1 / 30

Program for the international spread by Elena Enrico and Marco Messina

Program for the international spread by Elena Enrico and Marco Messina. The Suzuki Method.

jill
Download Presentation

Program for the international spread by Elena Enrico and Marco Messina

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. Program for the international spread by Elena Enrico and Marco Messina

  2. The Suzuki Method This Method, created by the Japanese teacher Shinichi Suzuki, is based on the belief that every child is born with enormous potentials to develop; therefore the learning of music as well as the spoken language, if duly stimulated, can naturally develop from a child’s most tender age. Shinichi Suzuki

  3. The Suzuki Method stems from the idea that every child is talented at his/her birth. Talent is, therefore, common to everybody, a favourable environment, is not instead. Teaching methodology stresses the great importance of the environment where the child is brought up, and so the parents’ active presence becomes essential for the educational route.

  4. In October 1968, at the end of his contribution in a United Nations session in New York, Shinichi Suzuki appealed to all presents so that they started to consider a world policy was needed, something bent on the correct development, education and care of childhood. Today we are recalling his dream more than ever: “May music make man better, bring peace and the joy of living”.

  5. Child, from when you come into the world I will grow your mind like your body and, through the music, I will give you of me all which I have.

  6. At birth every child is surrounded by the people who can make him/her a happy, responsible, intelligent person, or can suffocate his/her will of learning for ever. The human brain is influenced by its environment. The brain of a person changes according to the stimulus that it receives and it incorporates past experiences transforming them in competences and skills always more complex.

  7. Feeding minds is a long, slow-going and patient task, but nowadays, fortunately, the interest in precocious education, cultivated by attentive and passionate parents is becoming greater and greater. Every ability is the fruits of constant exercise; a natural bent as an end in itself will bear neither a genius nor an artist. Human brain develops thanks to the stimuli it receives and the younger the child is, the more the continuous stimuli and reactions process will elaborate more and more refined abilities.

  8. Thanks to these observations and the experience of the “Suzuki Talent Center” in Turin, the basic instrumental rhythmics course, today named Musical Garden – Children’s Music Laboratory (CML), was born in 1985; it accepts children of three – five years of age. By means of a weekly collective lesson, which parents directly take part in, the course playfully offers all those motor and perceptive processes enabling children to develop the potential usefulness of the instrumental and musical approach. Elena Enrico, founder of the Suzuki’s Garden

  9. At their first lesson children receive a little suitcase, containing a set of instruments for the exercise. These are: a wooden silent violin, two strings, a CD with a musical repertoire, small sticks and pieces of wood, small cubes, little sponge balls, castanets, a little ring, a slider,and so on, everything in order to be able to “play music” in class and at home, with mum or dad.

  10. Every exercise stems from instrumental practice and the checking of the problems involved, so that their solution can be anticipated in motor autonomy. At the same time the movements of the body and the choreography have been studied to stimulate formal or structural elements in the passage in an instinctive and often unconscious way. Nothing is left to chance and everything must be attentively elaborated.

  11. The first year is a year of specific preparation that includes manual comprehension, coordination, discipline, teaching organisation, development of the melodic ear, harmony and rhythmic, of vocal expression, memorisation and orientation.

  12. The weekly lesson, which is held for a group of a maximum of 15 children, is articulated in different moments that aim to achieve: • the knowledge of the pieces that are part of the instrumental repertory Suzuki • the use of the space and of the motoric functions bound to the musical fact • the internal understanding of the language used, of the times, of the • dynamics and of the agogica • the development of the fine movement • the knowledge of the basic technique of the instrument • the development of the intonation, of the vocals and of its expression • the development of the memory • a specific discipline • the development of a familiar teaching

  13. When after the first year he starts to play, the child already knows the repertory as he has already sang and danced and already knows his own body as he has performed games and exercises. He is conscious of the movement required for the instrumental technique, has tested the rhythms, has strengthened the fingers and the balance and has organised his own work at home with his mum or dad.

  14. The course offers to the parents the teaching to implement the daily exercises that will always allow the child the acquisition of greater skills. In repeating the exercises at home, the father will need to find the necessary balance, testing the times of his child’s attention span, stimulating new conquests and skills.

  15. From the second year the children add to the lesson of “Musical Garden CML level 2” also the study of their chosen instrument and will continue the teaching route with two weekly appointments: a collective lesson of Children’s Music Laboratory and an individual one of the instrument.

  16. The programme will continue with the course of “pre-reading”, “applied harmony” (with the use of the keyboard), “vocals”, “musical theory”, “popular dances”, “analysis” etc. Within the Italian Suzuki centres, the collective courses of Musical Garden CML are expected to continue until around the age of 10 – 11 years and are directed to the development of the abilities and talent of the children, with the objective to make music together and to reach individually their greatest potentials.

