“True happiness comes from the joy of deeds well done, the zest of creating things new.”
—Antoine de Saint-Exupery
Does music have the burden of suffering for the sake of its art? Musicians are not made from whimsical wishes of wanna-be dreamers, nor are they hammered out of cemented systems of prefabrication. The musician is born under the same power alluring that of the teacher. Inextricable in our nascent beings is the need to share our passion with others—to affect and change lives for the better. My advice to all students contemplating a living in either fields of musician and teacher is to ask if they would choose their career despite the risk of possible financial and personal strain. Is it enough to live on their passion? How deeply does their commitment anchor into their core being? When they go to bed at night, when they awake in the morning, what thoughts beckon their attention? If they are consumed with a calling toward the profession, then they will find a home in this nurturing community. The beauty of teaching music is that our love for the art lives on far beyond our own musical performances. Our ability and knowledge is synthesized into a powerful influence on those lives we touch.
It is my strongest desire to give students the ability to create exceptional music. Their personal perceptions of great music must have demanding standards, and their ability to self-monitor their practice must be honed to a specific clarity. My cello teacher was fond of saying that “you are your own best teacher.” He was quite right. Though all of us develop most of our knowledge through the teachings of others, it is not until we implement the knowledge on a daily basis that we begin to grow exponentially faster. This is the primary lesson that I teach my students, whether they be in private studio lessons, individual collegiate level lessons, or voice class for instrumental and education majors and voice class for non-majors settings. While it is perfectly fine to make mistakes, (in fact, I encourage it as a means of gathering information and defining goals), it’s not ok to sing without intention and attention to details. Along with that idea, I am passionate about making choices. No matter the level of talent, all great music is derived by making potent choices. If a student doesn’t know why she sang a passage a certain way, then it is an act of default (even if the passage happened to be done correctly enough.) Defaults are blind actions that limit the performer’s skill set. Choices are finely tuned craftsmanship and artistry. My students leave my lessons and classes with the empowerment of knowing that the skill set that I’ve helped them craft and effectively employ will make them their own best advocates in any aspect of their performing and teaching lives.
Teaching music is the paradigm of performance-based learning. In such learning the immediate feedback has an instantaneous result for the student. Poor technique and unsupported musical choices can be corrected before they are ingrained as bad habits. I am diligent to expect a high level of self- evaluation and critical thinking from the student, and will role-model the effectiveness of efficient practicing through skilled and knowledgeable demonstration and communication. I guide the development of critical thinking in aural and intellectual self-analysis by leading the student through a practice session. What are they hearing? What do they want to hear? How was that sound made? How can technique offer a consistent method of achieving that sound? How could it be different? Why should it be different or not? What are they trying to convey? Does it project that way? Etc… Because students are unique individuals, a broad spectrum of communication is essential to conveying any given point to meet the individual’s perception; therefore, flexibility and creativity are important cultivars in the musical development. I often use an imaginative array of metaphors and imagery to complement the pedagogical exactitudes of teaching voice. And I require students to use a recording device in an effort to teach them how to listen to and understand their voice honestly.
Fortunately, the efficacy of teaching music is readily demonstrated by the student’s performance ability. All though a wide range of talent must be considered, certain criteria for quality workmanship can be apparent in even the most ungenerously gifted individuals. The criteria of a good musician stands on the foundation of accurate notes, rhythm, phrasing, tone quality, resonance, breath support, dynamics, articulation and proper diction. These qualities are teachable. Again, it is essential to try a wide variety of teaching methods (kinesthetic, auditory, intellectual, visual, etc.) in order to gain access to the student’s thinking and be most effective for them. Additionally, it is important to stress the intent, feeling and meaning of the text and music. These vital concepts are the soul to the body of foundation that has been set forth.
Growing up with different music teachers in four disciplines (piano, cello, flute, and voice) as well as the influence of my choral directors, band directors, orchestra directors and peers, I have been fortunate to experience common themes and complementary transferable ideas that continue to remind me that music is a basic emotion of human communication. It is definable by technique, expression, and universal understanding. I believe in the contributable value that every educator empowers in every discipline, for disciplines are merely perceptions of the greater whole, but more importantly, I believe in the respect of collaboration. The teacher or performer who claims to work without continually striving for personal development is one who enjoys hubris, which is the hallmark of decline and eventual failure. It is important to listen to other perspectives and consider, if not employ, their merits in our ever varying population of students. As students reflect on the quality of their practice methods, so should the teacher reflect on her methods of teaching. The beauty of our art lies in the changing creativity that continually evolves toward the greater good. And seeing that art live on well through others is a joy. It is the noble duty of the teacher to nurture that gift.