Suzuki method

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A group of Suzuki method students performing on violins.
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The Suzuki method is a mid-20th-century

Shinichi Suzuki.[1] The method claims to create a reinforcing environment
for learning music for young learners.

Background

The Suzuki Method was conceived in the mid-20th century by

University of Nagoya.[2]

Suzuki pioneered the idea that a preschool age children could learn to play the violin if the learning steps were small enough and the instrument was scaled down to fit their body. He modeled his method, which he called "Talent Education" (才能教育, sainō kyōiku), after his theories of natural language acquisition. Suzuki believed that every child, if properly taught, was capable of a high level of musical achievement. He also made it clear that the goal of such musical education was to raise generations of children with "noble hearts"[3] as opposed to creating famous musical prodigies.

Philosophy

The central belief of Suzuki, based on his language acquisition theories, is that all people can (and will) learn from their environment. The essential components of his method spring from the desire to create the "right environment" for learning music, which he also believed would foster excellent character in every student.

The method parallels the

native language from the young age, which is usually referred to "mother-tongue" method. [4]Suzuki believed that this environment would also help to foster good moral character
. These components include:

1. Saturation in the musical community

This includes attending local classical music concerts, developing friendships with other music students, and listening to recordings of professional musicians in the home every day, starting before birth if possible

2. Deliberate avoidance of musical aptitude tests or auditions to begin music study.

Suzuki believed that teachers who test for musical aptitude before taking students, or who look only for "talented" students, are limiting themselves to people who have already started their music education. Just as every child is expected to learn their native language, Suzuki expected every child to be able to learn to play music.

3. Emphasis on playing from a very young age.

Suzuki believed that children should typically start formal instruction between the ages of three and five years old. (See § Technique).

4. Using well-trained teachers.

Suzuki believed in training musicians not only to be better musicians, but also to be better teachers. Suzuki Associations worldwide offer ongoing teacher-training programs to prospective and continuing Suzuki teachers.

5. The beginning of teaching is emphasized by
learning music by ear over reading written musical notation
.

Suzuki observed that children speak before learning to read, and thought that children should also be able to play music before learning to read. To support learning by ear, students are expected to listen to recordings of the music they are learning daily.

6. Memorization of all solo repertoire is expected.

The focus on memorization continues even after a student begins to use sheet music to learn new pieces.

7. Music theory and note reading are left to the teacher.

The Suzuki method does not include a formal plan or prescribe specific materials for introducing music theory and reading, in part because Suzuki created the method in a culture where music literacy was routinely taught in schools.

8. Regular playing in groups (including playing pieces in unison) is strongly encouraged.

Retaining and reviewing every piece of music ever learned is also strongly encouraged. This is intended to raise technical and musical ability. Review pieces, along with "preview" parts of music a student is yet to learn, are often used in place of the more traditional

etude
books. Traditional etudes and technical studies are not used in the beginning stages, which focus almost exclusively on a set of performance pieces.

9. Frequent public performance makes performing feel like a natural and enjoyable part of being a musician.

The method is meant to discourage competition between players and advocate collaboration and mutual encouragement for those of every ability and level. However, this does not mean the complete elimination of auditions or evaluations of student performances.

The parent of the young student is expected to supervise instrument practice every day to attend and take notes at every lesson so they can coach the student effectively, an element of the method once dubbed "The Mom-Centric Method."[5]

Technique

Although Suzuki was a violinist, the method he founded is not a "school of violin playing" whose students can be identified by the set of techniques they use to play the violin. However, some of the technical concepts Suzuki taught his own students, such as the development of "tonalization," were so essential to his way of teaching that they have been carried over into the entire method. Other non-instrument specific techniques are used to implement the basic elements of the philosophy in each discipline.

Repertoire

The core Suzuki literature is published on

audio recordings and in sheet music books for each instrument, and Suzuki teachers supplement the repertoire common to each instrument as needed, particularly in the area of teaching reading. One of the innovations of the Suzuki method was to make professional recordings of beginner level pieces widely available. Many non-Suzuki trained music teachers also use the Suzuki repertoire to supplement their curriculum
.

Suzuki literature also deliberately leaves out many technical instructions and exercises found in the beginners' music books of his day. He favored a focus on melodic song-playing over technical exercises and asked teachers to allow students to make music from the beginning, helping to motivate young children with short, attractive songs which can themselves be used as technique building exercises. Each song in the common repertoire is meant to introduce some new or higher level of technique than the previous selection.

Suzuki teaching uses a common core repertoire for students of the same instrument worldwide. Although it focuses on Western European "classical" music, it emphasizes that this music can be a bridge across cultural and language barriers.

Violin

The violin method was compiled and edited by Suzuki in ten volumes, beginning with Suzuki's

Mozart
concertos.

The first three volumes are mostly graded

Mozart and Fiocco
.

