START
THE METHOD
MEDIA
TEACHER TRAINING COURSES
CONTACT
<FONT size=3></FONT> <P><FONT size=4>Train to become a Suzuki Organ Teacher</FONT> <P><FONT size=2>The organ is a fantastic instrument to teach children. It is fun to be able to use so many different sounds, and to play with the feet! A simple melody in the manual, and a couple of base notes in the pedal registrated “tutti”, is very impressing. This is so exciting for children. </FONT> <P><FONT size=2>The Suzuki Method is a very successful method to develop children’s ability to play an instrument. The teacher trainer courses give the best methodical education for teaching. </FONT></P> <P align=center><FONT size=2></FONT> <IMG alt="Gunilla Rönnberg" hspace=0 src="http://suzukiorgan.com/images/090124_174635_GunillaHemsida.jpg" align=baseline border=0></P> <P align=center><FONT size=2><EM>"To be a Suzuki teacher is most inspiring and enriches your life in many ways.</EM>"</FONT></P> <P align=center><FONT size=2>/Gunilla Rönnberg</FONT></P> <P><FONT size=4>"Teacher trainer"</FONT> </P> <P>Gunilla Rönnberg is a trained piano teacher and pianist, educated at the College of Music in Örebro and at the conservatory in Sofia, Bulgaria, where she specialized in solo piano music, chamber music and accompaniment. She subsequently studied to become a Suzuki educator and has worked as a Suzuki specialist and teacher for 21 years, the last 9 years with organ students. She is also active as a solo and chamber music pianist.</P> <P>Gunilla has a degree in organ and has also worked as a church musician for 18 years at Glanshammar church, outside Örebro. 1998 she started to develop the Suzuki method for the organ together with Lars Hagström, and since 2002 she is a teacher trainer in the Suzuki organ method. She has educated around 60 organists in different universities in Sweden and USA, to become Suzuki organ pedagogues. She is also a lecturer in the Suzuki organ method, and in the subjects "expression in music and contact with the audience". As Suzuki lecturer she has worked in Minneapolis, Chicago, Los Angeles, London, Turin and Copenhagen. Gunilla is constantly working to spread the method for the organ all over the world. <P>The last three years she has been the principal for a music school where she also is the manager for a new started culture house with the subjects music, dance, theatre, painting and yoga. She is very interested in all culture fields, and has directed children’s musicals for 10 years, believing that the combination of drama, music and dancing helps children develop. </P> <P><FONT size=4>Volym 1 - 4</FONT></P> <P>This series is the first classical organ method for children and is part of the worldwide Suzuki Method of teaching. An important companion recording of model performances of the pieces in Volumes 1 and 2 is also available. <P>Teachers in Italy, France, Spain, and Portugal can buy the books from <A href="http://www.carisch.com">Carisch</A> <P>or order the books directly from the Faber website: <A href="http://www.fabermusic.com/">www.fabermusic.com</A> </P> <P>Music shops can also order the books from Faber.</P> <P>It is also possible to order the books directly from the publisher of the organ school - Alfred:</P> <P><A href="http://www.alfred-music.com/">http://www.alfred-music.com/</A> </P> <P>The music from book 5 and 6 you can download directly from: <A href="http://www.alfred.com/downloads">www.alfred.com/downloads</A></P> <P>You can search for them by "organ" or by "Suzuki". </P> <P>If you want to order a CD of book 5 and 6 instead of downloading, contact the customer service department. They can make a CD on a case-by-case basis (one CD per customer).</P> <P><FONT size=2><STRONG>Other pedagogical material:</STRONG></FONT></P> <P><A href="http://www.vingbrus.se/butik.html">http://www.vingbrus.se/butik.html</A><BR></P> <P><FONT size=2>The Suzuki Method</FONT></P> <P><STRONG>Shinichi Suzuki<BR></STRONG>A fantastic person</P> <P><STRONG>Developement<BR></STRONG>The Suzuki Method™ for the organ was developed since 1998 by the Swedish Suzuki teacher Gunilla Rönnberg and organist Lars Hagström. </P> <P><STRONG>Instrument<BR></STRONG>Pedal extension and home practis organ</P> <P><STRONG>Teaching<BR></STRONG>How to teach by the Suzuki method and the philosophy to believe in every child’s ability to learn</P> <P><STRONG>Basic elements<BR></STRONG>The basic elements in the Suzuki method</P> <P><FONT size=4>Shinichi Suzuki</FONT></P> <P>In the 30s the Japanese violinist, Shinichi Suzuki was once asked, to teach a four year old boy to play the violin. For a while he asked himself how to do this. But one day it struck him that all children in the world learn to speak their native language by listening and imitating from an early age. He thought that this method must be the best way for learning. That was the start of the method, which he improved constantly during his whole life. </P> <FONT