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ed planning form is found at the end of the chapter.
Mehr, Norman. Group Piano Teaching. Evanston, IL:
Summy-Birchard Co., 1965.
This practical handbook for the group teacher approaches group study
on a philosophical and educational level. The first chapter, “The
Dynamics of Group Teaching,” explores the variables at work in group
interaction. Chapter two, “Philosophy and Psychology of Music
Education,” presents general concepts of learning theory and process.
Important ideas concern the need to focus not only on the music but
also on the child, and the inherent ability present in every child.
Implications for group teaching involve the setting of standards and
sequencing of concepts. Chapter three presents a short list of do’s for
the group piano teacher.
Proceedings from Pedagogy Saturday III. Los Angeles,
CA: MTNA National Conference, March 20, 1999.
Available from MTNA.
The topic of MTNA Pedagogy Saturday III, “Three or More: Beyond the
Traditional Private Lesson,” echoes the emphasis on group teaching in
the field of pedagogy. More than 150 moderators and panelists con-
tributed teaching ideas that reach beyond the private studio. Texts of
the speakers’ and panelists’ presentations along with reports of the
panel discussions are presented here and display the gamut of peda-
gogical thinking presently at work in the area of group teaching.
The four chapters in the volume cover “three or more” teaching, peda-
gogical and practical advantages of group instruction, necessary teach-
ing skills for group teaching, and ways in which teachers may acquire
these necessary skills. Necessary skills discussed by the distinguished
panelists encompass basic psychological principles, group dynamics,
language, lesson design and assessment, learning styles, and person-
ality profiles. Workshop attendance and membership in professional
organizations are two highly recommended ways in which teachers
may acquire effective group teaching skills.
Robinson, Helene and Richard L. Jarvis, ed. Teaching
Piano in Classroom and Studio. Washington:
MENC, 1967.
Despite its publication date, this resource from Music Educators
National Conference is one of the most insightful in terms of philoso-
phy, group management, and principles of good teaching. Some seg-
ments of the book deal with group piano in the public schools, but
many others are directly applicable to group piano in the independent
studio. Five chapters in particular warrant consideration by the group
teacher.
Chapter one addresses the educational significance of piano study.
Basic philosophical foundations of group instruction are introduced and
explained. The aesthetics of music study are also included in this chap-
ter, which may help the beginning group teacher to convince parents of
the value of group instruction.
Chapter two contains a fabulous list of advantages of group piano
study from an educational viewpoint. Social factors, creative activity
and ensemble experience are all listed as virtues of the group piano
class. A concluding paragraph in the chapter links these advantages
with recommendations for teachers and parents.
Chapter four examines the qualifications of a good piano class teacher.
Knowledge of the subject, ability to organize the subject, understand-
ing of people and some distinct personal characteristics are identified
by the authors as important points for the effective teacher. As the
authors emphasize, however, some areas of competency may be
stronger than others, and group teachers may do a fine job with small
weaknesses in certain areas.
Strong recommendations should be made for study of the principles of
good piano teaching found in chapter six. Twenty-one principles are
listed, and as a group they define the basic tenets of music education
and education in general. Among the notable inclusions are the follow-
ing ideas:
“Ask, rather than tell.”
“Give experience before rules whenever possible.”
“Relate new material to the familiar.”
“Introduce only one or two new kinds of learning at a time.”
Chapter eight encourages teacher flexibility and conviction in good
group management. Following segments address sightreading, tech-
nique and interpretation of piano literature in the group class. Appendix
B does a fine job of giving advice to parents on their involvement in
their child’s musical education.
Thompson, John et al. Teaching Piano in Classes: Expert
Opinions, Plans, and Advice for Practical Teachers.
Philadelphia, PA: Theodore Presser Co, 1932.
This 78-page booklet contains contributions from ten leading peda-
gogues of the 1930s. Despite its publication date, this resource con-
tains pertinent information on a variety of topics concerning group
instruction. Of particular interest are articles by John Thompson (“How
to Make the Most of Class Piano Teaching”), Hope Kammerer (“The
Piano Class Teacher and the Parent”), Caroline Groll-Verhoeff (“Piano
Instruction Problems Solved Through Experience”), Mary Bush Hauck
(“Planning a Practical Piano Class”), and Addye Yeargain Hall (“The
Conduct of the Piano Class”).
In his chapter, John Thompson provides the reader with an overview of
attributes and skills necessary for a good group piano teacher, among
them a background of knowledge in educational psychology, pedagogy
and various methods. Kammerer addresses the parental role in the
group lesson, with emphasis on parents’ “homework” and the help that
parents can give in the lesson and in the home. Groll-Verhoeff writes of
her transition from being a studio teacher to becoming a group teacher,
incorporating ideas about equipment, studio space and classroom
rules that may be of use to the group pedagogue. Hauck lists advan-
tages of class instruction, along with ideas for the number of students
in a class, length of the lesson, a model for the development of a group
lesson and some particularly interesting general remarks. Hall discuss-
es the teacher’s role as the conductor of the musical growth of the
class.
Annotated Group Teaching Bibliography
40