strong connections

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7 By Amy Boyes

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Although multiple factors contributeto the success of a students musi-

cal education, a healthy relationship

between a student and teacher

greatly contributes to a positivelearning experience. A student sometimes

thrives or wilts under the tutelage of one

teacher more than another, and a strong con-

nection between a student and a teacher can

be difficult to achieve. Although the teacherleads the rela-

tionship by

transferringknowledge,

sharing wis-

dom and pro-

viding

direction, anastute

teacher will

also considerthe emotion-

al and psychological needs of the student.

This paper analyzes four sample personality

types, three learning styles (aural, visual and

kinesthetic), two methods of communication(behavioral and cognitive) and two perspec-

tives (macro and micro). This theoretical back-

ground lays the basis for a practical model:

The instruction of a C-major scale to fourpiano students with contrasting personality

types. If teachers understand their studentspersonality types and learning styles, they can

modify the teaching approach and perspec-

tives within the piano lesson.

Theoretical Background

Personality types

The quest to understand personalities can

be found in civilizations as early as Ancient

Greece. Hippocrates (460 BC375 BC) devel-oped the theory of the humorism, which sug-

gested that the bodys four fluids, or humors,

regulated its health. This theory was laterexplored by Galen (129 AD199 AD), who

hypothesized that the balance of the four

humors contributed to moods or tempera-

ments. According to historian J. F. Payne, in

Galens dissertation De Temperamentis we finddeveloped the theory of humours and tem-

peraments, which formed the physiological

basis of Galens system of medicine; andwhich, conveyed through many popular med-ical works to the lay public, entered largely

into the current philosophy of the time.1

Although undoubtedly influential, the theo-

ry of physical and emotional temperamentshas been critically analyzed by modern sci-

ence. Even as early as the 1800s, researchers

and philosophers were searching for other

analysis of human behavior than Galens theo-ry of temperaments. In 1861, for example,

Strong ConnectionsBuilding Positive Teacher-Student Relationships Based

On Personality Types, Learning Styles, Methods Of

Communication And Contrasting Perspectives.

InspirationThe better you know [your students] the

better you will be able to teach them. When

you know your students individual needs,

you can adjust your approach to their learn-ing styles, [and] emotional makeup.

Never underestimate the effect you may

have on your students lives.

Bonnie Blanchard

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Scottish

philosopherAlexander Bain

wished to sepa-

rate the func-

tions of thebody from the

emotional tem-

peraments and

argued that thedoctrine of the

temperaments

was a retention of an ancient and clumsydevice.2 More recently, American psychologist

Jerome Kagan hypothesized that a theory oftemperaments or personality types based on

physicality alone was too simplistic, suggest-

ing that age and experience influence per-

sonalities as well.3 In 2011, American Robert R.McCrae argued that because personality

types are a universal element of human

behavior regardless of geography or genetics,

the ancient theory should be revised.4

Despite the controversy surrounding thestudy of temperaments or personality types,

the observation of behavioral characteristics

is a helpful exercise for a teacher. If a teacher

realizes the inherent personality differencesbetween students and embraces these differ-

ences, rather than attempting to change or

mold them, perhaps appreciation and empa-

thy will develop in the lesson instead of frus-tration or strife. Although categorizing the

whole of humanity into four personality types

is unrealistic and utterly simplistic, the use of

four personality types as an example ofpoten-tialpersonality types is a useful mechanism.

There are a plethora of theories on personality

types prevalent in modern psychology. Popular

personality type theories include the Myers-Brigg Type Indicator and Friedmans Type A and

Type B Theory. For the purpose of this paper, the

theories of American psychologist David Keirsey

will be used as a basis for discussion and expla-nation. Keirsey named his four personality types

Artisan, Guardian, Rationalist, Idealist.5

Martha Baker-Jordan makes the followingobservations in Practical Piano Pedagogy:

8 The Artisan Type: These people areimpulsive and hunger for stimulation. They

take great chances to gain the rush. The

Artisan refuses to be tied down, and if

they become burdened with responsibili-ties or if they feel life is too binding, they

can become restless and have the urge to

escape. This type is also the great per-

former. As students, they are highly active

and easily excitable. An artisan might beenergetic and enthusiastic but perhaps

not very thorough. He will have a hard

time being patient enough to take con-crete advice or direction.

