Adapted from SAA Teacher Trainer Handbook, 1993, Tanya Lesinsky Carey, Editor

Teaching is an interactive performance.
An artistic performance is the result of preparation and freedom of spirit.

Preparation is a by-word of Suzuki teaching. Our training classes are no exception. Suzuki education is acknowledged as a leader in standards, competency, and accountability. Understanding and implementing the following information will help to keep our work on the leading edge of education.

I. Goals and objectives of SAA Teacher Training


The Teacher Development Program was established to ensure consistent, high-quality teacher training.
The TDP Document lists the required content of courses in both long- and short-term formats. For shortterm courses, these are in the form of detailed syllabi for each instrument. Included in the syllabi are major topics and discussion points to be covered as well as reading lists and evaluation suggestions for each course level. Syllabi are meant to provide continuity throughout the course sequence; at the same
time allowing each teacher trainer flexibility in organizing the course and introducing the required concepts. All courses include:

  • Discussion of Suzuki philosophy, psychology and materials
  • Performance at a high standard
  • Teaching demonstrations
  • Knowledge of pedagogy (Methodology)
  • Contact with teaching (Observation)

Each syllabus is a general outline of course objectives. In the field of education, objectives are statements of actual trainee knowledge and/or performance related to Objectives the goals of the course. Defining these objectives will help you plan your instruction, guide student learning and provide criteria for evaluating student outcomes. The process for identifying objectives is briefly outlined below.1

  1. Review course content. Estimate the approximate time necessary to cover each topic based
    upon its importance.
  2. List the major course goals and objectives. Develop specific objectives for each goal. Objectives should be stated in terms of precise student behavior that can be measured. They should be realistic in accordance with the time available and the background and experience of the trainees. Keep in mind that you are identifying intended student outcomes or behaviors, rather than identifying subject matter or listing the learning experiences you are providing. Focus on the trainees’ performance rather than on your own. What should trainees be able to do at the end of the course?
  3. Disregard unrealistic objectives. Compare your list of objectives to the course outline. Is each covered and appropriate for the course level?
  4. Direct instruction toward the fulfillment of course objectives. The course objectives are guidelines for the teachers and the trainees. They help the teacher stay on track and the trainees to achieve higher levels of thinking, problem solving and critical evaluation. An effective technique is to discuss the course objectives as part of the syllabus several times during the course to determine to what extent the trainees have mastered objectives.
  5. Choose appropriate types of evaluation. Though Suzuki teaching does not officially “test,” its high standards are related to constant evaluation in relationship to a standard. The projects you design should relate to the objectives of the course.
  6. Analyze results in relation to objectives. This completes the feedback loop. Now the class can tell you how effective the projects were, how logical the course was, and whether they feel
    personally satisfied with the results.
  7. Review goals and objectives. The analysis and feedback provided by this system of teaching and evaluation generally leads to periodic revision of objectives.

Some teaching principles suggested by SAA Teacher Trainers

  • Talk about function and principle—the realities, not just appearances.
  • Advocate a course that flows with the mainstream of teaching principles of your instrument.
  • Give the reasons for doing something.
  • Encourage an atmosphere of idea exchange. Foster the concept of teaching ‘3 as a living laboratory for exploring ideas: try out ideas during the class.
  • Demonstrate your openness and set the stage for openness.
  • Note the essence of a point or the accident of its occurrence.
  • Look ahead to what happens (set up the later books).
  • Search for common denominators.
  • Discuss and observe “same and different.”
  • Research how people learn in a natural way. Naturalness is basic.
  • Observation is the Japanese way. Explanation is the North American tradition. Consider a synthesis of Japanese and North American approaches.
  • Respect your trainees and your colleagues. Your attitude has a stronger effect on your class than
    your words.

II: Preparing for Your Class

Review the syllabus for the required course, review previous material, and preview material in the next sequential unit to gain perspective of the larger picture.

Determine the profile of the class by reviewing application tapes of candidates, theft ages, experience,
and numbers.

