Suzuki noticed that children pick up their native language quickly, and even dialects adults consider "difficult" to learn are spoken with ease by children at age five or six. He reasoned that if children have the skill to acquire their native language, they have the necessary ability to become proficient on a musical instrument.
Suzuki believed that every child, if properly taught, was capable of a high level of musical achievement. He also made it clear that the goal of such musical education was to raise generations of children with "noble hearts"
Suzuki noticed that children pick up their native language quickly, and even dialects adults consider "difficult" to learn are spoken with ease by children at age five or six. He reasoned that if children have the skill to acquire their native language, they have the necessary ability to become proficient on a musical instrument.
Suzuki believed that every child, if properly taught, was capable of a high level of musical achievement. He also made it clear that the goal of such musical education was to raise generations of children with "noble hearts" sunnypotato 发表于 1/23/2018 1:00:40 PM
Saturation in the musical community. This includes attending local classical music concerts, developing friendships with other music students, and listening to recordings of professional musicians in the home every day, starting before birth if possible. Deliberate avoidance of musical aptitude tests or auditions to begin music study. Suzuki believed that teachers who test for musical aptitude before taking students, or who look only for "talented" students, are limiting themselves to people who have already started their music education. Just as every child is expected to learn their native language, Suzuki expected every child to be able to learn to play music. Emphasis on playing from a very young age, typically starting formal instruction between the ages of three and five years old. (See Technique). Using well-trained teachers. Suzuki believed in training musicians not only to be better musicians but also to be better teachers. Suzuki Associations worldwide offer ongoing teacher-training programs to prospective and continuing Suzuki teachers. In the beginning, learning music by ear is emphasized over reading written musical notation. Suzuki observed that children speak before learning to read, and thought that children should also be able to play music before learning to read. To support learning by ear, students are expected to listen to recordings of the music they are learning daily. Other methods—such as Simply Music, the Gordon Music Learning Theory, and Conversational Solfège—have students playing before reading notes, but may not have the same focus on daily listening and learning by ear. Memorization of all solo repertoire is