Features v1 n1
Graduation tapes
In October each year, students eager to receive graduation certificates from Dr. Suzuki compile a tape of their performance for approval by the New Zealand “Listeners.” It is a long time between the making of this tape and the presentation of certificates at the ceremony always held at the annual conference. The tape undergoes a long journey.
Step One takes it to the Secretary of the N.Z.S.I., who makes note of it and passes it on to the head listeners – Josie Fluhler (Piano) and Val Thorburn (Violin).
These two teachers spend precious hours reviewing the tapes sent in before they are returned to the Secretary for mailing to Japan.
They are sent Priority Post at the end of November to avoid the Christmas rush on services.
Once in Japan, they are ordered and presented to Dr. Suzuki himself, who listens to them all.
Toward the end of April, the tapes are returned to New Zealand with the beautifully presented boxed certificates.
Once sorted for the presentation, the journey is almost ended.
Receiving the certificate is an important achievement, and this is why the tapes and certificates are held onto until the annual Conference when the maximum and optimum number of students, parents, and teachers can be present. Those students who do not attend the Conference receive theirs via their teachers at the earliest possible convenience following the conference.
Over the years, the Japan Graduation Fees have become fairly expensive. In some countries now, this expense is avoided by having listeners appointed to appraise the tapes for Dr. Suzuki in their own country. They are certified in the same way but without the “magic” of knowing Dr. Suzuki has heard you play. It has been suggested that to cut costs to members, this practice could be adopted here.
Graduation Tapes – Piano 1989
I would firstly like to thank students and their teachers for sending in over 50 graduation tapes. You will have received your reports which were sent out when I had completed the listening in November. Overall, the standard of tape and playing was good and well prepared. Listed below are the points I look for most:
- Good quality tape, well-labeled.
- Clearly spoken introduction.
- Performance should be at a tempo similar to the listening tapes and in good style.
- Rhythmical and fluent playing – extremely important.
- Attention to articulation, detail, and expression.
The certificates for both New Zealand and Japanese Graduation will be presented as usual to students attending the National Conference in Wellington from August 26th – August 31st, 1990. The remaining certificates will be posted or given to the teachers concerned.
I would like teachers and parents to think about the following:
“Doing easily what others find difficult is talent, Doing what is impossible for talent is genius.”
Please realize that this applies only to one in a million – your pupils/children are learning music for enjoyment, and to nurture talent or ability, praise must always come first before constructive criticism by teachers or parents. It has come to my notice recently that in some areas of Suzuki piano teaching this has not been the case, and that is very sad because this is not compatible with Suzuki philosophy. Teachers, I urge you to sit back, think, and re-evaluate your ideas, i.e., am I praising enough, or – am I really inspiring my students to try hard – am I imparting my love of music successfully, and am I instructing parents in my studio on how to work with their children at home? Teachers please be reminded that each little student is different, and that our position as teacher, is also as adviser and mentor to our students, and often their families, and they frequently look to us for guidance.
I take this opportunity to wish teachers, students, and parents a good “1990” of joyous music making.
Sincerely,
Josephine Fluhler (Hamilton)
Graduation Tapes (continued) – Violin
Congratulations to all those who sent in tapes for graduation last year. Truly entering into the spirit of the Suzuki Method. As a teacher, I can appreciate the amount of work which must precede the final recording. I feel I am getting to know a great number of you as I have listened to your tapes over the past few years. I can hear your improvement! I especially notice when students have been preparing in true Suzuki style by practicing with the tapes. The tempo is correct, and you are beginning to play with fine tone and musicianship.
A few suggestions I would like to make to teachers – please ensure the violin is in tune with the piano. I know that some recordings are made in the students’ home and therefore there isn’t the final checking of tuning with the teacher. Please remember Dr. Suzuki’s ears – and the great number of tapes he listens to. To this end, if you have a “pause” button on your tape recorder, please use it to eliminate a lot of unnecessary mechanical sounds. Also, don’t have long gaps between the spoken introduction and the start of play. One last thing – take your teacher’s advice and do not try to graduate before you are ready.
I look forward to many more tapes this year.
Best Wishes,
Val Thorburn (Auckland)
Here is the complete text of the Miss Pushover article:
Miss Pushover: A Profile on Professor M. Aber
The first words I heard this lady speak were, “O.K. now, who wants to feel my muscles.” It was an amusing hypothetical question which had amazing psychological results on the students before her. They were in place quicker than I could blink, and yet not a look of fear was to be found on any face. I asked a few students later what they had thought, and their first reaction generally was, “Hey, this lady will be strict but fun.” And fun was had by all, especially the Professor herself, who believes that there is more learning “where there’s enjoyment.” She loves fun and believes it creates a very positive atmosphere. She likes to make up and/or adapt games to play, especially with the younger students, and believes that getting them to run up and down their practice hall is good for development and increases oxygen to their brains so they think more quickly. She doesn’t prefer any age or level to another, although she admits that she likes to appeal to the older ones’ “intellect and desire to go ahead.”
Professor Aber was recently in New Zealand tutoring at both the South Island Summer Camp and the Rotorua Summer String Camp. The last time she was here teaching was three years ago. She enjoyed her time here very much, commenting that the camps were “friendly and well organized.” Our camps, according to Professor Aber, are quite different from those she attends in the U.S.A. There, the camps are less casual and more structured, with lessons lasting all day. Here, she was able to relax for ‘some’ part of the day, even in Rotorua, where she enjoyed a sightseeing plane ride over the lakes and city with N.Z.S.I. President Donald Carter. Since her last visit, she noted that the families have changed and the children have grown, but the feeling remains the same.
Professor Margery Aber began learning privately at the age of 10. During the Depression, she attended the Conservatory Oberlin in Ohio, where she earned a degree with a Violin Performance Major and a Music Education Minor. Later, she taught in Detroit and obtained a Master’s Degree from Columbia University. She continued teaching, played in recitals and three different chamber music groups, and was Concert Mistress of the Faculty Symphony Orchestra.
Margery Aber was first introduced to the Suzuki Method by fellow Oberlin graduate John Kendall, who brought a tour group from Japan to the Music Educators National Conference. She was overwhelmed and enthused by the performance of the 6-12-year-old Japanese students and could not compare their artistic performance to that of her own students. This experience led her to embark on a faculty tour to Matsumoto, which marked the beginning of her lifetime commitment to Suzuki. Since then, she has taught with and for Dr. Suzuki many times and continues to gain inspiration from observing him. On one occasion, she devised a ball game that Dr. Suzuki observed. He politely interrupted her class to try the new game himself. His first attempt failed, much to his amusement, but he continued practicing, and soon similar games appeared in his repertoire.
Now semi-retired, she still teaches about a dozen students aged 10 and older (whom she hoped were practicing while she was away, she added with a twinkle in her eye). One of her key messages to parents, teachers, and students at the camp was to maintain a confident attitude. She often had them pat themselves on the head and repeat positive aspects of each other and of practicing.
Back in Wisconsin, she is co-editing a collection of Suzuki stories from around the world and hopes to receive contributions from New Zealand.
She also throws out one last challenge to New Zealand students:
- If you practice 100 days in a row (with a letter of confirmation from your parent), she will send a Professor Aber Certificate.
- If anyone practices 365 days in a row, she will send a small gift!
You can write to her at:
Professor Margery V Aber
601 Sommers
Stevens Point
Wisconsin 54481
U.S.A.