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Monroe Philosophy

Monroe Philosophy

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Published by professoraloha
My philosophy of music studio teaching.
My philosophy of music studio teaching.

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Published by: professoraloha on Nov 02, 2008
Copyright:Attribution Non-commercial


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 byDouglas Monroeclarinetist
Douglas MonroeMy philosophy of studio music education centers around two basic ideas. First, Iview it as my task to help students develop the clarinet as a mechanism to reach the ideasand emotions which make them distinctly original, creative people. Secondly, I do notview the studio as several one-on-one musical encounters; it is a combination of severaldistinct personalities with divergent outlooks on life and music. The challenge for thestudio teacher is to create a congenial, team-oriented atmosphere so all can benefit fromeach others’ strengths and weaknesses, regardless of level of performance and lifeexperience.Helping a student learn to express their individuality through the clarinet is primarily accomplished through one-on-one private lessons. There are several basic areasof technical development which are common to all students. These basic techniquesinclude basic finger technique, articulation, embouchure formation, and reed/mouthpieceissues among others. I have designed a series of technical “warm-up” exercises aimed atisolating finger motion while at the same time giving the student the opportunity to work on tone production issues involving voicing and airflow. These are exercises I wouldexpect each student in the studio to work on regardless of performance level. Another series of exercises I have for each student involves articulation. The goal with this seriesis not only to develop speed and a variety of articulation styles, but also to create acentered, focused sound on the clarinet. The main focus on these articulation exercises istongue position as prescribed by early twentieth century clarinet pedagogue DanielBonade. The other areas of individual lessons, advanced technical and musicaldevelopment, would depend solely on the student’s level of performance. In DanielBarenboim’s book,
 A Life in Music
, he emphasizes that technical and expressive trainingoccurs simultaneously. There are several excellent technical studies and scale books for students of varying levels. I emphasize, even with these exercises, elements of phrasingrather than simply playing the notes on the page for technical accuracy. Scale books arewonderful for introducing concepts like William Kincaid’s ideas on note-grouping. I usemany different etude books to help students to develop technique while learningexpression. The solo repertoire is also rich with music to accomplish these same things. Ialso believe that all students should be preparing orchestral excerpts.In my individual lessons, the two questions the student and I will answer are“What is the composer trying to communicate emotionally through this music?” and“What can we do to express that emotion?” I hope to emphasize with my students thecollaborative effort between composer and performer. In many cases, this is the mostdifficult part of a student’s development, but something I aggressively pursue with everystudent. Among the issues surrounding expression, I focus heavily on direction of line

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Greetings, well done here. In a profound sense, the people we now celebrate, as on The Wise Hit Parade, had deep adversarial relationships with the prevailing values of the culture in which they lived. The Wise Guys did The Distinguo. They did that because a lot of philosophical investigation consists of what it is you’re talking about. Wise Guy Aristotle often wryly said, “I make distinctions.”
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