expected. The focus on memorization continues even after a student begins to use sheet music to learn new pieces. Music theory and note reading are left to the teacher. The Suzuki method does not include a formal plan or prescribe specific materials for introducing music theory & reading, in part because Suzuki created the method in a culture where music literacy was routinely taught in schools. Regular playing in groups (including playing pieces in unison) is strongly encouraged. Retaining and reviewing every piece of music ever learned is also strongly encouraged. This is intended to raise technical and musical ability. Review pieces, along with "preview" parts of music a student is yet to learn, are often used in place of the more traditional etude books. Traditional etudes and technical studies are not used in the beginning stages, which focus almost exclusively on a set of performance pieces. Frequent public performance makes performing feel like a natural and enjoyable part of being a musician.
为什么很多人学钢琴，我体会家长想给孩子选一门艺术类的兴趣爱好，音乐是个不错的选择，音乐里钢琴比较大众，音色好，容易上手等等。为什么会有争议，一个是本身学的人多，跟风多，人口基数大，没人会去争论学架子鼓的；第二这个东西在乐器里来说属于硬件投入比较大的，大众牌子雅马哈U1团购价就得6000多，而且占地方，你得有房子，住公寓买这个并且扰民的家庭是比较牛叉的，是推娃的另外一个境界不做讨论，电钢和真钢技术流的争论也不做讨论；第三，也是最重要的一点就是做父母的功利心太重太重，尤其是自己完全没弹过的人，一上来就是谈论投入产出，然后上大学写进申请等等，一旦觉得不值不划算的人，就不断地justify自己家为什么不学钢琴，并且以自己家成功躲过练钢琴而觉得很幸运很高兴很英明，同时相伴的另外一个极端父母群体，钢琴练的痛苦而欲仙欲死，砸了这么多钱和时间了，sunk cost 太高舍不得放弃啊，继续痛苦的欲仙欲死，家中就是战场，钢琴就是武器，每晚硝烟弥漫，争吵不断。
纵观以上两派，想说何必呢？说到底都是故意在忽略一点，音乐是美好的东西，表达可以用嘴也可以用乐器，钢琴只是乐器的一种， 关键要看孩子的兴趣在哪里，当然什么事情也不能全由着孩子的性子走，所以家长起到一个把握尺度的作用；学乐器是一件艰苦的事情，是必须正视的事实，学乐器跟孩子小时候去练体育踢球什么不一样，那个你可以打酱油，这个不行，你练还是没练用没用心练，老师一检查就能看出来；另外一个要正视的是，孩子都是普通孩子，绝大部分不可能以后靠这个吃饭，终究就是个兴趣爱好，能写进大学申请获利的都不是很容易的事情，你要是觉得这个时间浪费了还不如去做奥数题，那就说明你不认可这个东西，并不是孩子的想法，你的孩子当然你做主；另外，如果练该怎么练，每天10分钟或者每天1小时，都是一个尺度去按照自己孩子的情况去把握，练琴是个任务，但因该是个愉快的事情来做，每天为了去完成任务去弹，不仅仅大人小孩痛苦，练的效果也不好。
说了这么多，感觉钢琴作为乐器爱好的一种，本应是你愿意学就学，不愿意学就算，却一直以来引起的争议很大，甚至演变到，学得抱怨生不如死，不学的去嘲笑挖苦那些学的，以及不仅仅学而且做着功利梦的家长，这些都是很奇怪的现象。
☆ 发自 iPhone 华人一网 1.12.04
这个比较难办啊，比如我儿子，当初是他求着要学的，一开始热情很高，简单嘛，随便练练，很快就能弹出调调来了。 后来难了，就不想干了。 问题是啥都学个皮毛，一难就放弃，肯定也不行吧。
所以现在每次看到那种酸溜溜的讽刺华人孩子学钢琴的键盘侠，我都在心里默默问候他祖宗一千遍
作为爱好不错，没有人要你不要学，只是不要把弹钢琴当作必须，当作升学的途径。
去学游泳，每周4次，每次共两个小时，小孩躺下来就睡，健康。每天5天就要起床陪小孩游泳，一样不容易。
你做决定都是看华人的？
家长这个时候来把握尺度，我小时候男孩子比较调皮，但我就来很感激父母没有随便让我放弃，当然里面还有因素是我对音乐比较喜欢，流行的，古典的，总有喜欢听的顺耳的，现在找个谱子练一练还能弹出来，挺自娱自乐的。
每周四次游泳，一次2个小时，你已经属于家长推娃的一个项目中的极端情况了，根本没有代表意义。
Suzuki noticed that children pick up their native language quickly, and even dialects adults consider "difficult" to learn are spoken with ease by children at age five or six. He reasoned that if children have the skill to acquire their native language, they have the necessary ability to become proficient on a musical instrument.
Suzuki believed that every child, if properly taught, was capable of a high level of musical achievement. He also made it clear that the goal of such musical education was to raise generations of children with "noble hearts"
