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Thoughts of a String Educator
Sunday, October 4, 2009
Thursday, October 1, 2009
Just Solve the Equation Once
Hi all. Today, I want to share some thoughts about playing in an ensemble. Specifically, playing in an orchestra. I think that this also goes to the art of teaching students to play in an orchestra. I have been thinking a fair amount lately about my students and their approach to orchestra. Actually, I don't think that this is limited to my orchestra. In fact, I am pretty sure that this concept applies to most, if not all, student groups. I have noticed it at every level of high school player - from the average school orchestra, to the all-state level.
Yesterday, I was running an orchestra rehearsal and was giving fingerings to the violin section for a particularly challenging section. As we came to a similar section, I asked the kids if anyone had marked in their fingerings. Out of 19 first violinists, only 1 stand (2 players) had done this. And it compelled me to say that we should only have to figure out an equation 1 time. Once we have "figured out" the correct way to finger a passage, we don't want to have to figure it out again. We simply want to act - to play. Unfortunately, if a musician doesn't write specific notes in their part and they walk away for the piece for a day or more, they will have to figure out the passage again.
It is a lot like multiplication. When we are learning to multiply, we may have to figure out an equation. 6 * 5 = 30. We all know this now. But, when we first learn to do this equation, we probably have to do the addition: 6+6+6+6+6=30. After a while, though, we just know it. 6 * 5 = 30. Fingering on a string instrument is like this in many ways. When students first learn to play in 3rd position, they will probably have to put numerous fingerings and notes in their music. After a period of time, they learn the "language" of 3rd position and the notes are no longer necessary.
In more difficult literature, it is necessary to put well-placed fingerings and notes into a part when the music is too difficult to simply "read" each time it is played or practiced. For that reason, students are encouraged to have a pencil in class and to write in their parts. Oddly, though, this is not a natural thing for my students to do. They wait for me to tell them specifically what to write. This simply is not good enough. Musicians must be constantly solving the equations that are in the music and taking notes on their thoughts in order to be effective participants and members of the ensemble.
As a teacher, I have noticed that my students really want to gain the insights that I offer during class. They are fine musicians and extremely bright students. They are enthusiastic and receptive to my instruction virtually every minute of every class. I'll bet your students are similar. (I know that lots of teachers don't enjoy that same attention, but that is my experience at NCSSM.) So, what is the roadblock to effectively solving the equation just once? I think it is two-fold.
First, we need to encourage or even force our students to be musicians. They need to be scientists in science class. Be mathematicians in math class. Be writers in English class. You get the point. It is not enough to be a music student in an orchestra. You have to be a musician. You have to think like a musician, feel like a musician, listen like a musician, count like a musician, BE a musician. Too often, I think that we expect our students to be music students, not musicians. But, how do we get them to do this?
We have to teach them how a musician thinks. We have to teach them HOW a musician counts, how a musician listens, how a musician moves, how a musician feels. I think that too often, we get so caught up in the facts ("make that C sharp higher, hold your bow this way, etc.) that we forget to teach the thought process. Sometimes, we also (and I am guilty of this) we deal with the emotional aspect of the music much too early in the process of learning a piece. Ultimately, before we have effectively taught them how to think the piece. Really, I am concerned that it happens in many, if not all classes. This came up in rehearsal recently when we were doing a passage that called for triplets against a duple eighth note figure. I asked the kids what they should be thinking as they approach the passage. No one could answer. They kind of knew how to play it, but no one knew what to think. So, we spent some time on the thought process and the passage cleaned up really nicely. Following the discussion, I asked the kids what they had written in their part. No one had written anything. We had just broken down again. For once we moved away from that passage and came back to it, no one (or at least not many) would have retained that information. They would have to solve the "equation" of that passage again. That is not how an orchestral musician works. We only want to solve the problem one time.
I really wonder how much instructional time in the American education system is lost to re-solving equations. Or maybe the question could be more accurately asked, "How much time could we save in the American educational system if we taught students to solve equayions only once across all disciplines?"
