小音咖创始人兼CEO李艾与美国耶鲁大学音乐学院院长罗伯特·布洛克尔合影留念
对付罗伯特·布洛克尔一行的到来，小音咖创始人兼CEO李艾表示热烈的欢迎。随后，罗伯特·布洛克尔院长依次参不雅观了小音咖音乐厅、照片纪念墙、音乐素养课教室、乐器展示区域等。在参不雅观的过程中，罗伯特·布洛克尔院长对小音咖的教诲环境以及举动步伐表示赞赏，还饶有兴致地秀了一把钢琴技艺，令现场氛围更显得轻松愉悦。
美国耶鲁大学音乐学院院长罗伯特·布洛克尔在小音咖汾阳路3号校区音乐厅演奏
在双方互换期间，小音咖创始人兼CEO李艾向罗伯特·布洛克尔院长先容了小音咖“致力于为孩子供应完全的音乐教诲”的办学理念以及办学特色、师资力量等。罗伯特·布洛克尔院长对小音咖近年来取得的教诲成果，给予了极高的评价，并且大力地肯定了小音咖对西席的严格筛选模式以及系统培训形式，其认为精良的老师在小孩的音乐教诲中能起到了主要的浸染。当被问及音乐教诲对孩子和天下发展的主要性时，罗伯特·布洛克尔院长侃侃而谈，其认为：“音乐能带来希望，给予愉悦的精神享受。音乐可以改变人们的互换办法、人们的相处模式、思维，能为不同措辞的人们筑起沟通的桥梁。”
美国耶鲁大学音乐学院院长罗伯特·布洛克尔在小音咖校区音乐厅与小音咖团队合影
美国耶鲁大学音乐学院院长罗伯特·布洛克尔为小音咖学员以及西席团队送上祝福
随着互换内容的深入，罗伯特·布洛克院长对小音咖有了更加细致的理解，他对小音咖“乐器技能教诲+通识素养教诲”模式的传授教化模式深表赞许，认为这样能让孩子保持学习音乐的兴趣，并举例说，如果我们强制孩子去学习音乐，只会让孩子产生抗拒生理。而当我们带着孩子去参加各种音乐活动，让他们在现场感想熏染音乐的魅力，这样的办法更随意马虎让他们爱上音乐。同时，非常关注中西文化互换的他还表示，希望往后双方的学生能够进行游学等互动活动，匆匆进对彼此音乐文化的理解。
在会商即将结束时，小音咖创始人兼CEO李艾向罗伯特·布洛克院长赠予了由小音咖冠名并承办的2019上海国际少儿音乐周的纪念品。曾多次到访中国的罗伯特·布洛克院长，对这套展示中国传统乐器的礼物十分喜好，认为具有独特的意义。这次耶鲁大学音乐学院院长一行的到访，开启了小音咖与天下著名音乐院校互换的新阶段。未来，小音咖将进一步加强与浩瀚天下著名音乐院校的互助互换，在音乐教诲领域谱写新的发展篇章。
以下是音咖创始人兼CEO李艾与罗伯特·布洛克院长互换实录：
李艾：我从四岁开始学习钢琴，本科学习音乐教诲。毕业往后我成为了一名音乐西席，开始传授教化生音乐。但在这个过程中我创造，小朋友只会弹琴。他们并不知道音乐背后的天下。他们学习乐器的速率可能很快，可他们并不知道作曲背后的故事、意义。这是我们的课程希望涉及到的内容。同时，对付老师而言，他们的职业诉求可能是比较窄的，可能仅限于乐器的传授教化，而这对付他们在西席市场的竞争力而言是一个瓶颈。我们的宗旨也是希望为老师打造一个生态环境，供应给他们更多的生源，给他们传授教化的机会。
罗伯特·布洛克院长：这是我所想知道的。像许多大学里的教授，他们是艺术家，但他们不知道如何去传授教化。以是你们会教老师们怎么去教音乐。
Li Ai：I started learning piano when I’m 4. And my undergraduate major is Music Education. When I graduated, I found that children in China can only play the instruments. They don’t understand the music. They may learn playing instruments quickly, but they have no idea about the composers and the background of the works. So, I hope our children can understand the general knowledge of music. On the other side, for our teachers, they may only know how to teach. They don’t know the business model in the industry and this is the limitation in their career. Little Musician provide them a platform to fine more students and give the more chance to teach.
Robert: That’s what I wondered about what you did. Like any performers in the college, they don’t really know how to teach. So, you can teach them how to teach.
