A school I began teaching at in September offered all it's music teachers to attend a talk by Paul Harris. Prior to this talk my main association of his name was to his publications with the exam board ABRSM.
I found his talk incredibly inspiring and motivating. I liked his idea of "The Virtuoso Teacher", something every teacher should aspire to in avoiding becoming "The Mistake Police".
What I particularly liked was how easily his simultaneous learning ideas could be implimented. Teachers don't need to spend many years learning a teaching method to drastically improve their teaching. His Practice Map is the perfect way to display this way of thinking to pupils and parents and to encourage the same learning process to continue at home.
My only criticism would be that he said it could be used alongside the Kodály approach (and other teaching concepts/methods). I would argue that simultaneous learning is the Kodály way, and not something that can be used with it.
Whilst I still believe that the Kodály approach with all it's tools of solfège, hand signs and rhythm names is the best way. Paul Harris's simultaneous learning ideas can offer immediate and positive, musical results for teachers who haven't grown up with the benefits of a Kodály based music education. That can't be a bad thing?
http://www.paulharristeaching.co.uk/
I found his talk incredibly inspiring and motivating. I liked his idea of "The Virtuoso Teacher", something every teacher should aspire to in avoiding becoming "The Mistake Police".
What I particularly liked was how easily his simultaneous learning ideas could be implimented. Teachers don't need to spend many years learning a teaching method to drastically improve their teaching. His Practice Map is the perfect way to display this way of thinking to pupils and parents and to encourage the same learning process to continue at home.
My only criticism would be that he said it could be used alongside the Kodály approach (and other teaching concepts/methods). I would argue that simultaneous learning is the Kodály way, and not something that can be used with it.
Whilst I still believe that the Kodály approach with all it's tools of solfège, hand signs and rhythm names is the best way. Paul Harris's simultaneous learning ideas can offer immediate and positive, musical results for teachers who haven't grown up with the benefits of a Kodály based music education. That can't be a bad thing?
http://www.paulharristeaching.co.uk/
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