老師應該堅持讓所有學生參加音樂會嗎?成人學生和兒童一樣嗎? “演奏還是不演奏?”就是那個問題。
Written by Angela Chan

應該堅持讓所有學生參加音樂會嗎?是嗎
成人學生和兒童一樣嗎?

老師“執行還是不執行?”就是那個問題。   [英文原文]

由陳寶瑤博士撰寫


作為音樂老師,我們毫無疑問希望我們的學生能夠充分發揮其作為音樂家的潛能-在某種意義上,他們不僅要成為有能力的表演者,而且還要精通其他音樂領域。不幸的是,在音樂教育過程中,最明顯的是 進度是表現。在表演的第一樂章中,準備的質量就說明了一切。一場表演顯然價值超過一千個單詞。這是對基礎準備過程的完美啟示-投入的精力,奉獻水平和對實踐過程的關注。表現也是展示師生團隊合作精神的最切實的方法之一。

也許在將我們的學生“吸引”到音樂會平台之前,我們應該停頓片刻,重新考慮幾個問題:音樂老師的任務是什麼?是專為演員表演嗎?演唱會表演一定是每個學生的最佳選擇嗎?在當前的學習階段或當前的準備水平下,他們將從公共表演中獲得什麼好處?最後,潛在的權衡(如果有)是什麼?

我想我們當中許多想學習網球的人永遠不會成為領域的冠軍,我們也不希望參加溫網
比賽。出於同樣的原因,我了解到很多學生都在聽音樂課程主要用於充實目的。因此,我認為他們應該可以選擇是否要表演。

我本人曾作為音樂表演者接受過背景訓練,但我仍然堅決鼓勵我的學生表演。但是這個過程是自願的基礎。表演準備可以豐富學習者的音樂體驗-使學生了解所涉及的過程並體驗音樂會藝術家所遇到的情感的全部境界-從艱苦的練習到彩排中的失誤,再到在綠色房間使腹部的蝴蝶平靜下來,一直到對演唱會進行“事後分析”並處理負面批評。然而,表演只是人們學習如何面對挑戰所可能採取的眾多音樂途徑之一。作為一名音樂表演者,我本人經過背景培訓,但我仍然強烈鼓勵學生們表演。但是該過程是自願進行的。

表演準備可以豐富學習者的音樂體驗-使學生了解所涉及的過程並體驗音樂會藝術家所遇到的情感的全部境界-從艱苦的練習到彩排中的失誤,再到在綠色房間使腹部的蝴蝶平靜下來,一直到對演唱會進行“事後分析”並處理負面批評。然而,表演僅僅是人們學習如何面對挑戰,解決困難以及創造性地制定克服障礙的策略所可能採取的眾多音樂途徑之一。

我認識到,無論表演環境多麼非正式,並非所有學生都渴望追求甚至嘗試表演道路。這根本不是所有人都選擇的道路。就像,我相信我們當中沒有多少人會選擇在車庫里當汽車修理工一天,目的是體驗成為汽車專業人士的感覺(稀有的汽車愛好者除外)。這個過程可能是教育性的,豐富的-但最重要的是-您真的要追求嗎?這是最終的問題。

在這方面,對學生的表現抱有期望可能根本不現實。在許多情況下,對於必須兼顧職業,家庭和其他義務的休閒成年學習者,音樂課主要起到緩解壓力的作用,這也是可以理解的。作為我的成年學生之一,一位大學教授與我分享了“鋼琴是我的天堂。到樂器時,我感到完全放鬆並恢復了活力。它減輕了我日常工作的壓力。”在這種情況下,很明顯,施加不必要的要求(例如音樂會表演)可能有害。

作為音樂老師,我們還認識到一些學生顯然在心理上或技術上都不准備公開比賽。在這種情況下,我不是堅持要他們“咬緊牙關”並可能使他們失敗,而是可以嘗試將表演任務“轉化”為其他音樂項目,其中錄音是其中之一。

