What's Really Learned From Music Instruction: Eleanor, a case study

Self-initiated sketch by Eleanor, age 8

Music teaches far more than mere instrumental skills.  Two summers ago, my daughter Eleanor began piano studies at the age of six, enrolling in group piano classes at her school.  She had expressed interest in learning the instrument, and my husband and I were happy to oblige.  Though we weren't exactly sure how effective group lessons might be, we decided to try it out and see.  We'd absolutely no interest in ensuring a Carnegie Hall-bound piano prodigy; rather our interest was in cultivating a lifelong love of music; establishing strong foundational music-reading skills, either for continued long-term piano playing, further instrumental/vocal study, or both; and cultivating habits of mind and learning skills that transcend the subject matter: creativity, resilience, resourcefulness, problem-solving ability, and perseverance.

Having received no formal music instruction previously, Eleanor's progress was slow at first.  Truthfully, if I were to have gauged her trajectory from the first initial classes, she didn't seem to exhibit either as much aptitude nor enthusiasm as her classmates, some of whom had already learned note-reading in Musical Mind Games or who'd had prior piano instruction.  Even mastering the coordination necessary to play the all-black note clusters comprising the initial pieces was daunting.

I was struck by the vast differences between traditional piano pedagogical practice and the instructional methodology employed in the group piano classes, as well. The traditional piano instruction of my childhood was comprised of learning the grand staff and acquiring note recognition in both treble and bass clefs.  I remember memorizing acronyms to help note recognition (Bass clef lines: Good Boys Do Fine Always, space notes: All Cows Eat Grass; Treble clef lines: Every Good Boy Does Fine; space notes: FACE); and rote-learning notes and their denominations, before gradually working my way through primer pieces.  In contrast, Eleanor began playing right away, although she didn't even begin to read music per se, until midway through the first primer: 6 months into lessons.  My piano lessons were private 1:1 sessions, where I played in isolation, in contrast to the friendly, collaborative dynamic in Eleanor's class, where kids played in ensemble, as well as solo, in both small and whole class groupings.  Group instruction also incorporated ear interval-training--e.g., students sang a 5 note scale, assigning numbers to each pitch, and one by one, would select a note to omit on that scale, then sing the new pattern--not to mention games to strengthen rhythmic awareness, musical memory, and pitch awareness, and manipulative activities, e.g. ordering note letters in their proper sequence, creating possible measures given a certain time signature, tossing notes onto the clefs and identifying their placement.

During the last two years, we've definitely experienced some rough practice moments--to be expected, but not always easy to handle: frustration over tough musical passages, resistance to feedback or correction, no matter how gently delivered.  We jokingly refer to these moments as "Don Music" moments, after the easily-daunted composer of the same name on the children's show, "Sesame Street".  Don Music's a tortured English chap, who sounds and looks like actor Hugh Grant, and when he experiences composer's block, which is often, he slams his head on the piano keys, exclaiming, "I'll never get it!  Never, never!  Oh, my head!  My poor head..."

Fortunately, Eleanor's worked out some excellent learning strategies for these moments: slow down the tempo, tap/clap the rhythm, play hands separately, label problematic notes. Above all, be patient and good to yourself, and know that learning takes time!  Frustration always nets more problems and lousy playing too, as brain research notes.  As Eleanor's drawing notes: "Don't freak when you make mistakes--it's data"--fodder for improvement.

Two years later, Eleanor has come to the end of her group lessons in piano.  This spring, she began transitioning to private lessons at the Music School a year earlier than the expected trajectory, since she's showed both the commitment and promise to warrant the move, and this summer, will begin 1:1 private lessons in earnest. I'm happy to report that her love for piano has only increased with time; generally, no arm-twisting necessary to spur either daily practice nor lesson continuation.  She's exhibited a lot of growth in regard to her placement as well as fine motor coordination, has a good inner sense of tempo and rhythm, and has a nice feel for the mood, technique, and artistry informing pieces.   In the past year, she has begun composing her own pieces, as well as introductions to assigned ones, and piano has provided a happy creative outlet.  Most of all, piano has taught perseverance and the ability to work through challenges, one step at a time.