I had an interesting conversation with my good friend and Drama Instructor at my school about this topic. He expressed a similar frustration with students that take minimal notes during the blocking of a scene. They have to re-solve the equation of blocking at the next rehearsal, and the next, and the next. Thus, never getting to the real business of acting. I have a hunch that every teacher could find a similar scenario.
So, my goal for this year is to teach my students how to THINK like a musician. I want them to only solve problems one time. Once it is solved, let's move on to the next problem. Or, better yet, lets solve the equations and move on to the business of moving people with music. The reality is that we have to solve the equations first. We just don't need to solve them over and over.
That is where my head is today. I am sure there will be more on this topic as we move forward.
Peace.
Scott
Yesterday, I was running an orchestra rehearsal and was giving fingerings to the violin section for a particularly challenging section. As we came to a similar section, I asked the kids if anyone had marked in their fingerings. Out of 19 first violinists, only 1 stand (2 players) had done this. And it compelled me to say that we should only have to figure out an equation 1 time. Once we have "figured out" the correct way to finger a passage, we don't want to have to figure it out again. We simply want to act - to play. Unfortunately, if a musician doesn't write specific notes in their part and they walk away for the piece for a day or more, they will have to figure out the passage again.
It is a lot like multiplication. When we are learning to multiply, we may have to figure out an equation. 6 * 5 = 30. We all know this now. But, when we first learn to do this equation, we probably have to do the addition: 6+6+6+6+6=30. After a while, though, we just know it. 6 * 5 = 30. Fingering on a string instrument is like this in many ways. When students first learn to play in 3rd position, they will probably have to put numerous fingerings and notes in their music. After a period of time, they learn the "language" of 3rd position and the notes are no longer necessary.
In more difficult literature, it is necessary to put well-placed fingerings and notes into a part when the music is too difficult to simply "read" each time it is played or practiced. For that reason, students are encouraged to have a pencil in class and to write in their parts. Oddly, though, this is not a natural thing for my students to do. They wait for me to tell them specifically what to write. This simply is not good enough. Musicians must be constantly solving the equations that are in the music and taking notes on their thoughts in order to be effective participants and members of the ensemble.
As a teacher, I have noticed that my students really want to gain the insights that I offer during class. They are fine musicians and extremely bright students. They are enthusiastic and receptive to my instruction virtually every minute of every class. I'll bet your students are similar. (I know that lots of teachers don't enjoy that same attention, but that is my experience at NCSSM.) So, what is the roadblock to effectively solving the equation just once? I think it is two-fold.
First, we need to encourage or even force our students to be musicians. They need to be scientists in science class. Be mathematicians in math class. Be writers in English class. You get the point. It is not enough to be a music student in an orchestra. You have to be a musician. You have to think like a musician, feel like a musician, listen like a musician, count like a musician, BE a musician. Too often, I think that we expect our students to be music students, not musicians. But, how do we get them to do this?
We have to teach them how a musician thinks. We have to teach them HOW a musician counts, how a musician listens, how a musician moves, how a musician feels. I think that too often, we get so caught up in the facts ("make that C sharp higher, hold your bow this way, etc.) that we forget to teach the thought process. Sometimes, we also (and I am guilty of this) we deal with the emotional aspect of the music much too early in the process of learning a piece. Ultimately, before we have effectively taught them how to think the piece. Really, I am concerned that it happens in many, if not all classes. This came up in rehearsal recently when we were doing a passage that called for triplets against a duple eighth note figure. I asked the kids what they should be thinking as they approach the passage. No one could answer. They kind of knew how to play it, but no one knew what to think. So, we spent some time on the thought process and the passage cleaned up really nicely. Following the discussion, I asked the kids what they had written in their part. No one had written anything. We had just broken down again. For once we moved away from that passage and came back to it, no one (or at least not many) would have retained that information. They would have to solve the "equation" of that passage again. That is not how an orchestral musician works. We only want to solve the problem one time.
