SUZUKI PEDAGOGY

AN INTRODUCTION TO SUZUKI PEDAGOGY, Regenstein Hall, Room 139.

Thursdays, 8:30 - 10:20 am, Winter Quarter, 2015.
Gilda Barston is the instructor. She will be available for consultation by appointment. Her office phone
is (847)448-8304; e-mail: gbarston@musicinst.org
The course, Suzuki Pedagogy, is intended to introduce the string major to the Suzuki Method of instruction.
It will include study of the basic philosophy of Dr. Shinichi Suzuki, the history of the Talent Education Method, and the
pedagogical approach of the Suzuki Method. Specific components include the following:

The Mother Tongue Method

Parent, teacher, child relationships
The concept of Tonalization
The importance of listening and review
The Pre-Twinkle stage of musical instruction
A comparison of the Suzuki Method with traditional instruction
The mechanics of setting up a Suzuki program
An overview of the repertoire and teaching points in Book 1 of the Suzuki Method
Please bring your instruments to class beginning on February 12.

All class notes will be available online at www.gildabarston.com. Go to Northwestern Materials and download the files.
Notes will be posted weekly.
Taught by Gilda Barston, cellist, Dean Emeritus, Director of the Barston Suzuki Center at the Music Institute of Chicago
and a Registered Teacher Trainer of the Suzuki Method, the course will include the introductory course of the Suzuki
Association of the Americas, Every Child Can!, a six-hour course which is the pre-requisite for any further study in
Suzuki pedagogy. 100% attendance is required for this segment of the course. Additional requirements are
completion of required reading and all class papers and projects, 5 hours of observation of student private lessons and
group classes taught by qualified Suzuki instructors, demonstration of teaching skills, and passing the final written and
performance examination. Required reading for this course includes:
Suzuki, S. Nurtured by Love. Alfred Music Publishers. (Revised Edition, translated by Kyoko Selden)
Kreitman, E. Teaching From the Balance Point.
Suzuki Association of the Americas. Every Child Can! An Introduction to Suzuki Education. ($30 payable to
the Suzuki Association of the Americas. Please bring check or cash to class on January 15.)
In addition to the required reading, the student is expected to have Book 1 of the Suzuki Method for his/her instrument as
well as the Book 1 recording.
Grades will reflect class attendance and class participation (10%), demonstration of performance and teaching skills of
the repertoire studied (10%), the quality of all written work and projects, including grades on examination (60%) and
observation reports (20%).
NOTE: ASSIGNMENTS, REPORTS, OR OTHERWISE WILL NOT BE ACCEPTED LATE!
Office hours are by appointment. Mrs. Barston invites you to consult with her about the course at any time; however,
due to her schedule constraints, any appointments scheduled and not kept will count as a class absence.

(Suzuki Pedagogy Syllabus and Course Outline, page 2)

Suzuki Pedagogy Course Outline
Please note:

All written work must be referenced. Please quote your sources.

Course schedule (subject to change):

January 8:

Student profiles and pre-test. Explanation of course requirements. Observation guidelines.

Discussion of Suzuki philosophy. History of the Suzuki Method. Mother Tongue Method. The
Suzuki Triangle.

January 15:

Every Child Can!

January 22:

No class. Please use this time to view the video Nurtured By Love.

January 29:

Every Child Can!

February 5:

Every Child Can!

February 12:

Working with parents. Goals and expectations. Listening. Review. Structuring a program.
Structuring a lesson. Practicing. Instrument basics. Pre-Twinkle preparations. Instruments
Required.

February 19:

Pre-Twinkle preparations continued. Teaching beginning skills. Steps to Twinkle.

Instruments required.

February 26:

Overview of Book 1. Teaching points. Teaching skills. The Suzuki Style. Tonalization.
Group lessons. Instruments required.

March 5:

Continuation of Book 1. Teaching points. Teaching skills. The characteristics of a good

teacher. A comparison of the Suzuki Method and the traditional approach. Ethics. Questions
and Answers. Instruments Required.

March 12:

Performance in class of selected pieces in Book 1. (Memorization required.) Demonstration of

teaching points and teaching skills. Instruments required.
Please note: A written take home examination will be distributed on March 12. This
examination is to be submitted to me via e-mail attachment (MS Word or WordPerfect
format) by noon on Thursday, March 19. No exams will be accepted late!!!

