Music and Med School

One of my piano parents inquired what makes music lessons so attractive to university faculties such as medicine and engineering. In the 1990s, Lewis Thomas, a physician and biologist conducted a study on undergraduate majors of medical school applicants. Of all successful applicants, 66% of them were music majors.

Closer to home, I can tell you that many of my former teacher's students have gone on to study engineering, another demanding program. One of the best pianists from my university piano class went on to be a surgeon. Another friend earned the Gold Medal in his graduating class at the University of Lethbridge and later went onto become a Rhodes Scholar, completing his Ph.D. thesis analysing the works of writer James Joyce, while playing trombone in community orchestra - for fun!

Music study involves so many parts of the brain, teaching everything from creative expression to analysis, ingenuity to working under pressure and from self-discipline to project management. And much more. These are all skills that are valued in medicine and engineering.

I have done a couple of blog entries on how "music lessons make you smarter" ("A New Study on the Benefits of Music Education" and "Why Study Music"). But don't take my word on it. Check out Will Piano Lessons Make My Child Smarter?

Getting Inspiration from Other Composers

One of the highlights of Monday's Calgary ARMTA Annual General Meeting was the lecture-recital by Canadian composer David McIntyre. I enjoyed hearing about what inspired him to write some of his works. For instance, he said that his work Better Days for solo piano was initially "Bitter Days" - written on a bad day. Another was nicknamed "Chuga" because of the rhythm. I need to get my hands on his Pro-Motion and E-Motion suites because I know my students and I will enjoy them immensely. I can picture a few of my young male students enjoying "Drive" (with its er, driving rhythms).

Several of his works are written for family and friends, such as his Anniversary Suite.

Something clicked in my brain after hearing that. Here I've been, stumped for the past two months on how to write a collection of reflections about my old babysitter who passed away earlier this year (she was like a grandmother to me). I was stumped on things like what colour her kitchen was and just what old toys and games I pulled out from the boxes in her attic. I couldn't get past those details so I kept pushing back the project.

When one can't find the words, why not use music?

I composed the first draft of the first of a set of three songs. It's about baking with Nanny, one of my favourite memories. I tried to create melodic lines to represent myself as a child talking with Nanny over what to bake. It's very sing-songy, like all children's songs. I just need to work out a few kinks.

I already have ideas for the other two songs (about adventures at the park and up in the attic) but I'll keep on improvising until the tune and rhythm bursts forth from within. That strategy seems to work.

(c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Practice Tip: Playing along with a CD

I recently ordered Bleach the Best CD through amazon.com. A courier dropped it off during this morning's piano lessons. As soon as I ushered my day students out the door, I set the CD to Houki Boshi- the song I'm doing for the APTA Festival and played along with it on the piano. This is a surefire way to force a musician to keep going no matter what as the CD doesn't stop for you to correct notes.It was an energizing experience, mainly because the song is supposed to be played at approximately 162 quarter notes per minute.

(c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Sight Reading Tips

Busy week - three posts from me. I've had to do some research for students so I have lots of information to share this week. A while back, one of my beginner students (and her dad) asked me why we had to work on sight reading (playing something you haven't seen before). The easy answer? It makes you a better musician.

There is a practical reason to why students are tested in this area.I told my student that there will be times that she's at a social function, ensemble rehearsal or school when someone will place unfamiliar music in front of her and say, "Play this."

I have a handful of students who need work in this area. We've been spending a lot of time lately going through a passage several times, with them focussing on one area (rhythm, touch, melody, dynamics, etc.) before trying to put all the elements together. Some of them look at me funny when I say, "For the first time through, don't bother getting any of the notes right." It helps though because it lifts the pressure off their shoulders to get it perfect.

Sight reading is also one of my weak spots. Since I've been teaching, I have been improving steadily. Some things I've learned along the way are:

• Look for patterns, be they melodic, rhythmic or harmonic

• Ditch "Every Good Boy Deserves Fudge" and all those other phrases to remember note names. Follow the note heads instead, reading intervallically, e.g., C then up a step, then down a skip, etc.

• Getting the rhythm and keeping a steady beat is more important than getting every note right.

• You have to practice sight reading - start easy and work your way up.

• Learn to play by feel - without having to look at your hands.

Here are more useful tips in these articles:

Some Tips on Sight Reading More Tips on Sight Reading Sight Reading Studio 1.0 Software

(c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Overcoming Stage Fright - Second Movement

"This week, I want you to practice performing." My students have been hearing me say this throughout the week, in preparation for my studio's winter recital on Sunday. We only have one shot on stage to weave our magic for the audience. Many musicians can attest to nailing their songs in the practice room, only to have everything fall apart on stage.

The secret is to practice performing. One must play through the song(s) in a performance setting, where you can get that heart pounding, feel the weight of all eyes on you and play through distractions. Some tricks I've learned along the way:

• perform often: the more you perform, the more used you get to the stress and the easier it gets

• cajole your family and friends to be a guinea pig audience - have them be a model audience one time and a disruptive one the next run-through

• know your repertoire really well

• visualization: visualize the setting, yourself playing well, yourself successfully navigating through a stumble, memory glitch

• breathing techniques

• put Maestro to work: Sometimes, I allow Maestro to provide distractions for the students to perform through. His favourite techniques include surrounding the student with toys, hopping on the bench and singing along.

Here are some cool articles on performance anxiety/jitters:

• First Performance Jitters

• Overcoming stage fright (my blog entry from May 10, 2006)

Happy reading! (c) 2007 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.