The Problem with Elitist Attitudes and Music Education
Last spring, my studio had the wonderful honor of having the inimitable Ray Chen come give a masterclass. After the masterclass, he generously answered our 100 questions and met each student for photos and autographs with his special gold sharpie.
Master class: Ray Chen works with student George Zhou, 9, on the Kabalevsky Concerto.
Among the students performing for Ray were Saiya, a 16-year-old from Florida performing Barber Concerto; Mia, a 7-year-old from Iowa performing a beautiful Mozart Concerto; Alex, a 15-year-old from New Jersey performing Piazzolla; and Adrian, an 11-year-old performing a very exciting third movement of Mendelssohn. As usual with Ray, he approached each student with charm, grace, and humor. The 200 people in the room laughed along with Ray and Alex as they conquered the style of Piazzolla and Ray danced around stage to demonstrate.
Last week, a woman came across a post of a student performing for Ray, and she commented that the boy was "not good enough to play for Ray" and that the "audience would not learn anything." Normally, I would ignore this as another internet troll, but she really hit a nerve. I don't think she was a troll. I think she represents an elitist and incorrect view of classical music and music education in general. Unfortunately, her comment inspired countless stories from others who reached out to me, and she has proven that there is still very much a problem in classical music.
The lack of inclusivity of students is a significant barrier to classical music's continued relevance in today's evolving world. It is crucial for classical music institutions and educators to work together to make this art form more inclusive. It's important for all students of classical music to be recognized and celebrated. Classical music -- making music, playing an instrument -- are things that develop a student's emotional well-being, learning capacity, self esteem, problem-solving skills...the list is endless. Music education is the right of all children. Classical music, with intricate composition and demanding technique, offers a multifaceted avenue for personal development. Engaging in music provides an array of benefits that extend well beyond the realm of learning Vivaldi's A Minor concerto or Bruch's G Minor.
The discipline required to learn an instrument or comprehend complex compositions strengthens a student's ability to focus, memorize, and process information. As students achieve milestones in their musical journey, they gain a profound sense of accomplishment and self-worth. This reinforcement contributes to a healthy self-image, nurturing confidence and self-assurance that can extend into other areas of life. Additionally, classical music fosters problem-solving skills, improves resilience, and the ability to approach challenges with determination and a growth mindset.
In the realm of music, competition is an ever-present facet. Sometimes, it feels as though the pursuit of musical excellence is overwhelmingly competition-driven. High-profile competitions such as Queen Elizabeth and Menuhin Competitions have long held the spotlight in this regard. However, it's important to clarify that within my studio, the landscape is fundamentally different.
In my studio, I approach the selection process for special events and opportunities with a distinct perspective. Rather than adhering to the strict competitive norms, I base my choices on a holistic assessment of each student's qualities. Factors like dedication, work ethics, artistic spirit, the ability to perform exceptionally well at the given time and even, duration of time in the studio, and involvement in other musical activities all come into play. Approximately 50 percent of my students go to music conservatory and 50 percent go to top colleges. Having other aspirations should not limit opportunities in the musical field. It is my firm belief that having diverse aspirations should not serve as a limiting factor when it comes to exploring opportunities in the musical field.
The comment from the Instagram lurker was so bizarre to me because she was commenting on an 11-year-old student performing the third movement of Mendelssohn at an extremely high standard. My 7-year-old, Mia, might be SEVEN years old, but she understands Bach's style innately. Just because they aren't ready to perform on the grand stage of the Queen Elizabeth Competition, it certainly does not negate their ability to perform for someone as iconic and inspirational as Ray Chen. Her further comment about others not learning from the learning was also fundamentally misconceived. I've found that I glean significantly more insights from masterclasses where students are navigating imperfections and challenges, than from watching two concert artists on stage together.
I love teaching. I feel like it's my calling. This is my 19th year at Manhattan School of Music and my 25th year of teaching. Even when I was performing with major orchestras in my 20s, I was thinking, "I wonder what Jeffrey is doing right now...." It seemed like there were many violinists who could play as well as I could, but I felt that I had a special niche in the pedagogy world. I pour a lot of myself, my energy, my time, into my students. I currently have students from nine states and six countries. I try to make an impact on both the violinist's playing and also, the life of the violinist.
