PIANO
PEDAGOGY
FORUM
v. 9, No. 1/January 1, 2006

Jessica Johnson
School of Music
University of Wisconsin-Madison
Madison, WI 53706
608.263.1927
jgjohnson@wisc.edu

THE REAL WORLD: A View from the Institution

Upcoming graduates of my piano pedagogy program are always asking me what they should be doing to prepare for the real world. At first this was incredibly jolting for me -- after all, the few times I stuck my proverbial toe out of the academic domain, I was quickly motivated to start another degree, or seek a college teaching position. Having relatively little experience in the private realm, I felt ill equipped handing out advice about how to thrive there. As a result, I routinely invite experts to present workshops for my classes to fill in these gaps. But this query ultimately led me to consider the question from a different perspective: What is it that I love so much about working in an academic environment? How might one simulate those features while working outside institutional walls?

Remain a "Student"

I have always loved being a student and the stimulation resulting from the quest for knowledge. While one is a student, it is ok not to know everything, to seek outside input, and to spend time investigating new ideas (e.g. not always being a "productive" member of society). Students have time to practice and read and learn. The great thing about most academic positions it that if you are not doing these things, you probably won't get tenure, promotions, grants, or sabbaticals. The academic system at it's best is designed to encourage these types of intellectual pursuits.

There are many ways for independent teachers to continue to develop as musicians and scholars:

• Don't pretend that you know everything. When making the transition from student to professional remember that you still have things to learn. Academic faculty are lucky to have experts in specialized disciplines just down the hall to consult on a regular basis. Seeking out help is not a sign of weakness but rather an indication that you are unafraid to acknowledge limitations and address them.
• Stay current on how to conduct musical research. With the internet, one can gain access to the world's greatest libraries without leaving the house. Use interlibrary loan (especially if your local library lacks specialized resources). Take a workshop at your local library about integrating the latest electronic resources into your research.
• Attend music conferences, piano workshops, and concerts. These all fall under the heading of "continuing education." College faculty are expected to attend and contribute to professional organizations on a regular basis. The hope is that one stays up to date on current trends in the field and remains aware of the latest research.
• Learn from your peers and students. When one is a student, it is natural to engage in stimulating conversations and musical interactions with peers. A similar relationship can exist in the teacher-student model. Be willing to acknowledge when your students discover a unique way of approaching a musical problem. Use their ideas in your own playing and teaching. This cross-fertilization is one of the most rewarding aspects of teaching. When working closely with graduate students, it is easy to recognize significant research. But, this premise also applies to interactions with very young students. One of my life mottos is that "my students are teaching me how to teach."
• Know what is going on at local colleges and universities. Most academic institutions offer free concerts, masterclasses, and lectures that are open to the public (many events are even scheduled prior to prime teaching hours). If you are particularly interested in a course, contact the professor and ask to observe or audit the class.
• Read a book or attend a presentation not directly related to music. Another advantage of the university environment is that you have easy access to other disciplines. Stretching outside your comfort zone invites you to think in new ways, examine a different perspective, and ultimately enriches your musical life by giving you additional experiences from which to draw.

Nurture your own musical growth

Most university music professors learn a great deal of repertoire each year for solo and chamber recitals considered "part of the job." Creative research and professional development are considered a critical component of their workload.

