review from The Strad (reprinted with permission):

I know of no professional musician that, despite heavy playing commitments, does not have a few private students. Some may squeeze in a couple of lessons between rehearsals, while others rush home to more pupils from a full day's teaching at a school or university. There are few musicians who can afford to turn students away and most would gladly accept more.

Of all those teachers are there any who have never had problems with the parents of the students? Most could write a book on their experiences, which is exactly what studio teacher Mimi Butler has done. Fortunately, she focuses on addressing and solving the problems, not just on cataloguing them.

The author's approach is concise, to the point, practical and unpretentious. She dives right in with real-life situations often gleaned from other US teachers whom she has interviewed. Butler then offers us step-by-step solutions.

The first chapter looks at communication with parents. Butler recommends an initial interview, registration forms, a studio policy and parent-teacher conferences. She also suggests communicating with email, telephone, a website, newsletters, and an assignment journal in which the teacher can write comments about the student’s progress and grade performance.

Illustrations from her own website and samples of other teachers’ newsletters are provided along with suggestions of content. I particularly liked the concept of the practice plan, which requires the parent’s signature and allows the teacher to include that particular week’s targets. The subject is covered thoroughly without fluff or filler, through the print could be cleaner and the cover and binding og higher quality.

Elsewhere in the book Butler has tips on collecting fees, coping with the myriad of excuses for absence, and handling parents who stay in the studio during the lessons and interrupt. She also includes useful thoughts on communicating with parents who don’t speak English, motivating parents to encourage their children to progress and practice, and dealing with the awkward situation of the parents who decide that their child will be leaving the studio. At the end of each chapter there is a summary of the problems and solutions.

Butler is in a good position to offer advise in this field – she has published two other guides for the private studio teacher and is a regular guest clinician at music colleges and conventions around the country. Even after my 25 years of private teaching, I still found ideas and tips that I could use profitably in my studio. A newcomer might find that this invaluable guide saves years in trial and error.

Laurinel Owen

The Strad,  MAY 2006

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