Music students should perform to showcase and validate their
abilities. But the key aspect is to not be limited in performing
exclusively at or for their teacher's studio. This limitation has
insidious disadvantages powerful enough to make a student quit. Many
music instructors observe this phenomenon.
It is a common custom for certain music teachers to hold recitals that showcase their students' accomplishments by having them perform, usually in a booked hall and with refreshments served and certificates of participation issued. While in theory this may seem like a good idea, it has drawbacks which one should be aware of.
One reason is that it can bring down a student's self-confidence, especially a child's. If, say, an 11-year-old started learning at age 10 and is performing something less advanced than an 8-year-old who started learning at age 4, it can be discouraging to him/her. While it's true that the 8-year-old has been learning longer, the 11-year-old doesn't necessarily comprehend that analytically.
Another reason is that a student's frequency of lessons and practicing becomes quite evident during a recital, more so than their inherent talent. Let's say that two students of the same talent and age started learning their instrument at the same time. This makes them comparable as peers. However, let's say that one student takes two or three lessons per week whereas the other takes only one, and practices daily whereas the other doesn't. The progress will just not be the same, regardless of talent. It goes without saying that the one who learns and practices more will perform better. It's like two sports cars, each of the same make and model, and one has a full fuel tank and the other doesn't.
Not only can this discourage the student, but it can also disappoint parents of young students, as they often tend to misattribute this by considering their child to not be as "talented" as the other.
Another reason is that, unfortunately, it is very common for friends and family of a performer to attend for his/her performance only, and then get up and leave. This causes the subsequent performer to feel invalidated. It's sad, but it's true.
Also, some studios teach various ages and levels. Imagine having a four-year-old and a senior citizen perform at the same recital. How does that seem to you?
There are many options for a music student to perform and showcase their abilities.
Some good ones are at family gatherings, talent shows, state competitions and events organized by various musical associations. The internet is also an excellent forum in this day and age. There are video-sharing websites such as YouTube, etc., plus online audio distribution platforms. One can even record an album or a demo.
One note about ensemble performances is that if a student performer is an instrumentalist and needs a piano accompanist, it is important to ensure he/she has an accomplished accompanist. This is because the pianist must be able to catch and handle any weaknesses by the student performer. However, if there is an accomplished instrumentalist, whether vocational or avocational, he/she must choose a pianist who is concert-level and has special training in accompaniment. Otherwise, the performance appears to be student level, regardless of the fact that the instrumentalist is accomplished. This is because the "advanced" adult pianist is in reality still a student, and so brings the entire performance down to that level.
by Evelyn Simonian
© 2014. Evelyn Simonian
It is a common custom for certain music teachers to hold recitals that showcase their students' accomplishments by having them perform, usually in a booked hall and with refreshments served and certificates of participation issued. While in theory this may seem like a good idea, it has drawbacks which one should be aware of.
One reason is that it can bring down a student's self-confidence, especially a child's. If, say, an 11-year-old started learning at age 10 and is performing something less advanced than an 8-year-old who started learning at age 4, it can be discouraging to him/her. While it's true that the 8-year-old has been learning longer, the 11-year-old doesn't necessarily comprehend that analytically.
Another reason is that a student's frequency of lessons and practicing becomes quite evident during a recital, more so than their inherent talent. Let's say that two students of the same talent and age started learning their instrument at the same time. This makes them comparable as peers. However, let's say that one student takes two or three lessons per week whereas the other takes only one, and practices daily whereas the other doesn't. The progress will just not be the same, regardless of talent. It goes without saying that the one who learns and practices more will perform better. It's like two sports cars, each of the same make and model, and one has a full fuel tank and the other doesn't.
Not only can this discourage the student, but it can also disappoint parents of young students, as they often tend to misattribute this by considering their child to not be as "talented" as the other.
Another reason is that, unfortunately, it is very common for friends and family of a performer to attend for his/her performance only, and then get up and leave. This causes the subsequent performer to feel invalidated. It's sad, but it's true.
Also, some studios teach various ages and levels. Imagine having a four-year-old and a senior citizen perform at the same recital. How does that seem to you?
There are many options for a music student to perform and showcase their abilities.
Some good ones are at family gatherings, talent shows, state competitions and events organized by various musical associations. The internet is also an excellent forum in this day and age. There are video-sharing websites such as YouTube, etc., plus online audio distribution platforms. One can even record an album or a demo.
One note about ensemble performances is that if a student performer is an instrumentalist and needs a piano accompanist, it is important to ensure he/she has an accomplished accompanist. This is because the pianist must be able to catch and handle any weaknesses by the student performer. However, if there is an accomplished instrumentalist, whether vocational or avocational, he/she must choose a pianist who is concert-level and has special training in accompaniment. Otherwise, the performance appears to be student level, regardless of the fact that the instrumentalist is accomplished. This is because the "advanced" adult pianist is in reality still a student, and so brings the entire performance down to that level.
by Evelyn Simonian
© 2014. Evelyn Simonian
http://www.EvelynSimonian.com
Evelyn Simonian is a pianist and music teacher who applies "music with movement" to her students. She has been featured in televised interviews as well as several magazine and newspaper articles.
Evelyn Simonian is a pianist and music teacher who applies "music with movement" to her students. She has been featured in televised interviews as well as several magazine and newspaper articles.
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