Make a virtue of necessity
Many music teachers feel that their students’ lessons are too short and that they have to cram too many lessons into time slots that are too limited. However, there is a lack of financial resources to offer longer lessons, and for organizational reasons, the time slot allocated to music instruction remains relatively short.
Make a virtue of necessity
Many music teachers feel that their students’ lessons are too short and that they have to cram too many lessons into time slots that are too limited. However, there is a lack of financial resources to offer longer lessons, and for organizational reasons, the time slot allocated to music instruction remains relatively short.
Marianne Wälchli The solution to these problems might lie in making a virtue of necessity and finding teaching methods that allow students to spend more time at music school without requiring teachers to work longer hours—which is not feasible for cost reasons. We should therefore stop viewing individual lessons as the only valid form of instruction. Ensemble classes are certainly a good complement to individual lessons, but they are meaningful only if the ensemble members already possess a certain level of skill. And in group lessons, there is a risk that some students will be overworked or underchallenged. How, then, can we create—without additional costs—a learning environment that offers more time spent in class, where students can fully develop their potential, acquire lasting knowledge, and be encouraged to practice effectively?
I’m talking with three colleagues who were ahead of their time, since they explored new approaches to music education several years ago.
Multidimensional Instrumental Instruction
Gerhard Wolters is well known in the German-speaking world, as many have already taken continuing education courses in MDU® with him. And even though not everyone finds his method applicable to their music school, I want to form my own opinion, so I’m meeting with him for an interview at his Academy for Musical Innovation in Langnau, in the Emmental.
MW: Dear Gerhard, thank you so much for taking the time to explain your method to me. What is MDU?
Gerhard Wolters: The MDU consists of student-oriented instruction, which should not, however, be confused with student-centered instruction. In student-oriented teaching, the teacher is always attentive to the student’s needs, but does not let the student decide everything, since the teacher has an advantage in terms of knowledge and experience; Instead, the teacher provides guidance to ensure that the desired learning objective is successfully achieved. It is important that the student receive instruction from the teacher only when they truly need it—that is, when they are learning something new or when they want to clarify a point. Once this stage is reached, the student simply needs to practice what they have understood. To do this, they do not need a teacher. They only need one again when a question arises or when they need to practice as an example. We use a color-coding system for this: red means the student needs the teacher’s help, yellow means the student has understood, and green means the student has mastered the piece or a section of it, and the teacher simply needs to listen and appreciate the performance. It is important that, once a student reaches the «yellow» stage, they be able to practice without interruption, without the teacher standing next to them to offer comments.
Is that why this type of instruction requires multiple classrooms?This is certainly not yet the case for the first step: as a teacher, the initial goal is to help students learn to navigate using clear methods. Subsequently, a broader organizational framework proves very beneficial, especially when—ideally—several people join in: students of different ages and skill levels, or even other teachers. Advanced students learn by showing beginners how to do things. Or they realize that they can’t quite play a piece—which is actually a level below their current ability—as easily as they thought without having to repeat it. In this way, they reinforce what they’ve recently learned. Younger students sometimes prefer to learn from older students rather than from the teacher, but they can also help the older students, for example by distracting them while they play a piece—which allows the older students to practice their ability to concentrate on listening—and everyone has a blast! When several teachers work as a team, they can draw on their individual strengths for specific tasks.
How much time do students spend at music school?
At the MDU, we regularly observe that our students spend much more time at the music school. Within a set schedule, they take individual lessons, practice on their own or with others, share what they already know with younger students, and learn from older students. Musical games and theory classes are also part of this program.
What are the rates for these longer classes?
In a fixed group of four children, for example, each pays for 30 minutes, and all can stay for two hours. But we can also increase flexibility so that students can come to the music school every day—say, between 2:30 p.m. and 7:00 p.m.—whenever they like. Those who pay for 60 minutes can come every day. Those who pay for 40 minutes can come on two days of their choice, and those who pay for 30 minutes can come one day. Of course, there are peak times when many children are present to practice together, play games, and perform pieces. Many children enjoy interacting with others and are therefore incredibly motivated to practice and play. And if they get stuck at any point, the teacher is there to help them. The quieter students and those who are particularly gifted come during off-peak hours; it all works out on its own. They quickly notice that the teacher then has much more time to devote to them. In this regard, this system also doesn’t require a separate program for identifying and nurturing talent. It happens quite naturally.
Even if we’re still working in fixed groups, it makes sense to introduce «chaos weeks»—or at least «chaos days»—during which classes follow this highly flexible model. For this to work, good communication with students and, above all, with parents is essential. With well-prepared arguments, we’re usually able to convince almost all parents to let their child try something new—for example, for six weeks—once they realize that it better supports their child’s development and that their child can benefit from significantly more learning time for the same price. Experience shows that they are then more willing to drive their child or let them travel to a class location that’s a little farther away. Decentralized education is, in fact, less easy to implement here.
