About The Suzuki Method
(it’s a different way of learning) (copyright: Graham Rix)
Shinichi Suzuki was a man who spent his whole life educating others and himself, and was at pains to point out that “the word education implies two concepts: to educe, which means to bring out, to develop from latent or potential existence, as well as to instruct. His was a lifetime’s work dedicated to this end and as such is as illuminating as it is far removed from many mainstream education systems. If we are to approach an understanding of the Suzuki method most of us will need to be prepared to revise and re-examine the perspectives we have as teachers or parents. Some of the motivations and expectations that traditionally we have accepted will probably change and words and phrases like “success” and “good students” will take on a fresh meaning. If the bedrock of our understanding of the education system springs from our own schooldays, it is as well to be mindful of Suzuki’s comments on schools and how they serve to educate: “…. the emphasis in schools is only on the instruction aspect, and the real meaning of education is totally forgotten”.
To understand what Suzuki meant by this is to understand what is at the very core of his method. Just as his method developed over many years and after many moments of insight and hours of hard work so we must approach our attempts at understanding these matters in an open minded and enquiring way.
Suzuki grew up in Japan and it was the Japanese culture that informed his emerging personality. More directly there was also the strong influence of his father who was a hard working and enterprising man whose factory specialized in the production of violins. Suzuki says “I learned countless things from my father, both morally and materially. Besides his ceaseless research and study, he taught me sincerity through his manner of living”. This is as if to say, the way we live is important - it matters how we conduct ourselves. Much as we would seek out what we want from our lives we also have to be true to ourselves and to those around us. In keeping with these influences, Suzuki was a very thoughtful man and listened gladly to others in the hope that he might learn something. He would rather give thanks for what he had than ask for more and would honour and celebrate the things that were the very essence of life. These were some of qualities that characterised his manner of living.
For such a man it comes as no surprise for us to learn that music was an important part of his life. Although his formal training began very late, not until he was in his early twenties, it would seem that like many aspiring musicians Suzuki was constantly listening and observing the great players of his time. This afforded him the opportunity not only to experience their playing first hand but also to begin probing the workings of the mysterious realms of music making; why does the sound of a master player resonate so beautifully and why does their playing look so effortless and yet is able to communicate so much of such beauty? Had they been able to learn things that others could not and where was the seat of their talent? During his twenties Suzuki spent most of his time in Berlin and here, with a wide variety of well developed friends and teachers, he absorbed so much that was later to percolate through into his teaching in answer to many of these questions. At this time, he was quite clear, “… my ultimate desire was not to become a great performer but to understand art”. The importance of art and the role it plays in developing us as individuals on the one hand and collectively on the other, was all too apparent to Suzuki. “A work of art” he said “is the expression of a man’s whole personality, sensibility and ability”. It is little wonder then that on his return to Japan in the early 1930’s he began the most remarkable journey as an educator; the medium was music, the instrument was the violin and the catalyst was a four year old boy in need of a teacher.
It was 1931 or 1932 and Suzuki was teaching mostly young men at the Imperial Conservatory at this time. He felt he needed some time to think before he accepted a four year old as a student, after all, how would one go about teaching a child so young? Then came a moment of inspiration. Suzuki was fond of saying how important our moments of inspiration are and how we must grab them at every opportunity or they will be gone. This moment set Suzuki on a course that was to change his whole life, a course that would give form to so much that had until now remained in the realms of his intuition. He explains “…. it hit me like a flash: all Japanese children speak Japanese! ………… since they all speak Japanese so easily and fluently, there must be a secret; and this must be training”. Was it possible that young children could learn to play the violin in the same way? Determined not to let this moment slip away Suzuki began exploring in an attempt to find out if this was possible. The discoveries he made were remarkable. After years dedicated to this end he was able to formulate and demonstrate what great riches awaited those who understood and could apply to music the processes associated with learning the mother tongue - what great riches awaited those who as good educators could therefore both educe and instruct.