I really wonder how much instructional time in the American education system is lost to re-solving equations. Or maybe the question could be more accurately asked, "How much time could we save in the American educational system if we taught students to solve equayions only once across all disciplines?"
I had an interesting conversation with my good friend and Drama Instructor at my school about this topic. He expressed a similar frustration with students that take minimal notes during the blocking of a scene. They have to re-solve the equation of blocking at the next rehearsal, and the next, and the next. Thus, never getting to the real business of acting. I have a hunch that every teacher could find a similar scenario.
So, my goal for this year is to teach my students how to THINK like a musician. I want them to only solve problems one time. Once it is solved, let's move on to the next problem. Or, better yet, lets solve the equations and move on to the business of moving people with music. The reality is that we have to solve the equations first. We just don't need to solve them over and over.
That is where my head is today. I am sure there will be more on this topic as we move forward.
Peace.
Scott
Wednesday, September 23, 2009
Trip to D'Addario in Farmingdale
Hey everyone!
I am sorry it has been so long since my last post. I have been swamped with the organizational details of my Charity Bike Ride for the National MS Society, "Tour de Teacher" in Durham, NC. The event was a huge success and I will post more info about that event in the days to come.
Today, however, I want to tell you a bit about my recent trip to the D'Addario factory and headquarters in Farmingdale, NY. I headed up there with three goals for the trip: film a bunch of video content for the D'Addario website, take photos for a new set of classroom posters, and serve as guest speaker for the Nassau County Music Educators beginning of year dinner.
We definitely accomplished all of our goals while there. We managed to film a ton of educational videos on both bowed electric string instruments and effects processing and more traditional violin pedagogy that should be helpful to students and teachers, alike. We also got a great start of the photos for these posters. One will be focusing on bow hold and bowing terms and the other will be a fun look at the "Geometry of playing the violin." Finally, the dinner was a wonderful event and it was a pleasure to meet the good folks that are teaching music in Nassau County , Long Island. I was particularly please to meet Martha Boonshaft, wife of Hoffstra Music Professor, noted speaker in the field of Music Ed., and friend, Peter Boonshaft. I think my remarks were well-received and it was a real pleasure to be there.
All of that being said, the part of my trip that will probably remain with me the longest had nothing to do with any of my goals for going. My friend and host, Rob Polan, gave me an extensive tour of the facility and it was really enlightening. First of all, I was struck by the sheer number of employees at D'Addario. Sure, there were business offices like any office building. But it was the folks on the manufacturing line that really struck me. In a down economy, this group was moving fast. They were clearly happy and motivated, pleased to be working for a wonderful employer that cares about quality, efficiency, and the employees. I was struck by the level of artisanship of the ladies that were "silking" the violin strings. (Yes - it is done by hand, folks!) I was struck by the skill and speed of the people running the string winding machines, sometimes creating 3 strings simultaneously. The engineering and efficiency of the plant is simply stunning. (For my students that are considering engineering as a career, this should be a required tour. It was fantastic to see these machines that are made, right there in the plant, to suit the specific needs of the individual products. It was simply stunning from start to finish. I was struck by the number of people that were working, the volume of strings being produced, the high tech engineering that went into the production, and the general spirit of the workforce. Very cool. It made me totally proud to be associated with the D'Addario Company and I appreciate them in an entirely new way today. I have always been proud to be associated with the strings. Now, I am equally proud to be associated with the business model from top to bottom.