8 The Guardian Type: These people are

responsible, stable and reliable. They seek

to do what is expected and enjoy fulfillingtheir duty. They want to belong, and they

want to establish and preserve social

units. They are steady as a rock. Guardiansare realistic, practical, reliable, protectiveand helpful to others. For this reason, they

have a be prepared attitude. As students,

they are conformers and are usually seen

as good students. They like to know whatis expected and enjoy following the rules.

A guardian will be conscientious but may

not be ready to take initiative for new con-

cepts. He is dutiful but may have problemsjudging himself objectively because he is

always looking to others for approval.

Current PerspectiveThe most up-to-date studies of characterformation, glandular function, metabolic

processes, and developmental and family

patterns have not contradicted in any way

the conclusions drawn by keen observers of

the four temperaments down through theages.

Randy RolfeThe Four Temperaments

InspirationThey [temperaments or personality types] are not to

be used to pigeon-hole yourself or anyone else.

Instead let them help you spread your wings. This

ancient wisdom is not meant to limit anyones senseof his own potential, or to cause you to underesti-

mate the reach of theirs. Instead it can open up new

vistas and possibilities.

Randy RolfeThe Four Temperaments

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8 The Rational Type: These people have

competence hunger. They want to beintelligent, to be able to do things well

under varying circumstances. They get

hooked on storing up wisdom. They want

insight into problems and are thrilled withproblem solving. This person is always

looking for the most efficient and effective

way to do things. This student is calm and

emotionally cool. They question the limitsand want logical reason for those limits. A

rational student might think for himself

and may show a willingness to experi-ment and to take advice.

8 The Idealist Type: These people do not

live in a world of actions, or responsibili-

ties, or competencies to be acquired,

rather they live in the world of people andrelationships. They hunger to have deep

and meaningful relationships. They strive

to be sincere and to communicate with

others in an empathic manner. Idealist

types search for their unique identity. Theidealist needs to feel special, valued for

their unique qualities, to have significance,

to have a sense of being worthwhile. Asstudents they are receptive, friendly, sensi-

tive and emotionally intense. They require

a great deal of time and attention from

their parents or teacher. They care deeply

about family members and are easilyaffected by how others treat them.6The

idealist student seeks approval and would

likely make strong emotional connectionswith a teachers opinions. The dependencycould become burdensome on the

teacher.

These personality types are narrow cate-gories but are insightful profiles of potential

student personalities. Personality types must

be considered in a synthesis with learning

styles.

Learning Styles

Each personality type prefers a certain wayof processing information and is more com-

fortable with specific kinds of presentation.7

This way of processing is influenced by the

way the information is presented. Just asthere are differing personality types there are

also differing styles of teaching and learning.

An invisible boundary or crossover-point

occurs between the presentation (or teach-ing) of knowledge and information and the

assumption (or learning) of the same. For

example, if a teacher presents informationaurally, the student will have learned aurally.

The teaching style has become fused, appro-priately or not, with the learning style. There

are three basic styles of communication

(aural, visual and kinesthetic). If the reciprocal

and mutual nature of teaching and learningwas to be acknowledged, these styles might

be entitled communication styles for the

teacher must communicate (teach) in a way

that the student can easily accept the com-

munication (learn). The teacher must absorbthe students learning style in order to teach

in that style.

In recent decades, this concept of learningstyles has steadily gained influence.8

8Visual learning is the processing of any

information absorbed through vision.

Perhaps there is no real differentiation

between what one views and what onethinks. Some suggest that vision and

thinking are one process; they cannot be

separated, either logically or pysciological-ly.9 For music students, visual stimulationmight originate from the music score, writ-

ten instructions on an assignment note-

book, or watching another musician

perform. Visual learner musicians might bestrong sight-readers or theoriticians.

8Aural learning is the processing of any

information absorbed through hearing. Formusic students, aural stimulation originates

from teachers spoken directions, record-

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ings, performances or their own playing.

Aural learners might enjoy playing by earand may develop superior sensitivity to

musical elements such as tone quality.

8Kinesthetic learning is the processing ofany information absorbed through physi-

cal activity. For music students, kinesthetic

stimulation might originate from mimick-

ing teachers actions, applying physicalmotions from everyday life to musical

study, dancing or moving to a specific

rhythm. Kinesthetic learners might havean excellent sense of rhythm, could be

closely attached to the feel of a certaininstrument and might memorize reper-

toire based on physical memory.

