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Mary Kogen
503-407-1382

Alexis Scangas: a K-5 Teacher Incorporating TaKeTiNa

12/21/2018

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Pressure on Kids at School

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 “ ‘Getting it’ is not important.”

This is what Alexis Scangas, a public school teacher, tries to get through to her K - 5th grade students. Western-style teaching methods are all about perfection and rote memorization, resulting in stressed out kids whose curiosity plummets as the pressure rises. Kids shut down and lose self-esteem over time as a result. They become shy of taking guesses, thinking they have to get the answer right the first time, otherwise they feel wrong and stupid.

Alexis wants to change this, so she recently reached out to Mary Kogen for help. She knew from personal experience as a teenager that through TaKeTiNa, Mary tries to counteract the habit of thinking ‘I gotta get it right’.

What's TaKeTiNa?

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TaKeTiNa is a playful rhythm meditation that builds community around a rhythm that’s impossible to ‘get right’ all the time.

From 2008 – 2015, Mary led TaKeTiNa with high school students at the Summer Youth Music School at the University of New Hampshire. For one hour each day, Mary would get kids laughing with each other, and at themselves.

TaKeTiNa begins with participants in a circle. A drummer is in the center, and Mary goes from circle to the in-between space, addressing everyone both personally and as a group. The process begins with speaking rhythmic syllables while the drum keeps the beat. Simple steps are added to go along, and soon everyone is moving and stepping, sometimes to the beat, sometimes not.

Claps are added as well as some call and response singing. Bodies move in and out of rhythm, creating some tension, some laughter, some flow, some chaos. The internal critic can be strong, especially with high schoolers, but TaKeTiNa allows them to silence that self-judgment and revel in the learning and in their own rhythmic body – some only now realize they even had one!

Alexis as a Student

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Alexis was one of the original students of these UNH workshops; she attended during her sophomore, junior, and senior years. When she reached out to Mary, she told her that as a teacher, she’s trying to “do things differently.”

Mary remembers Alexis as one of the girls who would get up with Mary at 6:30 in the morning before classes even started. They joined Mary on her walks where she would play the caxixi (a small, basket-like rattle) and sing, and the girls eventually joined in. “That’s what changed me,” Alexis remembers.

Incorporating TaKeTiNa Learnings in Teaching

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Alexis asked Mary what she could do to get to know her students. In TaKeTiNa, there is often a central question, unique to each journey, that the participants can focus on. Questions like “How do you experience space?” or “Can we feel confusion and order at the same time?” For Alexis’s younger audience, Mary suggests lightening it a bit. Asking things like “What does friendship mean?” or “How do you relate to your brother or sister, even if you don’t get along?”

Modeling is another way to let kids understand that knowing everything isn’t the goal, or even expected. Mary says “If I don’t know what I’m doing, I tell the kids, and I ask for help. I ask them ‘Did that work? Why?’” You’d be amazed at the answers, she says. Kids will give you direct feedback, ideas, and also hopefully gain a sense that even the adult doesn’t have it together all the time, and values trial and error.

The whole exchange was such a heart-warming reminder of how TaKeTiNa can touch and transform one high school kid, now an adult. What a great effect its had on her own teaching style even 10 years later!

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Exploring Space with Sing Portland Choir

3/16/2017

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by Chelsea Schuyler

TaKeTiNa Workshop

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How do you experience space? As an individual? With others? Inside and outside your body? Mary Kogen wanted to explore these questions at the TaKeTiNa workshop with Sing Portland, ​a non-audition choir lead by Marion Van Namen in Portland, Oregon.

TaKeTiNa is a rhythm process, much like a rhythm meditation, but with laughter, flow, and chaos mixed in. A drummer keeps a steady beat in the center, and a facilitator invites the participants to say syllables with the rhythm, then adds steps, then claps.

The movements and sounds are sometimes on the beat, and sometimes off,  so it can feel a lot like rubbing your stomach and patting your head at the same time.

Initial Reactions

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This particular ‘journey’ delved into the topic of space -  what is it, how do we perceive it?  How is it in our bodies, our voices, our movement? How do we experience it?
 
