Walking alongside – Client-Centred Singing Teaching

In part 8 of her Keynote speech for AOTOS (Association of Teachers of Singing) in the UK, Dr Gillyanne Kayes shares the first of her solutions that tackle the problems inherent in the Master-Apprentice model – being client-centred.

“We are called upon to be client-centred. I love this from Franka van Essen, Feeling at ease with the other, safe within yourself, so you can shine and that the guide is walking alongside you, helping you to develop, find that metaphorical voice.

Within our profession our view about learning and what constitutes a ‘good lesson’ or rehearsal is changing. We are learning to meet the client where they are and to take their goals and wishes into account. And this is changing our own view of what constitutes singing and musical expertise.

Dr Meribeth Dayme and no ego teaching

I have to tell you that back in 2014 I had a conversation with the late Meribeth Dayme, and I said. “Now what I really want to do is to run a no ego teaching course” Now if you knew Meribeth she could be quite blunt. “Well, first you have to get your own ego out of the way” she said.

Looking back, I don’t take this as being personal. I think what she was really saying is if we are going to teach with no ego, being client-centred, we have first look at ourselves.

And that, I think, is the most important aspect of being client led – to know what it is we’re bringing to the table, making sure that we’re able to match that with what the client brings with them into the room, not only on a week-to-week basis but also longer term.

And this goes for singing leadership as well doesn’t it? So let’s all think about walking alongside as guides.”

 

Gillyanne’s Further Reflections

Being client-centred is not new – it might be a new buzz term – but anyone who has been working successfully with a diverse range of clients for several years, will have been working in a client-centred way.

Thinking back to my own beginnings as a teacher, my first clients were a hairdresser and a gasman – both of whom wanted to ‘just sing’. All Shook Up was the hairdresser’s choice, followed by anything Dolly Parton; and the gasman was into Country ballads. They were not interested in classical repertoire and neither of them read or wanted to read music. It was an eye-opening experience. Later when I worked with adult groups at the Missenden Adult Education Centre, the range of musical and vocal skill level was huge, so I had to find a way to be inclusive of all comers, whilst at the same time keeping them engaged. That taught me so much about what Jeremy and I call ‘working with the singer in the room’.

You can be client-centred with a group training session, in choir leadership, within an educational institution and in a traditional 1-1 lesson. Being client-centred, in my opinion, is a tangible manifestation of the saying ‘to teach is to learn twice’.

 

Have you transitioned from the Master-Apprentice model to a client-centred approach?

Do you see a difference between the singing voice and the metaphorical voice?

Have you noticed a change in the vocal education world around singing, students and empowerment? How does that manifest for you?

 

Click here for part 7 of Gillyanne’s AOTOS Keynote – Beyond the Master-Apprentice model: Empowering teachers AND singers

Click here for part 9 of Gillyanne’s AOTOS Keynote – The Power of Collaborative Working: Building a community of enquiry in singing

 

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