In order to make music more of a central part of the lives of my students, I plan many special events for my studio. I believe these special opportunities provide inspiration for all students, whether or not they are performing. Being in the presence of Sarah Chang is pure magic. Can you imagine being a twelve-year old violinist and being able to meet her, talk to her, feel like you know Sarah Chang? That is the most special gift I can give my students.
In the past, I have hosted amazing concert artists like Sarah Chang, Rachel Barton Pine, Stefan Jackiw, and combined efforts with Orpheus to have incredible classes with Lisa Batiashvili, Pekka Kuusisto, among others. I also arrange special projects during the year to put my students in the spotlight even further. In 2022, I resurrected the "Bach Project" where students performed every movement of the sonatas and partitas. They also learned about Bach's life and composition from our resident musicologist, Michael Wittenburg. They learned the proper steps to a Gigue and a Minuet with a Baroque dance specialist and listened to a concert using Baroque instruments. In 2023, I asked an orchestra to work with my studio, and 36 students performed movements of Vivaldi's "Four Seasons" at Merkin Hall in NYC.
The feeling of performing with an orchestra can't be replicated, and there are never enough of those opportunities. We opened this year with a private event with TwoSet. The students sat in a circle with Brett and Eddy and discussed anything and everything.
I am proud to have a very active Instagram, (@faidleystudio) where I post short clips of students (at every age and level) as well as funny happenings in my life.
In early December, our studio eagerly anticipates the arrival of the esteemed musical cultural icon, Midori. From among my beloved group of 65 students from across the globe, I have selected those who have demonstrated exceptional dedication and deserve the opportunity to perform in her presence.
There will be some out of tune notes, some imperfections in the Mendelssohn Concerto, some nerves that get in the way. Things will happen. Nevertheless, I hold unwavering confidence that our entire studio, together with Midori herself, will wholeheartedly celebrate each and every remarkable student, ages seven through 17, playing Mozart or Sibelius.
You might also like:
- A Masterclass with Ray Chen
- A Masterclass with Sarah Chang at The Manhattan School of Music
- Remembering Violinist and Teacher Shirley Givens
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Over the years, often I was able to foster "talent", sometimes I had to find it first, occasionally, I failed.
Although I agree completely with Elizabeth Faidley's nurturing and optimistic approach to teaching music, I can't help but remember as I read this how much better I feel after quitting all social media 7 years ago. It is the same relief and freedom I enjoy after quitting television over 20 years ago. Unfortunately in today's market some people seem to rely on social media and I can only wish them well. Electricity is ruining a lot more than just music, but I know that, by definition, my monastic solution is not the majority path. Happy playing to all!
….violinist dot com is social media…..
Wonderful article, thanks.
I really appreciated both the IG post on this and this article. My kids, due to their sister being critically ill and passing away in their younger years, were not able to attend a program or study with a high-level teacher for most of their early education. Because they lacked the "right" pedigree, they were denied opportunities for years in everything from orchestra to masterclasses. With the help of a teacher who believes in them and a scholarship/mentorship program for kids from underrepresented backgrounds, they have finally been able to break the disappointingly elite classical music glass ceiling. It shouldn't be that hard -- and we know plenty of kids who are far more disadvantaged than mine.
I've always wanted to host a competition where all the prizes were reversed. Frankly, in most cases, competition winners already have all the advantages and rarely need the gigs, instruments, or even the prize money. In my imaginary competition, the kid with the worst video submission gets a free recording session. The kids who fall apart get masterclasses. The kid with the worst violin gets a loan for a year. Special awards for hardest workers and most passionately out-of-tune playing!
As a violin maker, and former high-level instrument restorer, I never got much gratification or business promotional value out of acting as "an elite". What has worked a lot better has been funning around with people, including the most high-level players. These players can get a little tired of acting the role of being all stuffy, and for the most part, appreciate the break.