March 19:

Take-home examination due via e-mail by noon. Written observation reports submitted
via e-mail by noon.

OVERVIEW OF THE SUZUKI METHOD

Prepared by Gilda Barston
The Suzuki Talent Education Method was pioneered in Japan over 60 years ago by Shinichi
Suzuki. It is based on the philosophy that all children are born with high potential for learning if
given the opportunity and environment to develop at an early age. Children are taught music in
the same manner they are taught language (their "mother tongue"), by listening and through
imitation. All music is memorized; note reading is taught when the student's technique is
established.
Dr. Suzuki's main purpose is simply to enrich the lives of children through intimate contact with
music and the inner satisfaction that comes from the ability to do something well. His primary
goal is not to teach young people only how to play musical instruments, but to champion the
unique contribution music can make in the total learning process.
The basic principles of the Suzuki Method are listening, proper technique, thorough mastery,
motivation, and reinforcement. The steps to achievement are exposure, imitation,
encouragement, repetition, addition, and refinement. The parent is the model: present at each
lesson, it is the parent who is first taught, and it is the parent who is responsible to practice with
the child and be the teacher at home.
Talent Education usually begins at an early age. Dr. Suzuki has suggested that parents repeatedly
play recordings of classical music for their infants and toddlers. Actual music lessons ideally
begin around age three, but it is never too late to begin the Suzuki Method.
Talent Education combines listening, practicing and performing, all under the careful supervision
of parent and teacher. Private lessons are held weekly. The Suzuki parent is actively involved in
the learning process. The parent attends all lessons and practices with the student each day,
making sure the student does exactly as the teacher instructed. Younger students, whose
attention spans are short, may have several brief practices each day, instead of one long practice.
The parent encourages the child, giving praise for each effort, so that practice time is a positive
experience. The length of practice time gradually increases as the student advances through the
repertoire. The parent need not be a musician, he is taught step by step how to help the child at
home. The role of listening has always been the predominant factor in the Suzuki approach. It
parallels the mother-tongue situation in that this is the source of the material to be later spoken or
performed. In addition, as a result of listening to conversation or music, the desire to speak, or
perform, also arises. It is important to understand Suzuki's four prominent reasons for starting
this way.
(Overview of the Suzuki Method: Gilda Barston, Registered Teacher Trainer, page 1)

He believes that:
1) The child's musical ear will be well trained through all the listening.
2) The child playing by rote will be able to devote his undivided attention to the
problems of acquiring a good technical foundation.
3) The child becomes accustomed to performing without music.
4) The child is highly motivated to perform the music he has heard so often.
The student must listen each day to a recording of the piece he is learning. In the Suzuki
Method, the child begins playing simple pieces before he is taught to read music. He learns to
depend on his ear for the proper pitch and tone. He acquires skill and confidence in his playing
before he is asked to begin note reading. Until note reading begins, the parent follows the music
and teaches the correct fingering and bowing as instructed by the teacher. All compositions are
memorized. Only after a song is memorized can the teacher concentrate on proper technique and
musicality.
Review is an important aspect of the Suzuki Method. The student spends part of each practice
session reviewing "old" pieces. Here he applies new skills and techniques to songs he already
knows, now he hears for himself the progress he has made.
Group lessons are an important part of the Suzuki program. At the group lesson, the students
have the pleasure of playing together and for one another. Younger students hear the pieces of
older students and are inspired to work harder in order to play those pieces. Friendships flourish.
With a spirit of cooperation and enthusiasm the students and parents encourage each other. It is
enjoyable to participate in the social aspect of music from the very beginning.
Students must have frequent opportunities for solos. Concerts serve as early motivational
experiences. The Suzuki student appears on the program even if he just bows on one string. The
chance to play before an audience increase the student's self-confidence, and he enjoys, rather
than fears, playing before others. The attitude of the teacher is very important in the Suzuki
Method. The teacher must have the firm belief that talent can be developed and that ability
breeds ability. All children do not mature at the same rate, so therefore one should not expect
that an equal amount of practice or lesson time will generate similar results. It is the ability of
each child that is to be developed to its capacity. Teachers, as well as parents, stimulate the child
by their interest and praise for the child as they master each new step. Talent education not only
provides the child with an enriching musical experience, but also creates an atmosphere of
sharing and mutual learning which can bond parent, child, and teacher in a unique and rewarding
manner.

