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wir vermitteln
leidenschaft

Johannes Fischer
Professor für Schlagzeug

wir vermitteln
leidenschaft

Julia Pschedezki
Studentin Gesang

wir vermitteln
leidenschaft

Sabine Meyer
Professorin für Klarinette

wir vermitteln
leidenschaft

Konrad Elser
Professor für Klavier

wir vermitteln
leidenschaft

Charles Duflot
Student Cello

wir vermitteln
leidenschaft

Bernd Ruf
Professor für Popularmusik

Specialist Day on Instrumental and Vocal Pedagogy

Early start/late start - instrumental lessons with very young and adult beginners.
Not all beginners are the same. Many instrumental schools, student literature and specialised didactic literature are aimed at children and young people from school age. If the methodological approaches are adapted to preschool children or adult beginners, many questions arise. The Specialist Day on Instrumental and Vocal Pedagogy is dedicated to them. Specialists for the very early start will show their creative approaches; specialists for teaching adults will show how creative open learning opportunities can also be created here. Transitions from elementary music education to instrumental teaching, access via solmisation, the sensorimotor challenges of adult beginners and the specific approaches of the Suzuki method enrich the programme. The opening lecture focusing on developmental psychology underpins and complements the practical workshops.

Date
Sat, 18.09.2021 from 10 am - 5.30 pm

Location
University of Music Lübeck, Große Petersgrube 21

Costs
60 Euro (reduced rate 30 Euro). A snack is included in the fee.

Registration
by 10.09.2021 stating name, instrument and status (teacher at a music school, at the MHL, member of the DTKV, student etc.) by email to Fachtag Instrumental- und Gesangspädagogik

PROGRAMME

"Early starters' and 'late bloomers' from the perspective of educational developmental psychology".
Opening lecture with Prof. Dr. phil. habil. Gaja von Sychowski (MHL)
The history of developmental psychology from its beginnings to the present day can be told as a story of stage models under different perspectives. In this contribution, these stage models will be presented, especially with regard to the very young and the quite old. What difference does it make whether I focus more on pedagogical, psycho-social, cognitive or identity aspects from the beginning to the end? Is one approach more plausible than all the others or do they all have their pros and cons when "early starters" and "late bloomers" want to learn an instrument and/or singing? And what should instrumental teachers know about this if they want to support them? Of course, as in everyday instrumental pedagogy, only highlights can be set here.

"Creative start with openness and empathy in adulthood"
with Prof. Dr. Herbert Wiedemann (University of the Arts Berlin, retired)
The majority of my adult students initially or basically want to learn without notes. The greatest asset of adults helps with this: A treasure of diverse listening experiences, a rich repertoire of songs, pop songs and "easy listening jazz" pieces that can be drawn on. The ear is formed in a natural way and questions about adequate harmonisation arise. Music theory and harmony are taught through hearing, grasping and grasping. Basic rhythm experiences can be initiated through body percussion, with speech rhythms and with the help of percussion instruments. All this soon leads to being able to play "by heart", or better expressed, "playing by heart". This is a frequently expressed wish of many adult beginners and restarters. The building blocks learned in this way can in turn serve as a basis for improvisation, or lead to inventing one's own melodies and a corresponding harmonisation. The balancing act of looking at the notes and the keys at the same time is eliminated.

"I am four and I play the piano!" - Basics of early instrumental teaching
with Sabine Lueg-Krüger (piano teacher at the Lübeck Music School and lecturer at the MHL and Rostock University of Music and Theatre)
How can children of kindergarten and pre-school age be introduced to playing an instrument in an age-appropriate and goal-oriented way? This question will be addressed in the workshop in which Sabine Lueg-Krüger will present methods, materials and ideas from her teaching practice with very young children. Suggestions will be given on how to prepare musical subjects such as playing technique, notation or rhythm in such a way that the pupils can "grasp" them in the truest sense of the word and learn them through play. The workshop is aimed at interested students of all instruments.

"Relative solmisation in early instrumental teaching"
with Franziska Reichenbecher (Lübeck Music School)
More and more parents and children are interested in instrumental lessons at pre-school age. The children's own voice is a particularly good starting point. Children already have direct access to it through speaking and singing in order to express themselves. With the help of relative solmisation, the structures of music are named in a playful way with singing syllables and literally understood through hand gestures. In this way, the instrument becomes one's own voice. Beginning with the Suzuki method with Gino Romero Ramirez (Hamburg) The workshop will present many years of experience from Suzuki work with groups and in individual lessons. Sensitisation to listening, the sense of rhythm and body sensitisation are particularly important here. It will be discussed to what extent these factors have an impact on the learning development of the pupils in the form of transfer effects.

"Playing, singing, listening, dancing? Working methods of elementary music pedagogy (EMP) and their significance for instrumental teaching"
with Prof. Marno Schulze (MHL)
Those who do not (yet) play an instrument and cannot (yet) read music are nevertheless able to make music actively. On this basis, we can initiate basic and (almost) prerequisite-free learning processes. But advanced learners can also benefit from working methods of EMP. In improvisation games we experiment with new sounds and techniques. Without pressure to perform, we communicate musically with each other. Singing sharpens the musical imagination and helps to recognise phrasing. Can I also feel the cello tone? Sensitised perception deepens and differentiates musical experience. Metre, beat, rhythm - it is only through movement that these phenomena can be experienced physically and translated into sound. Based on concrete games and exercises, we will develop tasks for small group and individual lessons and hopefully expand the methodological repertoire of the participants.

"Sensorimotor skills in adulthood"
with Prof. Dr. Corinna Eikmeier (MHL)
With the help of many practical suggestions, we will approach the question of how sensory motor skills can be refined in adult instrumental students in a playful way. Life-long learning is also possible in movement learning. Long-established habits often stand in the way. Inspired by the Feldenkrais method, possibilities will be shown in a practical and playful way how alternatives can be developed alongside habits and thus how ease in fine motor skills can develop.

CONTACT

 Specialist Day on Instrumental and Vocal Pedagogy
Große Petersgrube 21
23552 Lübeck

Prof. Dr. Corinna Eikmeier
206
T: +49 (0)451-1505-126
F: +49 (0)451-1505-300
Mail to the Specialist Day on Instrumental and Vocal Pedagogy
fachtag_emb@remove-this.mh-luebeck.de