Although these learning styles providehelpful perspectives for teachers, they must

be viewed with a healthy degree of skepti-

cism as well. Researchers find that although

the literature on learning styles is enormous,

very few studies have used an experimentalmethodology capable of testing the validity

of learning styles applied to education.10 Like

personality-type assessments, learning-styleassessments are only a beginning place for

teachersa starting point for further explo-

ration. To confine students to a narrow per-

sonality type or single learning style could

limit their ability to develop into well-round-ed students and individuals. At present there

is little research to determine the results of

multi-modal learning. If a visual learner spenttime in an aural teaching environment woulda transformation occur? Currently researchers

do not have conclusive answers. Furthermore,

any example of education failure cannot be

blamed solely on the teachers lack of under-standing, methods of teaching and approach

to the subject material.11 Again, this explana-

tion is too simplistic. Learning styles can

evolve as the student becomes more disci-plined or mature, or as environmental factors

change. An awareness of learning styles

might contribute to a teaching style, but that

awareness is only one factor in a comprehen-sive teaching technique. This teaching tech-

nique can include the basic format that a

teacher requires a student to process the

material.

Behavioral And Cognitive Learning

Theories

The four personality types (Artisan, Guardian,Rationalist and Idealist) may prefer one learn-

ing style (visual, aural, kinesthetic) to another.

They may also respond differently to differentapproaches to information processing. A

behavioral learning approach and a cognitivelearning approach are two examples.

The behavioral learning theory defines

learning as the process of forming connections

between stimuli and responses. Motivation tolearn develops from drives, such as hunger and

the availability of external forces, such as

rewards and punishments.12 Students must

obey the teachers questions or instructions

and provide the correct answers or behaviors.Students understanding is being formed from

sources outside of themselves.13The behavioral

learning theory grew in popularity followingthe experiments of Russian physiologist Ivan

Pavlov (18491936) who developed the theory

of classical conditioning. By repeatedly ringing

a bell when food was given to a dog, Pavlov

conditioned the dog to salivate at the soundof a bell regardless of the presence of food. It is

perhaps difficult to consider any experimenta-

tion that was proven with animals rather thanwith humans, but Pavlov claimed that ashumans and higher-order animals share the

foundation of the nervous system, some very

general and tentative inferences could be

drawn from the latter to the former. Pavlovsprinciple of classical conditioning led to the

mergence of the doctrine of behaviorism.14

Similarly American psychologist Edward

Thorndike (18741949) theorized that trial-and-error repetition was an essential factor in

the learning of the connections (or associa-

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tions) between stimulus and response.15

Claiming that psychology is the science of theintellects, characters and behaviors of animals

including man, Thorndike also based the

majority of his theories on animal experimen-

tation. He concluded that if a response isrewarded with something pleasurable (such as

a gold star or praise for a music student), the

tendency to respond in that particular manner

is strengthened. If, however, the response is fol-lowed by displeasure (perhaps by criticism or

scolding) or no reward (the response is

ignored), the tendency to respond is weak-ened. The behavioral learning theory is built on

the fundamental principle that stimulus andresponse is a sufficient model for learning. One

can only wonder if positive reinforcement is

truly sufficient to motivate and sustain human

behavior in complex learning situations.16

Although most music teachers would not

instruct their students at a demeaning, ani-

malistic level that the behavioral learning the-

ory may imply, perhaps music teachers would

admit that stimulus-response teaching couldeasily occur. For example, imagine an extreme

case in which a music teacher who speaks

sharply to students when they play a note,chord or passage incorrectly and rewards

them with kind words when they play cor-

rectly. The student will most likely improve,

either by pure accident or by a superior sense

of self-preservation, but may not have under-stood the concepts of score-reading. Often it

is much easier, albeit much less effective, for a

teacher to treat the symptoms of confusionor ignorance rather than to remedy the defi-ciency. How much simpler can it be to give

orders, dictate information and berate the stu-

dent than to properly explain or demonstrate

a particular point.In contrast, the cognitive learning theory

regards learning as the thought process of a

student in an individual situation, subject to

the influences of that particular environment.17

The student first connects to her own experi-

ence and prior knowledge, then works in

reverse to assertain the theories and principlesthat contributed to that truth. A music teacher,

for example, may wish to teach the terms forte

andpiano to a young music student. A behav-

iorist teacher might verbally define the termsthen demand the student verbally regurgitate

