love. When we are able to deliver that to our students as we teach them, they will feel a sense of belonging when they come to lessons, and they will want to come more often.
Saige-Coyle-Ch9
I liked how at first the author narrowed it to a special process where master coaches use knowledge, recognize mistakes, and connect. In order to teach a certain genre for singing, we have to know the differences between that genre and the other genres a student is more confortable with, which is one reason I really liked the story of Linda Septien’s vocal studio developing the way it did. I found it very interesting, however, that certain talents need to be developed in either a laid-back environment where students can teach themselves a little more, or they need to be developed in a very precise, detailed way. Usually, people are baffled when I tell them that I have taught myself how to play the flute, but when I finally took a couple years of lessons when I first came to college I realized that I had a lot to polish with my playing, and the same went with when I finally took voice lessons at the tender age of twelve. Overall, I thought this chapter appealed to me quite a bit, because it helped me recognize that we need to be adaptable as teachers who are deep-practicing their strategies.
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