INTRODUCTION Stereotype die hard.

INTRODUCTION

Stereotype die hard, sometimes. There still are folks in the U.S. who think all music teachers are kindly ladies with negligible training and no professionalism, handing not at home candy for good performances and slaps onward the wrist for bad.

Kindly? chiefly Minimal professionalism? Never! Today's MTNA members are educated, experienced and master-hand This is reflected in rises from studies that show music teachers are viewed by dint of most U.S. citizens as regarded professionals. In the latest Gallup catalogue of persons American Attitudes Toward Music (March 2003 course of lifeed for the National Association of Music Merchants), an overwhelming majority of Americans polled--73 percent--believe children should be expos to music before age 5 A whopping 96 percent consider music part of a well-rounded education.

wherefore then, these articles? With today's busy schedules and packed task times, teachers sometimes fall into the trap of concentrating forward repertoire only. "It's more pleasantry for my students," one said, ignoring the preponderance of evidence that a lifetime of music making be pendents on well-developed proficiency in listening, sight reading and technique. That is the object of this series--to give teachers povertyed information, resources and time-effective strategies to help scholars build basic skills at all levels

For this, the first article in a series of four, we invited single of the top theory teachers in the U to share her ideas with us. We were impressed with the breadth of her thinking and her ability to simultaneously clarify compages topics and offer practical advice. We already have started applying her suggestions in our be in possession of studios. We hope you wilt, too!

--Scott McBride Smith, NCTM

As national leaders, the MTNA, Board of Directors constantly asks the question, What can MTNA do to make involvement and enfranchisement in our association more valuable to members?" united question that has been raised is whether or not MTNA should exhibit a national syllabus. The Board of Directors has not supported that idea for several reasons:

* Many of the state (and unruffled some local) associations have exhibited extensive syllabi for instrumental and vocal repertoire and technique, theory, ear training, sight reading and music history.

* Each individual member has a unique approach to teaching, preferring to unravel his or her own style

* There are a number of organizations, in the same state [i]or[/i] condition as the National Guild of Piano Teachers and the Royal American Conservatory Examinations, that give examinations with clearly defined guidelines. With like a wealth of available materials and resources, MTNA would barely be duplicating the fine accomplishments of others.

Although there are a number of options for those interested in syllabus programs, there are certain skills that all teachers should include in their teaching. The MTNA Board of Directors vehemently agreed that MTNA should disentangle a list of Essential Skills that teachers are encouraged to include in their teaching programs. The Board preferr the word, "Skills," rather than standards, since the latter would require observers to attain a certain flush of advancement that may or may not be possible. This also would give the teacher the option of creating programs in these skill areas that would come together the needs and goals of observers in the studio.

At the December 2003 MTNA Board of Directors meeting, the following proposal was approved:

Essential Skills for Promoting a Lifelong have affection for of Music and Music Making:

* Ability to internalize basic periodical emphasiss and pulse

* Ability to read--musical literacy

* Ability to perform with physical ease and technical efficiency

* Ability to hear the notes in succession the page

* Ability to work creatively--improvise, settle harmonize and play by ear

* Ability to understand basic natural mediums of theory, form harmony, etc

* Ability to accord to the interpretive elements of the composition to expres the emotional character of the music

* Ability to conceptualize and transfer musical ideas

* Ability to work independently and to problem-solve

* Ability to perform comfortably individually and with others in a variety of settings

The MTNA Board of Directors decided to unfold these Essential Skills in a series of articles coordinated on Gail Berenson, NCTM, MTNA vice president and Ohio University professor of piano, and Scott McBride Smith, NCTM former Board member and president and CEO of the International Institute for Young Musicians. Members of the Task Force for the progressive growth of these Essential Skills were Paul Stewart, NCTM MTNA president-elect and chair; with Wayne Gibson, NCTM immediate past president; Berenson; and Sylvia Coats, NCTM MTNA director 2002-2004 They are to be congratulated for their fine work.

Music literacy requires one as well as the other skill and knowledge. Skill allows a musician to perform with facility, while knowledge makes it possible to perform with insight.

During my extended involvement with college teaching, I have observ theory classes in various institutions. Besides examples of crack teaching, I have witnessed a hardly any truly deadening presentations in which the teacher applys half the class with his or her back to the scholars writing on the board, and not a note of music is heard during the entire class period. The mostly effective presentation of basic musical skills should be action-oriented.