  17. When in the successive years, the child will need to be able to read music to play more complex pieces, he will already be in a position to do it, as he has already read in order to sing and do Rhythmic. When he will need to play at different voices as part of an orchestra, he will have already tested the polyphonic, singing at different voices with their parents and other children. When he will need to recognise a modulation, he will have already tested this on his body, on the keyboard, on graphical scales, accords and tones etc.

  18. The fundamental start of teaching the course of Musical Garden CML , reflects what we said at the beginning and this is that the brain is influenced by the environment across experiences which become abilities. Abilities which are then stimulated developed and deepened from the organisation of the lessons. These offer the child the opportunity to activate his own capacity and to operate permanent alterations in the development of his own knowledge and as a human being. The child that knows how to do something well, in this case play music, is more secure, more balanced and happier and he knows how to communicate this with delight, as long as within the family environment he has been allowed to grow and be educated through music.

  19. The elements and activities in Musical Garden often find favourable developments also beyond the field of a structured Suzuki centre. On this point experiences carried out by Musical Gardens teachers with children in normal nursery and elementary schools have grown in number. In these schools, classes are also held without the presence of the children’s parents and with the teacher’s constant and close cooperation. Even though these courses will not culminate in having the children undertake the study of a musical instrument, they intend to favour the development of melodic and rhythmic ear as well as the coordination ability, the development of memory, the habit to self control and sense of responsibility.

  20. For every Suzuki centre, the Musical Garden – Children’s Music Laboratory activity is a wonderful resource. The Musical Garden CML is a privileged place for both the children and their parents that choose the Suzuki method. The course is the place where the process of socialising starts between the families and where the parents and the children share their experiences and strengthen their beliefs. The Musical Garden CML represents, in the course of the years, the fixed and stable weekly meeting place. In the mind of the child, Musical Garden CML is an indelible memory of a pleasant approach. Entrusted to a qualified and ready available teacher, the Musical Garden Children’s Music Laboratory class soon becomes the central point of every Suzuki centre; it becomes an attractive reality, dawn to a wonderful day.

  21. The Musical Garden – Children’s Music Laboratory (course of Instrumental Rhythmic) was created in 1985 through the Suzuki Talent Centre by Elena Enrico. The course was presented in occasion of the Suzuki Convention in Dublin (Ireland) in 1995 and in 1999 for the Suzuki Convention in Matzumoto (Japan). More times it has been submitted for the interest of the ESA, and has provoked wherever and always positive comments. For the occasion of the 14th Suzuki Method World Convention in Turin, in April 2006, an illustrative lecture on Musical Garden (Instrumental Rhythmic) was held, along with an introductory course of three days where about eighty Suzuki teachers attended from every part of the world.

  22. Course qualifying of Musical Garden – Children’s Music Laboratory The course is directed to musicians and teachers. It has revealed itself over time as a useful teaching contribution for teachers, for those that have founded courses of Suzuki Instruments and as a result of this Musical Garden – Children’s Music Laboratory, and for those interested in personally deepening specific teachings attached to the learning of music in pre-school age. The course expects a total of six stages to develop itself in the arc of a year or a year and half, over six weekends. At the end of the course, each teacher will need to undertake an examination. To sustain the examination that qualifies to the teaching of the Musical Garden, every teacher should attend all the stages expected.

  23. The examination asks for: • The knowledge of texts concerning the philosophy and the Method • Suzuki and of the dispensation of the forming teacher. • The preparation of outlines for two lessons in relation to the first and • the second period of the academic year. • To hold a lesson of the duration of about 20 minutes in which there • will be examples of different exercises and instrumentality. • Beside this, there will be a round table around which the teachers will • exchange experiences and work projects carried out during the last • year and should show knowledge of science texts and child • psychology advised in the bibliography cited in the dispensation. • It should be presented at this seating, a dissertation on a topic • chosen by the candidate and agreed with the forming teacher. • The candidates will also have to know how to perform on request the • pieces of repertory, by singing and playing the piano, carrying it in • different tones or amending texts, times etc. • In successive years, the trainees will be invited to hold frequent contact with the forming teacher within their own limits, to obtain checks and updates of its own operation.

