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Instruments

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Please consider all that goes in to recruiting students and all that can go into retaining them. Here’s a quick list of ideas. 

Expectations. Communicate learning styles, goals, and what’s required to meet those goals as soon as the first lesson. Find out what’s driving them and help them achieve their goals. And – be genuine. Everyone can see insincerity, it’s no invitation for genuine interaction. Find out what they love about music!

  • Effortless – It’s easy to enjoy something we are good at, and easy to despise what we struggle with. Regardless of how beautiful -insert any music here- sounds, if it’s above the student’s level they will learn to detest it eventually. Stuck on a piece for too long? Move along.
  • Success. How can we make the students feel good about themselves with what they are doing musically? Of course, musical progress is a likely candidate. While musical progress doesn’t guarantee satisfaction – as there’s no lack of great musicians that get down on themselves about their playing, there’s a limit to satisfaction one can sustain when they aren’t progressing, or feel they aren’t progressing. Being accessible and a friend is great, but when the student shows up unable to play well, frustration ensues. Be a great teacher first, which includes inspiration and motivation. The path is the goal – if they feel good about it, they’ll stick around.
  • What’s the solution?
    Small, accessible goals. Accomplishment should be felt as often as possible. Why are language learning apps so successful? Because they introduce new information at slow, accessible pace, giving the learner confidence in their progress(though this is an extreme example, we don’t want the equivalent experience of when duolingo users get confident in their language to realize that can’t understand anything in their target language because they didn’t diversify their learning resources at all). Your ability to discern the student’s level and tastes, and deliver that accessible and relevant repertoire that the student enjoys will play a huge role in student retention.
  • Facilities?
    Well, that’s not a virtual school’s specialty. Help your student set up their own music space that they appreciate and enjoy learning in. This could mean gear recommendations, like a suitable chair for practicing and a music stand, or just keeping an area clean and dedicated to their music.
  • For younger students –
    If the parent is the one booking and communicating through the web – start a dialogue with them about what to expect. They probably have expectations of their own – get in contact and communicate about those expectations –
    • Having a space for music – A regular space that the student may practice in without interruption. Considering a chair that doesn’t lend itself to bad posture. Good lighting so eyes are not strained
    • The importance of continuity in practice (whether regimented routine or not) – how often and for how long, their encouragement. Communicate all this and make sure they don’t ruin music for their child either, keeping it more positive about practicing, and less negative about not practicing.
    • Practice logs? Gauge the situation first. If you think they may benefit, encourage a practice log – perhaps a reward system between the parent and child for keeping up with an agreed amount of time practiced. There are several resources on the web with a simple search.
    • Experience live music – Help the parents keep their child motivated by taking them to see high quality live music. Be it free performances at a local library, local concert halls, museum performances, any federal programs promoting the arts, etc.
    • Recruiting the parent is just as important as recruiting the student – their cooperation and support is crucial. Communicate with them, help them understand the importance of lessons and commitment to them.

Activities – Make use of the virtual recitals – get students prepared early. Decide on repertoire – aim for maximum fun, stuff that the student absolutely loves. Recitals (here, the act of working up repertoire and recording it) will be expected from all younger students – instead of opting in for recitals, if they really don’t want to do it they can opt out.

 

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