Summer Quarter 2000 May 29 - August 27, 2000

Competition Winners Named!

First Prize: Ruh Tmeizeh

Four years ago, in Ruh's first appearance in the Music Arts Performance Competition, he was awarded an Honorable mention by judge Kirk Trevor. The next year, judge Norris Dryer, himself a violinist, award Ruh the Third Prize. And last year's judge, Dr. Sande MacMorran, gave Ruh the Second Prize. This year Ruh dazzled judge Dr. Carroll Freeman (director of the UT Opera Theater) with a breathtaking performance of the first movement of Saint-Saens Violin Concerto No. 3.

It wasn't just luck that helped Ruh win. He's been studying violin with Jacinta Howard for 6 years, and admits to practicing at least one hour every day.

Second Prize: Meaghan Estes

Meaghan is in her second year of vocal study with Lisa Griggs. Since Meaghan's been appearing regularly in recitals, we've been able to hear and admire her steady progress.

Third Prize: Katie Dungan

Katie is a long-time French horn student of Marcay Dickens. Katie not only plays the French horn impressively, she's also studying piano and harp.

Summer Quarter Programs

Music Arts' Summer Intern Program is going into its third year. This remarkable program offers beginners the chance to try an instrument during the summer months, at a cost of about half the normal cost of lessons. It pairs these students up with advanced Music Arts students who would like to teach, all in a supervised situation with our faculty members. If you know a child who would like to join us for a summer of studying violin, cello, piano, voice, or flute, tell them to call us!

Underwriting WUOT!

Music Arts is proud to be underwriters of WUOT's weekly broadcast of the National Public Radio's program, "From the Top." Every Sunday from 6 to 7 p.m., this program puts the spotlight on exceptional young musicians up through age 18, nationwide.

We admit the program is a cut above the typical Music Arts recital. But we're delighted to cheer the success of students across the nation. And maybe inspire our own students. Listen up and enjoy!

What's a Parent to Do??

What makes one music student successful while another drops out without having a very satisfying experience?

We decided to poll our faculty and ask what they think the key ingredients are. As you'll see below, there are many angles with no simple answers. Not suprisingly, many instructors listed Parents as a main ingredient. We realize that each student is different, and home situations vary widely. If you're looking for hand-tailored answers, you won't find them, but we hope that being able to "pick the brains" of some of the area's best music instructors can give an insight that might help you and/or your child get more out of music lessons.