that information. A cognitive learning theory

teacher might play a loud passage at the

instrument, then a soft passage, asking the stu-

dent to describe what they heard. Every stu-dent with normal hearing and basic speech

skills can describe the difference between the

examples because what they heard confirmedwhat they already knew: Some things in life are

loud, and some things are quiet. Hearing the

differences on an instrument was only building

on their previously attained knowledge. The

teacher might then provide verbal and visualdefinitions of the terms forte andpiano but

only after the concept of loud and soft were

experienced and absorbed.J. H. Pestalozzi (17461827) theorized that

concepts should be taught through direct

experience before the introduction of names

or symbols,18 and his theories were further

developed by J. H. Naef, who made the follow-ing recommendations to music teachers:

8Teach sounds before signs.

8 Lead [students] to observe by hearing imi-

tating soundsinstead of explainingthese things to him in a word, to make

active instead of passive in learning.

A Word of WarningA logical extension of the view that new knowledge must beconstructed from existing knowledge is that teachers need to

pay attention to the incomplete understandings, the falsebeliefs, and the naive renditions of concepts that learners

bring with them to a given subject. Teachers then need to

build on these ideas in ways that help each student achieve a

more mature understanding. If students initial ideas andbeliefs are ignored, the understandings that they develop can

be very different from what the teacher intends.

Bransford, Brown and Cocking

How People Learn

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8Give the principles and theory after the

practice.19

These approaches will be preferred in dif-

ferent quantities by some personality types

more than others. The last component of ateaching technique involves the awareness of

the micro- and macro-perspectives to every

musical issue or occurrence.

Micro And Macro Perspectives

Micro perspective: Build on small pieces of

information.Jean Pigat (18961980) proposed that

emphasizing structure and building upon itaids in the memory and retention process.20

The small steps, building on each other, con-

tribute to the understanding of the whole.

This process of teaching is easily controlled bythe teacher but can result in regimentation. A

student might believe the pieces of informa-

tion are pointless if they are not connected to

a larger, global picture. For example, a music

theory teacher might teach a student severalharmonic cadences. The student might be

able to identify and perhaps even construct

them on paper. However, if no connection ismade between this theoretical concept and

aural memory or recognition of cadences, the

performance of cadences or an analysis of the

cadences in the students current perfor-

mance repertoire, the student may feel a dis-connection between the theoretical element

and the aural sound. Although students that

prefer a step-by-step or sequential approachcan solve problems with incomplete under-standing of the material and their solutions

are generally orderly and easy to follow, they

may lack a grasp of the broad context of a

body of knowledge and its interrelationshipswith other subjects and disciplines21

Macro perspective: Establish a global under-

standing before details.

The German Gestaltpsychologists suggest-ed that structural (or comprehensive) under-

standing could produce greater success than

rote learning.22These psychologists theorized

that the human mind could grasp large con-cepts and then break them down into smaller

components and that the understanding of

the whole is a stronger determinant of suc-

cessful learning than the accumulation ofunderstandings about separate contingent

parts.23 Before global learners can master the

details of a subject, they need to understand

how the material being presented relates totheir prior knowledge and experience.24

However, the practical problems of present-

ing the larger, global picture cannot beignored. For example, most music teachers

work within a strict lesson time schedule. If ateacher attempts to comprehensively explain

every element of musical knowledge very few

elements will be taught within one lesson or

class.

Practical Model

Teaching a C-major scale

Understanding that there are many theories

on personality types, learning styles, andteaching approaches and perspectives, a

music teacher is faced with practical chal-

lenges. If a teacher settles into one modus

operandibased on his or her personal prefer-

ences, there is potential for a dissatisfying

learning experience for the students who do

not share the teachers preferences. For exam-

ple, if a teacher only presents material in abehavioral style, giving step-by-step direc-

tions but little explanation or opportunity for

the student to experiment or explore, a pre-cocious student might lose interest in theprocess. Likewise a teacher who teaches with

broad explanations and elaborate analogies

might confuse and discourage a student who

requires detailed explanation and specificinstructions. Practical concerns such as the

length of the instruction period, examination

or performance deadlines and student atten-

tion span may also contribute to the formatof the lesson. There is also, of course, the con-

sideration of personality type. The rational or

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idealist student might appreciate the step-by-

step instruction of the behavioral approachand may enjoy moving from specific details

to a broader view (micro perspective). The

artisan student, though, might have a greater

level of interest if a global perspective or bigpicture was provided before the details were

explained. Furthermore, learning styles must

also be considered. An artisan student might

learn more easily if the concept was demon-strated with a physical action (kinesthetic

learning style) that encourages them to expe-

rience information. The rational student mightlearn easily with a chart (visual learning style)

or detailed explanation (auditory learningstyle) that helps her understand the principles

or rationale.

