Language of emotion
August 14th, 2009I am a music teacher. I have taught piano and voice to students of all ages (3 to 76, in fact). It is a rewarding, frustrating, exhilarating job. Nothing could have prepared me for the challenges I have faced over the last 10 years. And I mean that literally. Nothing. Majoring in music education in college was, in my opinion, a joke. How could pedagogy classes- given by stuffy old professors, whose sole joy in life is dissecting chord progressions and forcing students to guess the composer of a two-bar soundbite of one of the millions of symphonies ever composed- possibly prepare aspiring teachers for the enormous task ahead of them? As a college student, no one warns you of the saint-like patience that will be required of you. No one tells you that half of your students won’t care enough to practice and that their well-meaning parents will continue to send them, week after week, even though their progress is slower than molasses. And, no one warns you of the hostility you may face from other teachers. I have been trying to understand where that hostility stems from, and I have come to believe it is all over differences of opinion regarding the priorities and focus a teacher should have.
Music is entirely subjective; it deals with emotions, aesthetics, art. It is intangible. We can manipulate it, reproduce it, transcribe it, pick it apart and assign all kinds of terms and symbols to it, but these parameters we ascribe to it are meaningless. They have nothing to do with the music itself. Each person walking this earth has a unique musical upbringing, if you will. Every song ever composed has a different meaning and nuance to each set of ears that encounters it. How then, can we possibly impart the knowledge we have gained from our lifelong experiences with music, to another person? Each teacher has a different idea of how this should be done. I have found that they very seldom agree with (or respect) one another.
I have been facing this problem a lot over the past few months. I have had many discussions with other teachers and students and former students. I have taken students who have come from other teachers, confused and frustrated, and I try to fill in the gaps. I have become aware that, between the varying teaching styles, there is one particular chasm which divides them all. That is between teaching students to play music and teaching students to read music. Let us hypothetically take two examples of piano teachers: teacher A and teacher B. (There is a teacher C, but she really never should have become a teacher, since she lacks communication skills and hates children. Hypothetically, of course!)
Teacher A loves to perform on the piano. She holds membership with several music teacher organizations and loves to enter students into competitions within these organizations. Her students play with passion and stage presence and have won awards, and even scholarships! They perform around the community, receiving high acclaim and most people would never know, nor possibly see a problem with their dirty little secret: they can’t read music. Every song requires the teacher, sitting on the bench with them, showing them what each next note is, teaching the fingering and eventually dynamics. Hours upon hours.
Now let us examine teacher B. He believes technique is the foundation of all great music made on the pianoforte. His students spend countless hours practicing scales and arpeggios and learning to play without glancing down at their hands. They know the circle of fifths clockwise and counter and, while they may never learn Fur Elise, they can do Hanon exercises at an astonishing pace! These students have all technical skills – and zero passion. When they play at recitals, one may see individuals in the audience yawning and fidgiting, glancing at the program for the hundredth time hoping this song will be over soon. Anxiety, boredom, rote memorization, all of these can be not only heard, but felt by the listener. Passion from the performer is imparted to the listener, even through recordings! I have tested this theory with singers in a chorus before: have half of the chorus face away from the other half, and have one group sing through a passage, just concentrating on getting the notes right, with no emotion. Now have them sing it again, but this time with smiles on their faces, trying to impart some excitement, or emotion. The difference is almost palpable. Now if I can just get someone to pay me to teach this to telemarketers….
I believe it is possible to bring up good, skilled musicians who are passionate about their music! I like to equate learning music with learning another language. If you learn to read a different language, but are never given the opportunity to use that language, what is the point? You are likewise limited if you learn to speak a language but never to read it, like in past centuries, when children were taught to recite passages of the bible by heart, but never taught to actually read the bible themselves.
Music is a language: the language of emotion.
How beautiful this world would be if we could all become fluent in the language of emotion.