Reviewed by:

• Teaching Piano Pedagogy: A Guidebook for Training Effective Teachers by Courtney Crappell
• Eleanor Hodgkinson

As an experienced pedagogue writing a book for teachers about teaching, it would be tempting for an author to feel justified in constructing an argument that only presents their particular teaching method, only sets their favoured models of teaching, and only includes their preferred teaching texts. If Teaching Piano Pedagogy could be said to be guilty of this, then it is in the best way possible, as it is an almost exhaustive resource of information relating to piano teaching, and a guidebook in every sense.

This superb book acts as both an encyclopedia of all aspects of teaching pedagogy and as a guide to creating effective course curricula and creative assignments. Crappell presents comprehensive and accessible surveys of vast tracts of the piano teaching repertoire, educational theories, and teaching-related literature. With suggestions on how to approach the dissemination of the volume of material in a pertinent way to each teacher's pedagogy class, alongside practical suggestions for course structure and classroom activities, this book is an invaluable resource for any pedagogue.

Entrenched from the outset is the principle that learning comes from within, and that teachers are there to facilitate students' knowledge and enlightenment. This book is an outstanding example of this approach. Rather than [End Page 42] only offering one way of approaching a situation, Crappell draws on his wealth of experience to give objective insights and alternatives, allowing the reader to find their own solution. Many excellent books have been published on how to teach the piano, but there are considerably fewer, such thorough publications, about the training of piano teachers. Acknowledging the expertise that many pedagogy tutors will already have, and recognising that the book may also be used by piano teachers themselves, the introduction explains Crappell's rationale and suggests how the reader might use the book. A concise explanation of each chapter's content is particularly useful in helping the reader to decide how to read the book.

While in the U.K., piano pedagogy courses are relatively new within conservatoires, in the U.S. they are a staple of piano graduate courses. Crappell himself admits that the book is written from an American perspective, referencing the models and procedures by which the majority of these pianists receive pedagogy training. As such, the book is a culmination of extensive reading, research, and personal teaching experience within the American system, and provides non-American readers a valuable insight into how these programmes are conducted. Chapter 1 contains a definition of piano pedagogy, a historical background to the emergence of pedagogy as a discipline in the U.S., and the formation of teacher training programmes. Crappell argues the case for specialist pedagogy courses as being worthy of separate distinction from performer programmes. This valid idea is something that has only recently gained traction in Europe, and Crappell is justifiably eloquent and persuasive in his position; the thorough training of piano teachers is worthwhile and necessary. This chapter would be of particular interest to anyone, both non-pianists and non-musicians, with an interest in the history of learning and teacher/pupil relationship models.

One of the challenges facing any piano pedagogy teacher is the vast amount of literature which exists on the subject. More so than for any other individual instrument, there are an overwhelming number of books about piano teaching, numerous educational theories stretching back hundreds of years, alongside a substantial amount of 'teaching' repertoire. Deciding how to present this information in a coherent and manageable way is not easy: teachers may have preferences for certain texts and styles of teaching often borne out of experience, but nevertheless want to give their trainee teachers a wider context. This guide is an excellent reference point for those searching for new sources, as well as those wanting to give wider context to already familiar material. In Chapter 3, not only does Crappell provide summaries and reviews of texts, he also suggests how to present...

审核人：

• 钢琴教学法教学：考特尼·克拉佩尔（Courtney Crappell）的《培训有效教师的指南》
• 埃莉诺·霍奇金森

作为一位经验丰富的教育家，他为老师写了一本有关教学的书，这很容易使作者感到有理由在提出一种论据时提出正当理由，该论据仅代表其特定的教学方法，仅设定其偏爱的教学模式，并且仅包括其偏爱的教学文本。如果可以说“教学钢琴教学法”是有罪的，那它就是最好的方式，因为它几乎是与钢琴教学有关的详尽信息资源，并且是各种意义上的指南。

这本精湛的书既是教学法各方面的百科全书，又是创建有效的课程和创造性作业的指南。Crappell对钢琴教学曲目，教育理论和与教学相关的文献进行了广泛而全面的调查。本书提供了有关如何以合理的方式向每位教师的教学法传播教材的建议，以及有关课程结构和课堂活动的实用建议，对于任何教学者而言，这本书都是无价之宝。

从一开始就牢固树立的原则是学习来自内部，而老师在那里是为了促进学生的知识和启发。本书是这种方法的杰出例子。而不是[结束第42页]Crappell仅提供一种解决情况的方法，他利用其丰富的经验提供客观的见解和替代方案，使读者可以找到自己的解决方案。已经出版了许多关于如何教钢琴的优秀书籍，但是关于钢琴老师的培训的此类出版物很少，例如，彻底的。引言认识到许多教学法教师已经具备的专业知识，并且认识到钢琴教师也可以自己使用这本书，因此引言解释了Crappell的基本原理，并建议读者如何使用这本书。对每一章内容的简要说明在帮助读者决定如何阅读本书时特别有用。

在英国，钢琴教学法课程在音乐学院内相对较新，而在美国，钢琴教学法课程是钢琴研究生课程的主要内容。Crappell自己承认这本书是从美国的角度出发编写的，引用了大多数钢琴家接受教学法培训的模式和程序。因此，这本书是在美国系统内广泛阅读，研究和个人教学经验的结晶，并为非美国读者提供了有关如何进行这些程序的宝贵见解。第1章包含钢琴教学法的定义，美国作为一门学科的教学法兴起的历史背景以及教师培训计划的形成。Crappell认为，专门的教学法课程应与表演者课程区分开。这个正确的想法直到最近才在欧洲引起人们的注意，而Crappell在他的职位上是有说服力和说服力的。钢琴老师的全面培训是值得的，也是必要的。无论是非钢琴家还是非音乐家，只要对学习历史和师生关系模型感兴趣，那么本章将特别有用。

任何钢琴教学老师所面临的挑战之一是关于该主题的大量文献。与其他任何一种乐器相比，有很多关于钢琴教学的书籍，数百年前的众多教育理论以及大量的“教学”曲目。决定如何以连贯且易于管理的方式呈现这些信息并不容易：教师可能偏爱某些通常出于经验的课本和教学风格，但仍希望为其受训教师提供更广阔的环境。对于那些寻找新资源的人，以及那些希望为已经熟悉的资料提供更广泛背景的人来说，本指南是一个很好的参考点。在第3章中，Crappell不仅提供了文本的摘要和评论，