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Project of the Suzuki method in Cuba

  • Published: Thursday, 28 December 2017 02:07
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Inauguration of the Suzuki Method in Santiago de Cuba

La Cuerda La group, Suzuki method in Santiago de Cuba

The past December 26, 2017 , at 4.00 p.m. in the Oriente Gallery of Santiago de Cuba, the children of the Vocational School of Arts and the Tooth Project de Leche offered the first public concert in Cuba. Specifically, the concert took place at Galería Oriente, in front of Parque Céspedes, inaugurating the Suzuki Project in Santiago de Cuba .

The Suzuki method is a method to learn to play a musical instrument. It is currently collected in books and recordings for piano, violin, viola, flute, flute, cello, harp, guitar, double bass, chant, charango, Tarka, mandela and ocarina. It is a method more oriented to children, but also very good for adults who want to start learning to play one of these instruments.



Suzuki Seminary in Santiago de Cuba

suzuki seminar in Cuba's StgoIn February 2017 took place in Santiago de Cuba during the last week of the mentioned month of February a Seminar of the Suzuki Method for the Teaching of the Violin by the Swiss professor Suzuki specialist, Agathe Jerie (in the center of the photo on the left). This was the contact with the Suzuki method in Cuba and, since then, the passion for the Suzuki method caught on in that small group of Cuban professors. These were pleasantly impressed what can be achieved with this Method in young children. In Cuba they did not follow this method and until then very little was known of him. But that wonderful experience of pedagogical work was the beginning of the flame that ignited in the musical hearts of Santiago, eternally thanking Master Agathe for everything she taught in that Suzuki meeting.

Jana Marieta Perdigón y Cecilia M.Rosales en Lima 2018

Since then, the most fervent desire to continue learning and to be the pioneers in Cuba to use this Methodology in children's Music Teaching, as well as to create the project of the Cuban Suzuki Association, has been a constant.

Cecilia Dayana Rosales Prieto (at the far left of the previous photo) and Jana Marieta Perdigón (second from the left) are perhaps the most passionate and impellers of the Suzuki Method in Cuba.

Cecilia D. Rosales is a violinist at the Orquesta Sinfónica de Oriente (OSO) and violin teacher at the José María Heredia Heredia Vocational School of Arts and at the Higher Secondary Level at the Esteban Salas Conservatory in the city of Santiago de Cuba. and Jana M. Perdigón is also a music teacher and violinist at the OSO in Santiago de Cuba.

The teachers Cecilia D. Rosales and Jana M. Perdigón were part, among others, of that small group of music teachers from Santiago de Cuba who actively participated in that Suzuki seminar in February 2017, continuing since then to promote the Suzuki Method in Cuba, although at the cost of a tremendous personal, family and economic effort on the part of both teachers.

Continuing with the development of the Suzuki project in Cuba, in order to further deepen this and to train themselves conscientiously as Suzuki Method teachers, in January 2018, the two Cuban teachers mentioned above move on scholarships by the Suzuki Association to Lima (Peru) for three weeks to participate in the training and enrichment activities of the 33rd Suzuki International Music Festival, which takes place in the Peruvian capital from January 5 to 25, 2018.

Suzuki Group The rope The. Santiago de Cuba

first Cuban suzuki group


History of the Suzuki method in the world

Shinichi Suzuk I was a violinist, educator, philosopher and was considered a humanist. He exercised a profound influence on the education of his country and other parts of the world.

Suzuki based his approach on the hypothesis that musical ability is not an innate talent, but a skill that, like all Children develop the ability to speak their mother tongue, they can train. The potential of the child can be developed. "Any child who is properly trained can develop a musical ability, and this potential is unlimited." Suzuki's philosophy and the method he developed have influenced many teachers, children, and families in many nations. Dr. Shinichi Suzuki died in January 1998.


Development of the method

first concert rehearsal

Suzuki's work was interrupted because of World War II. When it was over, Suzuki resolutely resolved to bring the beauty of music to the lives of the children of his nation. He started teaching in a small school in Matsumoto, also working on the development of a sequential repertoire whose musical and technical contents were presented in a logical way. After a few years, Suzuki students were amazed by their skill to those who heard them play.

The talent education movement grew as other teachers studied with Suzuki and began teaching throughout Japan. The program was broadened by the interest of teachers of various instruments in the Suzuki approach, developing materials for cello, piano and flute. Over the years, thousands of Japanese children have received training at the Suzuki Talent Education Institute in Matsumoto, or at one of its branches in other cities.


Introduction in the USA UU.

In 1958, a Japanese student took to the University of Oberlin (USA) a film that showed the little students of Suzuki playing in a national concert. American string teachers were captivated by the results of the Suzuki method and began visiting Japan to learn more about their work.

