From the Practice Files, episode 5

• by Jacqueline Whittemore

The end of Daylight Savings Time and turning of the leaves brings with it another joy – fall recitals. For many Suzuki students, academy performances are only the first of a cornucopia of musical events. Some may wonder about the value of such events for Suzuki students.

It is true neither ‘performance’ nor ‘recital’ appears in my tenets:

1. Practice is a dynamic, focused collaboration between the parent and child!
2. Suzuki is a way of life, so it should occur daily and be FUN!!!

This does not mean that performances are irrelevant. Nay! In fact, their value is greater for the Suzuki learner than any other student or artist. Unfortunately, recitals or performances are often treated as destinations, much like final exams, in conventional settings. This is a shame for it diminishes their value and impact. As Plato observed, “Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.”

Shinichi Suzuki believed music should be absorbed and learned like a child’s mother tongue – taken in through daily exposure, refined, and built upon throughout life. It is not other from the child, like completing math problems. It is part of their identity. The Suzuki student enlivens the world through who they are, NOT what they do, when they perform. As parent teachers, it is our job to teach them this amazing, empowering, and profound fact. If we do not make this explicit, the student will approach the performance with the wrong mindset – the mindset of output, outcome.

Michael J. Fox wisely noted, “Excellence, I can reach for; perfection is God’s business.” No sane person comes to live performances for perfection. They come for the wonder and life-affirming joy of experiencing the artists and their relationship as part of the art. Whether watching a budding violin student beautifully execute ‘Helicopter’ or being drawn to stillness watching YoYo Ma playing the Bach Cello Suites in Cades Cove, the core point is that “Music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music.” (Billy Joel)

If students do not realize the audience is there to experience them – if they view performance as about outcome, performing can traumatize because errors in execution are experienced as personal failures. How do we prevent this?

1. Attend lots of live performances! This doesn’t mean just classical music. It doesn’t even mean music! There is so much to learn from all types of performance – whether it is the marching band at a halftime show, the Anastasini Circus at the Tennessee Valley Fair, a talent show at school, or Cirque du Soleil. Talk about what made the experience amazing. Talk about how the performer handled a problem, and how you could apply a similar strategy if need be. Talk about how happy you were for them getting through it.
2. 

   Al fresco performance during COVID at a local nursing home.

   Endlessly seek performance opportunities for your Suzuki student! There are almost countless options. Over the years, Marguerite has played in-home recitals (complete with programs, recital clothing, accompanist, and a reception) for friends and family, al fresco at a nursing home during COVID to help with resident isolation, both solo and with accompaniment at church (people LOVE showcasing children in worship), and as accompaniment for her school’s chorus (her current conductor has even rescored accompaniments for cello) – in addition to academy recitals and KSYO concerts. The options are endless!

3. Teach them to present themselves! The student should be counseled on all aspects of performing, not just practice the piece. Points of import include learning to smile and make eye contact when walking onto the stage, bowing graciously before starting the piece, taking a moment to center before the first note, letting the last note ring or bow float away prior to moving out of play position, and bowing with a brilliant smile before leaving the stage. Being coached in these non-music elements helps them to see the audience is there for them, not to judge them. The audience sees them as courageous to perform, is rooting for all to go well, and is grateful for the gift of their performance. Knowing this can help them handle the unexpected with aplomb, like when Marguerite’s accompanist led off with the intro for the wrong piece!
4. Celebrate performances. When your student performs, provide specific positive feedback on non-musical elements (“I loved how you timed your bow with your accompanist,” “the way you smiled really engaged the younger children in the audience”) as well as tricky things they mastered musically (“Your Martelé bowing was truly top notch”). If things go terribly wrong (as happened for Marguerite a couple recitals ago), acknowledge the shipwreck but celebrate the perseverance. (I was so proud of you for not giving up, for shaking off your upset and ending the piece so strongly). Make sure to still provide positive feedback on what didn’t go wrong. Talk about a time you both saw someone else stumble and how proud you were of that person!

At the end of the day, as Martha Grimes observed, “We don’t know who we are until we see what we can do.” Performing should be giddy and joyful, a safe space for the performer to push their boundaries and embrace growth, filled with community!