There is no scientific formula to aid the

teacher through the maze of potential teach-ing ideas, but rather, the teacher must rely on

an awareness of the multiple learning theo-

ries and personality types that exist andshould endeavor to embrace new ways of

teaching. When a teacher understands the

importance of altering a teaching style to fit

the learning style of a student, the teaching ofevery concept and skill can be transformed

into a creatively fulfilling experience for both

the teacher and the student.

The following is an example of how a pianoteacher might teach a C-major scale to four

different piano students in the context of pri-

vate lessons. The chance to tailor ones teach-ing style to the needs of a specific student is

one of the major advantages of privatelessons.

Using David Keirseys four personality types,

the teacher might first ascertain the domi-

nant personality traits of the students:

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The teacher will then develop a response to these needs:

Emphasis: Performance

The Artisan will most

likely be intrigued byhow scales sound, feel

and look (potentially

from an audience mem-

bers perspective). Theymight be interested how

quickly, loudly or impres-

sively they can play

these scales.

Emphasis: Security of

Rules

The Guardian appreci-ates rules and direction.

A step-by-step approach

to fingering will be nec-

essary. They may be veryinterested in the conti-

nuity of scale-design

throughout all of the

major/minor keys andwill thrive in learning

them all one-by-one.

Emphasis: Structural

Analysis

The Rationalist mayneed both an under-

standing of the rules and

structure and an overall

understanding of how allscales are constructed

before they agree to

learning scales. An

emphasis on construc-tion will be appreciated

as they will want to

understand how scales

work.

Emphasis: Personal

Achievement

The Idealist will needsee how a C-Major scale

fits into what they have

already learned about

music. They will needfeedback that what they

are learning is important,

that they are doing well,

and that this will helpthem learn more about

music. They made need

to be rewarded after

they learn a scale.

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Artisan:

Needs to be emotionallyengaged. Loves thrills

and enjoys performing.

Guardian:

Needs to understand therules and will dutifully

follow them.

Rationalist:

Needs to comprehendthe theory and design

behind a concept.

Idealist:

Needs a personal con-nection to the concept

and the teacher.


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The teacher formulates a lesson plan specif-

ic to the needs of the student. Although thereare many ways to teach a concept, conscien-

tious planning will enable the piano teacher

to teach a topic in the most appropriate way

for a specific student. The lesson plan may betransformed throughout the lesson but a

starting point should at least be established.

Because the Artisan loves to perform and

be physically engaged, the first step will be tohook their interest (see Figure 1). The Artisan

will not be interested in a detailed explana-

tion of scale construction or fingering butwill, instead, need to be challenged as per-

formers and thrill seekers. The teacher mightbegin by playing scales in contrasting con-

texts. Simple examples such as Ferdinand

Beyers C-major scale exercises in Vorschule im

Klavierspielcould be used. The opening themefrom the first movement Mozarts Piano

Sonata K. 545 in Cprovides a perfect example

from the classical repertoire. The performance

of scales from repertoire will provide a visual

and auditory explanation and will establish acognitive understanding because the student

first experiences the scale in the context of

performance (something that excites theArtisan). Then the teacher explains that scales

exist in different kinds of repertoire, can

sound differently from each other, can be

played in different tempi and dynamic levels,

and could be exciting to play. The teacheroffers the experience (cognitive learning the-

ory) of hearing and seeing scales performed

(visual/aural learning style), which helps thestudent to experience the big picture (amacro perspective).

Figure 1: Artisan

Once the Artisan student is hooked or

interested in performing scales, a natural

desire to learn scales will develop and furtherdetails will be needed. The teacher moves

from showing (visually and aurally providing a

cognitive experience) scales in several con-texts to the more tedious and potentially tire-some aspects of intervals, notes and fingering.

