The role of a studio music teacher is a delicate balance of creativity and organization. In a one-on-one setting a teacher must guide a student through the physical challenges of playing an instrument as well as conveying the abstract notions of music and aesthetics. The goal of guiding a student into becoming a fine musician is universal, but teaching approaches differ. In this article I propose using learning style models as a teaching framework. The use of learning style models in the classroom is not a new idea, but the music lesson provides a unique setting for the assessment and implementation of these models. By identifying a student's dominant learning style, a teacher can more effectively develop an individualized pedagogical approach for each student. The models can be used to organize a teacher's curriculum as well as provide a framework for new and creative teaching ideas.
Finding new repertoire poses endless obstacles for musicians. Often the search for an unknown piece or composer presents such an unforeseen challenge that the actual aesthetic and technical success of the work becomes secondary. A major contributing factor is the lack of an accessible and centralized database. Many notable bibliographic reference books do not cite unconventional composers. Hopes of finding non-western European composers are close to none and information about women composers is inconsistent. If a ‘non-standard’ composer is listed, their repertoire list is not complete or updated, thus making the search for new possibilities a time-consuming and disheartening endeavour. This article is a discussion about the current state of bibliographic references for music repertoire and how we can improve the existing situation. By demonstrating the discrepancies that exist among the available resources in the first half of the article, suggestions for updating this database are proposed as a viable solution in the second half.
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