size=3>History and Development of the Suzuki Method™ for the Organ</FONT> <P>The Suzuki Method™ for the organ was developed by the Swedish Suzuki teacher Gunilla Rönnberg and organist Lars Hagström. <P><STRONG>It began in 1998</STRONG> <BR>In 1998 Gunilla Rönnberg contacted Dr. Haukur F. Hannesson, now Chairman of the European Suzuki Association (ESA) and Chair of the International Suzuki Association ISA, with a proposal to develop the Suzuki Method™ for organ. Gunilla’s background as a trained Suzuki piano teacher since 10 years and trained organist gave her a firm basis to take on this task. <P>The ISA and ESA gave Gunilla and Lars permission to run a test project for a year. In August 1998 Gunilla started 12 organ students. Six of them were former Suzuki piano students age 8-10, and six were beginners who age 5-6. By choosing this division in age of the initial student group, Gunilla could test the proposed teaching material at different levels from the beginning. <P><STRONG>Development of organ technique for small children</STRONG> <BR>In November 1998 the students had their first concert, and it was astonishing to see the 9 and 10 years old former Suzuki piano students, now playing the organ in a very skilful way. The concert in January 1999 was recorded and Haukur F. Hannesson presented the recording to the International Suzuki Association’s Board of Directors together with a proposal for printed music and a progression of pieces from Book One to advanced organ music. In March 1999, the International Suzuki Association officially made the organ a Suzuki Method™ instrument and granted permission to Gunilla Rönnberg and Lars Hagström to develop the method for the organ. <P>One of the biggest challenges for Gunilla and Lars was to find a good way for developing the progression of organ technique, tonalization and relaxation for small children. The coordination between hands and feet was an easier task to solve, with pedal melodies to develop the pedal technique and chords base notes in the pedals in manual pieces to develop coordination between hands and feet from the beginning. <P>Gunilla has through the years continuously started new beginners on the organ to continually refine the teaching of organ technique. Furthermore, she has explored and developed playing technique for higher levels of playing. One of her main emphasis is to make students play with beautiful musical expression. Gunilla’s students have given a great number of concerts during the years Suzuki organ teaching has taken place. This has attracted attention and been much appreciated in Sweden and other countries. <P><STRONG>Suzuki organ teacher training</STRONG> <BR>Gunilla Rönnberg was appointed Suzuki Teacher Trainer on the organ by the European Suzuki Association in 2002. She has since then trained approximately 55 Suzuki organ teachers in Sweden at ESA Suzuki Teacher Training Levels 1 and 2 and has also given teacher training courses in the USA, in Chicago and Salt Lake City. <P>As a result of Gunilla’s Suzuki organ teacher training in Sweden, organ has become a popular instrument for young children. Professional organists have been encouraged by their churches to train as Suzuki organ teachers and many are planning to do so or have already taken the first level teacher training course. Activities for children have also included summer music courses for Suzuki organ students. <P><STRONG>Publication of Suzuki organ books and recordings</STRONG> <BR>The continuing development of the Suzuki Organ School is led by the Organ Committee of the International Suzuki Association. The members of this committee are Gunilla Rönnberg, Chair, representing the European Suzuki Association and Ernest Zenoniani, organist from USA, who represents the Suzuki Association of the Americas (SAA) on the committee. Lars Hagström has a long experience of teaching organists. Because of that he finds inspiring and developing literature for the higher music levels. He also records the music. <P>Volumes 1 through 4 of the Suzuki Organ School have been published by Alfred Publishing Co. Inc. in the United States. Alfred Publishing are the publishers of Suzuki Method™ core materials for all instruments. Suzuki Organ School volumes 5 and 6 will soon be published. Volumes 7 and 8 are on the drawing board. </P> <P><FONT size=4>Pedal Extension and Home Practise Organ.