![]() A child is not coerced into learning to speak. The reason why a child learns a language in a seemingly effortless manner is that she is born in an environment which facilitates this process. Requiring no prior knowledge or skills, sound therefore qualifies as an easier path on which to begin the process of learning an instrument. Sound requires no prior knowledge and practice in terms of playing music. Sight and sound are both very basic, but sight requires prior knowledge and practice in terms of playing music. At that level, available sensory data is stored until it can be assimilated in a meaningful form. The only place to start is at the most fundamental level of learning. ![]() A newborn baby is much like a computer with nothing stored in its memory. Memorizing a piece by listening to it is a method very much like the way a child first learns language. After the student can play well enough, reading is introduced. This does not mean that reading is completely ignored. In this method, students will learn the music by listening to it. In traditional methods of piano teaching, students will learn to read the music from the very beginning. Kataoka’s other publications in English include My Thoughts on the Suzuki Piano School (Birch Tree Group, Ltd., 1985), My Thoughts on Piano Technique (Birch Tree Group, Ltd., 1988) and Sensibility and Education (Piano Basics, Inc., 1993). Kataoka was awarded the Matsumoto City Arts and Culture Award in 1986 and was granted an honorary doctorate in music from the University of Louisville, Louisville, Kentucky in 1990.ĭr. Kataoka has traveled abroad for several weeks each year to conduct international workshops at universities and other centers in North America, Europe and Australia as well as in Japan and other Asian countries.ĭr. For over a decade, she has directed “Ten Piano Concerts” in Matsumoto every 18 months, which have become international events since 1993, with the inclusion of students from other countries.īeginning in 1972, when she attended the Suzuki Institute at Stevens Point, Wisconsin as a teacher trainer, Dr. Thereafter, having developed the repertoire for the Suzuki Piano Method, she has served as Director of the Piano Department at the Talent Education Research Institute in Matsumoto, where she continues to teach students and to train teachers from Japan and from around the world. Shinichi Suzuki’s Talent Education Institute, where she began to research piano pedagogy based upon Dr. ![]() Kataoka moved to Matsumoto City in 1955 to serve as accompanist in Dr. Graduating from Sacred Heart Girls’ High School in Tokyo in 1945, she continued piano studies with Haruko Fujita. Born in Tokyo in 1927, she began the study of piano at the age of six with the late Yoshimune Hirata. Haruko Kataoka is the co-founder of the Suzuki Piano Method. Part VI: Bringing Book 1 to Performance Levelĭr. Part V: Difficult Points in the Book 1 Pieces: The Twinkle Variations Repeated Note Legato Independence of Hands Balance Between Melody & Accompaniment Part IV: Book 1: General Considerations: The Twinkle Variations Right Hand Melodies Left Hand and Hands Together Part III: The Suzuki Method is a Method Which Develops Ability: The Twinkle Variations Part II: When the Lessons Begin: The Bow Proper Seating Finger Numbers The Twinkle Variations Part I: Instructions to Parents Before the Initial Lesson Under the title: The Method of Teaching Beginners. To Winter 1995 (Volume 7, #4) and in the Suzuki Pianoīasics Foundation News, March-April 1996 (Volume 1, #1) Piano Basics Newsletter from Summer 1991 (Volume 2, #3) ![]() Of a series of articles which originally appeared in the This is the online publication of the printed edition of Piano Basics Foundation, 1487 Telegraph Road, Bellingham, Washington, USA 98226ĭepartment of History, East Carolina University, Greenville, NC, USA 27858įAX (252) 328-6774 email: to Teach Beginners, Copyright 1996, by Haruko Kataoka Translated from the Japanese by Mitsuo FurumachiBook edited by Karen Hagberg
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