(Overview of the Suzuki Method: Gilda Barston, Registered Teacher Trainer, page 2)

The use of small sized instruments properly fitted to the child is absolutely necessary, as
development of good form and posture is essential. Pianists will use footstools to aid in good
posture. Cellists will need a chair of proper height. The teacher will aid in selecting instruments
and equipment of proper size.
The pedagogy of the Suzuki books is carefully structured. The first book in the Suzuki Method
stresses preparation. The child must prepare for everything he does: he prepares his posture, he
prepares his change of string level with the bow when changing from one string to another, and
he prepares his fingering for proper placement. New techniques are introduced one step at a
time. Subsequent volumes introduce new techniques and more complex musical works. It is
important that the teacher and parent be aware of the importance of following the repertoire in
sequence.
Tonalization is another aspect of the Suzuki approach. Attention is drawn to the good and bad
tones possible on the instrument. From the beginning, the child is asked to listen to the full,
strong, sound, and to match the sound of the vibrations with the open strings. Good tone is
stressed from the beginning.
Note reading in Japan is started approximately in Volume 4, but in America many teachers begin
the reading process earlier, partly because of the large number of school orchestras which must
necessarily demand note reading. Reading is taught with current material available,
simultaneously with the Suzuki repertoire. By the time reading is introduced, good technique
should be well established at the instrument, so the child can devote his attention to reading.
However, the Suzuki student who has learned to read still performs from memory in the lessons,
and is expected to continue developing this musical memory. Dr. Suzuki's general philosophy
intends that the teacher, child, and parents enjoy the learning process and not be too goal
oriented, although goals are achieved quite readily as evidenced by the fact that the children do
play well. It is Suzuki's contention that talent can be developed; that while nothing can be done
about heredity, much can be done regarding the environment. His method is not just a means of
playing an instrument, it is a way of life which will enrich the child in countless ways. Creating
professional musicians is not the goal of Shinichi Suzuki. He believes that with the proper
environment and educational process and through the medium of music, sensitivity and
understanding may be raised in children, creating for each child a better life, and for us all, a
better world.

(Overview of the Suzuki Method: Gilda Barston, Registered Teacher Trainer, page 3)

The Suzuki Method

The Suzuki Method is based on the principle that all children possess ability and that this
ability can be developed and enhanced through a nurturing environm ent. All children learn
to speak their own language with relative ease and if the sam e natural learning process is
applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the
process as the Mother Tongue Method and to the whole system of pedagogy as Talent
Education.
Shinichi Suzuki (1898-1998) was born in Japan and studied western m usic in Germ any in
the 1920s. He first began teaching young children in Japan in the 1930s and further
developed his ideas and philosophy of teaching during the post-war period. His approach to
teaching has now spread to m any parts of the world and is proving increasingly successful
everywhere. Because he was a violinist, he first applied his ideas to the teaching of violin,
but it has since been used with m any other instrum ents, in nursery school teaching and
other m ore general areas.
The im portant elem ents of the Suzuki approach to instrum ental teaching include the
following:
an early start (aged 3-4 is norm al in m ost countries)
the im portance of listening to m usic
learning to play before learning to read
the involvem ent of the parent
a nurturing and positive learning environm ent
a high standard of teaching by trained teachers
the im portance of producing a good sound in a balanced and natural way
core repertoire, used by Suzuki students across the world
social interaction with other children: Suzuki students from all over the world can
com m unicate through the language of m usic
Aim s of the Suzuki Method
The Suzuki m ethod has enabled m any children to play m usic to a high standard. Substantial
num bers of Suzuki trained students have indeed becom e highly acclaim ed professional
m usicians. However, the training of professionals is not the m ain aim : the em phasis
throughout is on the developm ent of the whole child, on education through m usic. Dr Suzuki
him self always said that his wish was to foster the hum an qualities in the child. At every
opportunity he called on politicians, teachers and parents to ensure that the full potential of
every child is developed:
I want - if I can - to get education changed from m ere instruction to education in the real
sense of the word - education that inculcates, brings out, develops the hum an potential,
based on the growing life of the child. That is why I am devoting m y efforts to furthering
Talent Education: what a child becom es depends entirely on how he is educated. My prayer
is that all children on this globe m ay becom e fine hum an beings, happy people of superior
ability, and I am devoting all m y energies to m aking this com e about, for I am convinced
that all children are born with this potential.