學生可以從錄音過程中學到很多東西。不同於實時表演,他們無需面對現場觀眾現場表演一站式表演。取而代之的是,為學生提供了多種“重塑”他們表演的機會。

在錄音棚裡,學生面臨著各種各樣的挑戰。他們獲得了表演麥克風的經驗,經歷了多次重試(經過幾次嘗試,他們可能很快發現演奏通常會變差),並且參與了錄音的編輯過程。作為新千年的發展中音樂家,使用Adobe Audition進行切片和拼接的學習應被視為與能夠可靠地在舞台上表演一樣重要。


最終,學習音樂的想法是擴大學習者的藝術領域經驗。我接受以下事實:並非所有學生注定要成為音樂會藝術家。我不會引導學習者進入他們不願冒險的方向,而是嘗試為每個學生的獨特需求量身定制合適的住宿。作為教學者的最終目標是幫助學生髮展藝術和音樂。為了充分發揮作用,這涉及到在向學生提供最大挑戰的同時又不給他們的學習經歷帶來過多負擔的情況下保持微妙的平衡。


[ORIGINAL TEXT IN ENGLISH]

Should a teacher insist on all students' participation in concerts? Is it the
same for adult students as for children?

“To perform or not to perform?” That is the question.

Written by Dr. Angela Chan. Ph.D.

As music teachers, we unquestionably hope that our students can fully maximize their potential as musicians - in the sense that they not only become capable performers but are also well-versed in other areas of musicianship.
Unfortunately, in the music education process, what is most demonstrable in
terms of progress is the performance. Into the first musical phrase of a performance, the quality of preparation speaks for itself. A performance is evidently worth more than a thousand words. It is the consummate revelation of an underlying preparative process - of the efforts invested, level of dedication, and care put into the practice process. Performance is also one of the most tangible ways of showcasing the efforts of both teacher and student as a team. 

Perhaps before “enticing” our students onto the concert platform, we should
pause for a moment and reconsider a few questions: What is the music teacher's mandate? Is it to groom performers exclusively? Is concert performance necessarily the best approach for every student? What are the benefits that they will derive from a public performance at their current stage of learning / or with their current level of preparation? And lastly, what are the potential trade-offs (if any)?

I would surmise that many of us who wish to learn tennis will never become
champions in the field, nor do we ever wish to participate in the Wimbledon
tournament. By the same token, I understand that many students take music
lessons primarily for enrichment purposes. Hence, I think that they should have the option to choose whether they wish to perform. 

With background training as a musical performer myself, I still strongly
encourage my students to perform. But the process operates on a voluntary
basis. Performance preparation can enrich the learner’s palette of musical experiences - so that the student understands the processes involved and experiences the full realm of emotions encountered by concert artists - from painstaking practice to making blunders in rehearsals, to calming butterflies in the stomach at the green room, all the way to "post mortem" analyses of the concert and dealing with negative criticisms. Performance, however, is only one of the many musical paths one may undertake to learn how to face challenges, With background training as a musical performer myself, I still strongly encourage my students to perform. But the process operates on a voluntary basis. 


Performance preparation can enrich the learner’s palette of musical experiences - so that the student understands the processes involved and experiences the full realm of emotions encountered by concert artists - from painstaking practice to making blunders in rehearsals, to calming butterflies in the stomach at the green room, all the way to "post mortem" analyses of the concert and dealing with negative criticisms. Performance, however, is only one of the many musical paths one may undertake to learn how to face challenges, resolve difficulties, and to creatively develop strategies to overcome obstacles.

I recognize that not all students have the desire to pursue or even to experiment with the performance path, no matter how informal the performance setting is. It is simply not the path that everyone opts for. Just like, I believe not many of us would choose to spend a day in a garage as an auto mechanic – with the goal of experiencing how it is like to be an automotive professional (with the exception of the rare auto enthusiast). The process may be educational, enriching - but the bottom line is - do you really want to pursue it? That is the ultimate question.

