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.

Practicing Ideas for Playing Lightly

Anyone who has played a piano sonata (or its smaller cousin, the sonatina) knows that sometimes, it's really difficult to make your left hand play softly. There is the usual practice technique of ghost playing, otherwise known as "air piano".

When that doesn't work, there are a few other ideas. Usually, the first thing I try with students is the Mixed Media Drill. The "offending" (hand that is too loud) plays the notes on a different surface, such as the music desk or one's lap. The other hand plays on the keys normally.

Another thing you can do is change the keyboard surface where the loud hand plays. I placed a scarf on top of the bass note keys and asked my student H to play an excerpt of a song that required balance work. We only met with marginal success.

I was about to pull out some band-aids, but came across my roll of bandage tape. You can see the results of our handiwork in the photo. H played through the excerpt once again.

It's amazing! We subconsciously are more careful when there's a bandage of any sort on our fingers. In this case, there was a noticeable difference between the left hand and right hand. H's melody rang through more clearly, while her left hand played that Alberti bass groove more delicately.

Here's a piano tutorial on the Alberti bass:

Five Free Music Websites to Improve Note Reading

A guide to some free music websites available on the Internet to help music students improve their note reading skills.

Two common challenges faced by beginning music students are note learning and identifying a note's location on their instrument (geography). Until note reading fluency is achieved, this can lead to some frustrating practice sessions at home.

It is important to develop note fluency at an early stage. The process of learning new music will become easier. Sight-reading and sight-playing will be less stressful. Students will be able to read through music more quickly and play more expressively.

Online Note Reading Websites & Note Reading Games

The following list is a compilation of some of the sites available on the Internet to help with practicing and improve note reading.

musictheory.net

Musictheory.net has quite a few music drills. Under the "Trainer" section, click on "Note Trainer". Users can specify whether to be drilled on reading in the treble clef, bass clef, tenor clef and alto clef. Hints are available and Note Trainer keeps score. Users can also do ear training drills, watch flash presentations of various topics of music theory and print off blank manuscript paper. Note that the Note Trainer may be too advanced for young beginners as it tests students' reading of the entire Grand Staff plus ledger lines.

Funbrain.com – The Piano Player

Students drill their note reading and keyboard geography in this online game. Four levels of play are available: Beginner (one octave with labels), Intermediate (one octave, no labels), Expert (four octaves with labels) and Virtuoso (four octaves, no labels).  The Piano Player is best suited for younger piano students (12 and under).

musicards.net

Eight sets of online flashcards are available on Musiccards.net: Note Names, Key Signatures, Intervals, Triads, Piano Note Names, Reading Piano Notes, Guitar Note Names and Reading Guitar Notes. Reading Piano Notes and Reading Guitar Notes are instrument location/geography drills. Students try to identify the note. To get the correct answer, scroll over the card. Several "decks" are available – no ledger lines, staff and ledger lines, naturals and accidentals.

Piano Pedagogy Plus

Online flash games are available on the Games page. Users can practice note reading on all four clefs. The games are timed and points are deducted for each incorrect answer. Students can also practice their interval reading.

emusictheory.com

Five note naming games are available on emusictheory.com: Note Names, Paced Note Names, C-Clef Note Names, Piano Keys and Guitar Frets. The first three are straight note identification exercises while the last two are instrument geography drills.

Online Note Reading Resources – Just the Tip of the Iceberg

Each of these websites listed contain a variety of drills and tools to help music students improve their note reading. There are other sites out there. Explore the many sites available and choose what sites work best for the student and his music practice needs.

For more information on practicing music, read Five Free Music Websites to Improve Ear Training, Free Websites to Help with Music Theory or Rudiments, and Reasons to Practice Daily.

Originally published on Suite101.com on November 22, 2009. Updated March 24, 2013. All rights reserved by Rhona-Mae Arca.

Professional Development for Music Educators

Music educators who teach privately often work in isolation. Continuing education and professional development can re-energize one's teaching and musicianship.

Private music teachers wear a variety of hats in addition to teaching, such as: administrator, guidance counselor, mentor, coach, amateur-psychologist, marketing and salesperson, computer IT troubleshooter, webmaster, bookkeeper, ensemble musician and collaborative pianist.

The private music teacher faces the unique challenge of developing curricula tailored to each student. In addition, the studio music educator needs to learn how to switch gears and approaches quickly. The first student of the day may be a hyper five-year old, but the next student may be a serious 15 year-old, followed by a self-conscious 53 year-old. Each student requires a different approach, teaching and communication style to keep them engaged and progressing at a steady rate.

This rapid pace often leaves little time to practice scales, much less commit to professional development. However, by dedicating time for ongoing professional development, the private music teacher can learn about new techniques, tools and ideas and return to their studios re-energized by a fresh perspective.