  24. General Programme of meetings Teachers: Elena Enrico and Marco Messina First Meeting Introduction to the Ethical Methodology and Suzukian Philosophy General teaching objectives Working materials for both teachers and children Organisation of the lesson plan Any other business Second Meeting Repertory and first manual course The role of parents in class and at home Use of the lesson plan Any other business Third Meeting The development of the brain of the child from 0 to 36 months Repertory and second manual course Components and development of theoretical competence across the body Any other business Fourth Meeting From the motion to the symbol elaboration of the exercises The theoretical route – practical Presentation of the personal lesson plan Any other business Fifth Meeting Learning and memory Use of the keyboard in successive courses The concept of education through music Special projects (deaf children – with neurological problems – not apparent) Any other business Sixth Meeting Projects for the insertion of methodology in the public school General summary of the journey (course) Experiences of parents and teachers Advanced repertory Any other business

  25. For courses not taking place in Italy, it would be ideal to activate in the place a small pilot group of children, to test the work and to be able to develop the skills, maintaining the contacts with the forming teachers. The course with the children could leave after the first three stages with an active collaboration between the registered teachers. It would also be ideal, during one of the first stages, to realise a laboratory with the purpose to translate in the language of the accommodating country, the texts of the songs of the repertory and of the useful songs to the development of the rhythm, of the vocality and of the musical theory.

  26. The qualifying Course of Musical Gardenis carried out in Italy, near the Suzuki Centers of Torino, Rome and Casagiove (CE). In the other nations the Course can be carried out near centres, schools and associations that request to be activated as qualifiers for the Course of Musical Garden – Children’s Music Laboratory. There is also a special program dedicated to the not italian teachers. They can attend a special and intensive course of four stages, in Italy and in English language. The Course can be held exclusively from teaching makers indicates and authorizes from the founder of the Suzuki’s Garden: prof. Elena Enrico. At the end of the course, a certificate will be released that is recognised from the I.S.I. (Italian Suzuki Istitute).

  27. Elena Enrico was born in Turin in February 1954. She begins at six years old the study of music graduating very young in piano. Already in the years of conservatory she becomes closer to the theatrical world attending courses of song and performance and, in 1976 together with Georgio Faletti and Fulvio Accorsero she forms the group cabaret named “Topi d’ Albergo” (Mice’s Hotel) working abroad and Italy until the following year. In 1977 she wins the competition for assisting to the direction of RAI (Italian Broadcasting Corporation) of Turin, collaborating with producers such as Anton Giulio Maiano, Edmo Fenoglio, Massimo Scaglione etc. and actors such as Alberto Lupo, Arnoldo Foa’, Aurora Cancian, Toni Bortorelli, Paolo Giuranna etc. She continues in parallel with this her theatrical activity both as an actress and a singer; she composes musical pieces and cuts a LP for “Fonit Cetra” for a radio soundtrack. Interested to the teaching appearance and education of music, she leaves her employment with the radio to deepen her research and develop early methodologies teaching of music. She is still active in the formation and in the updating of teachers (Suzuki Method) and elaborates personally in training journeys of education of talent and recovery of children whom are handicap bearers. Together with her son Francesco, composer and film maker, she forms in 2004 the house of independent production “Fregoli Dreams Factory” releasing teaching films, documentaries and and short-films.With the script “Oltrepassaggio” they receive the special mention to the competition “Script Production 2004” and with the short-film“All in the past”, the selection to the “Lucania Film Festival 2005”. Her latest cinematographic production “Music is the angel of all the children” was released in occasion of the Suzuki World Convention 2006 in Turin.

  28. Marco Messina graduates in flute through the “Conservatorio di Musica S.Pietro a Majella” (Naples) in 1990 under the guidance of Maestro Francesco Bianchi and then studied to perfect his skills with Marianne Eckstein in Rome and Mario Ancillotti through the music school of Fiesole. As a flutist, he wins different national competitions and works with numerous orchestras. As a flutist, he holds concerts in Italy, Russia, Austria, Germany, Moldavia, Romania, Albania, Tunisia, France, Belgium, Greece, Sweden, Chile, Argentina, Mexico. Great importance and relevance to Marco Messina’s career is his devotion to the teaching of music. In 1992 he founds the “Accademia Musicale Casanova” (Musical Academy Casanova) and in 1997, together with other musicians, constitutes the first centre Suzuki in the Campania Region in the South of Italy: “Crescere con la Musica”. Here he holds courses of Musical Garden – Children’s Music Laboratory with children from three years of age onwards, and with their parents, faces an educational journey through music, being convinced that through music it is possible to improve the world. In April and in September 2006, he is invited, as an Italian Quality Expert in the teaching of music, to participate in seminars for the project of the European Community “Leonardo da Vinci”, a project that looks after the development of creativity in children.

  29. www.suzukicasagiove.it Info and contact www.musicalgarden.it

More Related