Cellist Kathryn Hufnagle enjoys an active career as an educator and
performer in the Washington D.C. area. She maintains a thriving
Suzuki studio out of her home in Arlington, VA and has completed
Suzuki training with Jean Dexter, Avi Friedlander, Carol Tarr and
Barbara Wampner. As a Suzuki kid herself, Kathryn is fully invested
in the philosophy and the importance of music in every child's life.
As a Suzuki teacher to her son she understands the life of Suzuki
parent as well as teacher. Former students of Kathryn have gone on
to study at Interlochen, Rice University, Oberlin College and the
New England Conservatory.
Kathryn balances her teaching schedule with a busy freelancing career. She performs regularly with many groups including the National Philharmonic, Maryland Lyric Opera, Alexandria Symphony and the Cathedral Choral Society Orchestra. Ms. Hufnagle also spent seven years living in the Midwest where she was Associate Principal of the South Dakota Symphony, Principal of the Sioux City Symphony and adjunct faculty at Augustana University in Sioux Falls.
Kathryn has been a fellowship recipient at the Aspen Music
Festival and Tanglewood Music Center where she received the Samuel
Mays Memorial Cello Award for musical excellence. Other summer
festival experiences include the National Repertory Orchestra,
Yellow Barn and Meadowmount.
Kathryn earned her B.M. from the New England Conservatory and her
M.M. from the Cleveland Institute of Music. Principal teachers
include Stephen Geber, Peter Stumpf and David Wells. Previously,
Kathryn has played with the Omaha Symphony, Kansas City Symphony
and New World Symphony.
More than fifty years ago, Japanese violinist Shinichi Suzuki realized the implications of the fact that children the world over learn to speak their native language with ease. He began to apply the basic principles of language acquisition to the learning of music, and called his method the mother-tongue approach. The ideas of parent responsibility, loving encouragement, constant repetition, etc., are some of the special features of the Suzuki approach
As when a child learns to talk, parents are involved in the musical learning of their child. They attend lessons with the child and serve as “home teachers” during the week. One parent often learns to play before the child, so that they understand what the child is expected to do. Parents work with the teacher to create an enjoyable learning environment. Expanded meaning of 'parent' to include any caregiver, guardian, grandparent, etc who is supporting the child in the learning process.
The early years are crucial for developing mental processes and muscle coordination. Listening to music should begin at birth; formal training may begin at age three or four, but it is never too late to begin.
Children learn words after hearing them spoken hundreds of times by others. Listening to music every day is important, especially listening to pieces in the Suzuki repertoire so the child knows them immediately.
Constant repetition is essential in learning to play an instrument. Children do not learn a word or piece of music and then discard it. They add it to their vocabulary or repertoire, gradually using it in new and more sophisticated ways.
As with language, the child's effort to learn an instrument should be met with sincere praise and encouragement. Each child learns at their own rate, building on small steps so that each one can be mastered. Children are also encouraged to support each other's efforts, fostering an attitude of generosity and cooperation.
In addition to private lessons, children participate in regular group lessons and performance at which they learn from and are motivated by each other.
Children do not practice exercises to learn to talk, but use language for its natural purpose of communication and self-expression. Pieces in the Suzuki repertoire are designed to present technical problems to be learned in the context of the music rather than through dry technical exercises.
Children learn to read after their ability to talk has been well established. in the same way, children should develop basic technical competence on their instruments before being taught to read music.
One of the most frequently asked questions! What exactly is the difference is between these two methods.
- | -
In both Suzuki and Traditional methods, the role of the parent or caregiver is crucial to the success of the student.
- | -
Suzuki method emphasizes watching and listening first.
- | -
An important element of the Suzuki method is a group lesson component.
- | -
Suzuki teaching is based on a philosophy of respect for the child.