We begin learning our mother tongue by imitating the sounds we hear around us. Hearing is the first sense to develop in the womb. If we are stimulated as babies so that we want to become involved in the world around us then we begin to interact with it. We imitate not only the sounds we hear but the movements and responses we see. We model ourselves on those around us, particularly those who we perceive to be our parents and we learn that as we have needs, if we can communicate those needs then those needs are often provided for. As we begin to interact with the world, if our experiences are positive then we begin to get more curious and to enjoy the part we play. We have fun and build on our successes and once we get the hang of how words work - well there’s no stopping most children! All at once they are empowered - very soon they just can’t stop talking and learning more and more words and what’s even more fun is to just ask questions, engage with others and explore the workings of the world around you. In this way personalities emerge. In applying this knowledge to the learning of a musical language one can see how key factors emerge as important.
Start Young: we are all like huge sponges for our first three or four years. The world comes pouring into us through all of our senses and these sensations contribute to the sum total of who we are. Even when children are physically too young to play an instrument themselves, if they hear music, play musical games and observe others enjoying music and musical instruments then the seeds inherent in these musical experiences will have begun to take root.
Every Child has Ability: this is one of the most striking aspects of the Suzuki method. Just as every child learns to speak their mother tongue, so every child can learn to make music. Both are concerned with using muscles and making sounds in order to service a language. With the correct approach, there is a latent potential in all children to make music that can be developed. Suzuki was able to demonstrate this time and time again and using the method he devised there are now Suzuki studios all over the world that consistently demonstrate that all children have a huge capacity for developing their ability. Suzuki said “talent is no accident of birth”. When we perceive a child to have very well developed abilities in a particular field (like music), we are inclined to think this is in an inherited talent. Suzuki was clear “ the only superior quality a child can have at birth is the ability to adapt itself with more speed and sensitivity to its environment than others”.
Environment: we are all affected by the environment in which we live and learn. For young children who are constantly learning it is so important that the world invites them to contribute and returns favourable responses. As they reach out so must they be stimulated and guided and feel safe and secure. In all arenas, kindness, love and an empathetic approach from parents and teachers alike must contribute to the child’s sense that there is great joy in making discoveries even if they are unexpected. Especially where the child is in a dedicated learning arena (like a teachers music studio), the child must feel that it is an exciting and interesting place to be. A musical environment will help to develop musical ability.
Parents: the overriding environmental influence on very young children is their parents. The child relishes their close contact and for many years and in many ways it is the parent that is responsible for nurturing the child’s abilities. Even when a child has begun their musical education with a teacher the most important educator is still the parent. They will be the ones who spend most time with their child as ability develops and “the development of ability cannot be accomplished by mere thinking or theorizing, but must be accompanied by action and practice …”. The parent’s awareness and joy in participating in this development will affect the outcome.
Talent Develops Talent: just as with spoken words and language, as children develop an awareness that they can make musical sounds that they recognise, so a confidence develops accompanied by a desire to use their newly acquired skill. Just as words lead to sentences and a new and exciting way of participating in life so too with music as notes become phrases which become pieces to be shared and enjoyed. There is a musical equivalent to children who just can’t stop talking - children that just can’t stop playing, and in this way their talent develops talent as they are motivated to keep adding to their existing skills.
Taking these broad themes on board, Suzuki developed a systematic approach to educating children that paid homage to their extraordinary potential. This education must start while children are still very young. Children aged three and a half and four are usually ready to begin their Suzuki lessons. By this time they may well have heard the lessons of older siblings or observed mum and dad partaking in musical activities, so it is only a beginning in the sense that it is their first contact with the teacher. Lessons are fun and must be an appropriate length for the child - a board or tired child will adapt less readily to the circumstances and develop at a slower pace. It is the responsibility of the teacher to be aware of this at all times whilst seeking the support and cooperation of the parent too. The parent - teacher - child triangle is fundamental and the development of any young child participating in a Suzuki programme relies on there being healthy relationships between all three parties. As well engaging with the child, the teacher will work directly with the parent too since they will be the model for the child between lessons and children generally love to copy whatever mum or dad is doing - it’s fun! Parents need to take notes and to work with their children every day at home.