ISA Website

The Suzuki Triangle

Teacher is responsible for:
* Training the parent to be an effective assistant for the child.
* Teaching the child how to play with beautiful tone, technique and interpretation.
Parent is responsible for being the child's assistant and helping with daily practice which
includes:
* Creating the proper environment so the child will have a successful learning experience
* Playing the recordings as requested by the teacher
* Assisting the child with memorizing a piece as needed
* Teaching fingerings as requested by the teacher
* Helping the child become their own teacher by always asking, How did you do?
Child is responsible for being a child which means:
* The child will learn from whatever is put in his environment. Most children enjoy learning
music by ear if given the opportunity and proper surroundings. Gradually children learn to
assume responsibility for their work as they mature, but it takes time and cannot be rushed.
Children become responsible, cooperative, and disciplined, not because parents tell them they
should, but rather because they see their parents behaving this way and follow their example.

Child

Parent
Jentry Barrett String Studio

Teacher

DR. SHIN'ICHI SUZUKI

1898-1998
a biographical sketch
Shin'ichi Suzuki was born in Nagoya, Japan on October 17, 1898, the third of twelve
children of prominent samurai parents. After the Japanese feudal system was abolished in 1871,
many samurai found it difficult to provide a living for their families, so Shin'ichi's father,
Masakichi, started a factory to produce samisens, a three-stringed musical instrument.
When Japanese ports were closed to foreign trade in the 17th century, all western musical
instruments were forbidden. In 1853 the ports reopened, but few foreign instruments were
imported to Japan. At the home of a college professor Masakichi happened to see a violin, and
received permission to take it home overnight. He made drawings of the instrument, and in the
following year (1888), he sold his first violin. Twenty-two years later the Suzuki violin factory
was producing 65,000 quality violins a year.
Since the factory was next door to their home, the Suzuki children virtually grew up
there, and often used discarded violins as toys. Shin'ichi didn't know what beautiful sounds a
violin could make until one day he heard a recording of Mischa Elman. Elman's famous tone
awakened Shin'ichi's desire to play the violin. His father, however, would not allow him to study
the instrument, as it was considered beneath his station in life to become a performer. Masakichi
felt that if his son wanted music he should hire someone to play for him. So, Shin'ichi taught
himself.
After a traditional public school education, Shin'ichi attended a school of commerce so he
could help in his father's business. While working in the factory Shin'ichi fell ill and went to
Okitsu for three months to recuperate. There he met the Yanagida family. Mr. Yanagida had
been a schoolmate of Marquis Tokugawa. The Marquis was planning a biological expedition to
the island of Chisima, and Mr. Yanagida arranged for Shin'ichi to join in. Also with the group
was Nobu Koda, a renowned pianist, invited in honor of her brother, the first Japanese to set foot
on Chisima. Shin'ichi brought his violin, so he and Miss Koda played music daily. She and
Marquis Tokugawa, a devotee oaf fine music, urged young Suzuki to study the violin seriously.
In 1921 the Marquis arranged for Suzuki to study in Germany, where he became a
student of Professor Karl Klingler at the Berlin Conservatory. During his eight years there
Suzuki was befriended by Dr. Albert Einstein, who became his mentor. Einstein was an
accomplished violinist, and often held musical soirees in his home with friends who were
prominent in various fields. All shared a love of music, and were modest and loving human
beings. Einstein taught Suzuki how musical training can sharpen one's perception in any area of
learning. Einstein was only sixteen when he conceived his now famous theories of relativity..
He later stated: "My discovery was the result of musical perception."
Suzuki was acutely aware of his own difficulty as an adult in learning the German
language, while equally amazed at the ease with which German children conversed. He began to
realize that children everywhere can speak their mother-tongues fluently and without failure. In
1929 he returned to Japan with his bride, Waltraud, and began his search to discover how
children might use the way they learned their mother-tongues to master other difficult skills, such
as playing the violin.