• Schedule at least one public performance each year/Learn new repertoire (even a small soiree at your house counts). Demand this of yourself even if it isn't an official requirement. In a sense it is: it encourages you to build your knowledge of the repertory, expands your musical and technical vocabulary, and it nurtures your musical growth. People who perform frequently are less likely to stagnate. One avoids burnout because energy is coming in as well as going out.
• Take a lesson or perform for a colleague (teaching observations included). One of the primary benefits of teaching in a university setting is the daily interaction with colleagues. I often ask colleagues to listen to a dress rehearsal, observe a class or lesson, and review my research. This allows one to profit from another's expertise. And, the balance between input and output is more easily maintained.
• Continually expand your "teaching" repertoire. This might seem obvious, but requiring yourself to learn and study new pedagogical repertoire promotes growth as a teacher. I rarely teach Fur Elise (unless a great deal of begging and pleading are involved on the part of the student) because it is difficult for me to get excited about that piece. I've simply taught it too many times. Learning new teaching repertoire not only ensures that you will be better equipped to find the right piece for your student, but also further advances your knowledge and skills as a teacher (While I'm on this subject, don't forget to include contemporary repertoire in this category).
• Make music with other people. While this is related to public performance, I feel that chamber music and accompanying deserve special mention. Making music with others is a stimulating and rewarding endeavor that yields many benefits. Interaction with other musicians activates different parts of our musical brains. Chamber music requires a unique type of listening with greater awareness of breath, pacing, and musical texture. And it sets a great example for students!
• Set specific goals for summer study. Plan to learn new repertoire, attend workshops, actually read those music journals to which you subscribe, etc. Most teachers have a significantly reduced load during the summer. Take advantage of that sacred time and find ways to rejuvenate and stimulate your individual growth.
• Find a mentor and stay in touch with old ones. In the academic arena, junior faculty members are assigned a mentor who helps guide them through the tenure process. Surrounding yourself with people who understand your artistic objectives and who emulate the type of musician and teacher you would like to become is a good way to keep your musical curiosity alive. Having lived in several places, I have always found a few extraordinary people who have had a significant impact on my musical development. Inspiring, devoted teachers are everywhere. Seek them out and find ways to benefit from their experience. Invite them to lunch. Ask to observe them. Everyone has something to learn from professional teachers with a wealth of experience. Don't lose touch with past mentors. Sometimes a brief phone conversation with an influential person in your life can generate enough energy for six months of teaching.
• Become a member of relevant music organizations at the local, state, and national levels. Many music organizations offer opportunities for teachers and students alike. Members have access to newsletters, publications, reduced conference rates, etc. You will have the opportunity to interact and work with people who share the same passion for the arts and education.
• Diversify your professional responsibilities. In addition to performing regularly, most full-time piano faculty teach in several areas: applied music, chamber coaching, piano literature, class piano, piano pedagogy, etc. During my few years of independent teaching, I recall being exhausted after teaching every afternoon from 2:30-9:00 p.m. I quickly learned that dividing up my time with a variety of responsibilities helped me to avoid burnout. Consider distributing your workload to include an array of musical endeavors such as, teaching a group class, teaching adults (who may be able to study in the mornings), accompanying and chamber music, directing a choir, etc.

Be an Arts Advocate

Most academic positions require faculty to maintain professional affiliations and be active in the service realm. While holding an office, serving on committees, organizing competitions or conferences, and the like are very time-consuming, they directly contribute to the quality of music education and arts awareness.

• Continually remind yourself (and others) about the many benefits of long-term music study. Regularly re-evaluating your musical values and priorities helps you better articulate your position. Not only will you promote music study and arts awareness in general, but you will also stay in touch with how music has the power to bring people together and nurture the human spirit.
• Promote the achievements of your students (and those of others). While it might seem like boasting, advertising the successes of our students in newspapers, internet sites, on the radio, etc., reminds the community of how vital the arts are and how music study can change lives.
• Coordinate with arts advocacy groups. This might mean working with music groups, arts groups, or other organizations that campaign for the arts in a culture where they continue to be marginalized. Consider offering a scholarship to a student who might otherwise not be able to afford music lessons.
• Educate the parents of your students. Teachers often focus so much on teaching students that they forget about the role parents have in this musical triangle. Parents are our greatest allies. Not only can they reinforce our efforts by encouraging our students to practice and follow-through, but they can also spread the word about music study. Parents can open doors with school systems, and for performance venues and funding opportunities.
• Be accessible and non-judgmental (like Leonard Bernstein and Yo-Yo Ma). Classical music gets a bad rap. With every passing decade, we are losing more orchestras and yielding smaller audiences. Consider giving a "lecture"-recital aimed at reaching a broader audience. Be open to including many musical genres and styles (e.g. jazz, popular, etc.) in your teaching curriculum. By acknowledging the music that matters to our students, we are more likely to convince them to expand their musical horizons and in the process, create an audience for future musical performances.

While we, as independent and college teachers, have incredibly demanding schedules, it is critical to find ways to nurture our own musical growth. Teaching by its very nature demands us to expend a great deal of energy. If we don't find ways to re-charge our batteries, we are in danger of stagnating and losing heart. Many of the activities mentioned in this article require compromise. In order to make time for them you may have to cut back your teaching load, resulting in driving an older car, taking a less exotic vacation, eating out less, etc. Nevertheless, the rewards far exceed the demands. You and your students will benefit because you will reignite your passion and remember why you chose to pursue a career in music in the first place. We are privileged to earn a living doing what we love.

© 2006 University of South Carolina School of Music