THE CRITICAL EAR VS. THE DISCERNING MIND
Wednesday, October 30, 2019 by William Suit | Uncategorized
The college experience for a musician tends to be a time of thoroughly honing one's skills and gleaning an abundance of knowledge. Stop right there! Well, at least that's what most musicians seem to do: "stop right there." I know, from my experience anyway, that there was an urgency among many of my peers to become the best and know it all.
So what? College tends to weed out the uninterested and incapable. It's a refinement process to produce the best in any given subject. My psychology professor was in his first year of teaching and arrogantly stood before my class to inform us, "Most of you won't make it past the second year of your studies here. Some of you won't make it past this first year. I'm here to assist you with that." I chuckle when I think of the fear it put in my mind to hear that. I remember staying up all night to memorize the material for his final, because I couldn't understand most of it. I passed it, but there were others who didn't fair so well.
Eventually I ended up in my major classes and began studying music. Recitals were required attendance events for music majors. We would pack out the little chapel with excellent acoustics to hear the culminating moments of someone who had made it to her senior year and was now ready to demonstrate competence in the music field. At times it was all I could do to sit through some of the torturous repertoire that professors would choose for their students. There's a reason some music becomes obscure, but I digress.
One of the first things that became very clear to us as music majors, is that we were expected to develop a critical ear. Mental notes were to be made about the recitals and we often found ourselves in informal discussions about the performances. The college I attended was religious. So, chapel and church services were required of everyone. It might as well have been a military school, because you could very quickly find yourself in the Dean's office for skipping a service.
It was at these services that our professors taught us to have a critical ear. Every person who approached the podium to sing or play was under the immediate scrutiny of the entire music department. It didn't matter who it was or why they were there, they were now being measured and critiqued. Was the voice free? Did they have tremolo or vibrato? Were they forcing the pitch? Did you hear how they altered the composer's intent? Did that guy just end his piano arrangement on a major 7 chord? Was her posture affecting her tone?
This critical ear was honed in the recital hall. I remember sitting with the program in my hand and making notes on each piece. Meticulously I would jot down my impressions. Everything from posture to breathing to execution was scrutinized. Vowels had to be aligned and free. The language being sung had to be clearly understood. With the pianists, sometimes people would sit with the score and follow along, notating every flaw and misstep.
To the outsider this was all invisible. All you could see was an attentive, supportive room full of peers applauding the crowning moment of someone's academic career. In reality, we were a vicious pit of venomous vipers, silently striking with our pens at every movement. I remember a guy coming up to me after my recital with a smirk, "Well, that was a dialect of German I've never heard before tonight." He walked away chomping on the cake I had provided for my reception. I laughed nervously as the next person came through the line. This was my crowning moment? (Personally, I would never want to relive it. I saw a VHS recording of it once and swore I would never watch it again. It wasn't as good as I thought at the time. Ha!)
Despite this critical, damaging attitude that was nurtured in most of us, there were some great professors that nurtured the musician in all of us. One of them balanced this for me unintentionally at a faculty recital. He was the best music theory professor ever! His instrument was piano. At this recital he was playing Brahms. I was familiar with the piece at the time and was excited to hear it. He began and made his way through the first passage, but then something very odd happened. He played a passage about a third of the way through the piece that I had never heard before. Was this some lost version of the composition of which he was aware? Mind you, he was playing totally from memory. I couldn't figure it out.
In a conversation with a group of students later someone asked him why he had changed Brahms. He was a quiet-spoken person and never raised his voice. In his usual manner, he sat and stared for a moment, contemplating his answer. "I drew a blank and couldn't remember the next part. So, I made it up." Everyone gasped and some laughed. I leaned in and listened. "When you're on that stage playing, it's more than just mindlessly playing the notes from the page. It's most about capturing the composer's intent; the spirit of the piece. I understand Brahms. I grasp what his intent was with that composition. At that point my improvisational skills took over and I made my way back to a familiar place to finish the piece."
Perhaps I didn't quote him exactly, but this is the impression that moment made on me. That became a critical point in my musical education. Did you hear all that was going on in his musicianship? Everything was at play in that moment. There are so many critical lessons that can be taken from his moment on that stage and the way he handled the crisis. To the critical ear, he messed up and tried to cover it up by rewriting Brahms. To the discerning musical mind, he was deeply invested in leading the audience to a deeper appreciation of Brahms and to the heart of this composition. To those who were unfamiliar, this was clearly accomplished, because they had no idea that he made up a third of the piece. They simply enjoyed the thrill of the spirit of the piece as intended.
