How to be a Music Performer
Master Guitarist, Kapil Srivastava conducted another highly informative lecture-demo on how he became a music performer and how others can achieve a similar success. Corporate individuals and Guitarmonk students were the eager participants. Kapil gave live demonstrations on typical music performance styles and gave several performance case studies to analyze and discuss with the attendees. He reiterated the benefits of focusing one’s music learning to a performance-based mode of learning rather than the plain information or simple activity- based learning. The significance of various components with regards to the type of performances, the psychological and physiological advantage that can be gained from a performance-based task were also tackled, and questions from the participating group were also addressed for clarification. The overall impact of the lecture-demonstration approach in music revealed that most students who gained performance-oriented music appreciation get to deepen their familiarity and enhance their knowledge of music and promote a higher standard of performance that can lead to a more meaningful and inspiring experience.
Educational theorist, James Mursell‘s philosophy states that, “The student conceives of his job as a process of growth. He may, it is true, from time to time concentrate on fragments, even on very small fragments. But this is always in the light of the whole, and as part of the job of evolving a clear, articulate, intelligible pattern. What he is doing is to transform something vague, indefinite, and therefore imperfect into something specific, definite and controlled… What mastering the composition really comes to is getting its essential meanings into his fingers, his mind, and his feelings. (Mursell, 1948, p.50).
And as he refers to music reading, he says: “Long before a child begins to study these symbols, his musical responsiveness should have gone through a considerable development. The melodic and rhythmic components of music and its distinctive and what mood values should have come to mean something to him. Then as he begins to be able to see what he hears and what he responds to, the symbols themselves are learned in terms of meanings that are actualities in his experience, and the learning of them further refines and clarifies musical responsiveness. (Mursell, 1948, p.52).
And, with this, Kapil Guitarist values a good system of pedagogy that revolves around guitar and music teaching. His solid teaching practice and experience in Guitarmonk vow to help his students have better outcomes with the guitar. For him, it’s not just about teaching them the standards, outcomes or benchmarks nor why as well as how to be a music performer. It’s all about creating good and lasting memories and experience through music performance with guitar that will motivate the students to learn more.
To get the line on the art of guitar and to know how to become a music performer or to conduct music lecture demonstrations at your schook, inquire at firstname.lastname@example.org