Teaching Music Using VARK Learning Preferences

Each person's learning style is unique. Music teachers can teach more effectively with a basic understanding of VARK learning preferences and teaching strategies.

Every student learns differently. Teachers can tailor music lessons to tap into individual learning styles. Photo by woodleywonderworks.

Although there are several learning style models, this article will focus on the VARK Model. VARK defines four learning preferences: Visual, Aural, Read/Write and Kinesthetic.

The Visual Learner

Visual learners learn by seeing. In her August 8, 2008 "Moulding with Modalities" presentation at a piano pedagogy workshop in Calgary, Alberta, clinician Victoria Chow explained that visual learners are good sight readers, favor Impressionistic and Contemporary Classical music, and enjoy music theory and analysis. They are easily distracted by movement and have a weak ear. They prefer written instructions over oral.

The VARK Learning Styles website states that visual learners like to learn through:

• PowerPoint

• Internet

• video

• colorful posters, graphics, diagrams, pictures, flow charts, handouts

• symbols and white space

The Aural Learner

Aural learners learn by listening. Chow said aural learners have a strong musical ear and enjoy listening to music and discussing its style and tone. They like to sing and listen to recordings. Auditory learners think melodically and prefer music with a strong melodic line, such as music by Chopin and Schubert. They are easily distracted by noises.

The VARK Learning Styles website and Amanda-Makenzie Braedyn Svecz's article "Learning Styles - Visual, Auditory, Kinesthetic" explain that auditory learners learn by:

• listening to and participating in discussions and tutorials

• listening to interesting examples, stories, jokes

• listening to recordings

• verbal repetition

• giving presentations or speeches

• creating jingles or mnemonics

The Read/Write Learner

According to the VARK website, Read/Write learners learn by:

• reading

• written activities

• closed book tests

• essays

• making lists

• taking notes

I have searched in vain to find pedagogical ideas on how to teach this group music. The ideas that I have listed are a combination of general Read/Write learner traits and study ideas, as well as my own observations and experiences, having worked with several students who are "pure" Read/Write learners.

They prefer to put instructions into their own words or follow step-by-step instructions over oral or visual demonstrations. Those that enjoy reading enjoy sight reading new repertoire while some who prefer writing do exhibit an interest in composition. They tend to prefer to keep their musical score as neat and uncluttered as possible.

The Kinesthetic Learner

Chow described the Kinesthetic learner as one who likes to try things out and cannot sit still. They prefer repertoire with clear chords and enjoy music with chordal harmony such as pieces by Brahms and Schumann.

In Ann Marie Dinkel, RLATG's June 25, 2011 article "Training the Kinesthetic Learner" for ALN Magazine, she recommends hands on activities and discovery projects. "Think “show me.” Demonstrate, diagram, point out, manipulate; encourage the learners to touch, trace, point out, rearrange, build, model, or map a process," she elaborated. She also recommends using flashcards and wet labs, the latter gives students a chance to touch and handle equipment and instruments.

Learning Preference Assessment

It is beneficial to conduct a learning preference assessment prior to incorporating VARK teaching strategies into music lessons. Youth and adult students can complete a printed or online questionnaire available on the VARK Learning Styles website as well as several other sites.

A student may exhibit more than one learning preference. Teachers can employ teaching strategies that engage all the modalities a student is strong in. There are other learning style models, which may provide a more accurate assessment. A brief description of these can be found in Alice Luxton's article "Successful Study Habits for All Learning Styles."

VARK-Related Music Teaching Strategies

Once an assessment has been completed, a music teacher can employ any of the following teaching strategies based on VARK learning preferences:

Visual LearnerMusic Teaching Strategies

• Keep motion distractions to a minimum.

• Give students a clear view of the teacher to watch his/her body language during explanations.

• Use highlighter or highlighter tape on the score to mark patterns, structure and important points.

• New techniques should be demonstrated to show what the desired effect "looks" like.

• Make video recordings of lessons or provide video examples for students to review at home.

• Use charts and pies when teaching concepts such as note values.

• Encourage students to make a drawing to depict their piece to aid in memorization and expression.