Interest intensified in 1964, when Suzuki took a group of students on tour in the US, and to play in a joint meeting of the American Association of String Teachers and the National Conference of Music Educators. The method began to flourish in the US including visits by American professors to Japan, concert tours of Japanese groups, and the development of hundreds of Suzuki programs throughout the country.


The Suzuki method today

suzuki group Santiago de Cuba

Dr. Suzuki did not develop his method to train professional musicians, but to help children develop their abilities as human beings. He said: "The teaching of music is not my main purpose, I want to train good citizens, noble human beings." If a child hears good music from the day of his birth, and learns to touch it himself, he develops his sensitivity, and discipline. and patience, acquire a beautiful heart. " Thanks to his life and work, Dr. Suzuki has inspired thousands of parents and teachers in more than forty countries (in Asia, Europe, Australia, Africa and America) to educate children as loving human beings through the method of the mother tongue of music education. In the encouraging environment fostered by the Suzuki method children learn to enjoy music and develop confidence, self-esteem, self-discipline and concentration, as well as the determination to try to do difficult things, qualities that are so needed in our time. As Pablo Casals commented, with eyes full of tears, after listening to small Suzuki students, "maybe this is the music that will save the world".


Special characteristics of the Suzuki method

Over fifty years ago, Suzuki understood the implications of the fact that children around the world learn to speak their mother tongue with ease, and began to apply the basic principles of language acquisition to music learning. Ideas about parental responsibility, affectionate encouragement, listening, constant repetition, etc., are some of the special characteristics of the Suzuki method.

Importance of parent paper. When a child learns to speak, parents act effectively as teachers. Parents also have an important role as "teachers in the home" when the child learns to play an instrument. Often, the father or mother initially learns to play before the child, so that he or she understands what the child is expected to do. The father or mother attends the child's lessons and both practice daily at home.

Early start. Early years are crucial in the development of mental processes and muscle coordination in the young child. The hearing abilities of children are also at their peak during the years of language acquisition, which is why it is the ideal time to develop musical sensitivity. Listening to music should begin at birth and formal training may begin at the age of three or four years, although it is never too late to start.

Listening. Children learn to speak in an environment full of language stimuli. Parents can also make the music part of the child's environment by attending concerts and putting the recordings of the Suzuki repertoire and other music. This allows children to absorb the language of music while absorbing the sounds of their mother tongue. By repeatedly listening to the pieces they will learn, children become familiar with them and learn them easily.

Repetition. When children have learned a word they do not leave it, but they continue to use it while adding new words to their vocabulary. Similarly, Suzuki students repeat the pieces they learn, gradually applying the skills they have gained in new and more sophisticated ways as they increase their repertoire. The introduction of new technical skills and musical concepts in the context of known pieces makes their acquisition much easier. Although this may make it difficult to learn more complex pieces because you are learning primarily to imitate instead of interpreting.

Encourage As with language, the child's efforts to learn to play an instrument should be commended with heartfelt words of encouragement. Each child learns at their own pace, moving forward in small steps to be able to master each of them. This creates a pleasant environment for the child, the parent and the teacher. A general atmosphere of generosity and cooperation is also established by encouraging children to support the efforts of other students.

Learning with other children. Music promotes healthy social interactions, and participation in group lessons and small concerts, in addition to their own individual lessons, motivates children to a great extent. They enjoy observing other children at various levels, aspiring to reach the level of the most advanced students, sharing their challenges with their peers, and appreciating the efforts of the less advanced students who follow in their footsteps.

Gradual repertoire. Children do not practice exercises to learn to speak, but they learn using language to communicate and express themselves. With the Suzuki method, students learn concepts and musical skills in the context of music, instead of practicing technical exercises. The Suzuki repertoire for each instrument presents, in a carefully arranged sequence, the necessary components for technical and musical development. This standard repertoire provides strong motivation, since younger students want to play the music they hear the most advanced students playing.

Postpone reading . Children are not taught to read until their ability to speak has been well established. In the same way, Suzuki students have to reach a basic skill level playing their instrument before they are taught to read music. This sequence of instruction allows the teacher and student to focus on developing good posture, beautiful sound, correct pitch and musical phrasing.

Point out that the most original and outstanding point of the Suzuki method is working with parents. The other points were already in other Western pedagogues in earlier times. Suzuki develops in practice a class in which parents and children learn, so that when studying at home children are supported by parents, in the same way that school tasks are carried out.
Analogy with speech learning
Mother tongue method.
Baby only listens to sounds.
Begins to produce its first sounds.
Begins to imitate.
Your environment familiar pays attention and continually encourages him.
Perfect imitation.
His family corrects him by repeating the words.
Form words, then sentences.
When he has a wide vocabulary he starts in the reading of writing.


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