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Performance

13 Jan

Ensemble playing- music as language

by klorimier
in Performance, Policies and Procedures, Program Development, Uncategorized
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DSC06240 copyMany years ago I instituted a policy in my studio about playing in outside ensembles. The policy states that beginning in 6th grade, every student must commit to a weekly ensemble experience outside of lessons and group classes (my core program includes a weekly private lesson and bi-weekly flute group classes). School band or orchestra, local area chamber music, youth symphony or wind ensemble, even a group of kids forming a rock band that agrees to meet regularly, all ensemble opportunities “count”.

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09 Jan

The Importance of Performances

by cconrad
in Marketing, Performance, Policies and Procedures, Uncategorized
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Two common struggles of teachers/studio owners are motivating students and keeping students long-term.   These are, of course, related to each other.  A student who isn’t motivated to practice his instrument probably isn’t enjoying the experience and isn’t progrPejman-Recital-Hollandessing, and it’s likely that it won’t be long before his family feels the investment is a waste of money and decides to pull their child out of lessons. 

That said, I’ve never been one to implement reward programs to try to motivate a student.  I’ve known teachers who provide prizes or even monetary rewards for students who practice a certain number of times per week, but in my experience these can be ineffective and expensive.  Instead, I have found that providing students with performance opportunities motivates students to practice and in doing so, helps encourage a long-term relationship with the student and his family.

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21 Dec

TAP to Carnegie Hall

by admin
in Performance, Program Development
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Carnegie hall Attention: Music Teachers! Do you know how your students can get to Carnegie Hall? Of course they have to “practice, practice, practice,” but you can increase their chances by recommending that they participate in The Carnegie Hall Royal Conservatory Achievement Program (TAP for short).

WHAT is it?

TAP provides a recognized national standard of musical success through an effectively sequenced course of study from beginner to advanced levels. First of all, a bit of recent history: last year The Royal Conservatory Program partnered with Carnegie Hall to create TAP. Prior to TAP, the program here in the United States was formerly called The National Music Certificate Program (NMCP) and before that, The Royal American Conservatory Examinations (RACE). Though it is fairly new here, the Royal Conservatory was founded in 1886 as the Toronto Conservatory of Music. Interestingly, its founder, Edward Fisher, was a young organist born in the U.S. The Conservatory offically opened in September of 1887 and is now celebrating its 125th year. The mission of The Royal Conservatory is “to develop human potential through music and the arts.” Notable alumni include Glenn Gould who graduated from the Conservatory with highest honors at age 12.

TAP encompasses four main areas: repertoire, technique, musicianship, and musical literacy. The program covers all instruments, voice, and the academic areas of theory, music history, and pedagogy. The Piano Syllabus consists of ten Grades with a theory assessment requirement beginning at Grade 5. Included also are elementary and intermediate piano pedagogy, as well as diplomas in Piano Performance and Piano Pedagogy.

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09 Aug

Communicating with Your Customers

by cconrad
in Marketing, Performance, Policies and Procedures
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Having been a piano teacher for nine years now, I have learned how very important it is to maintain contact with my clients.  I believe that keeping the lines of communication open with my customers results in a better lesson experience for all involved, and I’ve also learned that it helps my students and their families to feel as though they are important and not becoming “lost in the shuffle”.  Regular contact with stucommunicatedents makes them feel that I am accessible and they, in turn, are very open to coming to me with questions, concerns, and positive feedback.  Below are a few simple ideas to encourage interaction between you and your studio’s customers:

E-mail

The Internet has made communicating simple and effective.  When I think of how my own piano teacher growing up had to make phone calls whenever there was a schedule change or send letters home with students about upcoming events (and rely on us actually giving them to our parents…), I realize how lucky I am to be running a studio in the age of the Internet.  I use e-mail to communicate nearly everything that happens in my studio–upcoming recitals, workshops, lesson reminders, etc.  Not only does this simple and efficent way of communicating make life easier for me, but busy parents appreciate the quick, non-intrusive updates.  I also use e-mail to tell students about events in the community.  For example, if there is an upcoming symphony performance or a great sale at our local piano store, I will send a brief e-mail to my piano families to let them know.

Newsletters

I have found newsletters to be a great way to not only get studio information into my clients hands, but also to provide motivational and educational tips and articles to my families.  This has also been a wonderful tool to promote the benefits of music education. 

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