Aural LearnerMusic Teaching Strategies

• Students should make audio recordings of their lessons and practices to review at home.

• Keep written instructions by the teacher to a minimum.

• Incorporate verbal analogies.

• Read out instructions and theory questions.

• Minimized noise distractions during lessons.

• Introduce new genres or musical forms by playing audio recordings and engaging the student in a discussion about the various elements of music.

• Use solfège, humming or encourage the student to make lyrics for their piece.

• New techniques should be demonstrated to show what the desired effect "sounds" like.

Read/Write LearnerMusic Teaching Strategies

• Give students one minute to write down an assigned task in his/her own words.

• Assign written projects such as a composer report or writing a story to describe his/her piece.

• Have the student transcribe a piece by hand.

• Write out learning goals and objectives in steps or as a checklist for younger students.

• Incorporate melodic and rhythmic dictation exercises in the lesson.

• New techniques should be demonstrated but students need to read a handout outlining the steps prior to the demonstration or write out the steps for execution in their own words.

Kinesthetic LearnerMusic Teaching Strategies

• Move around the studio frequently during the lesson, e.g., from the instrument to a desk to the floor.

• Encourage students to move around in time to the music during ear training exercises or when listening to a piece.

• Block broken chords when first assigning a piece.

• Encourage students to try their piece in different registers of their instrument, on different instruments or if playing a digital piano - different instrument settings.

• Difficult sections can be taught by by rote.

• When demonstrating a new technique, the teacher can explain what the desired technique "feels" like.

• Ask the student to place his/her hand on top of the teacher's during a demonstration of a technique.

• Demonstrate a finger technique by "playing" on the student's forearm and then ask the student to to try the motion using the teacher's forearm as the piano.

• Use three-dimensional teaching aids such as pie pieces when teaching note values.

Additional strategies can be found in Susan Carney's article "Identifying Students' Learning Styles."

As each person learns differently, music teachers can benefit from using a learning styles assessment tool. Using the VARK Method, a student's primary learning style can be identified as visual, aural, read/write, kinesthetic or multi-modal. By choosing repertoire that engages a student's learning preferences and by employing teaching strategies that complement those preferences, music teachers can capitalize on a students' strengths and build upon their weakness, while music students will find it easier and more enjoyable to study music.

References:

Chase, Gregory. "Keeping the Momentum and Excitement at the Intermediate Level", APTA News, Volume IX no. 3, Spring 2002.

Chow, Victoria. "Moulding with Modalities", Piano Pedagogy Workshop Presentation, Calgary Arts Summer School Association, 2008.

Dinkel, Ann Marie (RLATG). "Training the Kinesthetic Learner", ALN Magazine, 2011.

Originally published on Suite101.com on May 5, 2010. Updated April 18, 2013. All rights reserved by Rhona-Mae Arca.

Music Group Class Round 1 Reflections

Well, students and teachers of Musespeak Studio and To the Wind Studio have survived the first round of music group classes with this new format.  I learned three main lessons:

1. I have gotten too complacent as far as teacher-student communications go. My students, their parents and I have an established rapport. I'm starting virtually from scratch with my brother's students. Sure, we've chatted at recitals, but a five-minute chat and teaching in 90-minute stretches are two totally different things.

2. It is important to over-plan and have several back-up activities up your sleeve. My pacing for one of the group classes was perfect. One was all right but could use a few more activities, while the other - well we raced through my lesson plan and I wound up flying by the seat of my pants for a very long time. I have Divine inspiration to thank for the "Let's Make Up a Story with Sound" exercise that I did with yesterday's students when improvising.

3. When teaching at another studio, have a studio contact list on hand in case you need to contact a parent in the case of an emergency or behavioural issue.

Overall, it was a positive experience. I've learned which students I need to be firm with and which ones I can recruit to take more of a mentoring role with the junior students.

I enjoyed teaching four lovely girls basic conducting gestures and beat patterns.  They giggled a lot and had a great rapport with each other.  