</FONT> <P>Mr. Jan-Erik Malmström, a father of one of the organ students, built a pedal extension, from an idea of Lars Hagström, to be put on top of the pedals of a normal sized organ. This adjustments the height of the pedals allows students of different ages to reach the pedals comfortably. <P align=left><A href="javascript:PictureZoom('http://suzukiorgan.com/images/090112_093225_Filip7years.jpg','Bild');" target=_self><IMG style="WIDTH: 130px; HEIGHT: 136px" alt="Home Practice Organ" hspace=10 src="http://suzukiorgan.com/images/090112_093225_Filip7yearssmall.jpg" align=right border=0></A></P> <P>Together with organ builder Sven-Erik Holmlund, Jan Erik designed and made a digital home practise organ. Also this was an idea of Lars Hagström. Jan-Erik also solved the problem of how to adjust the manual and the bench of a home practise organ. The solution came to him when he saw the construction of the bench of a loom. Consequently the manual and bench of the home practise organ are adjustable. The Church of Sweden financed the design of this organ, and little by little all the students in the test group got the opportunity to rent an organ to practise on at home. </P> <P align=left><FONT size=4><BR><FONT size=3>Contact information</FONT> <HR> </FONT><STRONG>Home Practice Organ:</STRONG> <BR>Sven-Erik Holmlund: <A href="mailto:holmsjoorglar@zoomin.se">holmsjoorglar@zoomin.se</A><BR>Lars Hagström: <A href="mailto:lasse@musicforlife.nu">lasse@musicforlife.nu</A> <P></P> <P align=left><STRONG>Pedal Extensions:<BR></STRONG>Jan-Erik Malmström: <A href="mailto:janes.snickerier@swipnet.se">janes.snickerier@swipnet.se</A></P> <FONT size=4>Teaching by the Suzuki method on the organ</FONT> <P>I have been teaching children the organ by the Suzuki method for 9, 5 years, with great success. It is so easy to make children interested in playing the organ, Just the fact that they get to play with their feet, and that they can choose between all the different sounds, make it fun. My opinion is that it is the most appealing instrument for children to begin with - a simple melody with a couple of base notes in the feet, registered with “tutti” – and the sound of the organ will lift the roof of the church! What other instrument has this opportunity! <P><STRONG>Children learn easy coordination</STRONG><BR>It is good to begin to play the organ as a child, because it is so easy for children to learn coordination. To be able to play the organ, you need to develop ability to manage advanced coordination. Therefore it is perfect to begin with the Suzuki method, where you are allowed to concentrate on the hands and feet directly. <P><STRONG>Sight reading</STRONG><BR>For all the people that worry about the sight reading, I can tell that I introduce note reading very early, parallel with playing by heart, but from other material. Depending on the child’s age, I chose different kinds of piano schools as note reading material. In the piano schools there are two note lines, and that is enough for the children to read in the beginning. It is important to choose material that has melodies in the left hand, not just chords. Choose a book that it’s not meant to be studied by heart.<BR>It is so important to not leave the sight reading too much behind, because you must develop an ability to read three note lines in organ literature. <BR>When the children reach book 3 in the Suzuki Organ School, I have already trained their sight reading through other material. In the first piece in book 3 I start to give them a few bars from the right hand or the left hand or the pedal as note reading assignment, and the rest of the piece I teach by heart as usual. In this way I introduce the sight reading I the Suzuki material, and after a while, the children have caught up with the sight reading, so it is in the same level as their playing ability.<BR>It is perfect to learn the base clef by reading the pedal part, because there is mostly one note at the time to read, comparing with the left hands base notes that often has chords. <P><STRONG>Pedal technique</STRONG><BR>In the literature all the manual pieces also have pedal. But from the beginning there are just two or three pedal notes in those pieces, to let the children concentrate on the hands. But between every manual piece, there is a solo pedal piece to develop their pedal technique.<BR>When the students have gained more knowledge in coordination, the pedal parts in the manual pieces get more and more advanced. In book 4, there are just a few pedal exercises beside the ordinary pieces. <P><STRONG>The most important thing when you meet a young child is to implement the right moves. The speed and the technique will come later</STRONG> <EM>(Viljo Nousiainen)</EM> <P><STRONG>Articulation</STRONG><BR>In the Suzuki organ method we teach the children both non legato and legato from the beginning. To avoid tensions we start with non legato. I am very concerned about the relaxed hands, and I have found a way to teach every child play without tensions in there hands, arms and body. When we have gained the relaxed hand by the twinkle variations and the first non legato pieces, we introduce legato. And further on we play differentiated non legato pieces and legato pieces parallel, to make the children very skilful at different articulations.<BR>In the first 4 books in the Suzuki organ school there are suggestions about the differentiated non legato articulation to implement the ability to play differentiated. In book 5 the students have gained the sense for articulation and do it by them selves. <P><STRONG>No shoes for children?