Mary,
V.commie is social media. The other stuff is anti-social media.
Regards,
Buri
"a woman came across a post of a student performing for Ray, and she commented that the boy was "not good enough to play for Ray" and that the "audience would not learn anything""
On the second sentence I disagree 100%, audiences are such a broad and generic spectrum of people that saying that is nonsense.
However, about the first sentence, I don't get why you got so offended. It's her opinion, first of all, and she may as well be right. You seem to use the age card as if that proves the point wrong. I think she meant:
- Ray is such a good violinist that in order to really take advantage of his time and knowledge, you really have to have really developed violin skills and already be a very good violinist. Otherwise, what Ray is going to be able to fix, comment on and correct is something 99% of violin teachers can do. Hence, you will use Ray for something that can be done by everybody.
I actually partly agree with her, if you call a top performing violinist for a masterclass, you have to be super good at violin. It's really simple, it's like calling a F1 engineer to fix your broken car light. It's like calling a PhD Physicist to teach you the 3 laws of Newton.
Would I comment such thing even if it's correct?
Not really, Ray can enjoy some time with decent violinists, it's fun, I think it's fine.
First off, it is wonderful of Ray to do this, and it doesn't surprise me. He come across as very genuine in his various videos, and at the same time is a world class soloist. The kind of negativity from the IG commenter is unfortunately part of the world we live in: that of the Internet arm chair warrior. Why even post a negative comment like that? Clearly, Ray is willing to do the master class, and from your description, he more than willingly gave his time and expertise to students of all levels. I've seen Midori do the same thing. They are the shining lights, not the commentor. So easy to tear things down, and so much more difficult to build them up.
I came here to post something along the lines of what Paul posted, separate from comments about social media. On one hand, like a lot of folks around the country, we don't live anywhere remotely near a conservatory pre-college program, or famous pedagogues, or a big city frequented by a steady stream of famous performers doing frequent master classes. But where those opportunities are available, there is such high demand, that of course the teachers and programs have to be selective when making opportunities available. It is not the same now as when I was a kid, when a bit of talent and interest got you a lot further than today. Now, access to hyper-competitive high-end training for teens in music and sports and academics has become a significant factor in where they ultimately get accepted and can attend. It has increasingly become a fact of life for kids. We are grateful for the local music organizations here, every one of which avoids elitism and provides access to some really fine opportunities. However, this is classical music—auditions, placements, competitions, pressure, and limited opportunities are an unavoidable part of serious participation, these days at an earlier and earlier age.
In support of the original theme of the article, here is a story about an event something like this my daughter participated in. One time a few years ago she got to play for Gary Hoffman, one of the very best teachers and performers today. Like in the article, someone could have said that my little girl had no business taking this guy's time. He was kind, and told her that if you are going to continue doing this seriously, you must change these two things with your bow and posture, that you learned this way because you were a little girl and needed a bigger sound and adjusted, but now this will lead to injury and a shortened career. Hearing this from him at this point in time was greatly motivating and inspiring to her because she already had a sense that she needed these changes, and this led to a series of things that changed her musical life.
So when Ray Chen does a master class for kids, I think there's a good chance that someone will be inspired like this, someone who may not have gotten to play for him through a different, "elite" audition process.
What an exciting and positive experience it must be to be a student in your studio!
We need to ask ourselves, what is the purpose in learning to play music? To enjoy ourselves or learn to play music to impress other people?
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October 17, 2023 at 02:41 AM · Well I guess one response is ‘You won’t learn anything because you don’t want to.’ For me , violin playing at any level is pretty much the same thing, just expressed in a different way according to the need s and interests of the students. One of the most important things teachers have to learn is how to express these ideas in an appropriate way to anyone. Audiences don’t learn anything only when the teacher is not a real teacher. Fortunately Ray Chen is very gifted in this department. Sadly, the downside of social media seems to be the way it fosters people’s tendency to criticize instead of the constant seeking of good in every situation. that is why these trolls are so bloody miserable.
Just keep on doing what you are doing.
Warmest regards,
Buri