Select materials you will need for demonstration.

  • Music
  • Tapes
  • Tape recorder
  • Video tapes
  • VCR
  • Transparencies for overhead projection
  • Teaching aids
  • Handouts

Plan the structure of the class to meet time and content requirements.

  • Short courses meet for a minimum of 15 hours.
  • Classes that meet long hours need frequent changes of pace and activities to keep everyone alert.

Identify activities you would like the trainees to do before class.

  • Memorize the material.
  • Read certain books or materials.
  • Fill out a profile sheet.

Knowing your class helps you design the best presentation. In small classes, individuals can introduce themselves at the start of class as an icebreaker In larger classes, students can complete a written profile to help the teacher to know the class. The profile can be briefly summarized for class members in lieu of longer personal introductions.

III. Elements of the Course

Introductions

As in social and business interactions, the impressions made the first day of class can go a long way toward enhancing the quality of outcomes. It is important that trainees know each other and that trainers are able to recall the names of trainees. The first few minutes of class can be used for introductory activities. If time is short, it may only be possible to ask the trainees to briefly describe their background, teaching situation and plans for the future. It is helpful for course planning purposes to ask them to indicate what they hope to gain from the course.


One technique frequently used is to ask the trainees to form a circle. A student starts by telling the group his or her name. The next student repeats the name of the first and adds his or her name, and so on around the circle one to one-and-a-half times. By this time, people will have had good practice at recalling the names of others in the class. Be sure to include yourself in this introduction process. In this way you will be including yourself as a member of the learning group.


Another variation is to have the class divide into pairs and chat with each other. Then they each take turns introducing the other new “five minute friend.” This works well because some people are uncomfortable talking about themselves to a large group of strangers. The friends are also encouraged to find out some non-musical interest or hobby they may have in addition to the usual musical
background information.

The First Class Session

Introduce yourself and the class to each other

  • Determine SAA membership
  • Explain the SAA and the ISA—the larger picture
  • Hand out and explain the SAA Syllabus
  • Hand out a written information sheet with your expectations and format
  • Explain how you will organize the class
  • Explain requirements and expectations
  • Make a statement regarding tape recording of classes
  • Pass out handouts for class
  • Give an explanation about SAA registration, auditors, participants, visitors
  • Explain projects and assignments
  • Explain performance and observation requirements
  • Find out individual teachers’ expectations for the class
  • Make Music!

You will find a “Checklist for the First Day”2 in the Shared Resources section of this Manual

Performance of Repertoire

Each trainer decides how to handle this. Possibilities include, in class, outside of class, individually or a combination. The most desirable situation is to hear every trainee play each piece and demonstrate the teaching points with understanding and at a high performance standard. However, time constraints in the short-term courses make this challenging with many people in the class.


Some teachers assign pieces from the book for each person in the class to play for others and to review and demonstrate the special teaching points. This acts as a review and reinforcement for the whole class as well as an opportunity for individual coaching and comment by the class on clarity of the demonstrations. Others write the names of pieces on individual pieces of paper to be selected by the members of the class. The class and teacher should understand and appreciate the opportunity to use the class as a laboratory to refine the teaching/demonstration process.

Evaluation and Feedback

Feedback is a positive tool for growth and understanding for both teacher and student. Don’t wait until the end of class to see how things are going. Get feedback from trainees and provide evaluation feedback to them throughout the course. They will be encouraged by your interest and you will learn from their comments. Many teachers like to get informal feedback daily or periodically during the
course. The evaluation can be a focusing activity for the class and allows the teacher to see what is understood and how it meets expectations. A simple evaluation at the end of the course can mirror the process of the lesson: What’ is working? What would you like to see changed? A possible questionnaire which can be used is included in the Shared Resources section of this manual.3

Paperwork

Do you need to keep a record of each participant? Yes. Frequently these records can be used for recommendations later. The profile sheet is a useful record for the teacher trainer to refer to. Observations can be tallied on the profile sheet along with completed class assignments. A brief wrapup statement on the profile sheet concerning each student can help jog your mind later. Return observations to trainees daily along with brief comments.