</STRONG><BR>In the beginning the students play in their socks, to be able to get the right feeling for touching the pedals. The move comes from the ankle, and they touch the pedal between the big toe and the second toe. In this way, the children become very aware about how they press and release the pedal key in a soft way. In the end of book 1, we introduce playing with the heel.<BR>When the students get older and the pedal parts are more difficult, they can start to use shoes. </P> <P><FONT size=4>How to teach the Suzuki literature</FONT> <P><STRONG>The Suzuki literature has a fast progression<BR></STRONG>There is a difference between the Suzuki literature and other instrumental schools.<BR>The Suzuki schools have a faster progression, where every piece brings a new technical difficulty. In most of the other schools, the technical level is the same during several pieces, and as a teacher you don’t have to be as careful how you teach, because you have many pieces where you can practise the same technical skills. <P>This is the reason why you need to be educated Suzuki teacher, to be able to use the Suzuki literature. The progression is fast, and you need to know how to teach during these circumstances. It is also important to not leave the piece before the child does it well. Otherwise the student doesn’t have the skills to manage the following pieces. <P><STRONG>Examples of contents of an organ lesson with a small child<BR></STRONG>To explain how you do to teach step by step in literature with fast progression, I will give you some examples of content in an organ lesson with a small child. </P> <OL> <LI>Ask the child if they have listened to the CD. (it reminds the parent to put it on the next week) <LI>Twinkle variation (rh) <LI>Twinkle variation (lh) <LI>Listen to the homework: Cuckoo (rh + p) and Cuckoo (lh) <LI>Teach one bar of Cuckoo (rh + lh) Repeat until the child manage it. <LI>Listen to the homework: Pedal piece - My School day, first line. <LI>Teach the second line. Point out the difference between the first and second line. <LI>Sing a new melody: Go tell Aunt Rhody <LI>Teach the first four bars of Go tell Aunt Rhody <LI>Do an exercise where the child is moving, singing, clapping rhythms. <LI>Do a note reading assignment from other material <LI>Make a summary of the next week´s homework for the child and parent. Chose a point that the child will practise especially well until the next week (one lesson – one point). Chose an old piece to repeat, for example “The Fly”. Remind them to listen to the CD every day. </LI></OL> <P>When you teach you make small exercises before every moment that needs special attention. You work very thoroughly with ergonomic and articulation. The teacher makes the parent pay attention continuously during the lesson, what to think about, and makes sure that the parent understands. </P> <P><FONT size=4>The Philosophy of the Suzuki Method</FONT> <P><STRONG>To believe in every child’s ability to learn<BR></STRONG>The Philosophy of the Suzuki method is to believe in every child’s ability to learn. We know that “everyone can”, it just takes different long time to learn. It is extremely important to develop the child’s self-esteem and joy for playing, by always point out every small detail that the child does well, and make them feel good about that. And from this state of feeling you add some things that you work on to improve until the child manage it.<BR>In this way you create a desire by the child to improve, and a feeling that they will manage. </P> <P><STRONG>To make all students play beautiful<BR></STRONG>A good teacher never gives up, and continues to work with the child until every detail is well done. A combination of persistence, enthusiasm and knowledge is the recipe to succeed as a teacher. Except that the teacher must pay attention to the child and see when the student loose concentration. Than it’s time to take a break and do something else. It’s necessary to do various things in the lesson, and make fun things between the more demanding exercises.<BR><STRONG></STRONG></P> <P><STRONG>Important qualities and knowledge by a good Suzuki teacher</STRONG> </P> <P></P> <UL> <LI>To know how to limit the part that you play for the child, so it is easy to remember, and make the child understand the connection to the following part. <LI>To be a good model for the child <LI>To be enthusiastic about every detail the child does well, and about all the things to improve <LI>To be able to see how much every child can concentrate, so they don’t loose the interest for learning. As a teacher you must have a longsighted thinking, to know what you want to achieve, but have a sense of feeling how much you can work on during one lesson. </LI></UL> <P><STRONG>Believe that everybody can<BR></STRONG>It is a privilege to follow in the footsteps of Shinichi Suzuki. When you work with the Suzuki method, you become a part of children´s life and development, and that gives your life a true meaning. The engagement in educating, and the genius way to teach, is inspiring and enriching in so many ways.