Learning an instrument is hard work. When we learn an instrument, we can also learn a lot about our character. My school has adopted the VIA Character Strengths[1] from the positive education movement as a frame for educative interactions on academic, co-curricular, social and pastoral levels. Learning an instrument speaks to and allows us to show many of these character strengths, namely bravery, creativity, curiosity, perseverance, perspective, self-regulation, teamwork, not to mention the opportunity to appreciate beauty and excellence (eventually!).[2] Working with an instrument allows us to use these strengths to share a new expressive language with and alongside others, and it is often when we are presented with such a challenge that we identify these elements of our character in our actions and those of our students.
Every year we present the challenge of learning an instrument to the Year 4 and 5 students[3] at our College through the Music Immersion Program. All of the students ‘grow’ musically and in character throughout the duration of the program, though some do experience some ‘turbulence’ along the journey – few just feel they can’t keep going and that music is not for them. For these students, we always try to work out the catalyst for these feelings and try to resolve it so that they can continue their journey smoothly. Often, our discussions reveal progression through three phases:
- the student increasingly fails to commit the practice time needed to experience progress; so,
- eventually does not feel that they are musically talented; and then,
- continuation in the process of learning invites learned helplessness.
Obviously for us, it all comes down to practice. Practice makes the difference as to whether students start to progress through these phases, or doesn’t even approach them at all. No one is ‘above’ practice – it is a necessary part of learning. Perhaps one of the best statements about practice that I like to share with my students is from the legendary cellist Pablo Casals, who when asked why he continued to practice at age 90 said, “Because I think I’m making progress”.
We can show students the skills and techniques needed to make music, but they will never fully realise their potential unless they practice. And, as we know, practice is not something that can happen quickly or easily! We can’t fake practice, or pretend we have – and though some students try, we see straight through them upon their first notes in the rehearsal studio. Things that are worthwhile take time; few become truly excellent at something, because only a few are committed to what will be a long journey that will present many challenges to skill and character. Practice is a never-ending journey, but it can be a very enjoyable and very rewarding one!
However, as we also know, just because a student might practice a lot, it doesn’t always mean that they will get better the more they do it. They could be practicing wrong techniques, doing things incorrectly – practicing and strengthening bad habits. There’s such a thing as good ‘practice’ and ‘bad’ practice. Sometimes what they practice will feel natural and easy, other times it might feel awkward or impossible. They will all experience the later – they are doing something so new and so foreign in many cases, and feelings of frustration, anxiety and self-consciousness will be present – and this is normal. The more they practice, however, the easier things will become. The more familiar students become with their instrument and the music, the more their musical products will sound natural and conversational – they will begin to internalise the music and not struggle with the mechanics and techniques of playing. They will start to produce music fluently; they will start to use it as a language of communication.
There are a few things to remember with practice, and ways in which we can ensure it is ‘good’ practice. I define a good practice as a ‘smart’ practice. There is much more value in 10 minutes of planned, focused and informed work, than an hour of the opposite. What students practice and how they do it is crucial. Now, we’ve all heard “practice makes perfect” – I think the jury is out on that one, but I know that “smart practice makes better”. We must assist students to plan out their practice sessions outside of the rehearsal room and map out what it is they seek to achieve. We must encourage them to work on the parts that they cannot do, rather than the parts they can. Don’t let them beat themselves up if it isn’t perfect – instead ask them to strive for their best. As they practice ‘smart’, they’ll begin to experience those perfect moments, those times when they’re ‘in the zone’ more often. It all ‘snowballs’ from there.
We also know that practice also doesn’t always have to be with the instrument – our students can learn by listening to others play. Their teacher, YouTube, recordings and concerts, and family and friends who play provide an excellent setting for students to learn by example. This can be a good motivator for practice, as students often want to emulate those they admire. If we place young people in front of good musical encounters, then this may just be enough to inspire.
Learning a musical instrument will always have it ups and downs, but if we encourage our students to commit to some dedicated ‘smart practice’ and support them through this, then they will avoid feeling that music is not for them, or that they aren’t musical – everyone is musical and music is for everyone!
Through practicing music our young students can show bravery as they move into the realm of foreign experience, curiosity with new languages and forms of communication, creativity with this expressive language, and regulate their perseverance and perspective when things don’t quite work, or happen very slowly. Informed, committed and supported practice will soon allow music of beauty and excellence to flow from a student’s instrument. And, the best thing is, that we can always make more beautiful sounds and be more excellent, just as Casals provokes. Music is a long journey, but there are so many beautiful stops and views along the way. And, as we edge along this pathway, we learn something of ourselves and our character – it is an awareness-raising experience for both self and others.
What character strengths does learning a musical instrument bring you?
[1] http://www.viacharacter.org/www/
[2] The character strengths can be found at: http://www.viacharacter.org/www/, which also includes a description of each.
[3] Ages 9-11 in Australian schools.
Dr Cade Bonar 