选一样东西，不然要把其他的一些就放弃了，不可能什么都在I坚持，趁娃学业不忙的时候，就打好基本功，一般到高中大部分孩子就不练了，能坚持练个曲子上recital 的就很不容易了。
关键是陷入了一个死循环好像，谁都解脱不出来。
没错，读谱反应在乐器上弹奏出来就是在诠释一门语言，谱子就是语言。
学琴的好处是的确开发智力，培养孩子的专注力。经过严格又枯燥的古典音乐训练的孩子对学校功课的那点儿压力根本不算事儿，所以音乐娃学校成绩普遍好。能登上大舞台，锻炼胆识，磨练气质，表达情感是额外收获，但是以升学为目的恐怕要失望了。那些弹琴进名校的孩子其他方面也都相当出色，功课拔尖，领导能力，社会活动能力都不能少。想靠爱好进大藤的还是完体育更有实效。
你自己判断力有问题 问候别人祖宗干嘛
你要自己去发现孩子的爱好 你孩子有兴趣当然说学。而且也不存在什么晚学 早两年雪可能好不ready 说不定事半功倍。
而且只是你孩子正好有兴趣有天赋
你孩子要是没兴趣学不好 然后你是不是又要问候崇尚推钢琴的人祖宗了？
有些家长真是一言难尽
每次钢琴贴总是炸出很多莫名其妙的家长
我就是小时候被逼学，但是现在很庆幸自己能弹琴的的
哈哈，对钢琴真是 亲痛仇快 啊！
我认识很多学琴的文化课都不好
认识更多学霸 压根不学琴
学琴开发出来的智力和用来学文化课的智力也许是两个层面的
你认识很多学霸，压根不学琴。那你也应该知道智力开发不止学琴一条途径。音乐只是智力发育的一个方面。你也不知道你认识的学霸如果从小接触音乐，会不会发展得更好。
你说学琴没用，那我们从小上学，那些音乐课美术课体育课有什么用呢？对你来说什么是有用的呢？
也许根本就不值得这么钻牛角尖去考虑，这毕竟不是在学校里读研做research
学琴没有学棋投入产出比小，那才是耗时多进展慢的东西。
哈哈哈，有哲理
你看出来了冰山一角，华人上大部分的理论都要反着来理解的，你现在觉醒还不晚
家长跟着孩子一起学是个很不错的办法，这样至少在乐理上能跟着，当然，不是很容易。
治哮喘坚持的，没什么，只是为了身体。 但对身体非常好。
没有推，我只陪。
我打算等孩子大一点，教他们打麻将。
有些人提反面意见也都是善意的， 这种音乐艺术就是适合一些孩子同时也不适合另一些孩子， 或者可能家长督促的方式有问题反而没有起到好的结果， 再坚持下去不一定是好事。 人有时可能也需要灵活一些， 调整方向。
我不是歪哥啊
真的是开心就好，弦乐是要难练很多。
我就是喜欢动不动judge 别人。
小道消息，据说现在雅马哈U1 买新琴的太多，二手琴不好卖了！
很多人也不会滑冰滑雪画画等等等等 父母也有文科父母、理科父母
这时候更需要自我学习 判断，不能对网上的东西偏听偏信
玩的人少，更不要说去专门学了，感觉
但是毕竟是小朋友，最喜欢的还是玩游戏。每次她玩的忘了练琴的时候我就淡淡地说：没事，不练正好咱们就不学了，妈妈省钱了。然后她就急了，利索地丢下游戏去弹琴了。😄😄
但是如果你找不到一个很大的相关性的话，你的结论也约等于废话不是么
都拿假设自己学琴和假设自己不学琴比，永远也无法得到验证。又没有平行时空。
要是有谁说 我家孩子学琴之后智力上升明显 成绩大大提高，拿也还有说服力
如果细细划分 智力分为逻辑、记忆、空间想象等等等等的吧、你觉得钢琴可以提高什么智力
我觉得就记忆力吧，其他左右脑啊精细动作等等，我觉得不属于智力范畴吧
真正的自娱自乐是应该加进一些孩子喜欢的歌曲/乐曲。反正也不是走专业路线，适当加孩子喜欢的曲子很重要。此外还要交孩子学伴奏之类的，见过太多孩子只会弹五线谱考级比赛的曲子，生活中的歌曲反而弹不出来。这种情况下，孩子没法自娱自乐啊，所有练的曲子都那么阳春白雪。
Alfred basic piano library 一套书，6册，就是很好的激发孩子兴趣的又一步一步建立基本功的好书，一般在2册的时候配上给孩子练的简版哈农指法。
积累到一定时候就会了，我家闺女算没天分的，老老实实学， 不热情也不抗拒，去年我看她闲着开始在钢琴上弹哈利波特的曲子，她听了喜欢，就在钢琴上把旋律弹出来了，后来给她打印了谱子，她水平不够弹不了这个正式的谱子，还找老师给她简化。
除了科学研究结论，生活中common sense更重要。
我们家的目标是：没有谱子的情况下，能弹出会唱的歌就行了。毕竟就是想着自娱自乐嘛。当然这种也得一点一点学，但是能简单化很多。
就是这样，父母把握尺度，不轻易放弃，也不折磨自己。
普通孩子，三岁也太早了吧？ 想听什么就听什么了
我身边100%的家长说就是为了爱好，但是学的都是高难度的古典，考级比赛什么的。
这个说白了，老师有问题，教学方法有很大问题。
喜欢GAI的和不喜欢GAI的也互相diss
会唱弹不出来是听力问题吧，我观察下来， 主旋律听起来很明显，所以可以弹出来，但是弹的不是照谱子的整个曲子，要听了以后把谱子原封不动听出来弹出来，要求非常高了。
儿子去年5岁多开始让他学钢琴，我跟他一起学，每天一起练习。发现儿子在钢琴上没啥天分，所以也没打算让他当钢琴家，只是学学钢琴而已。每天练习不会超过30分钟，不会push 他。找的老师也是普通的， 不是特严格那种。
因为我们一起练，儿子也挺高兴。
我觉得这样挺好。
我认为这是最好的情况，一起学，一起体验。
如果小孩自己都很喜欢，很自觉，为什么不呢？我们在钢琴上很受益，而且他小小年纪就总结出，所有美妙音乐的背后没有刻苦的练习和一定的功底是不可能呈现出来的。
但别入门就学这个啊，一步一步build up ，乐趣在其中。
Quit的时候，大家都松口气。
肯定哪个环节出了问题，大家讨论一下，如果能让孩子学会一边弹一边唱？不用坚厚的古典基础。
我能理解为啥反钢琴派说这个，因为另外推钢琴派的父母，站出来抱怨学琴累的欲仙欲死，要么就是担心一上来买电钢，把娃未来的前途给毁了，所以说一个巴掌拍不响，都是极端与极端的对峙。
铃木的理论，我觉得说得挺有道理的。回想起来，如果当初我爸妈知道这些理论，我学琴的时候进步应该会快得多
Saturation in the musical community.
This includes attending local classical music concerts, developing friendships with other music students, and listening to recordings of professional musicians in the home every day, starting before birth if possible.
