Teaching Talented Teenagers at the Interlochen Arts Academy: An Interview With Three Master Teachers: Crispin Campbell,Hal Grossman,and T. J. Lymenstull

Abstract

The unique relationship between a master teacher and a talented teenage musician in the private studio arrives at a time in musical development where students are discovering abstract musical concepts and beginning to develop interpretive musical reasoning. This interview with three performing master teachers at the Interlochen Arts Academy features personal teaching approaches that develop the problem-solving skills that are essential for advanced musical study. The article reveals a positive master teacher-student dynamic that nurtures technical facility, as well as interpretive decision making. The discussion explains the role of competition for a talented teenage musician and describes the essential requirements for admission to a major conservatory.

Get full access to this article

View all access options for this article.

References

Galbraith

B. W.

(1985). Interlochen arts academy: Its guidelines for success. Journal for the Education of the Gifted, 8, 199–210.

Howe

Sloboda

(1991). Young musicians: Accounts of significant influences in their early lives: 2. Teachers, practicing, and performing. British Journal of Music Education, 7, 53–63.

Persson

R. S.

(1996). Concert musicians as teachers: Good intentions falling short. In Cropley

Dehn

(Eds.), Fostering the growth of high ability: European perspectives (pp. 303–318). Norwood, NJ: Ablex.

Rezits

(1997). Those get-tough famous teachers. Piano and Keyboard, 175, 40–44.

Sloboda

Howe

(1991). Biographical precursors of musical excellence: An interview study. Psychology of Music, 19, 13–21.

Sosniak

L. A.

(1985). Learning to be a concert pianist. In Bloom

(Ed.), Developing talent in young people (pp. 19–67). New York: Ballantine Books.