The Sing Portland choir were all first-time participants in the workshop, and comprised of men and women of various ages, including a young girl.

Mary invited them into a circle, and talked about TaKeTiNa as a space to encourage curiosity and  self-reflection, not judgement.

Initially, the movements and syllables seem simple – one man referenced Karate Kid, saying “I feel a little bit like Mr Miyagi is telling me I have to just keep waxing the car!”

But as the rhythms started to demand more of everyone’s concentration, many began to fall out of rhythm, which is part of the process. One participant described it by saying “it’s definitely impossible not to get thrown off, but then you look over and see [our teacher] Marion is off too and you’re like ‘Yes!’”


Joyful Emotional Roller Coaster

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TaKeTina challenges us with confusion, lack of control, and chaos, but also offers a sense of flow and acceptance. We get to see how we experience chaos, explore our reactions to ‘not getting it’ and then ~ let them go.

It can be a very emotional experience. One woman said, “It brought out emotions I didn’t even know were there.” Another man reflected, “It was like finding the rhythm of my life, just kind of where I belong, where I come in, and what’s happening, and I think I’ve lost that.”

But one of the essential parts of TaKeTiNa (and life!) is to laugh at ourselves and with each other. Mary makes this easy by her talent for exaggerated movement, and purposefully throwing people off. Yet it’s very clear that the intention is joyful. A lady commented, “I love watching you dance and jump. Every single time I’m like ‘I can do this, I can do this’ and then I get thrown out. Yeah, I had fun with losing myself.”

End Reflections

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At the end, after the singing portion accompanied by a Brazilian musical instrument called a berimbau, the group took some time to reflect.

A young woman praised Mary’s instructions as “very inspirational. I’ve always found polyrhythym, personally to be fairly challenging – it’s like a matter of trusting myself to maintain something in my body, and leaving my brain….[seeing Mary,] I want to be teaching groups and be a master of polyrhythm!"

The group started out in a circle one row deep, pushing the limits of the room. But after they became more comfortable in moving together, they formed clusters and multiple rows formed.

Instead of each as an individual, there came a sense of community space, as one woman commented:


“I really enjoyed the feeling of the group together.
I noticed that I didn’t feel like my space was just near me, it’s a much bigger space.”


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The Power of Teaching in Groups

1/14/2016

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I think it is time to create a presentation on “Teaching in Groups”  because of two students who have had  group lessons with me for the past year.

During the '60s, as a graduate student, I had the amazing experience of having my weekly applied piano lesson in a group setting with two other piano students.  Every Friday, we met for three hours.  It was like spelunking into the process of learning about music and life, and burrowing down into yourself along with the camaraderie and support of two friends. What a gift!

So much more is learned, experienced, and then grounded in this kind of setting.  We begin somewhat tentatively, get more and more immersed, and then finally resurface to reflect. I am so grateful these two adults are willing to go there with me.  No matter what we explore, or which student gets the main focus, learning is occurring for both. One student needed to experience the space between the notes in his Beethoven "German Dance”, so the other student played the same piece, but on the offbeat.  It was almost like an echo effect, and it worked.  Space was felt.  Another time, as one student played the right hand of her piece, the other sightread the left hand.  Not only did they have to listen, but again both learned.  They also have learned how to effectively comment on the other’s performance, and to offer suggestions on what needs work.  So consequently, their listening skills and communication skills have grown immensely.   They also play duets.  I merely ask a question, and they take off,  problem solving and figuring out, on their own, what to do next .

I have been so deeply reminded of the depth, and the power of the group setting for the applied lesson.  Again, I thank you Guy Duckworth for that group experience 40 years ago.  And thank you Bill and Sherrie for bringing back those memories, and giving me the opportunity to further explore the wonder of group learning.
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I've been doing this for 40 years...

