Woodwind Pedagogical Essay

The French woodwind pedagogical system has been instrumental to the development of woodwind musicianship in the United States. Some of the country’s leading pedagogues during the early and mid-twentieth century, such as Daniel Bonade (clarinet), Marcel Moyse (flute), and Marcel Tabuteau (oboe), all hailed from the Paris Conservatory. While these teachers undoubtedly had a tremendous impact on woodwind players in America, the way in which American students learn wind instruments is vastly different from the ways in which French students learn. In America, most students begin their studies as part of a band program, as the band program is a crucial part of instrumental music education. It has been an observation by many that a typical French student, particularly in the French national conservatories, have a greater sense of musicianship and technical command. How do young French students begin to learn wind instruments, particularly clarinet? Do French public schools provide music education, or must students begin with a private teacher? Do students begin studies at conservatories? What are the pedagogical approaches that make French clarinetists so distinct from other areas of the world,
Regular lessons with Nicolas Baldeyrou, clarinet professor at the National Conservatory of Music and Dance in Lyon, is a primary step in understanding these questions. Baldeyrou has indicated his willingness to teach me on a regular basis, either through the conservatory or independently as a private student. During my study with Baldeyrou, I will learn the techniques he uses to teach his students, which are most likely the same methods he learned at his time in the Paris Conservatory. He will be able to answer my questions on clarinet pedagogy in France (from beginner to conservatory-level students), as well as help me get in contact with other professors so that I can observe lessons at various