The "Get into The Groove" class challenged me the most. I will need to plan more rhythm exercises, especially ones where they split off into smaller groups. As for the stubborn ones - let's just say that I'm just as good, if not better at digging in my heels. "The Art of Practicing" also wound up being a great group of music students who were very engaged. In discussing how to practice music, we discussed stretching as well as their learning styles and practicing challenges (e.g. "When I Don't Feel Like Practicing"). The conversation also lead to areas I had not thought of incorporating into my presentation - and they should be. Thanks to them, talking about how to practice when injured and speed learning will be incorporated into my presentation. I look forward to the next round of music group classes.

A New School Year to Try out New Ideas in the Music Studio

Summer flew by far more quickly than anticipated. All of my plans to learn new repertoire, reorganize my home and just relax were replaced with...busy-ness. Now, we're in the beginnings of another year of music teaching. Last week was intense as I was burning the midnight oil to make all sorts of cool handouts for my music students.

After having my students take the VARK Learning Preferences questionnaire last year, I discovered that my students fall under three general categories:

1. Visual (mostly in combination, Visual-Aural or Visual-Kinesthetic)

2. Aural-Kinesthetic

3. Read/Write

Most admitted on their registration forms for this year that music theory and piano technique were their least favorite music subjects. I bore that in mind with this year's handouts.

This year, I incorporated more charts and diagrams (V). I was respectful of white space (V) and included succinct examples (K) and explanations (R). These were followed up by visual demonstrations (V) with the student copying me. My aural students and I discussed various sounds, my kinesthetic students and I discussed how our arms and hands should feel.

Feedbackhas been extremely positive so far. "It's easier" is the most frequent comment.

The trick is that I need to teach music theory and piano technique differently from how I was taught. I was taught written theory first. My students need hands-on, keyboard theory first. It's more fun this way.

(c) 2010 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Learning Style Modalities & Music

At this year's CASSA Piano Pedagogy Workshop, there was a session on learning style modalities. I was quite excited about this session as it is an area I've been curious about ever since my science fair days in junior high. What I particularly enjoyed was that the presenter, Victoria Chow, B. Mus. Westminster Choir College at Rider University, spoke specifically about teaching tools and strategies to use when teaching. She spoke about three out of the four VARK modalities:

• Visual: learn by look, easily distracted by movements

• Aural/Auditory: learn by sound, easily distracted by noises

• Kinesthetic: learn by feel, distracted by....themselves

The fourth, for those who are curious, is read/write (or tactile). Everyone has the ability to learn through any combination of these modalities. However, we all have one or two that we are strongest in.

Some of the music teaching suggestions Victoria gave are:

• Visual Learners: music theory/analysis, demonstration, handouts

• Aural: singing the tune, assigning moods to sounds, listening to recordings of performances, lessons, practices

• Kinesthetic: theory/analysis, blocking chords, rote teaching, touch

At first, I thought I was a Visual-Kinesthetic learner but after taking the VARK questionnaire, discovered I am a tactile-kinesthetic learner. That explains why I was weakest in sight reading and ear training growing up (I have improved since I began teaching). It undoubtedly explains why I've been most challenged by my students who are strongest in auditory learning AND very weak in my strongest modalities.

Since the workshop, I've been playing closer attention to my students as they play something old and something new. I've also been paying closer attention to what they're focusing on while I'm talking. I have a good split of tactile-kinesthetic and kinesthetic-auditory learners in my studio. Next would be visual-kinasthetic. And then there's my handful of pure auditory learners.

This year, I'm singing more to my students (and still coaxing them to sing too), demonstrating and having them mimic me and doing more "on the spot" recordings and playbacks to my auditory learners (my digital recorder is great for this). I'm finding that I'm relying on Solfège a bit more to cater to this group.

I've been putting greater emphasis on sight-reading this term to build up all my students' visual learning, talking about patterns and reading intervallicly. With all students, I keep drawing everything back to "sound, look and feel" and then having the students jot down whatever notes they need to help remember. I've even adjusted how I write in their assignment binders for the tactile learners, listing specific ways to fix a trouble spot.

All in all, it's been extremely helpful. Although, I'm stumped as to why my some of my auditory learners are reluctant to bring a memory stick (to copy their lesson recording from my computer) or recording device to their lessons.

(c) 2008 by Musespeak(tm), Calgary, AB, Canada.