LEARNING TO LEARN
Background
Learning a musical instrument is a highly cognitive process : neuroscientists have discovered that playing instruments makes the brain process different information in complex , interconnected and remarkably fast events , simultaneously using the visual , auditory and motor cortical regions . For any pupils embarking on this astonishingly impressive activity , I would love to think that as music teachers , we can facilitate any type of learner who wants the experience .
Investigating strategies for supporting dyslexic students in instrumental education
Julia Kiggell , Head of Vocal and Instrumental Studies
Introduction
Learning an instrument is both hugely rewarding and beneficial for intellectual development . At Sevenoaks School we deliver over 700 individual lessons each week . It is important for me , as both an educator and musician , that this experience is as positive and enjoyable as possible for every student , whether just playing for fun or considering a career in the profession . The aim of this project was to find out about the learning experiences of musicians with dyslexia , and how we can best support them in their musical education .
A flexible approach
As many instrumental teachers will testify , no pupil learns in the same way ; there are a plethora of external influences which affect instrumental progress ( time , practice , environment , motivation , support of parents , goals , natural ability ). Even teaching the same technique will involve creativity on the part of the teacher , to adapt to the best way a pupils can pick up the concept . Having a flexible approach to teaching a dyslexic musician is no different – and in fact , most reputable teachers will have a tool box of ideas and strategies they regular draw upon in day to day teaching .
The challenges of dyslexia can manifest in a number of ways for young musicians : sight reading , rhythm work , sustaining focus , remembering theoretical facts e . g . key signatures , interval names , recognising cadences are just a few . Engaging the help and experience of some current instrumental teachers , the case studies below show how some strategies are being developed already .
Case study : a string teacher
Challenge : I feel there are three things to connect on a string instrument : the note of the page , the name of it , and where it lies on the instrument . Some students , with and without dyslexia , find one or more of these three things difficult to grasp . This was perpetuated in one of my pupils who was extremely slow to name what a note was from seeing it on the page , and instead relied almost completely on following the curve of a melody . This was an early indication that he had developed his own strategy to cope with this particular obstacle . However , there was also a problem in identifying where a given note laid on the fingerboard , so all three of the points mentioned above were disconnected .
Strategy : In the end , just not worrying about it too much seemed the best way forward , as it caused more anxiety than it was solving . Getting away from the page and more playing by ear , using an audio input more than visual lessons and from recordings at home seemed to work . Recording pupils ’ pieces straight onto their smartphones was helpful- it ’ s a valuable shortcut to getting them playing the piece and therefore enjoying their playing sooner .
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