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This second portion of the explanation

should be kept as brief and uncomplicated aspossible. The Artisan is quite interested in

playing scales but may lose interest if

swamped with too many details. Because an

Artisan likes motion and movement, thedetails of the scales might be taught with a

kinesthetic approach. The teacher plays C-D-E

with right hand (RH) fingers 1-2-3 (visual

learning) and asks the student to repeat(kinesthetic learning). This is followed by F-G-

A-B-C, RH 1-2-3-4-5. The teacher demonstrates

thumb crossing under finger 3 and the wholescale is put together. At this point, after some

trial and error and feedback from the teacher,the teacher may simply end the teaching ses-

sion with the right hand playing a one-

octave, C-major scale. The explanation is

purposely left short to keep the Artisanenthusiastic and focused. Because the Artisan

loves to perform and experience new things,

the teacher might assign the scale in different

rhythms, tempi, registers on the piano or

dynamic levels. All of these changes will keepthe Artisan excited to play scales. As time

goes by, the Artisan is introduced, one at a

time, to different keys, hands together, and amore detailed explanation of intervallic con-

struction and scale degrees. The initial instruc-

tion, however, is designed to spark the

students interest and keep him motivated.

In contrast, the Guardian student under-stands and appreciates rules (see Figure 2).

For an Artisan, rules are somewhat tiresome

but for a Guardian, rules are the foundationand guidelines for everything they do. Theylike security and gain confidence from know-

ing they are following a process. When teach-

ing a C-major scale the teacher might use a

behavioral approach, perhaps starting withstimulus and response that introduces the

details. The Guardian student is unlikely to

chafe under a step-by-step approach and will

appreciate receiving small bits of instructionat a time. The teacher might begin by pre-

senting the scale in notation to the student

(visual learning style). Emphasizing that the

fingering rules cannot be broken, the teacherwould demonstrate a two-octave, hands-sep-

arate scale noting that right-hand and left-

hand fingering are exact mirrors of each

other. As the student repeats, step-by-step,one hand then hands together, one octave

then two octaves, the rules of the scale finger-

ing are constantly being reinforced both ver-

bally and visually and by referring to thenotated scale. In time, the Guardian student is

made aware of scales in a global perspective.

Her understanding grows and she is comfort-able with scales in different keys, tempi,

rhythms and so on. This larger picture is pre-sented gradually as the small, step-by-step

pieces (micro perspective) grow into a larger

understanding (macro perspective).

Figure 2: Guardian

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Whereas a Guardian student finds security

and satisfaction in following rules, the

Rational student finds enjoyment and satis-faction in understanding concepts and con-

struction (see Figure 3). This student may be

less interested in performing scales than the

Artisan and may show a great deal of atten-tion to the small details. Because they are able

to grasp complex structures, the Rational stu-

dent might appreciate a cognitive approachand a micro perspective. In other words, the

teacher helps the Rational student experiencethe smallest details. By having the student

build the intervallic structure of a major scale

(tone, tone, semitone, tone, tone, tone, semi-

tone) either by playing, drawing or notatingfrom any note on the piano, the teacher is

providing the student an experience (cogni-

tive approach) with the minutest details of

the major scale. The intervallic construction is

just a beginning place (micro perspective) onwhich more steps will be added (specific fin-

gering, hands together). Once the Rational

student experiences the construction ofmajor scale and can recreate it anywhere on

the piano simply by its intervals, the student

has an experience to which more specific

details (such as scale fingering rules) can be

contributed. This is the cognitive approachdetails being added once an experience has

occurred. Throughout the process of adding

details, the rules behind issues such as scalefingering must be reiterated. Whereas theGuardian student would have been content

to know the fingering rules, the Rational stu-

dent must know the reason behind the rules.

For example, scale fingering rules that helpthe student avoid thumbs on black keys,

twisting hands or uncomfortable positions,

should all be explained.

Figure 3: Rational

The fourth and final sample student is the

Idealist (see Figure 4). This student is particu-

larly sensitive to the health of the teacher-stu-dent relationship and cares deeply about theteachers impression of himself. How diligently

the Idealist applies himself to the subject

matter is affected by the emotional atmos-

phere of the lesson, how inspiring the lessonsubject matter might be and how enthusiasti-

cally it is presented. The teacher might first

approach the C-major scale by explaining

that there are many scales, and as the Idealistmasters each scale he is perfecting his skills,

improving his playing and growing into an

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accomplished musician. Although this is a

slightly different macro perspective then

demonstrating to the Artisan student differ-ent examples of scales in repertoire or