10/3/2015

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       Today, I started a new Piano Pedagogy/Skills Class, with nine participants. Later in the day I was thinking how incredibly fortunate I am to be able to do what I love. I realized I have been teaching piano for 50 years, and pedagogy for 40 years.  I am 71, and yet I still have something to offer, something to share and something to say.  And, others still want to hear it!
         I am blown away by these class members. They want​ to learn.  They are open, curious, willing to share, delightfully humorous, and yet most definitely serious about their chosen profession.  They truly realize that teachers can be a major influence on the lives of their students. So, they want to know "How can I be a positive influence?"  "How do I maintain a balance of support and understanding, and yet demand that the student show up and practice."  That's a tough order in this technological world.  Yet, I do believe it can be accomplished, and that they will learn to do this.
        So, thank you, class participants, for joining me on yet another voyage of exploring possibilities, of stretching your horizons, and through teaching others, learning  more about yourself.  I certainly do. 

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Guest Blog: A Pedagogy Session With Mary

8/11/2015

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by Chelsea Schuyler

The Three Teachers

Mary Kogen's clientsCathy Allen, Deborah Schmidt, and Amber Ghent hired Mary Kogen for a 2 hour pedagogy session
When not traveling around the country giving presentations and doing TaKeTiNa, Mary offers private lessons in piano pedagogy. Last June Mary invited me to join her in her private studio for a two hour pedagogy session she was giving to three music teachers. Two were from the Bay area, and one from Canada; all, I believe, taught different instruments: cello, flute, and piano.

I couldn't help but notice that Mary was wearing one square earring and one circular, which I thought was an appropriate foreshadowing of her outside-the-box teaching methods. I sat at her bar-style counter surrounded by frog decor and marveled at how she was able to coordinate teaching, listening, and giving out materials with making us all dinner (bonus!) - a truly amazing show of multi-tasking.

The three women, Deborah, Cathy, and Amber, were high off of the body-mapping conference they were attending that weekend (where Mary both presented and led TaKeTiNa), and were absolute sponges for Mary's expertise.

Teaching Methodology

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The meat I suppose of the session was the outline of various teaching methods the teachers could use from the very first class through the ongoing weeks. Furiously writing notes, they sighed with relief when Mary gave them handouts to save them the trouble, “Mary this is amazing, it really helps.”

The topics Mary covered included:
  • Concepts of Music
  • Helping the Student Who Has Difficulty Accessing Rhythm
  • Conceptual Teaching
  • Compound Note Values
  • Ear Training
  • Rhythm and Reading

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But the true value of her expertise lay in the way she illustrated these concepts and peppered them with stories. She modeled some of the activities she uses with kids; always building concepts onto each other. She made everyone (including me) participate whenever possible in clapping rhythms or singing along, allowing them to be a part of the experience of learning.

It was fun to watch all three music teachers absorbing new ideas and getting very excited. When Mary demonstrated teaching solfège with hand signals, Amber had a light bulb moment:

“This is amazing because you're putting it all together. I teach group classes and I have to try to cover all this material and teach them ensemble music, and I haven't figured out how to do that. I can do this. Thank you Mary!"

Teaching With Kids, Not At Them

Mary Kogen teaching with laughter
The teachers often asked Mary - what age do you start teaching this, how old before they can learn that? Mary always answered with the constant reminder to be flexible with each individual. “It depends on the student,” she said. “Everyone's different, and that's why I get so irritated with method books.”

Though she does use method books, and her extensive knowledge of them was evident. She kept going up to her shelves pulling out out-of-print copies that she offers for sale, though not without an honest critique: “Oh, I can sell you the book, but the book is stupid. Well, it's so dated - you can just write the names of the songs down.” Though I think if you don't have the decades and decades of experience she has, the books might not seem so easy to live without – all the teachers were interested in getting a copy.

But besides going through methodology, Mary emphasized teaching with kids, not at them. Her experience of teaching kids, being with them, and letting them teach her allows her to pass on the range of kids' responses; what works and what doesn't.

“If you're not sure how to do something, ask the kids - they're powerful," she said. "One of my favorite questions is, 'How would you do it?' They say, 'This doesn't make sense to me,' and I say 'Oh, hmm. Well, how would you do it?' and then they tell me. And if they go 'I don't know,' well, in my studio 'I don't know' is not allowed. If you don't know, you make it up.”

