Tuning In: Practical Psychology for Musicians who are Teaching, Learning and Performing

Practical Psychology for Musicians who are Teaching, Learning and Performing

Handbook and Home Study Course

by

Lucinda Mackworth-Young

Copyright  2017 Lucinda Mackworth-Young

The right of Lucinda Mackworth-Young to be identified as the author of the Work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988

First published in 2000

by MMM Publications

Second impression 2002

Third impression 2003

Fourth impression 2005

Fifth impression 2010

Sixth impression and digital edition 2017

All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form or by any means mechanical, photographic, electronic or in the form of a phonographic recording or otherwise reproduced without the written permission of the author, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

ISBN 0-9539485-0-1

British Library Cataloguing in Publication Data

A CIP catalogue record for this title is available from the British Library

We perceive the interplay of forces in two basic modes, the holistic, intuitive mode of the right hemisphere and the unconscious; and the linear, analytic, conscious mode of the left hemisphere. Communication between conscious and unconscious and through the latter to the spirit, depends on an openness to both modes of awareness. Verbal concepts must be translated into symbols and images; unconscious images must be brought to the light of consciousness. Through open communication we can become attuned to the primal, ecstatic union that is the force of creation.

Miriam Symos, The Spiral Dance, 1979

Foreword

Tuning In is for instrumental and singing teachers and performers. It is relevant to all teachers who teach individually or in small groups, whether their pupils are young or mature, beginners or advanced students.

It draws on psychology, psychotherapy and counselling skills and a wealth of practical music teaching and performing experience, so that musicians can deepen their awareness and understanding of the many processes involved in music teaching, learning and performing, and enhance and enrich their skills.

In particular, it seeks to spell out the intuitive processes that all good teachers and performers use, so that these processes can be more fully appreciated and then used with conscious intent, to greater effect.

It is set out experientially. That is, as far as possible, the reader first connects with his or her own experiences through the exercises given, and then the underlying principles are explained. In this way the psychology feels both directly relevant and easy to grasp.

Practical suggestions for enhancing teaching, learning and performing arise out of the psychological understanding and are described in every chapter. Most chapters end with a Summary and Practical Checklist and have downloadable versions of the Exercise Worksheets, Forms and Checklists for printing purposes.

It can be read straight through, used as a resource, or studied as a course.

For clarity, the teacher is referred to as she and the pupil as he.

Acknowledgements

This book is grounded in many years' experience in both music and psychology.

Of particular significance in the experience, and so in the book, are the following,

to whom I give many grateful thanks:

All of my music teachers, especially

Dorothy Hunt, Olive Hayward, Marjorie McAdams, Colin Bradbury,

and Alfred Kitchin and Joan Barker from Trinity College of Music.

Norman Worrall (The Institute of Education, London University), Margot Waddell (The Tavistock Clinic, London), Yiannis Arzoumanides (The London School of Counselling) and Margot Sunderland (The Institute for Arts in Therapy and Education, London) whose educational and psychological courses were so illuminating.

All of my pupils and students, past and present, from whom I have learnt and continue to learn so much, and the many professional musicians who have attended my courses and workshops, or sought private consultation.

Finally, I would like to thank Naomi Hymes, Stephanie John, Barbara Lloyd and Jennie Parke Matheson for the photographs of workshops for the front cover. Also, Katy Waters, Angela Mackworth-Young and Ryan Morison and the team at Erudition whose help with editing this book has been invaluable

Introduction

When we learn we can only start from where we are. From where we are we find ourselves drawn to sources (teachers, books, courses) which evoke in us the response: Yes! This is what I want!.

The source is attractive because it is responding to a process we have already begun within ourselves, it promises to answer questions we have already asked within ourselves. It feeds the hunger we have already felt, and we lap it up eagerly, wanting more. Should we then find that it doesn't nourish us, perhaps because it's too much, or because it's indigestible, our appetite wanes.

Understanding and being able to handle these and many other emotional and psychological processes in music teaching, learning and performing is what this book is all about.

To help you get the most out of the following pages:

First, think and then write down what you enjoy in your teaching or performing and what you feel good at on a piece of paper (If you are not yet teaching or performing, think and write what attracts you to them: what would you like to enjoy and feel good at).

Spend a minute or two reflecting on and enjoying what you have just written. Allow your enjoyable and successful feelings to strengthen your belief in yourself and in your teaching or performing.