At the end of the day, maybe advanced studies with all of their refining power and bestowing of knowledge lead us to a new plateau of understanding and growth. How we handle that determines our real ability to lead others to an appreciation and love of our craft. Can I use my critical ear to delve into the mind of my student while discerning with my heart her grasp of the material before her? Am I able to lead my student to deeper expression of the text, full of emotion and clarity, rather than making him a robotic duplicator of notes? It's all a very delicate balance!
In the end, we as instructors, who've been given an abundance of knowledge are also bestowed with a great responsibility to tap into our power of discernment. In doing so, we have a better chance of leading students toward a goal of excellence full of expression and understanding. Audiences will sit enthralled and engaged by the music of the ages as the soul of that music engulfs their minds and hears.
Connecting the Dots
Tuesday, October 29, 2019 by William Suit | Uncategorized
My colleagues and I have some rather deep discussions at times while waiting for students to arrive. While I have my days of wanting to be alone, I more often than not look forward to these conversations. Such banter stimulates the brain and stirs my creative juices.
One such conversation recently involved student goals and motivation. In particular, we were chatting about the students who have a goal to be on stage as adults. In my studio, I used to hear voice students expressing a desire to make the cut on a popular music show on tv. I've never discouraged anyone with goals, even if I doubted them. Some teachers do, but I just remember how it felt to have my dreams questioned by adults when I was a child. More importantly, I remember how it felt to have them nourished by my mom! She always believed I could accomplish whatever I set out to do.
That connects a dot instead of erasing it. No, I'm not on stage before thousands, performing my music. I'm sitting quietly (well, not that quietly) in a private music school encouraging young students toward goals big and small. Let me be clear. I didn't settle for doing this. I chose to do it, because I love working with people and I absolutely love music!
Recently I attended a "thank you" breakfast with a group that I had sponsored last year through advertising. I didn't know anyone at the event. I'm good at starting conversations, but I get really nervous when there is food involved. So, I found a friendly person and sat down to enjoy the meal. Shortly thereafter, entertainment was introduced and up to the mic stepped a former student. I listened with absolute joy to her beautiful voice...a voice I'd nurtured and listened to in my studio a few years before. Here she was a little bit older now, under a different instructor, and still just a delight to hear. DOT CONNECTED! I fully expect I will hear of her in years to come as she enjoys the use of her talents on a bigger stage.
As a teacher I try to stay clearly focused on my purpose. I sincerely doubt I will ever be famous or enjoy stardom at any level. Yet, my purpose as an instructor is to connect dots with my students. I noticed recently that a former student is now an intern at a university, studying engineering. He was brilliant in his own way at the piano, but piano was not to be his ultimate path. The study in and of itself helped connect some dots for him in high school. Another student from many years ago recently expressed how happy she was to have studied piano as a teen and is happily working a different job, is married, but loves using her talents as an accompanist on the weekends.
While the examples could go on, I want to zoom in on connecting dots. Fame is elusive to most. When it does come, that person is usually in the right place at the right time with the right talents and experience. I once had a talent scout tell a student, "There are 5,000 voices just like yours right now in Nashville trying to 'make it.' " I was thinking about this the other day and I started thinking about a number of famous composers and musicians:
Bach, Rogers & Hammerstein, Mendelssohn, Prince, Beethoven, Mozart, Weber, Brahms, Schumann, Swift, Grande, Barber, Bartok, Grieg, Legend, Smith, Verdi, Shaw, Lizzo, Copeland, etc. (fill in with your thoughts of famous musicians)
You could just as easily list countless 20th, 21st century names. Can you name their music mentors and instructors? Can you name their parents, friends or relatives? Those people had a profound effect on CONNECTING THE DOTS that made these people so talented and memorable. Without those mentors and guides, we might never have heard of most of this list.
Visit a museum and take a few moments to stand in front of an impressionist painting. Do you see the "dots?" You will if you zoom in and see that this beautiful canvas is full of tiny strokes of the brush and dots, which at a distance and a glance gives your mind an impression of a scene, a moment, a cherished time. It takes all of those dots to complete the painting and give the impression or illusion of the portrait.
And so it is with you, a parent, a sister, a brother, a nanny, yes, especially a teacher; it is your influence and guidance that makes clear the path of that student in your life. It is your small encouragement at the hour of exhaustion that ushers the student on toward the dream that seems so elusive. It is not your place or call to predict what the future holds. It is not your place to capitalize or become famous on the coattails of these talented students. It is simply your task to be you, to play your role, to be the connecting dot that moves your student, your child, your sibling toward the realization of a dream. While your dot might not be the largest and may seem insignificant to you, the painting of life would be unfinished without it.
CONNECT THE DOTS!