In this regard, it may be simply unrealistic to have expectations on our students to perform. In many cases, it is also understandable that for the casual adult learner who has to juggle with career, family, and other commitments, music lessons primarily serve as a stress reliever. As one of my adult students, a university professor, shared with me that “piano is a haven for me. I feel completely relaxed and revived when I get to the instrument. It alleviates me of the pressures of the daily grind.” In this instance, it is clear that imposing extraneous demands such as a concert performance may potentially be detrimental.

As music teachers, we also recognize that some students are evidently not ready either psychologically or technically to play publicly. In this instance, rather than insisting that they “bite the bullet” and potentially setting them up to fail, I may try to "transform" the task of performance into other musical projects - of which, making recordings is one.

Students can learn as much from the process of recording. Unlike a real-time
performance, they are not confronted with delivering a one-take performance on stage in the presence of a live audience. Instead, students are given multiple opportunities to “reshape” their performances. 


In the recording studio, students are exposed to a different array of challenges. They acquire experience in performing for a consort of microphones, going through multiple retakes (which they may quickly discover that performance generally worsens after a couple of trials), as well as participating in the editing process of their recordings. As developing musicians of the new millennium, learning to slice and splice using Adobe Audition ought to be considered as important as being able to perform reliably on stage.

Ultimately, the idea of learning music is to widen the scope of learner's artistic
experiences. I accept the fact that not all students are destined to become
concert artists. Instead of channeling learners into a direction that they have no desire to venture into, I will attempt to make appropriate accommodations that are tailored to each student's unique needs. The ultimate goal as a pedagogue is to help students flourish artistically and musically. To be fully effective, this involves maintaining a delicate balance between providing students maximal challenge yet without imposing an excessive burden upon their enrichment experience. 

Dr. Angela Chan


Dr. Angela 有超過30年的教學經驗. 超過200名學生(最小的是5歲) 在國際比賽中獲得了國家和國際獎項以及一等獎。學生們在著名的音樂廳如紐約卡內基音樂廳,皇家阿爾伯特音樂廳以及歐洲,美國,中國和香港的其他主要音樂廳演出。她的學生已被柯蒂斯,新英格蘭音樂學院,曼哈頓音樂學院,Peabody Institute of Music 皮博迪音樂學院,Cleveland Institute of Music 克利夫蘭音樂學院, McGill University麥吉爾大學等主要音樂學院錄取。

Dr. Angela 已在加拿大的探索頻道,Global 電視台,CBC 加拿大廣播公司,Australian TV networks 澳大利亞電視網,CJAD,CJOH,香港電台(RTHK RADIO 4)和其他媒體網絡上亮相。陳博士的作品還曾在《McCleans》雜誌,La Scena Musicale,Montreal Gazette 蒙特利爾憲報和National Post 國家郵報上發表過。

陳博士還是新的Lambda鋼琴方法系列的作者,該系列旨在幫助鋼琴家加快步伐。 Chan博士正在完成一本有關她在創新教學方法方面的研究和經驗的書,該書將於2021年發行。Chan博士已被國際公認是一位傑出的教育家,並受邀擔任加拿大,中國和加拿大的多項重大比賽的裁判。美國。


Dr. Angela曾擔任多個主要鋼琴比賽的評委. 她還是皇家音樂學院的高級鋼琴考官。 Angela Chan博士還擔任 Queens University和 Toyal Conservatory of Music 的 iScore項目的教學顧問,該項目是由多倫多皇家音樂學院,康考迪亞大學和皇后大學共同開發的在線教學平台。陳博士曾在康考迪亞大學(Concordia University)教學 ,還擔任過許多音樂和藝術組織的藝術和教學顧問。她目前還是上海和廣州兩省在中國一項創新教學項目的教學顧問。

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