The Importance of Performance

Musical performance can seem like an unnecessary hassle, and can generate feelings of trepidation and worry. However, they are very important to developing a musician’s abilities.

Why is it important for students to participate in performance?

Perhaps the number one argument for the inclusion of performance into any student’s musical study is that it builds confidence. Having a measurable goal for a student to work towards (i.e. “I want to perform the first movement of a Beethoven Sonata”) is essential in any form of practice. How can a student demonstrate their learning if there isn’t some sort of assessment in place? Attaining that measurable goal can help a student recognize his or her skills, in addition to providing that essential assessment factor for the instructor.

The thrill of applause is another excellent benefit students acquire when engaging in performance. Music is, at its core, an expressive art form. Performing enables students to connect with others on a completely different level. Students who perform gain essential skills that can aid them with later public speaking or presentation requirements in school and beyond.

Performance can also be fun! There is no feeling of accomplishment greater than doing something hard and being successful at it. Participating in a performance isn’t easy, that is for certain. But, knowing the difficulty and accomplishing one’s goals anyway helps solidify a sense of self worth and enduring success, musical and otherwise.

Connecting with an audience through musical performance can help students develop many important skills!

Helpful Tips for Dealing with Performance Anxiety

Performance anxiety is a common issue many musicians deal with. Some have more problems with it than others, but most performers have experience with some type of nerves before a concert. Making use of some of the following tips can help musicians prepare for and hopefully combat some of the effects of these anticipatory nerves.

• Practice! The more you prepare for a concert or event, the easier the actual performance is likely to be and the less likely you are to make a mistake.

• Get plenty of sleep and try to avoid too much caffeine. Jitteriness and racing thoughts are common symptoms of performance anxiety and can be increased with too much caffeine intake.

• Breath is a wonderful medicine! Practice taking deep breaths before you begin playing. This can help lower the heart rate and slow numerous other symptoms of panic.

• Try to focus on the positives. Performing can be fun! Making music with a group or soloist is a wonderful way to connect to others and the satisfaction you will feel at the end is worth it!

  These tips won’t always work for everyone, but it’s worth trying them out! Check out the following websites if you are interested in reading more about performance anxiety’s causes along with some strategies for conquering it.

https://www.webmd.com/anxiety-panic/guide/stage-fright-performance-anxiety

https://psychcentral.com/health/how-to-break-the-cycle-of-performance-anxiety

https://adaa.org/understanding-anxiety/social-anxiety-disorder/treatment/conquering-stage-fright

Performing can be so much fun!

No matter how you look at it, the point of musical performance is positive. It serves as a method to demonstrate and share successful skill acquisition. Concerts are excellent ways to measure goals and achievement, for both performers and their teachers. Finally, performing in musical events assists musicians in confidence building, interpersonal connections, and self expression!

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-Charissa Garrigus, Instructor at Vibe Music Academy

A Brief History of the Ukulele

Many people associate the ukulele with Hawaii, and rightly so. This instrument has featured regularly in Hawaiian folk music, films about the Hawaiian Islands, and so much more. However, this instrument has a fascinatingly varied history! In fact, the name “ukulele” itself even has different translations.

Believe it or not, the ukulele itself was not invented in Hawaii. It is a direct descendent of the cavaquinho, a four-stringed guitar-like instrument popular in Portugal and and the Portuguese island of Madeira. Hawaii was a hot spot for immigration during the late 1800’s, and Portuguese immigrants sailing on the ship Ravenscrag brought this instrument with them when they arrived in Honolulu in 1879.

The story goes that when the ship’s crew member João Fernandez played his cavaquinho for the local people, they were fascinated by how quickly his fingers moved along the strings. So, they named this instrument a “ukulele,” which translates directly to “jumping flea.” When Fernandez played, his fingers jumped so rapidly along the strings they almost appeared like fleas to the lookers on!

However, there is another possible origin for the name of the instrument. This was the meaning assigned to it by the last monarch of Hawaii, Queen Lili’uokalani. She described the ukulele as “the gift that came here,” referring to the immigrant origins of the cavaquinho.

