Tough teachers teach more, writes Joanne Lipman in the Wall Street Journal. Lipman is co-author, with Melanie Kupchynsky, of Strings Attached: One Tough Teacher and the Gift of Great Expectations.
The book is a paean to Jerry Kupchynsky, a Ukrainian immigrant who taught orchestra at a New Jersey high school for 40 years. He “called his students ‘idiots’ when they screwed up.” They loved him.
Today’s teachers “are supposed to tease knowledge out of students, rather than pound it into their heads,” writes Lipman. ”There is something to be said about a teacher who is demanding and tough not because he thinks students will never learn but because he is so absolutely certain that they will.”
Mr. K’s former students were successful in a variety of fields.
”He taught us discipline,” explained a violinist who went on to become an Ivy League-trained doctor. “Self-motivation,” added a tech executive who once played the cello. “Resilience,” said a professional cellist. “He taught us how to fail—and how to pick ourselves up again.”
Lipman believes in eight principles of learning.
1. A little pain is good for you.
2. Drill, baby, drill.
3. Failure is an option.
4. Strict is better than nice.
5. Creativity can be learned.
6. Grit trumps talent.
7. Praise makes you weak . . .
8. While stress makes you strong.
Plenty of today’s teachers are strict, demanding character builders, responds Nancy Flanagan, a veteran music teacher. “Tough teachers get good results . . . when their students are emotionally prepared for intensive criticism,” she writes.
Lipman is a big fan of injecting failure into the classroom. Educators, she says, need “not be as concerned about the negative effects” of picking winners and losers, and cites a study where college musicians who placed low in auditions suffered no harm to their self-esteem.
Hey, I’ve no problem with voluntary competition–winning and losing on the volleyball court or the debate floor, vying for roles in the school play or college musical ensembles. I have witnessed first-hand, however, the corrosive effects of turning the classroom into a playing field, and every lesson and assignment into a contest. I abandoned the familiar practice of seating my band students in ability-based “chairs,” with these results: more kids in the program, more students accepting the challenge of individual solos and ensembles, higher levels of performance.
Students “who have coped with failure and adversity from the outset” are motivated by “a little honest success,” writes Flanagan. “Not more stress.”