</P> <P>I am enormously grateful that I have had the opportunity to learn this method and meat all the inpiring teachers all over the world. I have been overwhelmed of their engagement in teaching children and of the respect between teachers, between teacher and parents, and between teachers and children. This is something that leaven all through the Suzuki movement, and I don´t find a similar phenomenon elsewhere in society.</P> <P>I have been particulary fascinated of the teachers that work in material poor environments, because their engagement and the importance of their work is so incredible valuable, rich and good for the humanity.</P> <P>I have understood that all the teachers who have studied for Shinichi Suzuki learned humbleness, respect for others and a positive belief in all children. For me these qualities are the most important of a human being.</P> <P>I really want to encourage all people who are interested in pedagogic, to learn about the Suzuki method. As a first step you can read the book about Shinichi Suzuki "Nutured by love".</P> <P> </P> <P><FONT size=4>Basic Elements</FONT></P> <P><STRONG>The Triangle: Teacher – Child – Parent</STRONG><BR>In the Suzuki method the triangle; teacher – child – parent is one of the basic elements.<BR>The parent participates at the lesson and takes notes about the homework. At home the parent helps the child to practise.</P> <P><STRONG>Parent Course</STRONG><BR>Before the children start to play, there is a parent course for 8 weeks. In this course the parents learn the basic elements of the Suzuki approach, ergonomic knowledge for playing and how to read music. The parents also learn to play the variations on “Twinkle twinkle little star”, which are used to teach the basics for the instrumental technique. </P> <P><STRONG>The child starts to play</STRONG><BR>The child starts to play, and the teacher put very much emphasize in the Twinkle-variations, and how to teach the child the right relaxed moves.</P> <P><STRONG>Tonalization<BR></STRONG>The expression of the music is the most important thing. The technique gives the qualification, but the expression makes the music. On the organ, the tonalization is primarily a combination of attack, release and articulation. These are important tools to give the children for the variation and expression of the music.</P> <P><STRONG>Listening</STRONG><BR>The Suzuki method is built in the same way as we learn our native languages, by listening and imitate. The mother tongue the children hear constantly in their environment. To imitate this circumstance, the parent put on a CD-record every day, with the music from the organ school. The sound from the CD should be in the background, so the child unconsciously learn the music it later will play.</P> <P><STRONG>Teach step by step</STRONG><BR>The Suzuki teacher plays small parts at the time, and the child imitates. It is important to just play a few notes, to make it easy for the child to remember and not find it to difficult.</P> <P>In organ there are three tunes to coordinate. Right hand (rh), Left hand (lh) and Pedal (p).<BR>These parts must be taught separately. An organ piece could for example be taught like this:<BR>rh / rh + p / lh / one bar rh + lh ……<BR>In this way the teacher build the piece step by step, until the student eventually can play both hands and feet together. </P> <P><STRONG>Repetition is the mother of the knowledge</STRONG><BR>By constantly repeating old pieces, the children have a repertoire that come to maturity along with the increasing technical knowledge. </P> <P><STRONG>Group lessons and concerts</STRONG><BR>Beside the individual lessons, the children also have group lessons where they get to play for each other in a safe environment. The children get a sense of community, and we can make games for note reading. The group lessons are perfect preparations for concerts. </P> <P><STRONG>Summer courses</STRONG><BR>To give the students possibility to meet and play in summer courses is incredible inspiring and fun. These gatherings can be very important to bring the joy for practising during the rest of the year. </P> <P><STRONG>Trained teachers</STRONG><BR>The method is as good as the standard of teaching. Therefore it’s incredible important that the teacher is well trained, both in methodology and as a musician. A well trained experienced teacher know how to deal with all kinds of children with different problems and conditions.<BR></P> <P><FONT size=4>Teacher trainer courses</FONT></P> <P>The Suzuki teacher training is divided in 5 levels. Level 1 is the most important level, where you learn the method and how to teach the first two books.