Just from the stories, you can tell Mary respects kids. She involves them in their own learning; values their frustrations even if they still have to do whatever is frustrating. Probably my favorite of the stories to come out of the whole meeting:

“One student came in - very fine violinist now - and her mother said to her, 'Tell Mary what you feel' and so she said (holding up a piano book) 'I don't like this book. It's too hard and there's too much to do.' And I said, 'You know, I get that. Let's just stomp on it.' So we threw it down and stomped on it. And when we were done stomping and ranting and raving on the book, I picked it up and I put it on the piano and said, 'Okay, let's do number six.' And she did!”
We were dying with laughter, so she gave us the moral while we were recovering, “So go with the student, and then go with your rule.”

Closing Thoughts

When Mary went off to get dessert (how many consults do you know that come with homemade dessert?), I asked the three women what their biggest takeaway from the day was.

Amber spoke of Mary's playful spirit and said, “She has a way of making everybody feel comfortable.”  Deborah loved Mary's positivity, “She says she's lucky but I think she's the kind of person who makes her own luck. She's kind of unstoppable.” And Cathy immediately answered:
“Every time I'm around Mary, what I take away primarily is just the level of creativity that's available; the level of fun and creativity you can have with anything. Anything.”

photos by Chelsea Schuyler
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A Healthy Sense of Doubt

8/4/2015

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       Years ago, I read a wonderful quote by the educator, John Holt. I paraphrase: "There is nothing so important as a healthy sense of doubt."  I have taken those words with me throughout my teaching career, and last week I truly understood what that quote meant to me.
       For the first time, ever, I taught a two week Taketina Class for SYMS at UNH, with one student in it. I was surprised, checked in with the student that she indeed wanted to be in the class, and then did my usual way of meeting the student's needs, and going in directions I sensed were the best way to go for her.  Yet I kept wondering, "Is this worth it for her?"  I found out.  On the last day of class, she presented me with a gift and a card.  I don't believe I have ever been so moved and so touched by such a gesture. I would like to share some of what she wrote:

       "Thank you for everything you have done for me at SYMS. You have been a role model, a mentor, and even a friend.
        I loved experiencing Taketina with you....You have given me the confidence I need to make mistakes, and to have fun        
        with learning tricky things.  I am going to try to be the best opera singer the world will ever hear, and I will never 
        forget  how you helped me along my journey."

My healthy sense of doubt was put to rest. Thank you S......  for showing up,  playing with me, and choosing to learn.
I look forward to hearing you sing "Aida".  For that experience,  I have no doubt.


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Ah, What lessons life offers us......

7/13/2015

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July 9, 2015

Today, a dear friend gave me a lovely, handmade journal she had made.  I don't usually have a habit of writing, but today is the one year anniversary of the brain hemorrhage I experienced last summer while hiking alone in the Northern California Coastal Range. 

Needless to say, this was a life changing moment and actually one that I treasure.  It truly (literally and figuratively) gave me "pause".  I paused because I could not go forward due to the excruciating pain in my head. So I paused, and lay down in a pile of leaves.  Immediately, I was in awe of the beauty around me.  When I finally did get up to walk the one half mile back to my friend's house, I paused with each step I took.  Life became a pause, a focusing, and a step forward.  I was experiencing a way of doing life:  pause, focus, take a step.

This amazing experience gave me three gifts:  the gift of profound gratitude, the gift of understanding death as the next journey, and most importantly, the gift of my lifetime partner Harold.  He was there. He was there in every way.  He was there for me.

Life gives us amazing gifts.  This gift was eighteen hammers pounding in my head.  I got the message, and I am eternally grateful.  Thank you. 
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Taketina in Words: Responses from first-timers at Two Rivers Farm

7/6/2015

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by Chelsea Schuyler

What is Two Rivers Farm?

two rivers farm gate
Decorative gate at Two Rivers Farm
As we turned off a bridge near Aurora, Oregon, I asked Jake, “Do you know where we’re going?”