李艾：在上海，目前有超过三万从事音乐的从业者。我们会约请他加入我们，个中60%来自海内的九大音乐院校，40%来自国外音乐院校。我们的平台帮助家长找到好老师，也为在家里传授教化的老师找到更多的学生。我们现在供应超过30种乐器的传授教化。在去年，我们招收了超过两千名新生，这是其他琴行招收学生的十倍。
罗伯特·布洛克院长：这很好，但我有一些问题。你们如何将三万名老师筛选成三千名?你们的挑选标准是什么?如何决定谁能加入三千名老师的行列中?
Li Ai：There are more than 30 thousand music educators in Shanghai. So, we invite them to work with us. 60% of them graduate from famous universities in China and 40% of them graduate from other international universities. Through our platform, we can help parents to find a good teacher and help teachers who teaching at home to meet with more students. We now have 30 music instruments can be taught by our teachers. In this year, we have more than 2000 new students which is 10 times more than other education centre.
Robert：Great. So, I have some questions. How do you screen your teachers to get three thousand from thirty thousand? What is your criterion? How you decide who get in to the threethousand teachers’ group?
美国耶鲁大学音乐学院院长罗伯特·布洛克尔与小音咖团队亲切沟通
李艾：首先是学历，占评分的30%旁边。其次是老师的教龄，这十分主要也占到30%旁边。
罗伯特·布洛克院长：但是，许多老师可能传授教化了十五年或是二十年，但他们可能依然不是一名好老师。以是你们如何判断他们地利害呢?仅仅依赖他们的毕业院校和教龄并不虞味着他们是好老师。你们如何确定你们找到的是最好的老师呢?
Li Ai：At first we will pay attention to the university. This accounts for about 30%. Secondly, we will pay attention to their teaching age which is really important for a teacher. This also accounts for about 30%.
Robert: But you know, some of the teachers may have taught about fifteen years or twenty years but they may not be a good teacher. So how you judge if they are good teachers? Just because your graduating or your teaching for a long time doesn’t mean you are good. So how you confirm that you have the best teacher?
李艾：我们的紧张做事工具是4到16岁的儿童，根据儿童的四大特质，以及家长对孩子不同的学习目标，须要老师来定制一个专属于孩子的学习操持，由此来考察这个老师是否有履历。以是末了的30%便是对付老师情景演习训练的评价。
罗伯特·布洛克院长：好的，那么如果你和一名老师签约，他们是否必须在传授教化前参加小音咖的演习项目?
Li Ai：So the last 30% is the evaluation of the teacher's situational drill. Our main target customers are the children from 4 to 16 years old. According to the four characteristics of children and the different learning goals of parents, teachers need to customize a study plan for their students, so as to assess whether the teacher has experience.
Robert： Ok, so another words. If you sign up a teacher to be in your company, do they have to take your training programme before they start teaching?
李艾：是的。我们将会演习一个月，内容包括课程传授教化以及传授教化流程。
罗伯特·布洛克院长：那么他们须要为此支付多少钱?
Li Ai：Yes. They will be trained for one month, including the course and the processes.
Robert: And how much do they have to pay?
李艾：他们不须要支付任何用度。
罗伯特·布洛克院长：但签约后，他们以小音咖的名义进行传授教化而不是在家里自己传授教化。以是他们须要给你部分的传授教化用度吗?
Li Ai：They don’t need to pay.
Robert: But when they sign up, they teach for you instead of teaching at home. Do they give you part of the teaching fee?
李艾：在我们和老师签约前，我们会和他们进行一个大略的面谈，和一个演习课程。通过面谈和课程来判断他是否适宜成为小音咖的西席。演习课程并不须要支付任何用度，传授教化用度我们也只收取很小的一部分作为收入。
罗伯特·布洛克院长：但是你们若何运行这个公司?你们如何盈利?
Li Ai：Before we sign up with the teacher, we will have a short interview with them and offer them a training course. Through interviews and the course， we judge whether they are suitable to become a teacher of Little Musician. They don’t need to pay for the training course, and we only charge a small portion of the teaching fee.
Robert： But how do you generate the company? How you make money?
李艾：我们盈利的办法不是通过西席的演习课程，而是通过小组课程和乐器的售卖以及其他的活动，例如夏令营等。
罗伯特·布洛克院长：以是作为一名小音咖的老师，他们是否必须安排一定的学生参与到团队课程中来?
Li Ai：We don’t make money from the training course but from the group lessons and the sale of music instruments and other activities, like summer camp and so on.
