Sue PS I'm teaching at Ithaca's ASTA camp this summer. Suzuki's choices, like the many printed fingerings, were in good part about involving parents, not intended as crutches for kids to avoid ever learning to read, for instance. But I have some questions about using Suzuki books as "tune books", especially if exclusively, without other key Suzuki method/ philosophy components. I am Suzuki-trained myself with many years in a school-modified Suzuki setting, and now teach privately. By comparison, someone who teaches a strict Suzuki regimen IS teaching a set course of study. I have heard of people who only teach pieces from the manual, and who are also so misguided as to begin next year's piece the month after this year's Festival, but I will never agree with that as an instructional choice. The list of pieces isn't an outline or course of study by any definition. Though someone with little string pedagogy could do worse than to build a curriculum that includes everything in a particular level. I don't know anyone who thinks that's it as far as level-whatever skills, thus those items are not an outline, per se. But it isn't quite correct to label it a syllabus, which my dictionary defines as "a summary outline, course of study or examination requirements." Those of us using the manual understand that the scales and sight-reading chart are to put some parameters on what will be tested at each level during a once-a-year Solo Festival presentation. Hi,Marc,You are certainly entitled to come to your own opinion about the NYSSMA manual.The loss in having these standard rep lists that everyone follows-is not only in music ceasing to get published anymore (If anyone knows where I could pick up the other 20 some-odd Viottis, I´d be grateful)-but in students who lose out in terms of variety and individuality and who constantly end up comparing themselves to one another on the sole ground of what piece they are playing.įind a (great) music library and start walking going down the shelves and perusing things you are unfamiliar with-and it becomes terribly apparent quite rapidly how much is left out of most teacher/associations rep lists. Of course the above is only the top snowflake of the mountain of repertoire that goes mostly untouched because it doesn get listed in syllabi. Heck, what Vivaldi concerti do people regularly know that is not either the infamous A or G minor(s) or in the 4 seasons? I mean the man only wrote what 600 some others in his life? Most of those were even aimed at sudents-bingo good student rep composed as such, all under one name. People seldom play Locatelli caprices-I´ve never heard one played.I once had a recording with some of them peppered around sonatas.where is that. Or heck, just the other movements of the Seitz Student Concerti that didn´t happen not to be favs of Suzuki-and therefore not in NYSSMA? Or the 19 Caprices that Kreutzer did seperately other than the 42 etudes we all know and love? Or the other Spohr concerti? (I recently was lucky and found a collected recording of all of them) Who knows any of the other 20 some odd Viotti Concerti? The main gripe I have with any repertoire syllabus-is that there is so much music out there-that gets past-over since it is not listed in some persons quick list of good pieces-as a result a great deal of music falls out of print. The NYSSMA syllabus I don´t personally like-I´ve seen more than a few NY teachers go out and abuse the Suzuki books as tune-books after getting inspiration from it-since the Suzuki books end up having a good share of the rep in the NYSSMA book already in sequence. It really depends on the history of the country and the teacher though of course as to what you´ll see. The main syllabi I´ve seen internationally is the Royal Academy of Music syllabus. Everyone has a different opinion as to what steps should be taken to get from point A to point B.
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