One thing that Rob pointed out during the tour is that D'Addario is always looking to be more efficient and has recently adopted a model called "Lean Manufacturing." The idea is that you carefully explore the efficiency of movement on the floor of the manufacturing facility and place workers and machines in the optimum environment for efficient work-flow. I couldn't help but to think that the education community has to do a bit of that, too. We really need to rethink the way that we are delivering information to our students. Are we really using our class-time efficiently? Is the old classroom model still the best classroom model for education as we move further into the 21st century. I truly believe that we must increase of efficiency of content delivery in our classroom. Which, brings me around to one of my original goals for the trip: video content for the web. D'Addario's goal is to provide video content on their website that will make string education more efficient. Students can go to the web to get solid string instruction and content. Then, when they go to school, the teacher can focus on the students individual needs. The teacher becomes the tutor, mentoring the students, rather than repeating content that can be efficiently delivered on the web. Will video content ever replace the teacher? Certainly not. But, when effectively used, teachers can focus on the true task at hand, the individual needs of the student, not repeated content delivery. For more information on this concept, I recommend that you check out an enlightening book about efficiency of content delivery in the 21st century entitled "Disrupting Class," by Clayton Christensen.
For now, thanks to all of the good folks at D'Addario for making me feel so at home for the past 2 days.
I am sure there will be much more to come on this topic.
Peace.
Scott
Saturday, August 29, 2009
Teaching the Nitty-Gritty: Who Has Time for Anything More?
I am happy to announce that I will be participating on a wonderful panel discussion at the 2009 Midwest Clinic in Chicago in December. My dear friend, composer and educator Doris Gazda, will be leading this discussion on the orchestra classroom and the prioritization of activities and techniques. I am honored to be part of this panel and am really looking forward to the discussion. If you are planning on being at the Midwest Clinic, I hope you will check this session out!!
For those of you that aren't in the Music Education field, The Midwest Clinic exists for educational purposes exclusively; to raise the standards of music education; to improve the methods employed in music education; to develop new teaching techniques; to disseminate to school music teachers, directors, supervisors, and others interested in music education information to assist in their professional work; to examine, analyze and appraise literature dealing with music; to hold clinics, lectures, and demonstrations for the betterment of music education; and in general, to assist teachers and others interested in music education in better pursuing their profession. It is one of the biggest gatherings of music educators nationally each year and always a blast!
Here are the details:
Clinician Name(s): Doris Gazda, Scott Laird, Sean O'Loughlin, Matt Turner, Larry Clark
Clinic Title: Teaching the Nitty-Gritty: Who Has Time for Anything More?
Clinic Synopsis: What is the most important ground to cover in terms of technique and literature? What are the best ways to enrich traditional skills? How many alternative styles should you add to a program? At what level of instruction do we have time to make use of the numerous enrichment resources available? This session will answer these questions and provide an overview and evaluation of the many facets of teaching, offering various ways for teachers to place all opportunities in manageable perspective.
What is the target audience for this clinic? Instrumental teachers at all levels of instruction.
What will the audience take away from this clinic? A better sense of what should be essential in curriculum, tips for better time management, and the knowledge that good curriculum incorporates as many different styles of music as time will allow.
What is included in the handout? A full outline of the clinic’s topics and discussions for reference, helpful classroom tips, and a list of suggested resources.
Is there anything else you would like attendees to know about this clinic? Attendees will be afforded the unique experience of a panel discussion between respected teachers, editors, and composers from varied and prestigious backgrounds.
Biographical Information: String educator/composer Doris Gazda, string educator/clinician Scott Laird, orchestral/band composer and conductor Sean O’Loughlin, improvisational cellist and jazz/composition educator Matt Turner, and educator/composer/Carl Fischer Music Vice President Editor-in-Chief Larry Clark join in a riveting panel discussion about the essentials of a dynamic music program.
Sponsor: Carl Fischer Music
Peace.
Scott
Friday, August 28, 2009
What are YOU going to do?
The second week of school is almost over and it has certainly been a fantastic start to the school-year. My classes and students are wonderful and I am really pleased with the prospects for the academic year. My Classical Piano and guitar classes and full and the students are right into the swing of things. My Music History class is a bit smaller than usual (10 students), but they are really into it and are offering thoughtful preparation and responses to the music that is discussed. My orchestra is as big as it has ever been at NCSSM (55 strings) and is already producing a wonderful sound.
Early in the year, I like to really challenge the orchestra members to consider why they are participating in the ensemble and to reevaluate their commitment to their art and their instrument.