Deliberate avoidance of musical aptitude tests or auditions to begin music study.
Suzuki believed that teachers who test for musical aptitude before taking students, or who look only for "talented" students, are limiting themselves to people who have already started their music education. Just as every child is expected to learn their native language, Suzuki expected every child to be able to learn to play music.
Emphasis on playing from a very young age,
typically starting formal instruction between the ages of three and five years old. (See Technique).
Using well-trained teachers.
Suzuki believed in training musicians not only to be better musicians but also to be better teachers. Suzuki Associations worldwide offer ongoing teacher-training programs to prospective and continuing Suzuki teachers.
In the beginning, learning music by ear is emphasized over reading written musical notation.
Suzuki observed that children speak before learning to read, and thought that children should also be able to play music before learning to read. To support learning by ear, students are expected to listen to recordings of the music they are learning daily. Other methods—such as Simply Music, the Gordon Music Learning Theory, and Conversational Solfège—have students playing before reading notes, but may not have the same focus on daily listening and learning by ear.
Memorization of all solo repertoire is expected.
The focus on memorization continues even after a student begins to use sheet music to learn new pieces.
Music theory and note reading are left to the teacher.
The Suzuki method does not include a formal plan or prescribe specific materials for introducing music theory & reading, in part because Suzuki created the method in a culture where music literacy was routinely taught in schools.
Regular playing in groups (including playing pieces in unison) is strongly encouraged.
Retaining and reviewing every piece of music ever learned is also strongly encouraged.
This is intended to raise technical and musical ability. Review pieces, along with "preview" parts of music a student is yet to learn, are often used in place of the more traditional etude books. Traditional etudes and technical studies are not used in the beginning stages, which focus almost exclusively on a set of performance pieces.
Frequent public performance makes performing feel like a natural and enjoyable part of being a musician.
我们唱歌老师也教钢琴，她要求弹的时候要唱出来，估计她的学生将来能弹能唱，不过她还太年轻，学生都是小萝卜头， 目前还看不到结果。
你如果说的文化课不好的琴娃是指在国内上音乐学院附中附小的孩子那一点儿不奇怪，他们早早就决定走专业放弃文化课了，很多都是父母替孩子做的选择。美国长大的孩子除了弹琴，他们还要兼顾文化课和其他课外活动，从小就养成了multiple tasking的能力，在高中很多仍是学霸。
学琴耗时并不少，大多数父母自己没有接触过乐器，总觉得钢琴简单把音按出来就行了，弹钢琴手指灵活性控制力之类的，和练体育一样，都是靠大量的耗时的练习，所谓能表达出音乐，也是靠手指控制能力，没有前面十年二十年每周三四十小时的练习，很难做到吧
音乐训练和大脑发育相关性的研究已经很多很多了，随便狗狗就出来了
当然不排除以后中老年时候再捡起来的可能。