Teaching
My teaching philosophy can be expressed in a few key words:
- Belief in student's success
- Constant focus on student's development
- Respect of the student's individuality
I encourage students to think critically, either in respect to editions used, recordings discussed, or any decisions made to technical or interpretative issues. When talking to a younger student, I like to ask whether this or that sound better suites the character of the piece, followed by the question “why?”.
The education I received in three countries has helped me to answer questions, such as: “I am using the Urtext edition and Beethoven wrote pedal here. Am I supposed to hold one pedal for the entire page?” or “Which version of the Chopin Waltz is ‘the right one’ to perform – the version on YouTube or my version? Both are very different from one another.” Through the course of my studies and many years of teaching experience, I developed the method of solving technical problems. In rare cases I assign practicing scales but rather particular etudes on a given problem. During the course of learning repertoire, for particular difficult passages I invent my own exercises for students, which focus on a specific problem. In other instances, the method becomes 'how do I practice it'-advice.
Understanding a style of a musical composition is always an important part of my teaching process. Thus, apprehending and appreciating the development of styles throughout the history of classical music becomes a substantial part of developing an individual personality and an intelligent musician. There are three elements of how I see a complex musician: emotional reaction to music, intelligent understanding of a musical composition, and the technical ability playing the piece. For a performer, a certain level of artistry is also required. At the same time, I always project a long-term and a short-term plans with my students. Especially with more advanced students, I believe it is important. Depending on the plans of the students, the requirements for his/her degree, interests in the profession, I discuss the long-term plan with the student; it could be for a year ahead or a semester. I believe only mutual interest and collaborate engagement would bring us to the goal. At the same time, I develop short-term plans, such as a schedule of what we are working on (mostly on a monthly basis), considering the student's ability to work on selected repertoire more intensely, or split repertoire on different tasks, such as memorizing this piece, working on technical issues in a different piece, practicing notes and rhythm in a third, new piece.
Because I received a complex education from my early years, I believe of importance of music history, theory, harmony, and polyphony at any development stage of a young pianist. I encourage analyzing the piece (especially if the student is having difficulty memorizing it), read about the composer or historical period of the style of the piece, or listen to other compositions of the same composer or from the same period.
I am fortunate to have worked (and to be working) with young students who pursue music as their profession or make music part of their life. Some of my students are prizewinners at local and international competitions, some took exams in piano performance and music theory for the Royal Development Program, some just enjoy learning and occasionally performing for small recitals.
And I feel lucky to be part of their musical life!
Anastasia
Seifetdinova