explaining to the Rationalist student the inter-

vallic construction of all major scales, it is still

a perspective that encompasses more thanjust a C-major scale. Once the Idealist realizes

that learning a C-major scale is just the first

step of many, he may begin to note his ownprogress and will be motivated to learn multi-

ple scales or to incrementally increase histempo. When the teacher celebrates each of

the students achievements, such as number

of scales learned, the Idealist has an increased

sense of self-worth and pride. It is importantthat the Idealist student feels special that his

efforts are appreciated. Appreciation is what

motivates this personality type. The Idealist

should not be overwhelmed with details or

explanations but should be taught the funda-mentals of scale fingering with as much per-

sonal connection between the teacher and

student as possible.

Conclusion

This paper has not attempted to catalogue

theories on personalities, learning styles, teach-

ing techniques or even lesson planning.Instead, the purpose of this paper is to encour-

age music teachers to use the theories pro-

posed by educators and psychologists to betterunderstand their students and create a healthylearning environment. By being aware of per-

sonality types, learning styles, behavioral versus

cognitive learning theories, and macro and

micro perspectives, teachers can expand theirteaching techniques to allow for the differences

between students and experience greater joy

and fulfilment in their own teaching.

7

Figure 4: Idealist

Notes

1. Joseph Frank Payne, Introduction to facsim-ile edition Galeni Pergamensis de temperamentis

(Cambridge: C. J. Clay Publishing, 1881), 44.

2. Alexander Bain, On the Study of Character

(London: Parker, Son, and Bourn, 1861), 32.

3. Jerome Kagan, Galens Prophecy (Boulder,Colorado: Westview Press, 1997), 35.

4. Robert McCrae, Personal Profiles Cultures

Project,Journal of Personality and Social

Psychology, 88 (2005), 547561.


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Strong Connections

5. David Keirsey and Marilyn Bates, Please

Understand Me: Character and Temperament

Types (Del Mar, CA: Prometheus Nemesis Book

Co. 1978).

6. Martha Baker-Jordan, Practical Piano

Pedagogy: The Definitive Text for Piano Teachers

and Pedagogy Students (Van Nuys, CA: Alfred

Music Publishing, 2003), 150, 154.

7. Marienne Uszler, Stewart Gordon, and

Scott McBride Smith, The Well-Tempered

Keyboard Teacher, (Belmont, CA: Schirmer

Books, 2000), 252.

8. Harold Pashler, Mark McDaniel, DougRohrer, and Robert Bjork, Learning Styles:

Concepts and Evidence, Psychological Sciencein the Public Interest, 9, (2008), 105119.

9. David Sless, Learning and Visual

Communication, (London: Taylor and Francis,

1981), 16.10. Pashler, McDaniel, Rohrer, and Bjork,

Learning Styles: Concepts and Evidence,

105119.

11. Ibid.

12. Commission on Behavior and SocialSciences and Education (CBSSE), How People

Learn: Brain, Mind, Experience and School,

(National Academies Press, 2000), 6.

13. Uszler, Gordon, and Smith, The Well-

Tempered Keyboard Teacher, 227.

14. Ibid.

15. Ibid., 228.

16. Ibid.17. Ibid., 231.

18. H. F. Abeles, C. F. Hoffer, and R. H. Klotman,

Foundations of Music Education (2nd Edition),(New York: Schirmer, 1994).

19. Ibid., 11.

20. Edward J. Parker, Piano Pedagogy: A

Practical Approach, (Surrey, BC: Longbow

Publishing, 2006) 259.

21. G. Pask, Learning Strategies, TeachingStrategies, and Conceptual or Learning Style,

in Learning Strategies and Learning Styles, ed. R.

Schmeck, (Plenum Press, New York, 1988).

22. Anthony Orton, Learning Mathematics:

Theories, Issues and Classroom Practices, (NewYork: Continuum International Publishing

Group, 2004), 78.

23. Uszler, Gordon, and Smith, The Well-

Tempered Keyboard Teacher, 22.

24. Richard Felder, Meet Your Students: 2.

Susan and Glenda, Chem. Engr. Education,

24(1), (1990) 78.

Amy Boyes holds music degrees

from Brandon University and the

University of Alberta. She is a

teacher, performer, member of the

Canadian Music Festivals

Adjudicators Association and

council member for the Ontario

Registered Music Teachers

Association (Ottawa).

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