At NCSSM, many students are driven by grades. The students are high achievers and have spent a lifetime working to get A's in class. Orchestra is a little different animal. Of course, I have a very clear set of course expectations and grading policy which I outline for the students on the first day of class. Everyone understands the expectations and the vast majority of the students earn A's in Orchestra. I suspect that this is the case in most public school and university orchestras as well. The students want to be there, they want to receive an A, so they fulfill the requirements.
But, for an arts class, that seems a bit hollow to me. It has bothered me for years, to be honest. Don't we really want our arts students to be invested at a much deeper level that simply meeting the baseline expectations that are outlined in a grading policy?
This notion was driven home for me a few years ago while reading "The Art of Possibility" by Ben and Rosamund Zander. (If you haven't read it, I recommend it highly. I'll try to remember to write another post that covers more of the ideas in the book at a later time.) In one chapter, Zander outlines an exercise where he asks students to write him a letter detailing what they intend to do for their A, as well as what they intend to invest and hope to gain from the course. It is a marvelous and inspiring chapter and I decided to adopt a modified version of his idea in my class. I still have the course expectations, but ask the students to take it one step further and to write me a letter about their self-expectations for the course, explaining in more detail what they plan to invest, techniques they hope to develop, ideas they hope to gain, and experiences they hope to have.
This has turned out to be a wonderful activity in my class. Many students write deeply personal letters to me, detailing their reasons for playing their instrument, struggles they have had, anxieties that they ahve regarding orchestra, and unbelievable expectations that they have for themselves and their colleagues. I get to know my students in a much different way by doing this activity and it provides me incredible insight into the individuals in the ensemble. (Let me also be totally honest and say that not every students gets it. Some provide a very basic letter that doesn't really get into these details and seems more like an assignment than a heartfelt letter to me. But, this is the minority.)
I have been receiving and reading these letters this week and it has been and incredible experience. As you probably know, if you have been reading my blog, I believe in community first. Strong communities make strong orchestras. It has been clear to me in reading the letters this year, that my message is getting through to my students. I am hearing this in many ways from many of my students. I would like to share an excerpt of one such letter with you. It moved me tremendously and I don't believe that I could say it any better.
Dear Mr. Laird,
It’s hard for me to articulate exactly what my expectations are for orchestra at NCSSM this year. I could say that I expect dedicated classmates who care about our ensemble and our community, but I couldn’t really imagine a more committed and hard-working group of musicians than the ones we have at NCSSM. I realize that the orchestra as a whole will exceed any expectations I might have. So, as the year begins, I have found it more appropriate to address certain expectations I have for myself, in the hope that I may live up to the standards of musicianship and community set by both you and my fellow orchestra members.
1. I expect myself to love playing in the orchestra. Though I am far from being an advanced player, I have been blessed with the opportunity to play in some amazing orchestras. More than anything, playing in the Eastern Regional Orchestra, my Youth Orchestra at home, and the NCSSM Orchestra has shown me what a joy it is to create music with good musicians. I have neither the talent nor the ambition to be a soloist, but I have found that there is nothing better than making beautiful music with a group of my peers and being a part of something so much bigger than myself. To truly love and appreciate this, though, a few things are required of me:
One, I have to practice. I remember realizing something so simple yet so profound last year: I enjoy orchestra rehearsal when I have practiced the music, and I hate it when I have not. To truly love playing in an ensemble, I have to feel like a contributing member. When I am stumbling through passages as a result of not practicing, I cannot take pleasure in rehearsing.
Two, I have to be focused and play musically. I must have good posture, pay attention to dynamics, and watch the conductor. I must actively count. I must listen to the ensemble as a whole. Simply playing notes will get boring all too quickly. To love playing, I have to be truly engaged in the music and in the sound being produced by the group.
2. I expect myself to love my fellow orchestra members. This year, I have the responsibility to help create the community that you were talking about on the first day of class. I expect myself to be an encourager, a listening ear, and a friend to the rest of the orchestra. I expect myself to love much and love well. I will have wasted my time in orchestra this year if I play every note correctly but fail to love the people around me.