Robert: So, if a teacher as one of your teachers, are they required to put a certain children in the group lessons? Are they have to do that?
李艾：他们并不须要这么做。我们拥有发卖团队，我们会和学生以及家上进行沟通，并且展示在团队课程中孩子们可以得到的知识以及课程的内容。我们不肯望通过这些老师来赢利，而是希望建立一个生态系统，通过其他的活动以及额外的做事和课程作为我们的收入来源。
罗伯特·布洛克院长：这样的盈利办法能够成效，这很好!这是我想知道的。但这样的生态系统是十分薄弱的，尤其是经济会十分困难。
Li Ai：They do not have to do that. But we have sales team. We will talk to the children and their parents, show them what they can learn from the group lessons. We don’t want to make any money from these teachers. We would like to build a ecosystem that make money from other activities and extra services, and also courses.
Robert: Well, it’s working! That’s what I wondered. The ecosystem is very fragile and especially the economy is tough.
李艾：事实上，和其他公司比较，我们只收取极小一部分的传授教化用度。
罗伯特·布洛克院长：我知道。我清楚上海琴行的商业模式是什么样的，我也并不喜好这种盈利模式。那些公司不像你们，他们从不会考量西席的资质，而你们在这一点上做得很好。
Li Ai：Actually, compared with other company, we only take very small part of teaching fee.
Robert: I know. I understand the standard way of business model here in Shanghai. It’s not the one I like. I think they don’t qualify their teachers as you do. You qualified your teachers better.
李艾：我们认为老师是一个教诲的出口，老师的质量是我们必须把关的。我们虽然是一个商业公司，但商业的长久来源于我们对教诲的卖力。
罗伯特·布洛克院长：是的，我明白。在耶鲁大学我们也强调同样的事情。但如果我们没有钱，我们就无法完成教诲。如果没有办法盈利，也就没有商业。你们有着最好的老师，只要让家长们意识到这件事，他们就会为了传授教化质量而付费。这是十分主要的。教诲本身是一个根本。这个根本只要够强大，就能够建立一个强大的商业模式。在你们的营运角度来说，你们知玄门导根本的主要性，而这也会更好的支持你们的品牌。
Li Ai：We believe that the teacher is an export of education, and the quality of the teacher is what we must check. Although we are a commercial company, the long-term business comes from our responsibility for education.
Robert： Yes, I understand. There in Yale we say the same thing. But if we don’t have money, we can’t educate. And if you don’t have profit, you don’t have business. If you have the best teachers, then the parents will know that. They will pay for the quality. That’s the thing. And you know education is the foundation. This foundation is strong to build a big house. In your way you know the importance of the foundation and this can support your brand better.
李艾：是的，我们的传授教化理念便是给老师一个好的生态环境，这样他们也会更好地专注于传授教化。
罗伯特·布洛克院长：但如果你给你的老师们供应机会，这也能是一个收入来源。
Li Ai：Yes, our teaching philosophy is to give teachers a good ecosystem, so that they will focus on teaching better.
Robert: But if you provide opportunity to your teachers, that’s also a revenue stream.
李艾：是的，以是我们也为老师们供应许多演习机会。我们和周铿互助，每月举办一些大师讲座，让西席们保持学习的状态，内容包括传授教化以及乐器两方面。
罗伯特·布洛克院长：他在为你们编写教诲项目是吗?
Li Ai：Yes, so we also provide many training opportunities for teachers. We work with Zhou Wei to hold some master lectures every month to keep teachers in a state of learning, including teaching and musical instruments.
Robert： Is he writing a programme for you?
李艾：是的，在编写一个实践项目和一个音乐素养项目。我这里有两个问题，希望请您揭橥一下您的见地。想叨教您，音乐教诲对付孩子和未来天下发展的主要性是怎么看的呢?
罗伯特·布洛克院长：我见告我的学生们，音乐会带来希望。音乐无法直接地改变这个天下，音乐不会引起战役。音乐会做到的是改变人们的行为，改变人们互换的办法，并且改变我们生活的办法。现在我们在做的事便是一个很好的例子。从1989年开始我就常常来到中国，但现在我依然在学习说中文，基于音乐这个桥梁，我们仍旧在互换。
我创造你们的老师中60%来自于中国，40%来自于外洋。在我们学校，学生人数很少，只有200人，由于学校是免费的。个中有40%的学生来自于外洋，60%的学生是美国人，这和你们的比例是一样的。以是我们都在做同样的事情。这便是为什么我坚信音乐会让天下更好。基于音乐，我们让不同崇奉、不同国籍的人们彼此互换。我们以一种柔和的办法互换，而不是制造抵牾，这便是音乐所带来的。
Li Ai：Yes， practise programme and literacy programme. I have two questions here and I hope you can express your opinion. So, what changes can music education bring to our children and the world future?
