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Seller Inventory # LU-9780957886186
- Title
- Sounds and Souls
- Author
- Ruth Bonetti
- Publisher
- Words and Music, AU
- Publication year
- 2013
- Condition
- New
- Binding
- Paperback
- Language
- English
- ISBN 10
- 0957886187
- ISBN 13
- 9780957886186
This book is a shining tribute to the inspiration that music teachers can bring into the lives of their students. Teachers give much but often receive little in return. Appreciation of your efforts may not come until decades later when a former student says, 'I'll never forget how it helped when you said....'.
You are amazed but humbled by the sheer power of a few ordinary words you'd long forgotten. The music lesson is the highlight of many pupils' week, like a spring of rejuvenation. Students remember that you listened and gave good advice. Your excellent work is valued! Sounds and Souls gives teachers insights to:
- Motivate, retain and inspire students
- Understand learning styles and personalities
- Make rhythm and technique palatable
- Prepare students for examinations and recitals Help pupils handle criticism
- Create positive parent-teacher relations
- Manage the business, both studio or schools
- Handle stress and deadlines with 'Me' time
Ruth Bonetti has over 40 years' experience as a teacher from primary to tertiary, (including Queensland Conservatorium of Music) in Germany, France, Sweden, England and her homeland Australia. She is author/editor of 12 books in the music practice and performance fields.
'Your books are wonderful-first class! Everyone will benefit from the priceless information you share. BRAVO!'
- Tim Lautzenheiser, USA; Author, Educator, Attitude Concepts, Inc./Conn-Selmer, Inc.
'Ruth Bonetti has a wealth of experience and knowledge, and in this latest book she shares practical solutions to some of the most vexed issues facing the 21st century studio teacher.'
- Dr Rita Crews, President, Music Teachers' Association of New South Wales
"Synopsis" may belong to another edition of this title.
About the Author
Ruth Bonetti has over 40 years' experience as a teacher from primary to tertiary, (including Queensland Conservatorium of Music) in Germany, France, Sweden, England and her homeland Australia. She is author/editor of 12 books in the music practice and performance fields.
I was reared in the Australian bush, playing a jangly piano whose innards had been nibbled by mice. Its tone and tuning had been crippled by the searing heat and dust of the far west. Concepts of intonation were flummoxed.
Miss Quaver alienated me with her wavery falsetto: 'D, dear, D. Where are my glasses? Oh yes, F.'
My struggles to coordinate two clefs and handfuls of notes going in different directions made me an unlikely contender for a future professional musician.
An Australian Broadcasting Corporation radio schools program demonstrated wind instruments: 'This is the flute.' Tweet. Nah. The oboe: dour.
'Hear the clarinet.'
I loved the sound. 'I'll play that.'
I took my savings to a music shop. A salesman opened a case; out wafted a tantalising aroma of oil and wood. At home, I joined the bits together and blew. Not a single pip came out of that contraption until a month later a teacher demonstrated reed placement and embouchure.
That negative became an asset in teaching beginners; I tell new students who struggle to make a sound in the first lesson: 'You're ahead of me. I didn't make a single noise for a month.'
He inspired in me warm tone and expression that compensated for weaknesses of rhythm and tuning. He gave his undivided attention, resulting in my fast progress.
Catapulted into a city high school, I was too shy to ask for explanation. My theory teacher wrote ant-track marks on manuscript paper. I was mystified by chords called IIc-V-I or V-VI.
My teaching, books and workshops are informed by a lifelong process of solving my own inadequacies. If I were to teach young Ruth, how would I improve on what well-meaning teachers gave me?
We teach what we needed to learn.
Miss Quaver alienated me with her wavery falsetto: 'D, dear, D. Where are my glasses? Oh yes, F.'
My struggles to coordinate two clefs and handfuls of notes going in different directions made me an unlikely contender for a future professional musician.
An Australian Broadcasting Corporation radio schools program demonstrated wind instruments: 'This is the flute.' Tweet. Nah. The oboe: dour.
'Hear the clarinet.'
I loved the sound. 'I'll play that.'
I took my savings to a music shop. A salesman opened a case; out wafted a tantalising aroma of oil and wood. At home, I joined the bits together and blew. Not a single pip came out of that contraption until a month later a teacher demonstrated reed placement and embouchure.
That negative became an asset in teaching beginners; I tell new students who struggle to make a sound in the first lesson: 'You're ahead of me. I didn't make a single noise for a month.'
He inspired in me warm tone and expression that compensated for weaknesses of rhythm and tuning. He gave his undivided attention, resulting in my fast progress.
Catapulted into a city high school, I was too shy to ask for explanation. My theory teacher wrote ant-track marks on manuscript paper. I was mystified by chords called IIc-V-I or V-VI.
My teaching, books and workshops are informed by a lifelong process of solving my own inadequacies. If I were to teach young Ruth, how would I improve on what well-meaning teachers gave me?
We teach what we needed to learn.
"About the title" may belong to another edition of this title.
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