I am looking forward to a great year in orchestra!
This is my hope for all of my students and yours!
Peace.
Scott
Early in the year, I like to really challenge the orchestra members to consider why they are participating in the ensemble and to reevaluate their commitment to their art and their instrument.
At NCSSM, many students are driven by grades. The students are high achievers and have spent a lifetime working to get A's in class. Orchestra is a little different animal. Of course, I have a very clear set of course expectations and grading policy which I outline for the students on the first day of class. Everyone understands the expectations and the vast majority of the students earn A's in Orchestra. I suspect that this is the case in most public school and university orchestras as well. The students want to be there, they want to receive an A, so they fulfill the requirements.
But, for an arts class, that seems a bit hollow to me. It has bothered me for years, to be honest. Don't we really want our arts students to be invested at a much deeper level that simply meeting the baseline expectations that are outlined in a grading policy?
This notion was driven home for me a few years ago while reading "The Art of Possibility" by Ben and Rosamund Zander. (If you haven't read it, I recommend it highly. I'll try to remember to write another post that covers more of the ideas in the book at a later time.) In one chapter, Zander outlines an exercise where he asks students to write him a letter detailing what they intend to do for their A, as well as what they intend to invest and hope to gain from the course. It is a marvelous and inspiring chapter and I decided to adopt a modified version of his idea in my class. I still have the course expectations, but ask the students to take it one step further and to write me a letter about their self-expectations for the course, explaining in more detail what they plan to invest, techniques they hope to develop, ideas they hope to gain, and experiences they hope to have.
This has turned out to be a wonderful activity in my class. Many students write deeply personal letters to me, detailing their reasons for playing their instrument, struggles they have had, anxieties that they ahve regarding orchestra, and unbelievable expectations that they have for themselves and their colleagues. I get to know my students in a much different way by doing this activity and it provides me incredible insight into the individuals in the ensemble. (Let me also be totally honest and say that not every students gets it. Some provide a very basic letter that doesn't really get into these details and seems more like an assignment than a heartfelt letter to me. But, this is the minority.)
I have been receiving and reading these letters this week and it has been and incredible experience. As you probably know, if you have been reading my blog, I believe in community first. Strong communities make strong orchestras. It has been clear to me in reading the letters this year, that my message is getting through to my students. I am hearing this in many ways from many of my students. I would like to share an excerpt of one such letter with you. It moved me tremendously and I don't believe that I could say it any better.
Dear Mr. Laird,
It’s hard for me to articulate exactly what my expectations are for orchestra at NCSSM this year. I could say that I expect dedicated classmates who care about our ensemble and our community, but I couldn’t really imagine a more committed and hard-working group of musicians than the ones we have at NCSSM. I realize that the orchestra as a whole will exceed any expectations I might have. So, as the year begins, I have found it more appropriate to address certain expectations I have for myself, in the hope that I may live up to the standards of musicianship and community set by both you and my fellow orchestra members.
1. I expect myself to love playing in the orchestra. Though I am far from being an advanced player, I have been blessed with the opportunity to play in some amazing orchestras. More than anything, playing in the Eastern Regional Orchestra, my Youth Orchestra at home, and the NCSSM Orchestra has shown me what a joy it is to create music with good musicians. I have neither the talent nor the ambition to be a soloist, but I have found that there is nothing better than making beautiful music with a group of my peers and being a part of something so much bigger than myself. To truly love and appreciate this, though, a few things are required of me:
One, I have to practice. I remember realizing something so simple yet so profound last year: I enjoy orchestra rehearsal when I have practiced the music, and I hate it when I have not. To truly love playing in an ensemble, I have to feel like a contributing member. When I am stumbling through passages as a result of not practicing, I cannot take pleasure in rehearsing.
Two, I have to be focused and play musically. I must have good posture, pay attention to dynamics, and watch the conductor. I must actively count. I must listen to the ensemble as a whole. Simply playing notes will get boring all too quickly. To love playing, I have to be truly engaged in the music and in the sound being produced by the group.