“I think we’re supposed to look for a rock,” he said, and I laughed. So, rural then.

He handed me the directions, a very long paragraph that included passing a hazelnut orchard, a stand of redwood trees, and orders not to go past the bend in the road. All I knew was that Jake and I were to meet Mary at a place called Two Rivers so they could do Taketina and I could take some photos.

Miraculously, Jake did spot the little rock that marked the entry, and we headed down a long gravel driveway. When we got out of the car, we were greeted by a couple of friendly dogs, and the call of a peacock from just beyond the trees.

There were people bustling about from a two-story house to outdoor picnic tables, collecting dishes from under a large wooden overhang that was being devoured by Concord grapes.
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It’s “Work Week” at Two Rivers Farm, a 35 acre refuge who’s members and visitors believe, according to the website, that “people interested in self-development would benefit most from circumstances where real work was demanded.”

This annual gathering brings about 70 people to work on various projects, join in communal meals, and in the evening participate in guest-led workshops and events.

We were led on a tour by Matthew Eveleigh, a nearby resident who had done Taketina once before at Mary’s house and asked that she come and lead a journey at the Farm.

In his soft, welcoming voice, he told us all about the buildings and their various iterations:


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 A beautiful stone sanctuary that was originally a tool shed; one of the first buildings from 40 years ago that was now used for storing and drying hazelnuts; a community school.

As we walked, goats roamed an apple tree orchard, balancing on hind legs to scarf down as much fruit as they could.

The First Taketina

After the dishes were put away and all was cleaned up, it was time for some 50 people to experience Taketina for the first time. In a large, upstairs room with hanging lights and wood floors, Jake strapped on his drum and bells. As people filed in and sat down, Mary introduced the journey as a way to wonder about why we are here on this Earth.

She explained that sometimes there is flow and sometimes there is chaos, that to “fall out” of rhythm is inevitable and okay. She closed with an intriguing statement, especially for those who had no idea what they were in for:


“How you do Taketina is how you do life.”
View of Mt. Hood from the Taketina space
View of Mt. Hood from the Taketina space
orchard at Two Rivers Farm
When everyone stood, Mary guided them into the syllables, the steps, then the impossible but playful games that sent the serious, concentrated group into hysterical laughter. Elders sat in chairs and tapped their feet, younger children giggled and weaved in and out of the line.

“Exaggeration is a great learning tool,” Mary said as she had folks pointing across the room or reaching to the sky before turning the movements into claps. The call-backs began, and the group seemed to relax. They got the flow, until they were immediately thrown off, of course, but they seemed to get used to expecting it.

When it came time to wind down, everybody laid down almost all at once. At first it felt like a clamor, but they settled quickly and continued to sing the call backs, softer and softer until just a murmur could be heard. The murmur of 50 people created quite a beautiful, resonating hum.

After returning to a circle, Mary invited the people to share anything of their experience, and asked with a smile, “So, why on Earth… did Matthew want you all here?” The people chuckled, but no one spoke. The silence hung awhile, and I could feel racing thoughts wanting to burst out of chests, but they all waited to see who would dare speak first. Who would set the tone?


After Taketina – the reactions

Matthew spoke, feeling some obligation:

"The first time [I did Taketina] it was a new idea that chaos could be welcomed. Not only welcomed, but celebrated. That for me is transformative. My first thought was ‘these people have to come to the Farm.’ ”
statue at Two Rivers Farm
Another break, until a middle-aged man just near Matthew shared. “There’s something very soothing and ancient, it brought an ancient memory of connection,” he said. “The feeling it created was of joining in on a vibration that was very healing.”

A younger man with long blond hair, tied back in a pony tail, joined in from across the room, “I got to see in myself – what are the impulses, resistance, agreements that arrive in me? – and then be as impartial as I can.” He added after a moment, “I still feel like I’m dancing.”

The idea of letting go seemed to resonate with many in the group. Acceptance within or despite chaos became quite the theme.

A young woman remembered “how much joy it brings me to mess up completely” and another said “I had the support of the group –when I was lost, the others indicated the way.”