Independent Professional Development Ideas for Music Teachers

Establishing personal learning goals for the term is one way music teachers can keep their own musicianship and technical skills in shape. For instance, piano teachers can decide to work through Bach's Inventions one by one or a set of character pieces by an unfamiliar composer. Voice teachers could work through a song cycle by an emerging composer.

All teachers could work their way through the repertoire for the conservatory system(s) they have adopted in their studio (e.g. Royal Conservatory/National Conservatory of Music of America, Conservatory Canada, Canadian National Conservatory of Music, London Conservatory of Music).

In larger city centers, there are community and professional musical clubs such as the Musicians' Support Group or Piano Diploma Association (both in Calgary, Alberta, Canada). These groups meet once a month for members to perform for each other.

Other performing ideas including joining a community ensemble, such as a choir or jazz combo, playing at church, as well as performing at events such as weddings, funerals, social and corporate functions.

Music educators can learn about new techniques and tools by reading professional publications. The American Music Teacher, Canadian Music Teacher, Clavier and Keyboard Companion are examples of print publications.

There are also online discussion forums for music teachers, such as Teachers.net, and the can-pno-ped Group on Yahoo Groups to discuss music pedagogy, studio administration and life/work balance.

Continuing Education Courses for Music Teachers

Studying with a teacher who is more experienced is another way to keep for music teachers to keep growing. Every teacher's training and "pedigree" is unique, making it possible to learn new approaches with each teacher.

Learning a new style from a teacher who is more experienced in a that particular genre can re-energize a music teacher's own playing. It is far easier for a classically-trained musician to teach bossa nova, improvisation and jazz after signing up for some coaching sessions.

Taking up a new instrument as an adult may sound daunting. However, one's overall musicianship stands to benefit from doing so. By learning new technique on the new instrument, music teachers may come to realize where they have been unconsciously storing tension developed from having poor posture or learn how to play more expressively on their primary instrument.

Music teachers can continue their education in their field. Graduate courses for teachers are available in Music Performance, Conducting, Composition and Pedagogy. Some universities, such as the University of Ottawa, offer online education for music teachers. The Royal Conservatory of Music is one of several conservatories worldwide that offers a Licentiate program.

Music teachers can benefit from taking continuing their music education in a related field, such as the Feldenkrais method, the Alexander Technique, general pedagogy or psychology courses. Even learning new software to use when teaching or to improve office processes would be beneficial.

There are numerous workshops, conferences and seminars on music performance, music pedagogy, composition, collaborative music and theory. The Music Pedagogy International Conference, the National Conference on Keyboard Pedagogy, the Music Teachers National Association and the Canadian Federation of Music Teachers' Associations host conferences on an annual or bi-ennial basis.

The Banff Centre for the Arts, the Eastman School of Music, the Calgary Arts Summer School Association and the Heifetz International Music Institute offer courses and workshops annually.

Music educators can also gain new ideas and build a support base by joining a professional network, such as the Music Teachers National Association (MTNA), the Canadian Federation of Music Teachers' Associations (CFMTA), Alberta Piano Teachers' Association (APTA) or the Alberta String Association (ASA).

There is a Japanese proverb that says, "To teach is to learn." Music teachers can re-energize their teaching and develop their own musicianship by dedicating time to professional development. Through independent study projects and reading, music teachers can maintain their own playing skills. Music teachers can keep their performance chops up and stay in tune with the performing challenges their students face by performing regularly.

Through courses and professional associations, music educators can learn about new techniques and tools to incorporate into their studio and build a support base. By getting involved with the musical community, the stresses and frustrations that come from working in isolation can be diminished.

Sources

Canadian Piano Pedagogy

Music Teachers' Helper. "Skill Upgrades for Music Teachers" (October 30, 2009)

Suite101.com. "Teacher Professional and Personal Development" (December 21, 2009)

Originally published on Suite101.com on January 20, 2010. Updated March 24, 2013.

Why Do Music Students Hate Counting?

This is something that I've been grappling with every year. Some students, no matter how hard I try, refuse to count their beats. They are usually the ones who really need to because they are struggling and need help with the rhythm or the tempo.

As far as I can tell, my students fall into five general groups. Perhaps you're in one of them:

1. Students who hope that their rhythmic instability isn't so obvious if they don't count,

2. Students who are self-conscious and don't like to hear their voice,

3. Students who just don't care about whether they are playing the rhythm correctly, and

4. Students who aren't sure how to count beats in their music.

Well students, regardless of whether you count, we music teachers can tell when the timing is off.

For my students who are self-conscious, sometimes, I count out loud with them or bang out the beat on my cajón. You could ask a family member to count with you at home (just ask them to be steady like a clock and then set the metronome to what the tick-tocks should be).

For the students who are apathetic about rhythm, there isn't much that me or your music teacher can do to help you. You've probably heard it before, you just can't help someone who doesn't want help in the first place.

Now for those of you who need a refresher on how to count, I have found these articles and video tutorials:

• Understanding the Basics of Counting Rhythms

• How to Count Rhythms

• How to Count Beats in a Song