World War II was a catastrophe for the entire world, including the Suzuki family, but also
a catalyst for Suzuki's ideas on how to prevent future disasters through better ways to educate the
world's children. Suzuki had great compassion for the innocent children who saw and suffered
the appalling consequences of a war they had not asked for nor understood. He had no money,
just a violin. So he played for every child he saw, not for profit, but to give them hope and a
promise for the future. The Suzukis adopted a four-year-old orphan of the war, and Shin'ichi
taught him how to play the violin, not by coercion and scolding, as had been the traditional way
of teaching, but by love and listening to beautiful music.
Suzuki's idea of teaching peace and understanding by the mother-tongue method, using
music as a tool, gradually gained acceptance. In the intervening fifty years hundred of thousands
of loving and understanding parents and teachers in more than forty countries in Asia, Europe,
Australia, Africa and the Americas have joined Dr. Suzuki's effort to nurture loving human
beings through proper education and good music.
Pablo Casals,, a victim of war, prejudice and persecution himself, after hearing hundreds
of Suzuki's students perform in an international concert in Tokyo,, went to the stage, his eyes
filled with tears and his voice shaking with emotion,, and said:
"Ladies and gentlemen. I assist to one of the most moving scenes that one
can see. What we are contemplating has much more significance than it seems. I
don't think that in any country in the world we could feel such spirit of fraternity
or cordiality in its utmost. I feel it in every moment I have had the privilege of
being here. There is such a proof of heart; of desire for a better world.
"And what has impressed me most in this country has been the superlative
desire of grown-up people to think of the smallest, like these, and to teach them
noble feelings and noble deeds.
"One of these is music. To train them in music, to help them understand
that music is not just a sound to dance to or have a fleeting pleasure, to teach them
that music is such a high thing, and that perhaps it is music that will save the
world."
Dr. Suzuki passed away on January 26, 1998 at his home in Matsumoto, Japan.

(Suzuki biographical sketch, page 2)

GUIDELINES FOR OBSERVATIONS

Please remember that the lesson class is for the student and parent. As a teacher/observer, you
should watch and listen. It is inappropriate to ask questions during the class, or to express your
opinions to either the students or parents. If you have questions, please ask them after the class
has ended. Please be respectful of the learning environment.
If you are observing large group classes, it is appropriate (and helpful) to offer assistance in
tuning and setting up the room at the beginning of the session.
Please look for the following elements in the classes and lessons:
Main point
Activity and purpose
Pacing of the lesson
How many activities
How long on each
How is the child's attention captured and held?
Parent involvement
Positioned in or out of child's vision
Note taking
Body language, facial expression
Comments and questions at appropriate times in the lesson
Engaged as home teacher
Teacher involvement
Body language, facial expression
Tone of voice
Appropriate use of humor
Verbal - non-verbal
Learning modes:
Aural
Visual
Kinesthetic
Spatial - large motor
Touch - small motor
Active - Passive Relationship to/with parent
Clear assignments
Child's response(s)
Review Preview Theory/Reading activity

OBSERVATION FORM

Observation #_____
Name:_______________________________________________

Date:____________

Teacher Observed:____________________________________ Type of Class:____________

Instrument:_______________________ Length of Class:_________

Please observe the following aspects of the lesson:

Focus of the lesson
Tonalization and technique
Repertoire
Review
Preparation of new material

Reading/theory activities
Games or teaching ideas
Student/Teacher/Parent
Verbal/Non-verbal teachniques
Questions and Comments

January 8, 2015

PROFILE SHEET

Name:____________________________________Phone: ______________E-mail:________________
Address:_______________________________ City:_______________________ State:___ Zip:______
Instrument:________________________ Current teacher:________________________ Degree:_____
Music Training:
Please list schools attended and degrees awarded:
______________________________________________________________________________________
_____________________________________________________________________________________
______________________________________________________________________________________
_____________________________________________________________________________________
Please list major teachers and dates studied:
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
________________________________________________________________________________________
Professional experience:
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
________________________________________________________________________________________
Teaching experience:
___________________________________________________________________________________
___________________________________________________________________________________
________________________________________________________________________________________
_________________________________________________________________________________________
What previous experience have you had with the Suzuki Method?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
What are your expectations for this class?
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
__________________________________________________________________________________________

Suzuki Pedagogy Pre-Test

(This questionnaire will not be graded.)
Name:______________________________ E-mail address:_____________________________
Instrument:____________________ Teacher:_________________ Degree:_________________
Telephone:_________________________
1.

What is the Suzuki method? What are its strengths? What are its weaknesses?

2.

How does the Suzuki method deal with note-reading?

3.

At what age should children begin their music studies? Why?

4.

Do you have any opinions about the Suzuki method? What are your impressions? Did
you grow up in the Suzuki method? Do you know any students or professionals who
grew up in the Suzuki method?

5.

What do you need to do to become a Suzuki teacher?