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Carl D. Swanson
NovEMu1l/DEcEMBER 2005
tary classroom this often means indi- drawings or posters. When I tried to
explain diaphragmatic breathing, he
vidualizing daily lesson plans to meet
didn't seem to understand it until I
the individual student's needs.
showed him a medical poster of the
But what does this mean to the
diaphragm. Indeed, upon examinavoice teacher?
tion of his scores, I often find drawings
Let's consider three students from
my private studio. All of these stu- that, he explains, are used to help him
remember the translation of the text.
dents are quite different from each
He also never comes to a lesson
other in the way they learn. Their
without his notebook, into which he
names, changed to stimulate the
writes just about every word I say.
reader's imagination, are Tsee En
When questioned about this note takLuk, Audra Torey, and Kenny Stetick.
Tsee En Luk is a seventeen-year- ing, he informed me that he seldom
needed to review the notes, but that
old male. He has studied with me for
the process of writing it down helped
about one year. He is personable and
him to remember.
motivated. He never seems to be
When Tsee and I work on a new
intimidated by the presence of any
foreign language text, he will work
other person: even at seventeen he is
comfortable meeting important peo- on writing out the words from memory. He says that it is important for
ple face to face.
Tsee is the type of student, how- him to be able to see the words in his
ever, who has had great difficulty learn- head. Indeed, after once making a
memory slip in a recital, he explained
ing my series of warm up exercises.
At first he seemed to forget the pat- that he had accidentally turned an
extra page in his head.
tern of each exercise from week to
Tsee's teachers tell me that he does
week. Only after I wrote out the exerwell
in school and is the sort of stucises for him did he successfully learn
dent who likes to sit near the front of
them. He has always done a good job
the class. Several have remarked that
of learning his assigned songs at home
Tsee is prone to monopolize the conusing his ever present sheet music.
versation. Recently, he was appointed
During a recent recital he became
easily distracted when the accompa- scenery designer of his high school
nist with whom he was working be- production of a play. He tells me he
enjoys this position because he finds
came very involved in the accompanit so easy to imagine what the scenery
iment and moved about in response to
the music. He told me that he could- should look like just by reading the
script.
n't help but look at her when she did
Tsee loves to listen to Barbra Streithis. It distracted him from the process
sand singing "On a Clear Day You
of performing because it was not part
of his planned sequence of events.
Can See Forever."
Audra Torey is also a fine student.
Tsee does respond well to any
teaching that I do with the use of She is a woman of a certain age who
203
Carl D. Swanson
204
Carl D. Swanson
Table 2. Gregorc's Mind Styles' Model Interpreted for the Voice Teacher.
CONCRETE RANDOM
CONCRETE SEQUENTIAL
Strengths Upon Which to Build
Explore the details of a new song first, and then
sing it through.
Share your planned agenda with the student at the
beginning of the lesson.
Establish routines.
Give clear and exact directions.
ABSTRACT SEQUENTIAL
Strengths Upon Which to Build
Explore the details of a new song first, and then
sing it through.
Encourage the student to take notes.
Use posters, drawings, diagrams, and other visual
aids to demonstrate your point.
Make eye contact when making a point.
Use physical demonstrations before asking the
student to try a task.
Vary exercises to avoid boredom.
job done. He is a hands-on sort of student, preferring to dive in, get his
hands dirty, and get the job done as
systematically as possible. Learning
the accompaniments of his songs is
one way Kenny sequences his learning.
A student who functions in the
concrete-random mode
prefers to receive information in an unstructured manner; enjoys group discussion, cooperative learning, and multi-sensory experiences; often connects feelings
with concepts and ideas; and prefers to
learn through simulations, discussion206
NOTES
1. http://www.ldpride.net/learning
stylcs.Ml.htm#Learning % 20Styles % 2
OExplained
2. Ibid., I.
3. Ibid.
4. http://www.educationworld.com/
a_cu rr/currO54.shtin]
5. http://www.gregorc.com/
6. Ibid., 5.
7. http://employees.csbsju.edu/esass
learningstyle.htm
8. Ibid., 7.
9. Ibid.
BIBLIOGRAPHY
Tracy. Brian, and Cohn Rose. Accelerated
Learning Techniques. Niles, IL: Nightingale-Conant Corporation, 1997.
Gardner, Howard. Frames of Mind: The
Theoixj of Multiple Intelligences. New York:
Basic Books, 1983.
INTERNET RESOURCES
http://www.yk.psu.edu/learncenter/ac
skills/visual.html
http://www.yk.psu.edu/learncenter/ac
skills/auditory.html
http://www.yk.psu.edu/learncenter/ac
skills/kinesthetic. html
http://www.berghuis.co.nz/abiator/lsu
lsiframe.html
http://staff.gc.maricopa.edu/ ' jgibson/
mil/LSlnventories.htm
http://www.cloudnet.com/ edrbsass/
learningstylesjigsaw.html
http:/ / www.ldprlile.net
Carl I). Swauson liokis a Bachelor of MUSiC
degree from the University of Rhode Island
and a Masters in Education degree from
Suffolk University in Boston. He is currently
the New England Region Governor of NATh
and has served as the Rhode Island District Governor of NATS. He is a member of
Boston NATS and afounding member of
the Rhode Island Chapter of NATS and
served as Secretary, Vice President, and
President. Swanson serves as the webmaster of the New England NATS website [www
207
Carl D. Swanson
4se
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