Testing

It is not part of the nature of Suzuki teaching philosophy to test; however, evaluation is constant part of the growth process. Each Teacher Trainer is challenged to create positive opportunities for the trainees to demonstrate their understanding. In Nurtured by Love Suzuki says tests are not the problem—grading is. Test “results would show the teacher’s ability rather than the child’s…. Action cannot be separated from thought. People with fine judgment are people of ability. Reflective thought is part of judgment. … In training oneself, the road to improvement is closed if thoughtful self-examination is lacking.”4

Possible Projects

  • Writing a one-page definition, “What is a Suzuki Teacher?”
  • Developing a sample 5-minute phone call with a prospective parent (written or acted). The object is to think about what you would say to inform rather than overwhelm a prospective parent about the Suzuki method, your program, and registration procedures.
  • Writing one- or two-page book reports. These can follow a three-part format:
    • What is the book about and how is it organized?
    • Pick some particular points that have special meaning for you and tell about them.
    • Summarize by stating conclusions. Would you recommend this book? Who should read it?
  • Demonstrating teaching-points in class to one another or the class as a whole.
  • Choosing a student for a case study. An individual or team of 2 or 3 can choose a student and family to interview (over lunch or other time) to find out about practice habits, other interests, etc., then develop a report to share with the class. This works best from Book 3 on.
  • Apprentice teaching or responsibility for student lesson(s) and/or class(es).
  • Keeping a notebook. This idea came from a very well organized mother. She had a notebook with the original or copy of each piece followed by a sheet of paper. On this paper she put every idea the teacher suggested for this piece, group ideas, and ideas she observed at other lessons. When she worked with her child, she had a complete resource for review and refinement.
  • Writing about your first instrumental teacher, your relationship with this person and the imprint that person had on your life.

IV. Special Considerations

Unit One

“Whether the wild bird will develop good or bad singing quality is indeed decided in the
first month by the voice and tone of its teacher.”5

In the opinion of many trainers, there is no more challenging—or rewarding—class to teach. This class gives the opportunity to establish the mood, focus, attitude and opinion of those in your course toward Suzuki style teaching and Suzuki’s ideas in general. By far the most challenging course to organize, the Unit One course is also the most interesting in terms of people dynamics and diversity of experience. The expectations of those in your class are likely to be extremely diverse. The people in your class bring with them all their previous experiences in learning and teaching. Though all members will have taken Every Child Can!©, the “Suzuki Way” may seem new and be overwhelming—perhaps even threatening. Do you remember your first contact with Suzuki? Emphasize the interconnection of teachers and parents in the SAA organization and explain the uniqueness of the Suzuki system.

If the class is not prepared

Start where they are and move forward. Preview, review, but cover the material in the syllabus. Recommend in a tactful way at the end of the class that many find review effective after experiencing teaching at various levels.

If the class is super prepared

Cover the material, determine the interests of the class, expand into more discussion, teaching dilemmas, expand into the next areas of study, relate and tie together themes of development. Compliment the class on their preparedness.

Change someone’s technique

You don’t. Only the person playing can choose another way. A non-threatening climate allows someone the freedom to explore different ways of doing something. Each way can be evaluated for its strengths and weaknesses. The teacher then can state a preference for specific reasons.

  1. Adapted from “Effective Testing and Evaluation,” Elizabeth A Kaspar, Western Illinois University Faculty Development Office. ↩︎
  2. Adapted from “Teaching at UNL,” The University of Nebraska—Lincoln, Teaching and Learning Center, Vol. II, No. 1, August 1989. ↩︎
  3. Weimer, M., ed., “How am I Teaching?” Available from MAGNA Publications Inc., 2718 Dryden Dr., Madison, WI 54704 ↩︎
  4. Shinichi Suzuki, Nurtured by Love. NY: Exposition Press, 1969. ↩︎
  5. From “Teaching Excellence,” Western Illinois University Faculty Development Office. ↩︎