<BR><BR>For Swedish citizens level one can be taken as an University course, including six two days on campus seminars during one year.<BR><BR>For foreign citizens Gunilla Rönnberg also arrange intensive courses in English for 6 days at the time, with 3 participants in the group.<BR><BR>Two courses (12 days) will cover the knowledge for level one, suzuki organ method.<BR><BR>After finished the level one course, the participants have the possibility to take an ESA-exam, to be certified as ESA-Suzuki organ teachers.<BR><BR>The cost for a 6-days teacher trainer course is 1650 Euro<BR><BR>The course will be held in Örebro, a town 200 km west of Stockholm. There are train connections from Stockholm - Arlanda airport to Örebro.<BR><BR>The next 6-days course (part 1 – level 1) is planned to August 2-7 2010</P> <P>You can also book a privat course if the time is possible.</P> <P>If you are interested in the teacher trainer course, please contact Gunilla Rönnberg</P> <P><BR><FONT size=4>Course in Suzuki methodology on the organ</FONT></P> <P><STRONG>Qualifications:</STRONG> organist degree<BR>To be accepted to the course, you have to send a video recording performing:<BR>J.S.Bach: Preludium c-moll. (BWV 549, Peters IV) J.S.Bach: Preludium C-dur. (BWV 553, Acht kleine Präludien und Fugen)</P> <P><STRONG>Course description</STRONG><BR>The course is primarily aimed at church musicians who would be interested in teaching small children how to play the organ based on the Suzuki methodology.<BR>The course includes the two first books from the Suzuki organ school, equivalent of level 1 training for Suzuki organ teachers.</P> <P>Content: </P> <OL> <LI>Basic studies in Suzuki philosophy <BR><EM>(Read ”Nurtured by Love: The Classical Approach to Talent Education by Shinichi Suzuki, Suzuki Method International, 198301, ISBN 0874875846) </EM> <LI>Basic studies and understanding of the fundamentals of the Suzuki methodology<BR><EM>( During this section, each students takes notes and discusses the most important aspects of the methodology in group.)</EM> <LI>Study of all pieces in books 1 and 2, Suzuki Organ School<BR><EM>( Learn all pieces in the first and second book by heart and also each stop separately) </EM> <LI>Group classes with individual lessons to emphasise the pedagogical aspects of organ technique and the feeling for tone attack and articulation<BR><EM>( This section involves playing solo to the entire group. The participants listen and discuss each other's performance)</EM> <LI>Study technical progress in literature based on "teaching points” for each piece as well as methodology and pedagogics <BR><EM>(Note! These ”teaching points” must be learned using special methods for the first and second books, with extra emphasis placed on the variations in "Twinkle little star". Also suggests tone attack exercises and preparatory exercises and makes proposals regarding how each piece can be best learned. In addition, gives suggestions for group lessons)</EM> <LI>Observation of Suzuki tuition<BR><EM>(Study of video recordings with Suzuki methodology being taught to children) </EM> <LI>Teacher-controlled practice tuition<BR><EM>(Teach the group how to practice in a way that can be used when teaching children)</EM> <LI>Lecture and discussion on the teaching relation between teacher/child/parent <LI>Solo performances with all literature from the first and second books</LI></OL> <P> </P> <P><STRONG>Final thesis</STRONG></P> <P>Passed course:</P> <OL> <LI>to be able to play all pieces and each stop separately. <LI>to be able to account for all ”teaching points”and how these are best taught. <LI>to be able to write down all ”teaching points” for the first and second books and make suggestions regarding tone attack exercises, preparatory exercises and the study of each piece, as well as ideas for group lessons. </LI></OL> <P><STRONG>Formal Suzuki teacher degree, level 1</STRONG><BR>In addition to the course above, the participant can choose to take an exam before a jury from the European Suzuki Association. European Suzuki Association requires that the condition to get an ESA-level through examination is that the teacher trainee is a member of ESA. The normal procedure is that You join Your national Suzuki-association. </P> <P><STRONG>The exam includes:</STRONG></P> <OL> <LI>Playing the exam piece for level 1 by heart <LI>Playing a piece or stop from book 1 or 2 by heart, upon request from the jury, and accounting for any new features, difficulties and ”teaching points” and describing how these are best taught. <LI>Giving a lesson to a child which clarifies that the teacher has understood the basics of the methodology and is able to explain to the child in a pedagogical manner, as well as show that he/she understands the importance of communicating with the parent. </LI></OL>
Copyright © 2009 Gunilla Rönnberg
Last Update: 2010-07-05 kl 22:18
Besökare nr:
9040
sedan 23 Januari 2009
gunilla.ronnberg@telia.com