Robert：I tell my student that music brings hope. Music can not change the world straight. Music can not start a war. What music does is changing the way people behave and the way people talk to each other and the way we live. What I’m doing now is a good example. Because I’m still learning how to speak Chinese. It’s terrible. And I have been coming to China since 1989. And you don’t speak English well. But still we have this bridge that we can talk.
We have this bridge because of music. So, I’m looking into your percentage that you have over 60% of teachers from China and 40% from overseas. In my school, we keep it very small. We only have 200 students. That’s all. Because everybody comes free. But over 40% of our student comes from overseas, and 60% of them are American. So, we do the same thing as you do. That’s why I believe music can improve our world. We let people from different believes, different countries talk to each other. We talk in a gentle way, not for fight. That’s what music bring to the world.
李艾：如今，中西方在文化互换上日益密切，您认为在音乐教诲方面，我们该如何相互借鉴呢?
罗伯特·布洛克院长：首先，我在西方没有教过小孩子，以是我不是很清楚。我确实不认为现在中西方音乐教诲有很大的差异。钢琴曾经在美国十分盛行，在二十年前许多孩子都在学习钢琴。现在，很多孩子参加运动或者其他课程。我所在的音乐领域是严明的，我有一个年事很小的孙子，他每天练习钢琴超过五个小时。这很猖獗。他每天练习很永劫光，这让他失落去了自己的生活。
我也在中国的本科教室上过课，我创造在中国和过去的美国一样。他们刻苦地学习音乐，并因此错过了他们自己的生活。但如果他们去看看博物馆，读读书，或是玩玩足球，他们大概能更好的领悟弹奏背后的意义。这是我的现在所看到的最大的不同。中国的父母对孩子的掌控更加激烈，他们会哀求孩子必须做某些事，例如音乐、运动或是别的什么。但孩子们须要自由，他们可以去做别的事情，而不仅仅是音乐。
Li Ai：Nowadays, China and the West are increasingly close in cultural exchanges. How can we learn from each other in music education in your view?
Robert: Firstly, I don’t teach little children in the west, so I really don’t know. I don’t think there is much difference right now. Piano used to be a lot more popular in the United States that more children took lessons even twenty years ago. Now more are involved in sports and other things. The places that I involved in music is very serious. I have a very young grandson, he practise over 5 hours a day. Which is crazy. He should practise as much as possible. He missed part of his life. And this is one thing I can also see in China.
Because I do so much teaching in master classes. The students can not experience. They work so hard and they miss a lot of life. But if you have the experience doing other things like going to museum, reading a book, playing soccer, it helps your music. It helps you play impressively. This is the biggest different I see for children who learning music. The parents in China are more intense on their kids, they think they must do something, may be music, sports, whatever. And the child need freedom. They can do something different but not just music.
李艾：小音咖有学习中国传统乐器的孩子，也有学习西方乐器的孩子，希望接下来有机会，能把孩子们带到耶鲁大学音乐学院，带上他们的二胡、琵琶，和那里学习音乐的孩子们一起进行中外音乐互换。
罗伯特·布洛克院长：有时候会有一些学生团体来到耶鲁，耶鲁拥有十分出名的音乐收藏品。我们也和中心音乐学院、上海音乐学院以及其他地方进行过学生交流。我们希望我们的学生能够学习更多的中国乐器。在我第一次1989年第一次来到中国的时候，我去看了京剧。我认为每一个国家都该当传承他们的而文化，这是十分主要的。
在我六年级，也便是十岁的时候，我的老师的姐妹正在中国事情学习，她见告我了一些关于中国的事，也让我对中国开始产生兴趣。以是我理解中国不是通过电脑，而是通过书中的图片和照片。有时我也会去图书馆理解更多中国的故事。你在这里的事情和我在夜路的事情，是教授学生知识，不仅限于音乐的历史，可能还有不同国家的历史。如果周六，我来到你们的学校和你们的学生见面，并且问他们，谁知道什么是二胡?可能只有百分之十的孩子知道，更多的孩子们对此一知半解乃至一无所知。
在美国，在耶鲁，我也有一些小型的教室。如果我问他们同样的问题，他们同样不知道。而父母会说这没什么，他们可以搜索到这些乐器的信息。但这样弗成。由于当你看到这个乐器，抚摸到这个乐器的时候，乐器的种子会播种到孩子的心里。以是我认为小音咖在做的事是十分主要的。你们不仅帮助孩子们理解中国的文化，也在帮助他们更好地对这个天下建立认知。我认为除了老师，还有更多的问题来源于他们的父母。
举一个例子，在我的孩子还很小的时候，周围的人都会问我为什么不让孩子学音乐?我不会让我的孩子学音乐除非他们自己主动哀求。我希望他们能够自己找到自己感兴趣的事物。在我小的时候，我的老师也是一名音乐教诲家，和你一样。她不是一个好的音乐家，但她是一个好的老师。我当时并不知道未来我会做什么，她并没有勾引我走向音乐专业。她只见告了我一件事，如果我爱音乐，并且把音乐放在心里，那么音乐会让我的生活变的更好。家长们必须该当清楚，如果他们强制孩子去做某件事，孩子们一样平常都不会热爱这件事。但如果你去勾引孩子，让孩子去选择自己喜好的东西，那结局就会截然不同。
