Shinichi Suzuki, a Japanese violinist and educator, observed that children from all over the world speak their native tongue with ease, although language acquisition is an especially difficult skill. In the mid-1940s, he decided to apply this observation to the teaching of music, calling it the "Mother-Tongue Method." This was based off the idea was that every child can learn their native language from listening to those around them, repetition, and constant encouragement; therefore, they can learn to play the violin following a similar method. He developed this method into what is now known around the world as the Suzuki Method.
The 8 main philosophical concepts of the Suzuki Method are as follows:
Parent Involvement
As when a child learns to talk, parents are involved in
the musical learning of their child. They attend lessons with the child and
serve as "home teachers" during the week. One parent often learns to play
before the child, so that s/he understands what the child is expected to do.
Parents work with the teacher to create an enjoyable learning environment.
Parents of students in my studio are encouraged to play an active role in their young child's education by attending and taking notes during lessons, so as to be able to assist their child in developing good practice habits.
Parents of students in my studio are encouraged to play an active role in their young child's education by attending and taking notes during lessons, so as to be able to assist their child in developing good practice habits.
Early Beginning
The early years are crucial for developing mental
processes and muscle coordination. Listening to music should begin at birth;
formal training may begin at age three or four, but it is never too late to
begin.
The readiness of a student for lessons is unique to each individual, and therefore will be determined between the parent/guardian and teacher.
Listening
Children learn words after hearing them spoken hundreds
of times by others. Listening to music every day is important, especially
listening to pieces in the Suzuki repertoire so the child knows them
immediately.
Students will be given listening assignments to go with their practicing. Being aurally familiar with a piece of music significantly increases their ability to learn, remember, and perform it musically.
Repetition
Constant repetition is essential in learning to play an
instrument. Children do not learn a word or piece of music and then discard it.
They add it to their vocabulary or repertoire, gradually using it in new and
more sophisticated ways.
Students will not only be encouraged to practice new pieces regularly, but also to review old pieces to keep them fresh in their repertoire.
Encouragement
As with language, the child's effort to learn an
instrument should be met with sincere praise and encouragement. Each child
learns at his/her own rate, building on small steps so that each one can be
mastered. Children are also encouraged to support each other's efforts,
fostering an attitude of generosity and cooperation.
Creating a safe and positive learning environment is one of the most important goals in my teaching. Students will be given specific praise and encouraged to have a good attitude about their abilities.
Creating a safe and positive learning environment is one of the most important goals in my teaching. Students will be given specific praise and encouraged to have a good attitude about their abilities.
Learning with
Other Children
In addition to private lessons, children participate in
regular group lessons and performance at which they learn from and are
motivated by each other.
My students are encouraged to participate in Suzuki group lessons offered locally or online.
Graded Repertoire
Children do not practice exercises to learn to talk, but
use language for its natural purpose of communication and self-expression.
Pieces in the Suzuki repertoire are designed to present technical problems to
be learned in the context of the music rather than through dry technical exercises.
There are specific technical purposes for every piece that each student learns, no matter how short or simple they seem. The teaching sequence is specifically designed to constantly prepare students for what is ahead of them.
Delayed Reading
Children learn to read after their ability to talk has
been well established. In the same way, children should develop basic technical
competence on their instruments before being taught to read music.
*A common misconception is that Suzuki students cannot read music. This is not how it is supposed to be! Students will be taught foundational skills for their instrument before adding note-reading to the picture; however, preparations for reading music will start long before music notes are set in front of them.
“Teaching music is not my main purpose. I want to make good citizens. If children hear fine music from the day of their birth and learn to play it, they develop sensitivity, discipline and endurance. They get a beautiful heart.” -- Shinichi Suzuki
“Teaching music is not my main purpose. I want to make good citizens. If children hear fine music from the day of their birth and learn to play it, they develop sensitivity, discipline and endurance. They get a beautiful heart.” -- Shinichi Suzuki
Resources for further information about the Suzuki Method:
Kendall,
John. Suzuki’s mother tongue
method. Music Educators Journal 83:1
(July 1996): 43.
Kuzmich,
Natalie. Repetition, Suzuki, Minimalists
and Zen. Canadian Music Educator 49:3 (Spring 2008).
Starr,
William. The Suzuki Violinist.
Knoxville, Tennessee: Kingston Ellis Press, 1976.
Suzuki,
Shinichi. Ability Development from Age Zero.
Miami: Warner Bros. Publication Inc., 1981.
Suzuki,
Shinichi. Nurtured By Love. Miami:
Warner Bros. Publication Inc., 1983.
International Suzuki Association
Suzuki Association of the Americas (SAA)
Arizona Suzuki Association (ASA)
International Suzuki Association
Suzuki Association of the Americas (SAA)
Arizona Suzuki Association (ASA)