2. I expect myself to love my fellow orchestra members. This year, I have the responsibility to help create the community that you were talking about on the first day of class. I expect myself to be an encourager, a listening ear, and a friend to the rest of the orchestra. I expect myself to love much and love well. I will have wasted my time in orchestra this year if I play every note correctly but fail to love the people around me.
I am looking forward to a great year in orchestra!
This is my hope for all of my students and yours!
Peace.
Scott
Saturday, August 15, 2009
Liberty, Equality, Fraternity
I have been thinking a great deal lately about how I want to frame the upcoming year in the NCSSM Orchestra. As you can see from my last post, in the 2008-2009 school year, I had a wonderful book and concept to work with and I referred back to it all year. I have been mulling this over a great deal lately and tonight I found my framework for the year. I am getting a bit tired tonight,so I will expand on this more tomorrow but, I will begin to set it up tonight.
Many of you know that I have been working my way through Daniel Barenboim's latest book, Music Quickens Time. It is heady read and I have really been taking my time with it. I have re-read most chapters before moving on to the next and have been trying to take some time to think about the concepts presented before just moving on to the next chapter. Tonight, I found my framework for the year in orchestra in Chapter 4 of this thought-provoking book.
Tonight, I will give you these three concepts: Liberty, Equality, Fraternity. We will be looking at these ideas as they relate to the musical endeavors of the orchestra and as they relate to the community of the orchestra. I encourage you to think about these three ideas and their relationships. Can EQUALITY exist without LIBERTY? Can FRATERNITY exist without EQUALITY? How can music demonstrate this? How can an orchestral community find meaning in this? I spend a great deal of time thinking of the orchestra as a community and, really, isn't a community a fraternity. If so, can the community of the orchestra exist without Liberty and Equality? And don't liberty and equality ultimately lead to Fraternity or the community of the orchestra? How does all of this apply to the music... to the literature?
Liberty identifies the condition in which an individual (musical line) has the right to act according to his or her own will. Classical liberal conceptions of liberty relate to the freedom of the individual from outside compulsion or coercion.
Equality is a state of affairs in which all people within a specific society or isolated group (or musical lines and ideas) have the same status in a certain respect.
A fraternity (Latin frater : "brother") is a brotherhood, though the term usually connotes a distinct or formal organization. I often refer to the orchestra as a community. Fraternity works just as well.
I believe that there is much for use to explore here. More to come on this later.
These (and other ideas from the book) will become our framework for the year. Should be fun!
Peace.
Scott
Thursday, August 13, 2009
Better and Orchestra
The following is a reprint of my post from August 20, 2008. Since that time, the book, Better: A Surgeon's Notes on Performance, by Atul Gawande, was selected to be the summer reading for the NCSSM Community. For my students, this may be a good time to revisit some of my ideas and for the new members of the NCSSM Orchestra community, this will be an interesting way to get the year started. Enjoy!
Today was the first day of class for the 2008-2009 NCSSM Orchestra. It is a great group of students that all seem eager to get started. I love the first day. It is filled with anticipation of the work that is ahead of us and the great fun of meeting each other for the first time. One might think that I, as the conductor would talk about the literature that we are going to play, our rehearsal and seating procedures, and various other "orchestra" topics. But, no. Today, I went philosophical on them right from the beginning.
Back in February, I spoke to a group of orchestra teachers at a conference in Albuquerque. Following my session, one of the attendees came up and enthusiastically recommended that I read the book, Better, A Surgeon's Notes on Performance, by Atul Gawande. I read the book this summer and loved many of the concepts that were presented. Since I teach at the NC School of Science and Math and many of my students will find themselves in the medical field following graduation, I thought that starting the year in orchestra with a book by a surgeon about medicine might surprise inspire them.
