Tag: MusicEducationHongKong

[:en]The Responsibilities of a True Piano Teacher[:zh]一個真正鋼琴老師的責任[:]

[:en]Teaching students, especially young children, requires a lot of patience and compassion on top of expertise. As a piano teacher, the way you communicate directly affects whether the student receives your message or not, regardless of how well qualified you are as a music scholar and piano performer.

One important idea I have learnt from the music workshop I attended last year in Tokyo is that, students can feel insecure and vulnerable at times in their lessons. When they feel unsafe – note: not physically, but rather, emotionally, as there are chances of being criticized and pointing out their mistakes they make in their playing (or answers), they stop focusing on their music and instead on trying to be “correct”. They spend more time and effort worrying about their potential failure rather than expressing and enjoying themselves and the music. They would stop trying because they do not want to make more mistakes (especially after being told they were wrong or even yelled at in a disapproved tone).
One of the teacher’s many responsibilities is to show the student (again and again) that s/he can feel safe and supported during the lessons and the music journey together with the teacher, that s/he can feel free to ask questions and explore in the playing and practice. Therefore, building a great relationship between the teacher and student is crucial for ultimate success in music learning and achieving great results. And in order to do that, the teacher who truly cares about his/her teaching would put in utmost effort and patience in every single lesson with each student s/he has, because every lesson/student matters, young or old, “talented” or not.

 

 

Watching the students grow, young or adult, beginner or advanced, is the greatest pleasure a teacher can have.

 

Teresa Wong

 

 

 [:zh]

在教學上,特別是面對年幼的孩子,除了需要專業知識之外,更需要極大的耐心和同理心。作為一名鋼琴老師,不管你有多高的音樂和演奏造藝,你表達的方法直接影響學生是否接受你的教學和他們的學習進度。 

我從去年在東京參加的音樂工作坊中了解到一個重要的概念是,學生在上課時有感到不安全和脆弱的時候。當他們感覺不安全 - 注意:不是身體上,而是情感上,為了避免在彈奏(或答問題)時有被批評的可能性時,他們就會開始努力做「糾正」錯誤而非專注於上的表達。他們花費更多的時間和精力去擔心潛在的錯失,而不是表達音樂和享受自己的彈奏。他們因為不想讓更多的錯誤發生而開始停止嘗試,(尤其是在語氣不佳甚至大聲呵斥的情況下被告知他們是錯誤時)。

老師的許多責任其中之一是讓學生知道他/她在上課和這個音樂旅程時可以感到安全和得到支持,可以很安心的嘗試,和老師探討、提出問題。這樣一來,建立教師和學生之間良好的關係和真誠的信任,在學生音樂學習的成效和得著方面會有很大的幫助。而真正在乎學生和自己教學的老師,不管那個學生是否年輕、年長,又或者是否「才華橫溢」,也會投入最大的精力和耐心去教導每一個學生。


黃穎妍

[:]

Music Venues in Hong Kong (Part I)

香港的音樂表演場地

We as musicians and teachers are always looking for venues to organize concerts for ourselves and for students to perform in. However, I find booking a concert hall or simply a decent performance venue in Hong Kong particularly difficult.

To begin with, there are apparently not enough venues for us to organize concerts. All the music venues we are familiar with are under the subsidy of the Hong Kong government run by the Leisure and Cultural Services Department (LCSD). Look at the big halls that we have here: City Hall has two main venues, the Grand Theatre and the Concert Hall. These halls are great but they are in general too big (and expensive even when you apply as a non-profit /charity organization). Its “High Block” building has a small Recital Hall that holds a little over 100 audience. It is popular among private teachers who holds student concerts, and organizations that presents smaller-scale lecture talks and preliminary round of music competitions. Thus the competition for booking the venue especially for the high season (festive holidays for example) can be fierce.

Other than the City Hall, we have the (in)famous Cultural Centre. It has the largest concert hall in Hong Kong for classical music purpose (there are music performance venues such as the Hong Kong Coliseum, the AsiaWorld-Arena, the Convention Centre etc for popular music concerts). To call it the largest in Hong Kong, it surprisingly only holds an audience of a little over 2000. The acoustics is notoriously under scrutiny over the years due to its infrastructure that, surprisingly and unfortunately, some seats at the two sides of the front rows provides the worst listening experience the audience could ever have in the hall.

A couple popular music venues at more convenient locations are the halls at the Sai Wan Ho Civic Centre and Sheung Wan Civic Centre. They are not as central in terms of locations and formal as the other ones mentioned above, however but they sometimes serve the purpose of having a medium scale music performance organized by the local arts groups and music education centers in the community.

The other concert halls are mostly located in the more remote areas in the New Territories and Kowloon peninsula, for example, the concert halls at the Shatin Town Hall, Tsuen Wan Town Hall, and Ngau Tau Kok Town Hall etc, to mention a few.

There are a couple odd venues we use frequently for small-scale concerts, competitions and lecture talks that are also run by the LCSD but are not originally for music performance purpose. These are the lecture halls at the Hong Kong Science Museum and the Hong Kong Space Museum. And legitimately enough, the pianos there are not maintained to the standard of a performance level albeit functional.

Other than those managed by the LCSD, there are music venues that are not under the subsidy of the government. For instance, there is Hong Kong Arts Centre : Agnès. b Theatre is quite a nice venue but it is not designed to provide the audience the most satisfying live music experience, with the standard of the piano etc- but that is another story I would like to explore further on (about the quality of pianos in music venues). Another venue managed by the Arts Center is the Shouson Theatre, but again it is a bit remote and not suitable for solo piano or small ensemble performance, to say the least.

Music Venues in Hong Kong (Part II)

Student Performance October 2014