The Suzuki violin repertoire is currently[when?] in the process of being revised by the International Suzuki Association, and as part of the revision process, each regional Suzuki Association provides a recommended list of supplemental repertoire appropriate for students in volumes 6 to 8. The Suzuki Association of the Americas' supplemental repertoire list includes pieces by composers such as Bach, Kreisler, Elgar, Bartok, Shostakovich and Copland.[7]

The first three volumes were recorded by

Naxos Records
.

There are no official recordings of volumes 9 and 10. However, since these volumes contain Mozart's

Paradis, Mozart, and Kreisler
.

Viola

The viola method was compiled and edited by

Vivaldi, Leclair, Hummel, and Bruch
.

The first four volumes have been recorded on two albums by William Preucil, and the rest are available in separate albums.

Cello

The cello method is in ten volumes, with some early pieces arranged from the early violin volumes. The first piece unique to the cello repertoire is the second overall: "French Folk Song". The first four volumes have been performed by

Boccherini
.

Piano

The piano method is in seven volumes. The first volume begins with Variations on "Twinkle, Twinkle, Little Star" (as with the violin books) and continues with many folk songs and contemporary songs. As one progresses to the second volume, there are pieces written by romantic, classical and baroque composers, such as Schumann, Beethoven and Bach. There are also many minuets in the second book. The third book is early intermediate level with several sonatinas and beginning with Sonatina in C Major, Op. 36, No. 1 by Muzio Clementi. The fourth book includes Sonata in G Major, Op. 49, No. 2 by Ludwig van Beethoven and ends with three movements from the Partita in B-flat by J.S. Bach. The fifth book begins with "Für Elise" by Beethoven and includes the Sonata in C Major, Hob. XVI/35 by Franz Joseph Haydn. The sixth book begins with the Sonata in C Major by Mozart, and the seventh book begins with the Sonata in A Major by Mozart. This book also includes "The Harmonious Blacksmith" by Handel and the Romanian Folk Dances by Bartók.

The New International Edition adds some more recent compositions to the books, such as the music of Béla Bartók. Revised versions of the piano books have now been published. The new volumes are collections of piano repertoire from all eras representing works by composers such as Mozart, Burgmüller, Beethoven, Bach, Tcherepnin, Tchaikovsky, Schumann, Chopin, Mendelssohn, Daquin, Grieg, Granados, Villa-Lobos, Scarlatti, Handel, Bartók, and Debussy. Many pieces from the original books remain; some have been moved to another volume. Book and CD combinations for the revised volumes 4 to 7 were performed by Japanese concert artist Seizo Azuma.

Bass

Currently there are five printed volumes in the

New World Symphony
by Dvořák.

Flute

The flute repertoire was compiled and edited by Toshio Takahashi in fourteen volumes. It begins with

Handel, Blavet, Fauré
and other major composers.

Recorder

There are eight volumes of recorder repertoire for both soprano and alto recorder. The recorder repertoire shares some early repertoire with other instruments, such as "Twinkle Twinkle Little Star" and several Bach Minuets. Later books delve into more complex Renaissance and Baroque music, including instruction in intense Baroque ornamentation along with 17th-century Dutch and Italian articulation techniques.

Guitar

The classical guitar repertoire was compiled through a collaborative process involving teachers from the United States, Europe and Australia, and edited by Frank Longay. The nine volumes begin with Twinkle Variations and many folk songs, and adds pieces originally written for the lute in the Renaissance, and spanning all musical time periods, including pieces by Sanz, Vivaldi, Bach, Carcassi, Giuliani, Sor, Tarrega, Albéniz, Mudarra, and Yocoh's Sakura Variations. Music in book one is performed by Frank Longay and Bill Kossler, with books two through four recorded by Seth Himmelhoch, Andrew LaFrenier, and Louis Brown. George Sakellariou has recorded books five, six and seven and William Kanengiser recorded books 8 and 9, with the exception of Recuerdos de la Alhambra in book 9, which was recorded by Scott Tennant.

Harp

The harp repertoire is in five volumes. These books are suitable for learning to read and play music on the pedal harp or the lever harp (folk harp, Irish/Celtic harp, etc. that preferably has 30 or more strings). Most of the music is arrangements of either folk music or classical music. Students of the lever harp will find some of the pieces in the later books to have challenging lever changes. This series ultimately leads to more in-depth study of the pedal harp and its repertoire and teaches more of a classical style technique. Those pursuing traditional Celtic music can use this as a foundation, however, the traditional style of teaching focuses on relying on the ear rather than on the written note. Repertoire for volume six is selected, though the music is not published in a single book.[8]

Voice

The voice repertoire is in five Levels. Developed in Finland since 1986, the vocal repertoire of the Suzuki method has spread to over 20 countries including The United States, Australia, Europe, Asia and New Zealand. Teacher training courses are scheduled yearly in Europe, US and Australia.

Organ

The pipe organ repertoire was compiled and edited by Gunilla Rönnberg and Lars Hagström beginning in 1998. As of 2019, eight volumes have been published. As of 2011, an active Suzuki-training organ scheme is under way in the Australian city of Newcastle.

