Hi,
The point I was making (perhaps foolishly, as it is not one that is really
provable either way) was that the modern, or more western method, of
spoon-feeding techniques and theory to students makes it easier to acquire a
certain level of skill. At the same time, however, it makes fewer demands
of students than the more traditional method of teaching almost solely by
example. The higher the demands are on the student, the more likely people
are to drop out sooner, but the better the truly talented and dedicated are
are likely to get.
A good example of this style is the way Yokoyama was taught. He had to sit
in front of Watazumi for 10 years and watch him play to try to figure out
what he was doing, for Watazumi wouldn't slow down or explain it to him.
That style of teaching produced Yokoyama, but apparently it drove almost
everyone else away.
I don't think the "traditional" method of teaching is much suited to either
Japanese or western people these days. We tend to expect things to be given
to us.
This difference in teaching styles has nothing to do with spiritual or not,
or playing just like your teacher or not.
Best,
Zachary Braverman
> From: Ralf Muhlberger <ralf@dstc.edu.au>
> Date: Fri, 04 Aug 2000 09:32:29 +1000
> To: shakuhachi@weber.ucsd.edu
> Subject: Re: shakuhachi and injury
>
>
> Adam wrote:
>
>> In response to David and Zachary's post. I find it a bit contradictory
>> as Zachary states that the non-verbal method of "traditional" teaching
>> produces both fewer decent players but also more superb ones. The
>> traditional teaching method is largely a rote learning system, geared to
>> produce students that can reproduce the nuance and detail of their
>> teacher's performance. Because of the extreme emphasis on form- it is
>> not surprising that more players master the form (is this the meaning of
>> "superb"?).
>
>
> I suspect that he means that the 'decent' players are actually the
> ones who 'reproduce', while 'superb' players learn to understand more
> than just the notes -- when watching the teacher they see beyond
> the music to the person as well. The idea is that focusing on the
> music when playing shakuhachi is not going deep enough... so that
> just distracts.
>
>
>> I do not think the central aim of most shakuhachi teaching in Japan is
>> self awareness. David's point is that the shakuhachi learning has the
>> potential to be much more than just an isolated musical activity.
>> Infused with somatic ideas (yoga, alexander technique, etc.) it can
>> teach us things that have a wider and more potent application to daily
>> life. To me, this expanding awareness is priceless and should be shared
>> with everyone interested, rather than reserved for one's top students.
>
>
> I don't know what the central aim is, not having learnt in Japan. But
> my feeling is that the very good teachers have the inner peace and
> strength, and rather than trying to teach it by words they try to do
> it through example.
>
> Ralf
>
>
>
>
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