At the end of the book, Gawande offers 5 suggestions for making a worthy difference. I decided to challenge my students with his suggestions. They are:
1. Ask an unscripted question
2. Don't complain
3. Count something
4. Write something
5. Change
Let me say a few words about each of these as they apply to my student and the NCSSM Orchestra.
1. Ask an unscripted question. Think about everything that you do in orchestra. Ask the question that others haven't thought of. Don't just sit back and let the information come to you. But, instead, be proactive in your thought Be unique in your thought. Be inquisitive in all that you do. Ask the unscripted questions every day.
2. Don't complain. Instead, work to make things better. Nobody wants to hear me complain. And, nobody wants to hear you complain. Instead, work to change the tide. Work to make things better.
3. Count something. Be a scientist in all that you do. Don't let opportunities to find trend pass you by. If today you missed 5 of the c naturals in a passage, tomorrow only miss 4. Count something.
4. Write something. Back in 1988, noted string educator Jacqueline Dillon told me that the way to have impact in the field of string education boiled down to one word. Write. Share your ideas. Write something that is creative. Start a blog? Just write something! Her advise to me has carried me in many ways to this point in my career. I really do believe she was right. Gawande must know the same thing. I want my students to know it, too.
5. Change. Be willing to try new things. Try new music, new styles, new practice methods. Just be willing to change. Be the first one to change, too. Don't be the skeptic. Be the front runner. if it doesn't work, it isn't the end of the world. Just be willing to change and look for opportunities to change.
So, there you go. That, in a nutshell, was the first day of class for the 2008-2009 NCSSM Orchestra. I think they get it. Do you?
Peace.
Today was the first day of class for the 2008-2009 NCSSM Orchestra. It is a great group of students that all seem eager to get started. I love the first day. It is filled with anticipation of the work that is ahead of us and the great fun of meeting each other for the first time. One might think that I, as the conductor would talk about the literature that we are going to play, our rehearsal and seating procedures, and various other "orchestra" topics. But, no. Today, I went philosophical on them right from the beginning.
Back in February, I spoke to a group of orchestra teachers at a conference in Albuquerque. Following my session, one of the attendees came up and enthusiastically recommended that I read the book, Better, A Surgeon's Notes on Performance, by Atul Gawande. I read the book this summer and loved many of the concepts that were presented. Since I teach at the NC School of Science and Math and many of my students will find themselves in the medical field following graduation, I thought that starting the year in orchestra with a book by a surgeon about medicine might surprise inspire them.
At the end of the book, Gawande offers 5 suggestions for making a worthy difference. I decided to challenge my students with his suggestions. They are:
1. Ask an unscripted question
2. Don't complain
3. Count something
4. Write something
5. Change
Let me say a few words about each of these as they apply to my student and the NCSSM Orchestra.
1. Ask an unscripted question. Think about everything that you do in orchestra. Ask the question that others haven't thought of. Don't just sit back and let the information come to you. But, instead, be proactive in your thought Be unique in your thought. Be inquisitive in all that you do. Ask the unscripted questions every day.
2. Don't complain. Instead, work to make things better. Nobody wants to hear me complain. And, nobody wants to hear you complain. Instead, work to change the tide. Work to make things better.
3. Count something. Be a scientist in all that you do. Don't let opportunities to find trend pass you by. If today you missed 5 of the c naturals in a passage, tomorrow only miss 4. Count something.
4. Write something. Back in 1988, noted string educator Jacqueline Dillon told me that the way to have impact in the field of string education boiled down to one word. Write. Share your ideas. Write something that is creative. Start a blog? Just write something! Her advise to me has carried me in many ways to this point in my career. I really do believe she was right. Gawande must know the same thing. I want my students to know it, too.
5. Change. Be willing to try new things. Try new music, new styles, new practice methods. Just be willing to change. Be the first one to change, too. Don't be the skeptic. Be the front runner. if it doesn't work, it isn't the end of the world. Just be willing to change and look for opportunities to change.
So, there you go. That, in a nutshell, was the first day of class for the 2008-2009 NCSSM Orchestra. I think they get it. Do you?
Peace.
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