“For me to experience chaos with all of you is very comfortable.”
“The fun over-rode the chaos.”
“Self-judgement comes up. Something about doing this tells me [self-judgment] is learned.”
“I was happy to participate with the chaos, and that’s not who I am in life.”


Mary nodded and said, “That’s how children learn, but they don’t see it as chaos.”

two rivers farms logoFind out more at Two Rivers Farm’s website
An older gentleman spoke from the far side of the room, “Normally I feel like I’m going through life on my own. You [Mary] would do things with your body or your smile and I was like, ‘Damn, this is good!’ I haven’t lived my life in my body, but I sure tried for an hour and a half.”

The group laughed, the conversation could probably have gone on for awhile, but it was getting late. After thank yous both ways, the people began to scatter back to their tents and cars and homes. I couldn’t help but wonder what other insights would be shared from this contemplative community in the coming days.


photos by Chelsea Schuyler

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"Gratitude is happiness doubled with wonder."    G.K.  Chesterton

2/9/2015

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In the Fall of 1964, I took the required Piano Pedagogy Class at NU. I was a junior in college and very distraught about our educational system in general.  This class was taught by the nationally know pedagogue, Dr. Guy Duckworth.  Every week I observed him teaching two fourth grade boys, teaching them in an atmosphere of fun and discovery, in an environment where mistakes and confusion were valued and most importantly, where there was respect for the learner.  I was furious!
So I decided to act out my frustrations. I cut class, I arrived late, I talked during class, I sent notes.  A few weeks into the term, Dr. Duckworth asked me to come see him.  He began our meeting with "I have noticed lots of frustration and irritation from you, and I'm curious what that might be about."  I was suspicious and thought, "Why not."  So I blurted out all my pent up feelings, even calling Dr. Duckworth's ways of teaching "fake!". Then I felt like Chicken Little and waited for the sky to fall.  He just looked at me and calmly said ""No one's ever called me  fake before."  I was stunned.  He continued, "Let's make a bargain.  You come to class regularly, and whenever you feel something is 'fake', challenge me, challenge the process and let's see where this takes us."

That was a major turning point in my life. I had been heard.  I never cut class again, and I challenged what confused me. I was listened to, I was respected and I learned.

Guy Duckworth was a major influence in my life.  Because of him and his modeling, I became the teacher I am today.
Because of him, I teach using the question, I respect the learner and I teach with joy, curiosity and affirmation.

Guy Duckworth died two weeks ago at the age of 91. For the last fifty years, there has not been a day in which I did not think of him and thank him for all he taught me.  And I know I will continue to thank him daily.  I am truly and eternally grateful to you, Guy Duckworth.
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Using the Question

1/18/2015

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I have found that one of the many joys of teaching is to pause, go inward, and wait for the right question to be there.
 
A high school senior was preparing for  her piano audition for college music programs.  At her lesson, she played a Chopin nocturne.  What I heard did not touch me in any way.  She finished and turned toward me.  I waited,  went inward  and listened for whatever would emerge.  Finally, I said  "Do you have a soul?"  She looked surprised, and answered "Yes."  Again I paused, went inward and waited.  "Do you have a musical soul?"  Now she looked uncomfortable but answered
"I think so."   So I waited yet again, and listened for my next question.  "Do you trust your musical soul?"  Now her eyes were moist, she waited and then whispered  "No."   So at last we found the place to begin, to explore and to learn how to trust that musical soul.  


For me when learning situations get quite deep or serious, it's important to balance that with some humor.   So I suggested she  "play around" with exaggerated musicality, using excessive everything from extreme body movement to absurd dynamics and rubato.  Something seems to free up with such antics.  And then to return to playing "real" Chopin and accessing that sometimes elusive musical soul.

For the next two months, I observed and heard her musical soul emerge.  It would be up to her to trust it.

I know that I trust my musical soul and I also trust that space where I wait, and listen for the question I want.
What do you trust or not trust within your soul?



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Mary Kogen
Pedagogy & TaKeTiNa Workshops
Portland, OR
503-407-1382
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