It is only if we feel sufficiently secure in what we are doing that we feel able to open up, look around and consider other points of view and methods in case they may enhance what we are already doing.

Now, think and write what you would like to enjoy more or do better and what you would like your pupils to enjoy more and do better (If you are not already teaching or performing, omit this box and read on).

Now that you have identified your goals you can more easily find the resources that can help you. By looking at the Table of Contents and glancing through, you will have a better idea of whether or not this book is for you.

I very much hope that it is, and that you enjoy it,

Lucinda Mackworth-Young

September, 2010

Chapter One: Emotions in Education

The Pupil's Emotional Experience and the Role of Teacher

Feelings which we usually relegate to infants and very young children, are indeed ubiquitous … anxieties continue to exist to some degree in all of us throughout life. Knowing about them from within ourselves increases our perceptiveness and understanding of others.

Isca Saltzberger-Wittenberg,

The Emotional Experience of Learning and Teaching, 1983

EXERCISE: EXPLORING PUPILS’ EMOTIONS

Answer the questions below, recalling your feelings in individual/small group instrumental or vocal music lessons with three different teachers (click here for a printable download for this chapter):

The first teacher you had (at primary school age?)

The second or third teacher you had (at secondary school age?)

A teacher you had aged 18+

What were your feelings on going to your first lesson with each teacher? What did you hope for? What did you dread? What did you expect? What did you need?

What were your first impressions of each teacher and each teaching environment? How did they affect your feelings?

What were the positive feelings experienced in lessons? What caused them and how did they affect you in lessons and practice?

What were the negative emotions experienced in lessons? What caused them and how did they affect you in lessons and practice?

What did you expect in terms of encouragement, praise or criticism from each teacher? Why? How did your expectations affect your experience?

If things weren't going well for you how did you express yourself: through words? Tone of voice? Silence? Actions (e.g. lack of practice)? Body language? Or feeling?

What do you think each teacher felt about you and your ability? How was this conveyed: through words? Tone of voice? Silence? Actions? Body language? Or feeling? And how did it affect your learning?

What did each teacher do or what could have been done to help engender positive feelings?

As a professional music teacher you could be regarded as a survivor of the system. The chances are that you had a positive experience throughout most of your musical education. It is less usual for people who had predominantly negative experiences as pupils to become professional, but where there is talent and a real love of the subject this can happen.

You may now find it illuminating to answer the same questions (set out below) in relation to a subject or activity that you disliked and wanted to give up:

What were your feelings on going to your first lesson with that teacher? What did you hope for? What did you dread? What did you expect? What did you need?

What were your first impressions of the teacher and teaching environment? How did they affect your feelings?

What were the positive feelings experienced in lessons? What caused them and how did they affect you in lessons (and homework?)?

What were the negative emotions experienced in lessons? What caused them and how did they affect you in lessons (and homework?)?

What did you expect in terms of praise or criticism from the teacher? Why? Did your expectations affect your experience?

If things weren't going well for you how did you express yourself: through words? Tone of voice? Silence? Actions (e.g. lack of homework)? Body language? Or feeling?

What do you think the teacher felt about you and your ability? How was this conveyed: through words? Tone of voice? Silence? Actions? Body language? Or feeling? And how did it affect your learning?

What did the teacher do or what could have been done to help engender positive feelings?

In your experience is it possible to have a good teacher-pupil relationship without also becoming interested and making progress in the subject?

In your experience is it possible to be interested and make progress without also developing a good teacher-pupil relationship?

Now look over your answers to both exercises considering them in terms of understanding both the pupil's emotional experience and the role of the teacher.

Beginnings: Heightened emotional intensity

The beginning of anything new brings heightened emotional intensity, both excitement and fear. Like animals entering new territory, all our senses are on the alert as we hope to find what we seek, but fear danger. Even an excited pupil who is looking forward to learning will experience some fear, and for many pupils there will be a great deal of fear. Fear can be about finding the building or studio, being late, being welcomed and accepted by fellow pupils and, especially, being welcomed, accepted and appreciated by the teacher. Younger pupils may also be concerned about how long they’ll be there, who will be collecting them or where they should go next, and whether they can find the bathroom without having to ask! But, as a general rule, the younger the pupil the more the excitement, and the older and more self-aware the pupil, the worse the fears. Any previous experience of the building, studio, fellow pupils or teacher can help to reduce fear.

First impressions

Owing to the heightened emotional intensity, first impressions