Lessons begin with a bow. This sets the tone demonstrating a willingness to participate, that there is appropriate control of the body and that symbolically all parties respect each other. Both bowing, concentration, posture, balance and other physical skills may all need to be fostered through games and activities both in and out of the lesson over many months before the child is ready to even pick up their instrument or sit at a piano. These skills will only develop if we nurture them. Repeated attempts may be unsuccessful but as long as there is the desire and motivation, and after many thousands of repetitions sometimes, adaptations are eventually made that enable the skill to be learned. This is fundamental to the whole of the Suzuki method.
Even then there are other arenas of preparation. Just as a young baby is constantly hearing the sound of words and eventually imitates these sounds, so too with Suzuki music programmes. Always, it is ear before eye. The children must know in their heart the sound of the music they are learning. To this end, listening to recordings of the pieces as well as hearing live performances is a constant part of any Suzuki education. Especially in the early to intermediate stages this is of the utmost importance - after all, one wouldn’t expect a child to learn to speak by reading!
Once a child is ready to begin playing their chosen instrument it is most important to remember that just as the vowel sounds we learn as very young children will influence the sound of all the words we speak for the rest of our lives, so too with the basic gestures, touches and sounds that we learn on our instruments. In recognizing this Suzuki devised a series of variations on Twinkle Twinkle Little Star that every teacher and student could use in order to develop their ability and to master these basic sounds. These variations are adapted to reflect the skills needed to produce sound on different instruments - violin, piano flute etc. The teacher will demonstrate and the child observes, listens and imitates. Natural use of the body, balance, familiarity with the instrument, listening skills and a growing awareness of pitch and rhythm are all considerations to this end.
So begins the process whereby talent develops talent. Suzuki assembled other pieces that amount to a progressive repertoire for each instrument. Each new piece demands of the player that they master a new skill or skills and as the emphasis is on mastering the skills rather than completing the piece, these skills are easily applied in any pieces thereafter, whenever they are called for. It is still ear before eye and pieces are played from memory. Suzuki students are encouraged to play to each other, to attend group lessons and to take part in larger group concerts. Sharing and comparing serves to inform, motivate, empower and refine.
It is within this collective context that Suzuki’s intentions as a great educator are perhaps at their most ripe for understanding. Everyone is engaged in sharing a common experience. There is a shared repertoire and a community of musicians. Constant review of the repertoire is encouraged and beginners hear how more advanced players have mastered one or more subtle aspects of the pieces that they are playing. There is respect and openness and a willingness to learn from each other. It is into this arena that most come to appreciate that behind every note of truly beautiful playing lies a beautiful sound. When we hear it, it is unmistakable. Just as singers vocalise and work for many years to let their bodies resonate naturally to release their true sound so Suzuki wanted instrumentalists to do the same: he called this “tonalisation’.
I sense that with phrases like “beautiful tone, beautiful heart” and “all body, all spirit” Suzuki sought to convey what he had learned from a lifetime of listening and engaging with music and musicians. His goal wasn’t to produce virtuoso musicians but to equip young people with skills that in empowering them as individuals could be put to the service of humanity. We need to listen - to our hearts. The astonishing experience of hearing a trio of Suzuki trained chamber musicians playing Haydn when not one of them had yet reached the age of ten is not to be underestimated. It is not their virtuosity that impacts, nor their youth alone but their shear presence and the joy and vitality in their playing which seemed to celebrate the music with intent that was far in excess of their years. The cellist Pablo Casals once spoke about music as
“…. such a high thing in life that perhaps it is music that will save the world”. He had just been listening to four hundred of Shinichi Suzuki’s violin students.
(copyright: Graham Rix)
