Wednesday, March 19, 2008

Teachers

I am always befuddled when I hear others talk about some teacher they had growing up that was a huge influence on them. Besides my parents, I never really had any teachers I even particularly liked until I got into college. Perhaps that’s why I’m confused when others tell me I would make a good teacher. Does such a thing exist? What is all this hullabaloo about teachers?

In my experience, most teachers are basically a resource for book recommendations on a subject. In this role, teachers are about as useful as a library card catalog, and only the best are as useful as the bibliography of a book you enjoy. Teachers assign books to read, or worse read them to you, and then test you on your ability to comprehend or remember what you’ve read. These tests are always biased in favor of the teacher’s interests.

In college, I finally had some teachers who had formed personal opinions and insights on subjects which they had studied extensively, and they shared these opinions with us. In this role, teachers are as useful as reading a book. After all, most of them were published authors.

I’ve rarely received any hands-on (experiential) training from teachers, which interestingly is the only kind of learning you can’t get from a book. Growing up, teachers assigned these roles did nothing but hand me a pencil and say "draw something" or put a piece of music in front of me and say "play this." It was not until I experienced museums and live and recorded music that I had any inking what, how or why to draw or play.

Admittedly, teachers cannot wholly be blamed for the fact that in America the shrewd objective of the education system is primarily to train us to obey and conform. This is because we are intended to be well-behaved laborers dependent upon income for survival. A legitimate education system would teach us first-aid, gardening, construction, sewing, hunting, aesthetics, communications (speaking, writing), communications technology (computer building) and transportation technology (vehicle building); enabling us to live mostly independent of the capitalistic economic system which drives this society.

Finally, some teachers have the ability to inspire others to learn. In this role, they are like reading an exciting or intriguing book. This is probably the most useful type of teacher, but I’ve been inspired to learn from my parents, peers and environment far more than I ever have been from any assigned teacher.

As a child, my mom inspired me to read, and I did. I am a very fast reader and pretty good at retaining things I’ve read. I also seem better at reading between the lines (picking out the biases and underlying intentions of the author) than many others. One of the best things about a book is that if it’s not interesting or beneficial you can simply stop reading it, which is much easier than telling some idiot trying to teach you to shut the hell up.

My dad encouraged me to experience nature and, as an adolescent, my peers inspired me to experience most everything else, which I slowly and cautiously continue to do as time and money allows. Apparently this system considers experience much more dangerous than books because it is much more heavily discouraged and they make it much more difficult to do.

Nobody can teach anyone anything. People only learn what they choose to learn. In that regard, the term "teacher" is misleading. They would more aptly be called "sharers" or "inspirers." Unfortunately most so-called teachers are only distracters.

8 comments:

Anonymous said...

yes, it seems to me that the K-12 system is all about conformity; rules that emerged under NCLB have perpetuated a very one-sided view of education, right down to the collective bargaining agreements under which most public school employees subsist. The emphasis on testing and metrics are an extension of the myths propogated by the ETS; that standardized tests are always predictive of success in any future academic setting. Well, guess what?

Like you, I wasn't especially excited by my teachers until university; it was as if a cloud had lifted, all of a sudden.

The notion of teacher as facilitator is a good one. At best, the instructor is a guide, leading us to paths that we may not have realized independently.

Anonymous said...

whoops -- that should read "propagate".

Speaking of great teachers, last night Julie tuned in to FM 102; a wonderful, multi-tiered piano concerto was in progress. The rhythmic attack and phrasing were familiar; I guessed Saint-Saens; whoever it was, it was definitely French school.

Turns out it was Vincent D'Indy's Symphonie sur un chant montagnard français; the pianist was Aldo Ciccolini, whom I met in San Francisco, back in 1983. He gave a masterclass at the Sherman Clay store near Sutter Street. It was a wonderful session, and I was just an auditor.

Ciccolini opened my eyes and ears to French piano music, which was a revelation at the time. He's among the great geniuses who can memorize many pages of sheet music and perform them perfectly, from memory. I recall him making numerous references to Walter Gieseking, who had similar skills.

oudev oida said...

I did have a college professor who was very good at facilitating group discussion, which I guess is useful if you don't know anybody else to intelligently discuss a topic with. With classmates participating, the class becomes even more of a crapshoot as to whether you just have to sit through idiots spouting nonsense or people raising legitimate issues.

am aware if not completely familiar with Ciccolini. i might know that piece once I hear it but I am notoriously horrible at remembering song names, and especially if they're foreign. saint-saens and d'indy were arch rivals of sorts.

it sucks you can't edit these comments to fix typ-os.

Anonymous said...

that's right; sometimes class discussions get way off track, and the thrust of the session is lost. I recall leaving huge gaps in my lecture notes when this occurred.

I should set up a Google/Blogger account; that's probably going to let me make edits.

Yes, I remember reading something about the rivalry that existed between these hotshot French composers. If memory serves me correctly, Ravel hated Saint-Saens' music. Which seems pretty strange; the latter really encapsulates all the tendencies in the music.

The d'Indy piano concerto was sublime; I'd not heard it in many years. The time structures were flexible, ranging from strictly metered to open / adagio forms; stuff that jazz musicians tend to avoid.

oudev oida said...

I can't even edit my own comments on my own blog!

actually i think they (the french composers) all hated saint saens and the feeling was mutual. he had no problem trashing debussy. but i guess he was a big fan of the germans like liszt and wagner both of whom were the main or at least major outside influences on that era of french classical. (funny what i know and don't know- what lump term was used for those guys? Post-romanticism doesn't seem right.)

Anonymous said...

I think you've got it right -- a lot of the music sits squarely in the genre of the romantic piano concerto, with its emphasis on grandiose, virtuosic performance, and contrasting, three-part structures. Of course, cats like Busoni routinely flouted these conventions. If d'Indy, Saint-Saens, Alfred Cortot and other virtuosi were lined up in a cutting session with Busoni, the latter would have won! The rhythmic detail in his scores still fries my logic circuits. When will I ever learn?

oudev oida said...

James, you're illustrating my point about teachers perfectly- I've probably learned more from talking and playing with you than I have from all of my assigned public eduaction system teachers combined.

Anonymous said...

bless your heart, Andrew. Let's plan on performing again one of these days.

I found a great piano store on the El Camino in Santa Clara this past Friday. There's a lot of Korean businesses on that strip, and this one -- Gloria Piano -- is among them. The inventory is Yamaha, Kawai, and Young Chang. There's a piano tuner / technician there who really knows his stuff; he brought out the personality in some of the older Yamaha uprights, which are perfect jazz instruments. I unleashed a lot of open forms on some of them, and the sales staff stepped up to listen. I tend to test out ideas when heading into important gigs; the one for Jim is very much on my mind these days. I've got key sections of the new piece memorized, but am fishing for a contrasting section -- scherzando, and more rigorous. I'm hearing compound interval sequences but need to ground them in an unexpected rhythmic framework. The quest continues.