TEACHING & STUDENTS
ZO MANFREDI'S TEACHING PHILOSOPHY
VIOLIN AND VIOLA INSTRUCTION
I love teaching students of all ages and all levels and take both violin and viola students! My credentials qualify me to teach at the collegiate level, which makes up much of my prior teaching experience at Drake University (Iowa), Grinnell College (Iowa), and Richland College (Texas). But, I also have an equal amount of experience teaching students from as young as 4 years old to 84 years old and enjoy students at all levels, competitive, or non-competitive.
I incorporate Suzuki Method principles and repertoire (through Book 6) in my teaching, but also have experience with the Mark O'Connor method, as well as other traditional methods that suit students of different needs and goals. I am always interested in serving the student first and create an open dialogue with students and parents on what I believe their technical and musical needs are in order to meet our goals together as student and teacher. See below for a more formal description of my Teaching Philosophy Statement.
It is within the studio and during rehearsal that I build a strong, one–on-one relationship that serves as an example for my students’ interaction with other musicians. Making music both requires and produces strong relationships with people. Personal relationships become integral to the production of music, as this is an art where collaboration is a central focus. It is the duty of the teacher, therefore, to convey the importance of relationships and collaboration during study. The student-teacher relationship that develops within the studio is essential in motivating, guiding, and creating a foundation of trust for the student. It is upon this foundation then that risks can be taken, and the student will be pushed to the fullest potential. To create this relationship, I establish an open environment within each lesson that encourages respect and individual thought and expression. I open each lesson with a clear line of communication of where we stand, where we are headed, and how we will get there. The strong relationships I cultivate with my students will translate into strong relationships outside of the studio within their own working environments.
“Zo Manfredi is a very caring violin instructor who has a positive way of working with her students. She has adjusted techniques to help my daughter continue to play violin even with joint issues. With Zo’s help, my daughter has gone from wanting to quit playing the violin because it was too painful to playing for up to two hours a day and achieving the “Best in Center” award at State Solo and Ensemble Contest.”
It is the teacher’s duty to cater toward the many varying learning styles that exist in the studio environment. Studio teachers should act as diagnosticians and can apply the question of “How can I help you improve?” to every student that passes through the door. Every student is different, with different goals, obstacles, attitudes, and needs that must be treated as such. It is my duty to identify or connect with each individual student. By diagnosing each student, I am acknowledging the individuality of the student and then, administer the proper care to achieve a “cure.” This “cure” applies to improvements in playing, collaborating, practicing, and perspective that will help the student find their individual path. This individual path of learning must also be an individual path of instruction – each student is unique and different. For the student who has a very analytical mind, each correction or observation can be explained in full detail, giving a break- down of each teaching idea so that they may understand why the changes need to be made. For the student with the shorter attention-span and an “active” mind, the lesson can move a little faster, using “copycat” teaching styles or encouragement to correct on their own using the given knowledge.
Technical foundation and facility allows a musician the most ease with musical expression. Surpassing physical deficiencies with an instrument frees the imagination and allows the student to create their own music. This is the point where the teacher must address the importance of technique. Technical education should be at the core of every lesson as it is proper technique, which facilitates one’s musicality. The teacher must have an organized plan of scales and etudes that apply to all students and must modify, add, and subtract exercises based on the needs of the student. This plan is set up during the diagnostic exam early on in lessons. This “gift” of technical facility will give the student confidence and motivation on the instrument and the primary goal of making music will be much more rewarding.
“I had been studying with Zo for about two years. With her guidance, I was able to become a better musician and person overall. I am very grateful for Zo, and without her, I wouldn’t be who I am today.”
As an effective teacher, my scholarly research interests also keep me current and knowledgeable within the music field. In August of 2015, I submitted my dissertation entitled, “Physical Problems in Vibrato Amongst First-Year College Students: A Descriptive Study.” My research investigated how college students learn and fix their vibrato, and how professors teach or fix vibrato and problems that they diagnose with their students. Through the research, I was able to form conclusions regarding this pedagogical challenge for both teachers and students that may be used to improve expectations or processes for teaching and learning vibrato both at the college and pre-college level. I am always looking for ways to advance, change, and improve my teaching style and effectiveness and look forward to every teaching opportunity that comes my way.