The Secret Garden
The article “Isolation in Studio Music Teaching: The Secret Garden” draws a comparison between studio teaching and The Secret Garden featured in the novel by Frances Hodgson Burnett. The idea is that the relationship between teacher and student is sacred, and by teaching in isolation, there is a more dedicated and purposeful meaning to the craft. The article describes studio teaching as a master and apprentice relationship, in which the student observes and imitates the master to learn their craft. This relates to Professor Chiles presentation, and his belief in learning through observation as well as listening. Professor Chiles happens to be my own studio teacher, so watching his presentation was particularly interesting for me, and allowed me to view our lessons together from a different perspective.
During my lessons with Professor Chiles, he will often try a new technique a maximum of three times before moving on and trying it again during our next lesson. During his presentation, he explained that there are only so many times you can instruct a student to do something, and if it does not happen, it is important to move on with the lesson. This is definitely something I’ve noticed during my own training with Professor Chiles. For example, I am struggling to learn how to roll my “r’s”, so Professor Chiles will work on that during our lesson, but will not spend the entire hour focused on that one detail. I think this is essential for a well rounded learning experience, and it teaches the student the importance of practicing outside of lesson time.
An issue discussed in the article that often takes away from the “secret garden” intimacy of studio practice is an overbearing, dominating teacher. In my past experiences with studio teaching, I have had teachers who have not been understanding of my personal and vocal needs, and instead try and force a certain expectation onto myself as a student. This issue is touched on in the article, and in my opinion, completely takes away from the idea of studio teaching being sacred and magical, and instead turns it into a dictative experience that will not be beneficial to the student. I believe good studio teaching happens when the teacher is understanding of the individual student’s needs and learning techniques. It is so essential for studio teachers to realize that not every singer (or instrumentalist) will adapt to a new learning concept the same, and may require a different approach to achieve their goal.
Another element of studio teaching that is mentioned in the article, as well as in Professor Chiles’ presentation, is the importance of performance in studio teaching. During my lessons with Professor Chiles, I am always singing with the intention that I am preparing to perform. Every Friday, Professor Chiles holds a studio masterclass, in which all of his students perform a song or aria they’ve been working on that week. Sometimes, Professor Chiles will work with the student in front of the class, which is beneficial to the observers as well as the practicing student. Other times, Professor Chiles will just host a concert class, in which each student performs without any immediate feedback. According to Professor Chiles, sometimes it is important to recognize that you have “one shot” at that particular performance, and it is important to learn to accept the way that performance goes.
Overall, I felt that the article “The Secret Garden” ties in quite effectively with Professor Chiles’ presentation and his ideals in musical pedagogy. I found it quite interesting to see his perspective on studio teaching, and I am quite excited to attend my next lesson and notice any parallels in his presentation to our studio classes. The idea of a music studio being like a “secret garden” is a truly beautiful comparison, and reminds me of the power of music, and how blessed I am to be studying such a wonderful craft.
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