Li Ai：In Little Musician, some of the children are learning western instruments, and some of them are learning Chinses instruments. I hope there would be a chance in the future for them to communicate with your students in Yale university of Music, which could be a great exchange of Chinese and foreign music culture.
Robert: Sometimes there are some study group coming to Yale. We have a very famous music collection. And we do some exchanges with the CCOM, Shanghai Conservatory and other places. We want our students to learn more and more Chinese instruments. In my first trip in China in 1989, I went to see the Peking Opera. I think it’s very important for every country to preserve their culture.
When I’m in sixth grade, 10 years old, I became interested in China because of my sixth-grade teacher. She told me about China because her sister had a mission there in China. So, I have different technology to let me learn about China. I learn from photographs and pictures in the books, not on the computer. And I went to the library and I learned. Your job here and my job in Yale is to teach students about the history of the nation, just like the history of music. So probably, if I came to your school on Saturday where I have all the students together, and I said who can tell me what erhu is? Maybe only 10% of them would know. Most of them would not know.
If I’m in America, in Yale, and I have small classes. If I asked the same question, they would also not know. And the parents would say it’s ok, they can look it up. It’s not ok. Because when you see, when you touch, they grow in your heart. So, I think what you do is so important because you can not only help the children understand the own culture in China, but also you can help them understand the world so much better. I think in addition to the teachers, the big problem would be their parents.
I will give you an example. When my children were little, people said why don’t you make them to take music? I would not make them to take music only if they want to take music. I want them to find their own part. My teacher was a music educator, like you, when I was a little boy. She is not a great pianist, but she is a great teacher. She taught me to love music. I did not know what I would do in the future. And she didn’t lead this. She only taught me one point, if you love music and you let the music into your heart, it will make your life better. And parents have to understand that better. When you force somebody to do something, they normally don’t like it. But if you guide them, let them choose what they want to do, that would be very different.
小音咖创始人兼CEO李艾向美国耶鲁大学音乐学院院长罗伯特·布洛克尔赠予独具中国特色的纪念品
李艾：小音咖和您的理念是十分靠近的。在我们设计日本音乐文化互换时，我们在教室里加入了樱花的喷鼻香味，灯光也设计成了粉白色，让孩子感想熏染樱花纷飞的意境，老师们也会穿上日本传统戏剧的戏服。
罗伯特·布洛克院长：这听起来很不错，以是你们也用同样的办法推广过美国音乐吗?
Li Ai：Our philosophy is very close to yours. When we designed the Japanese music culture exchange, we added the fragrance of cherry blossoms in the classroom, and the lighting was also designed to be pink and white, so that children can feel like the cherry blossoms. The teachers will also wear traditional Japanese opera costumes.
Robert: That sounds great! So, have you done the same thing on American music?
李艾：是的，当然。我们进行了不同的文化互换课程，例如阿拉伯、日本、美国以及欧洲等。
罗伯特·布洛克院长：很高兴理解了这么多你们公司的事并和你们互换到现在，我很高兴你们正在推进完全的音乐教诲。
Li Ai：Yes, absolutely. We have planned different culture communication lessons like Arabic, Japan, American, Europe and so on.
Robert: It’s great to learn more about your company and to talk with you. I’m glad what you do.
李艾：十分感谢您抽空来。
罗伯特·布洛克院长：感激你们。
Thank you for your time!
Robert: Thank you!