Sami Lörtscher and Sämi Seiler are having a lot of fun during their trumpet lessons using the MDU® method
Photo: Gerhard Wolters
You lead seminars and train MDU-certified teachers. Are these teachers able to implement the principle of simultaneous instruction, even if their music school is located in a mountainous region where decentralized instruction is the norm?
Yes, absolutely! Take Sami Lörtscher, for example, who enthusiastically teaches the trumpet using the MDU® method at the Interlaken Ost Music School. This music school has been able to set up suitable facilities. During the «chaos weeks,» two 8-year-old girls from Grindelwald spent the most time at the music school. Three days a week, after school, they took the train to Interlaken to attend the music school.
Or take Andreas Aeppli, a drum instructor, who invested in a specially equipped space in Winterthur with built-in rehearsal booths and teaches his music classes there—to name just two examples.
Thank you very much for this interview!
You can find more information and videos at: www.mdu.ch
Talent Development
The approximately 2,% particularly gifted students in music schools need specialized support. Today, there are well-established talent development programs, «talent cards,» and federal grants.
In 2017, two highly dedicated colleagues at the Bantiger Music School launched a talent development program, and they drew some conclusions from it that may be of interest to anyone currently working in this field.
I spoke with Valentina Zürcher, a flutist, mental coach, and former music school director, as well as with violinist and composer Gabrielle Brunner, who, as a violin teacher, has successfully prepared countless students for competitions and admission to music colleges.
MW: How was the talent development program implemented?
Valentina Zürcher (VZ): As the director of the music school in Wohlen (AG), I was familiar with other cantonal support models, and as the mother of a daughter who was getting started in elite sports, I saw firsthand how the support program was organized there: Practices took place several times a week, in teams right from the start. There is a wide range of support and numerous opportunities to participate in regional, cantonal, and national events, as well as to receive feedback.
That’s how my desire to set up something similar at the music school came about. I asked the faculty if anyone would like to get involved—and Gabrielle immediately volunteered.
Gabrielle Brunner (GB): I had long observed that the existing programs did not provide sufficient support for gifted and highly motivated students, which is why I was happy to get involved.
How did you go about it?
VZ: 24 participants (ages 7 to 15) had signed up for the opening session. In the first year, we offered this activity for free in order to discuss the students’ needs with them and determine which times would work best for them. Above all, they wanted to meet peers who shared their interests, make music, and give concerts. From then on, we met every two weeks.
Was everyone able to participate, or did you select certain people?
GB: Everyone! It’s always a miracle to see how children flourish, both personally and artistically, no matter which path they choose to take later on. Even a gifted child doesn’t have to become a professional musician; they might become an excellent doctor, and their musical training will have contributed greatly to their personal development as a human being, helping them pursue that path.
What did the program involve?
VZ: The main components of the program were plenary discussions, chamber music, and accompaniment practice. During the plenary discussions, the students learned to think specifically about what they wanted to experience musically. We formed groups accordingly, often mixing students of different ages.
GB: And we brought stacks of sheet music so they could see what they liked. And of course, several colleagues also helped us by sharing their repertoire recommendations.
Were the other teachers involved in any other ways?
VZ: Of course, some people taught classes or attended talent promotion sessions and concerts.
GB: The program wasn’t limited to chamber music, auditions, and plenary discussions; it also included work with accompanists, guided practice sessions, mini-masterclasses, courses in music theory and history, improvisation, and workshops on specific topics. We have always invited colleagues to participate.
And would that be on a volunteer basis, at least at first?
GB: I didn't view this as volunteer work, but as an integral part of my teaching role, and over time, we received partial compensation.
VZ: Yes, for the most part. But it was worth it in every way.
What aspects did you focus on in this project, and what stands out to you from that period?
VZ: In addition to the organization as a whole, I focused on mental training and fostering a culture of feedback. It was fascinating to observe how children and teenagers took on more and more responsibility for their own artistic learning processes. As a person with hearing impairments, I’m interested in both internal and external listening, and I strive to distinguish between cognitive, motor, and instrumental skills with unwavering dedication. We learn very early on that this gives rise to new questions and challenges. Making music resonate with like-minded people and exploring how we might further shape or experience it is incredibly motivating.
GB: When a student shows passion, I feel obligated to do everything I can to ensure their project succeeds. I’m quite strict and demand a lot from my students—in terms of sound, technique, and musicality. To play music well, you have to engage your whole body, have the desire to express something, be fully present in the moment, and possess technical skills. In class, we were able to explore these aspects in depth and put them into practice during auditions. By collaborating with others, they improved their ability to think for themselves, to perceive their emotions, and to express their feelings with precision. And the concerts we organized, of course, motivated them to practice much more. «Put the music first»—that was our motto.
Have you tried any methods or projects that encourage children and teenagers to spend more time at music school or attend more often, and that motivate them to practice with enthusiasm? If so, I’d love to write an article on this topic for an upcoming issue. Please write to me at the following address: marianne.waelchli@smpv.ch.
