Music Lessons American Fork UT

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Janice Vincent
3816 Little Rock Drive
Provo, UT
Promotion
$50 / hr
Hours
Classical
Memberships and Certifications
"Viola
Services
Violin"
Service Types and Repair
30 years

Robert T.
(877) 231-8505
south state st
Sandy, UT
Subjects
Music Theory, Percussion, Music Performance, Songwriting, Music Recording, Drums
Ages Taught
8 to 99
Specialties
I teach out of 'Extreme Interdependence' by Marco Minnemann for students that are approaching the independence vein of drumming. Walter Piston's 'Harmony' is a book that I prefer for theory; also 'Creative Jazz Improvisation' by Scott D. Reeves provides an excellent approach to theory while covering the basis for improvising both Chordal and Melodic phrasing.
Education
shasta community college - music composition - 2000-2001 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Rosemary Hatch
269 W 1010 S
Logan, UT
Promotion
$40 / hr
Hours
Classical
Memberships and Certifications
"Viola
Services
Violin"
Service Types and Repair
30 years

Janice Vincent
3816 Little Rock Drive
Provo, UT
Promotion
$50 / hr
Hours
Classical
Memberships and Certifications
"Viola
Services
Violin"
Service Types and Repair
30 years

Janice Vincent
3816 Little Rock Drive
Provo, UT
Instruments
Viola, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
30 Years

Data Provided by:
Janice Vincent
3816 Little Rock Drive
Provo, UT
Instruments
Viola, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
30 Years

Data Provided by:
On Track Music Instruction
(801) 272-7917
6233 Highland Drive
Salt Lake City, UT
 
Robert T.
(877) 231-8505
south state st
Sandy, UT
Subjects
Music Theory, Percussion, Music Performance, Songwriting, Music Recording, Drums
Ages Taught
8 to 99
Specialties
I teach out of 'Extreme Interdependence' by Marco Minnemann for students that are approaching the independence vein of drumming. Walter Piston's 'Harmony' is a book that I prefer for theory; also 'Creative Jazz Improvisation' by Scott D. Reeves provides an excellent approach to theory while covering the basis for improvising both Chordal and Melodic phrasing.
Education
shasta community college - music composition - 2000-2001 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Lucinda C.
(877) 231-8505
West 750 North
Clearfield, UT
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
My most used methods are Bastien, Alfred, and Noona--all multi-key approaches. I teach from other methods also to supplement the concept or skill that I am teaching. Included in my private lesson are scales, arpeggios, technical exercises (Hanon and Dozen a Day), theory, composition, sight-reading and memorizing. I also hold a Saturday group class focusing on general music education not taught in the private lesson such as music history, composers, genres/styles, Orff instrument ensemble play…
Education
Weber State University - Office Administration with a Minor in Music - 1975-1979 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Claire T.
(877) 231-8505
S 900 E
Salt Lake City, UT
Subjects
Violin
Ages Taught
5 to 18
Specialties
I mostly use techniques of the Suzuki method
Education
Indiana University - violin performance - 08/2006-05/2007 (not complete) University of Utah - violin performance - 08/2007-05/2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Data Provided by:

Tuning Up:

Remember when that insensitive band teacher told you you’re not musical?
Forget it—we are all wired for music. If you can get beyond those self-doubts
and readjust some preconceived notions about how to play and listen to music,
you can touch a medium that can touch you back in powerfully moving ways.

By Allan Richter

From October, 2008

If you feel musically inadequate, your personal history probably tells the story. “Band” was the last elective you ever considered in school. And when it’s time for group singing at religious services, you mouth the words, cower in the pew and wish for the confines of a shower stall.

But those self-doubts about musical talent may be for naught. We are all wired for music. And while few can match the output of a Schubert, Ellington or McCartney, many of us have the capacity to play an instrument and learn how to listen to music with greater appreciation and more clarity.

About 10% of the population simply does not like music, says neuroscientist Daniel Levitin, PhD. “For those that it is accessible to, though, it’s never too late to play an instrument,” Levitin adds. “People who have been told all their lives that they’re not musical shouldn’t listen. When they were 10, some schoolmarm said, ‘Just mouth the words while the rest of us sing.’ So they never got this training that they could have used to be singing better. Most people are more musical than they realize.”

Those discouraging schoolmarms appear to have succeeded. Barry Bittman, MD, a neurologist who heads the Mind-Body Wellness Center in Meadville, Pennsylvania, points to census data that showed that less than 8% of people over age 18 had picked up a musical instrument in the course of one year.

Bittman says research shows the tangible health benefits of playing a musical instrument. In one study published in Medical Science Monitor (2/05), playing recreational music reversed 19 genetic switches that turn on the stress response believed to play a role in the development of cancer, diabetes and other diseases. The research showed that musical expression was three times more effective in reducing stress than simply relaxing with a newspaper, says Bittman, the study’s principal investigator.

Becoming a Player

A big challenge for adult beginners is to avoid getting hung up on years of listening experience. While music therapists employ recognizable strains of music with their clients, familiarity can work against adults learning a new instrument, says Julie Lyonn Lieberman, a violinist and composer who conducts workshops to help musicians avoid injury to body or mind while learning their craft.

“Adults become very agenda-focused because they know the difference between something that sounds impressive or inspiring and something that sounds simple or basic, like a scale or Mary Had a Little Lamb,” Lieberman says. “Adults want to create sound at the level they’ve already heard it” and give up when they can’t play it quickly...

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