Mandolin

The application of Suzuki's teaching philosophy to the mandolin is currently being researched in Italy by Amelia Saracco.

Early childhood education (SECE) and Suzuki in the schools

Rather than focusing on a specific instrument, at the stage of early childhood education (ECE), a Suzuki Early Childhood Education (SECE) curriculum for (pre-instrumental) ECE was developed within the Suzuki philosophy by Dorothy & Sharon Jones (SAA), Jeong Cheol Wong (ASA), Emma O'Keefe (PPSA), Anke van der Bijl (ESA), and Yasuyo Matsui (TERI). The SECE curriculum is designed for ages 0–3 and uses singing, nursery rhymes, percussion, audio recordings, and whole body movements in a group setting where children and their adult caregivers participate side by side. The Japanese based SECE curriculum is different from the English-based SECE curriculum. The English-based curriculum is currently being adapted for use in other languages.

A "modified" Suzuki philosophy curriculum has been developed to apply Suzuki teaching to heterogeneous instrumental music classes & string orchestras in schools.

Trumpet

Trumpet was added to the International Suzuki Association's list of Suzuki Method instruments in 2011. The application of Suzuki's teaching philosophy to the trumpet is currently being researched in Sweden; the first Trumpet teacher training course to be offered by the European Suzuki Association in 2013. (Suzuki Teacher Training for Trumpet, 2013).

Supplemental materials

Supplementary materials are also published under the Suzuki name, including some etudes, note-reading books, piano accompaniment parts, guitar accompaniment parts, duets, trios, string orchestra, and string quartet arrangements of Suzuki repertoire.

Historical notes

In the late 19th century, Japan's borders were

by ear
". His father felt that instrumental performance was beneath his son's social status, and refused to allow him to study the instrument. At age 17, he began to teach himself by ear, since no formal training was allowed to him. Eventually he convinced his father to allow him to study with a violin teacher in Tokyo. (Suzuki, Nurtured by Love)

At age 22, Suzuki travelled to Germany to find a violin teacher to continue his studies. While there, he studied privately with Karl Klingler, but did not receive any formal degree past his high school diploma. He met and became friends with Albert Einstein, who encouraged him in learning classical music. He also met, courted, and married his wife, Waltraud. (Suzuki, Nurtured by Love)

In 1945, Suzuki began his Talent Education movement in Matsumoto, Japan shortly after the end of World War II. Raising children with "noble hearts" (inspired by great music and diligent study) was one of his primary goals; he believed that people raised and "nurtured by love" in his method would grow up to achieve better things than war. One of his students during this post-1945 period was violinist Hidetaro Suzuki, no relation, who later became a veteran of international violin competitions (Tchaikovsky, Queen Elizabeth, Montreal International) and then the longtime concertmaster of the Indianapolis Symphony Orchestra. (Hermann, 1981)

Eventually, the center of the Suzuki movement in education was established as the Talent Education Research Institute (TERI) in Matsumoto. TERI hosts thousands of people each year—students, parents, teachers, (and teacher trainees). Other organizations have sprung up all over the world to help oversee the movement and train teachers. These include the Asia Suzuki Association, the Suzuki Association of the Americas, the European Suzuki Association (which is currently assisting in the beginnings of the Suzuki movement in Africa), and the Pan-Pacific Suzuki Association.(International Suzuki Association, 2016).

Seattle Youth Symphony hosted Suzuki in Seattle. The majority of American Suzuki pedagogues and teaching methods are grounded in the Suzuki-Kendall system. Other pioneers of the Suzuki Method in the US include Clifford Cook, Roland and Almita Vamos, Elizabeth and Harlow Mills, Betty Haag, Louise Behrend, Dorothy Roffman, William Starr, Anastasia Jempelis, and Margery Aber.[9]

See also

References

  1. ^ "The Suzuki Method | International Suzuki Association".
  2. S2CID 2802395
    .
  3. ^ "Building Noble Hearts". Suzuki Association of the Americas. Retrieved 2023-04-03.
  4. ^ "Suzuki Method - New Zealand Suzuki Institute".
  5. ^ Meyer, Constance (2003-09-07). The Mom-centric method. LA Times, 7 September 2003. Retrieved from http://articles.latimes.com/2003/sep/07/entertainment/ca-meyer7.
  6. ^ Lavie, Karen (2005). "New Zealand Suzuki Journal". New Zealand Suzuki Journal. New Zealand Suzuki Institute.
  7. ^ Lieb, Allen; Cole, Ronda; Fink, Lorraine; Kimmett, Karen; Reuning, Sandy (May 2013). "Suggested Supplementary Repertoire for Revised Violin Books 6, 7 & 8" (PDF). Suzuki Association of the Americas. Retrieved 2024-01-30.
  8. ^ "Book Status (12/14/16) » Suzuki Harp Info".
  9. ISSN 0003-1313
    .

Sources

External links

Wikibooks has a book on the topic of: Practice Ideas for Suzuki Students


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