What's a Parent to Do?? Marcay Dickens, French horn: I think that students who succeed do so because of their inner drive. They really want to do well in their chosen instrument and continue an interest in music. That's where the parents can encourage them by helping, by taking them to concerts, attending recitals, encouraging them to play in church, playing music in the home... all types of music. A good analogy is that everyone wants to do well in driver education, and they really try. It's the same with music. You have to want to do it. Harold Nagge, guitar: All you can do is give a student some space to explore things. Even if he/she decides to quit, he/she might try again later. Nancy England, cello: You can have a world-class teacher, but if the student doesn't practice, it's wasted time and money. It's no surprise that music teachers often refer to this as "babysitting." Frequently a student with potential will coast along on charm and wits, while less talented students keep slugging and get farther ahead. Sounds like the Tortoise and the Hare, doesn't it? I sometimes remind my students that it was their idea to study cello, and it's not up to me or their parents to bully them into practicing. I can give them interesting pieces to learn and help them overcome bad habits that make playing difficult, and the parents can help them set up a realistic practice schedule. But the inner desire and self-discipline has to come from them. Bill Thiessen, tuba: I don't see many problems because by the time a student gets to the age to be able to handle a big instrument like tuba, he or she will be fairly responsible. Having supportive parents is crucial, though. The great thing is to be encouraging, but not push. Just let things take their course, and if a kid's going to practice, don't let things get in his/her way. Hopefully, though, it won't be a last priority, like the last thing done before bed! Lisa Griggs, voice: Practice is the most obvious answer, along with the student's attitude. Remember that it's OK to make mistakes, and don't get discouraged. Encouragement from parents is important -- giving support to the kids by encouraging them to keep going. Parents can remind them of something they're already good at, and ask them if they were always good at that? And how did they get there? Jean Box, flute: Something as simple as asking, "What did you learn at your lesson today?" My favorite recollection is about the parents who would sit and listen to their kid every single night, like a small recital. Parents need to take an interest in what the student is doing. Don't just leave it to the teacher. Sometimes parents will pay $40 for an exercise book, and then think they've had a really big part in this. There's more to it than just paying the bill. Parents need to have human involvement! Edward Pierce, piano: I can name three things that are important. One is Goal-setting. The student needs to have some idea of where, and how far, he or she wants to go. The second is Expectations. What do the parents expect the kids to do, and what do the kids expect the parents to do? For example, the parents obviously should expect the kids to practice as part of the deal. I can always tell when this expectation is there, because the practice will be there. The third is Consistency.... in parents' expectations, in their support for what the child is doing, in consistently praising good work, in supporting the teacher, in making sure the student gets to each weekly lesson. All this is coming from the parent, which makes a big difference. Joseph Tutton, guitar: I think it's not "Make that kid practice" as much as it's "Let that kid practice." Sometimes parents actually stop their kids from practicing because it's annoying, and they want the practicing done when it won't bother other family members. Kids are kids. When they get the urge to go practice, let them do it. And don't keep saying, "Well, can't you play a song?" when they're practicing scales. Warren Clark, trumpet: I remember when I was a kid, my uncle sent me a symphonic recording featuring two trumpet soloists. Until then, I had only heard Herb Alpert and the Tijuiana Brass. It was an eye-opener! And the first time I heard the opening Promenade from "Pictures at an Exhibition," gosh, it sounded like 20 people, but it was only one guy with a big tone. It opened my ears to what good players sound like. Parents should take kids to concerts and get good recordings, something besides what the kids hear on the radio all the time. Rudolph Nemeth, piano: Of course it's much easier to play video games or watch TV instead of practicing! Sometimes kids need to be prodded. But students aren't the only ones who give excuses for not practicing. Some parents will always blame something getting in the way of practicing. What it comes down to is that parents need to be more involved. I remember that when our son Rudy was little, my wife got suspicious that Rudy was not doing what his teacher told him to do, even though he was practicing every day. So she went to the lesson and it was totally different! He just practiced what he already knew and wasn't making much progress! Stacy Taylor, violin: No fluffling around about daily practice. Make sure the student will put in practice time every single day. Some parents make excuses for their children, saying, "Well, you know, they waste time, and there are so many activities." The biggest thing my mother did for me was to expect me to be regular in my practicing. She said, "If you breathe every day and you eat every day, then you practice every day." Phyllis Shepard, recorder and piano: I see it as the parents taking part and giving encouragement. I've had some students drop by the wayside, and I think it's because they didn't have the backing or support of their parents. On the positive side, one of my "mothers" does such a fantastic job. She insists that her children practice every day, and if necessary she sits there with them even though she's not a musician herself. All three of these kids are different, each requiring a different approach and different music books, but the important thing is that the work ethic is there. It really helps them get ahead. She lets them know that they have to work to accomplish something. Kimberly Simpkins, voilin: Sometimes it's the parents' goal rather than the student's. Not surprisingly, my best students are the ones who made the decision to play, rather than their parents deciding. You can easily sense it when the kid wants to be there. And there has to be willingness on the parents' part to make sacrifices, even for such a basic thing as making sure the kid is at each lesson, no matter what. Tom Johnson, saxophone and clarinet: Several things come to mind. First, be willing to spring for good equipment. There's more to it than paying the teacher. Expect expenses and have a budget for a decent instrument, especially beyond the beginner level. Next, remind kids that practicing is like homework. If you get a day or two behind, it's hard to catch up. Set up a regular time and place. Another important ingredient is the parents' enthusiasm. If parents are apathetic, for example, when it comes to ordering music, and weeks or months go by with no book ordered, you can hardly blame the kid for being apathetic! Terry McCracken, voice: There has to be a sense of purpose and a realistic expectation of the purpose of lessons. Students who drop are very often ones who just wait for the teacher to give them something. If they're not pleased with what they're given, they lose interest. They sometimes think they can step right into the role of a professional musician. Successful students commit to a process of learning and working to learn. Ilia Steinschneider, violin: The most common reason for a student losing interest is that when they don't practice enough, they don't make improvement, and they feel that taking lessons doesn't have a good effect on their playing. Family participation can be helpful. Parents can participate creatively, helping kids to make progress by encouraging them.