Perhaps at this point it is important to say that the cavaquinho and the ukulele are not in fact the same instrument. João Fernandez and several of his companions did settle in Honolulu as carpenters and produce these instruments for the local people. However, somewhere along the line the cavaquinho got mixed together with the rajão (another stringed Portuguese instrument) and became something else entirely. The exact date at which the ukulele became its own is unknown, but the instrument was officially presented in 1889, and was a favorite of both King David Kalākaua and the later Queen Lili’uokalani. The playing of the ukulele became a staple of royal ceremonies, and as such started to become a Hawaiian symbol. Additionally, the instrument is traditionally crafted of koa, a native wood that symbolic of nature and earth.

Queen Lili’uokalani was a huge proponent of the ukulele, decreeing it the national instrument of Hawaii. She played this instrument (among several others) and even wrote the famous song “Aloha ‘Oe” to be performed on ukulele. It is greatly due to her influence that ukulele has become such a hallmark of Hawaiian culture.

Source: Hulton Archive/Getty Images

Queen Lili’uokalani

Nowadays, the ukulele has become a staple of popular music. Many famous artists from Jason Mraz, to Twenty One Pilots, Taylor Swift, and even Panic at the Disco have featured the ukulele in their songs. This is a delightful instrument to play, very easy to learn, and extremely portable. The nylon strings and small size create a folksy sweetness when strummed—the ukulele has even become a bit of an aesthetic choice to some! Indeed, many schools have switched gears from teaching recorder to teaching ukulele as the skills can translate a bit better to casual music making.

Thus, the ukulele has travelled a long way from the shores of Portugal, to the beaches of Hawaii, and now into the vernacular of pop singers and songwriters alike. This delightfully versatile instrument promises plenty of innovation in years to come, and remains a joy to performers and listeners alike.

Image Source: Herald Scotland News

Source Material:

• https://www.theatlantic.com/entertainment/archive/2015/01/though-it-be-little-the-rise-of-the-ukulele/384453/

• https://americanhistory.si.edu/blog/5-things-you-probably-didnt-know-about-%E2%80%98ukulele

• https://learnplayuke.com/history-of-the-ukulele/

Blog Post Written By: Charissa Garrigus

The Need for Vulnerability in Music Lessons and Performance

Learning and refining a new skill can be daunting and may be seen as a risk to some. In my time as a professional musician and teacher, I have realized how vital vulnerability is to the music learning and making processes. Vulnerability allows for the exploration of the vast opportunities music and its instruction have to offer.

What is Vulnerability?

Vulnerability is defined as “the quality or state of being exposed…either physically or emotionally” by the Oxford English Dictionary. It can have positive or negative outcomes. However intimidating it can be, vulnerability, in a positive manner, can heighten a musician's emotional sensitivity and intensify music performance as a whole.

The act of being vulnerable within the realm of music is complex and variable. It can range from being open enough to step out of your comfort zone by beginning music lessons to being confident enough to perform emotion-evoking music in front of complete strangers.

Music, in the most basic terms, is meant to tell a story, communicate feelings, and allow connection on a basic human level. These effects are diminished without vulnerability from the musician.

Without vulnerability, the musician typically shows reduced emotional attachment to the music. In order to transform mere notes on a page into something that the listener can connect with, the musician must be sensitive and vulnerable while incorporating a personal connection to the music. In this way, the music can be performed and experienced in its meaningful and intended form.

Anna, assisting one of her voice students at Vibe’s 2022 Spring Recital

Vulnerability’s Affect on Music Performance

Some may think that taking the first step towards learning something new, such as signing up for music lessons, is the hardest. While it can be, vulnerability only grows throughout an endeavor, such as music making.

The image shown below portrays the Vulnerability Hierarchy and how complex and multifaceted it can be. Music training and performance can incorporate most, if not all of these vulnerability tiers.

Vulnerability makes for a better musician and allows musicians to create and perform music in the most meaningful way. 

Source: https://advice.theshineapp.com/articles/lean-into-your-vulnerability-with-this-1-chart/

Vulnerability also comes in many forms and intensities.

Personally, I find that I feel more vulnerable performing vocally rather than with a palpable instrument. The fact that I cannot physically separate or disassociate myself from my vocal instrument makes me more susceptible to self-doubt, fear and negativity around my voice compared to other instruments I perform.

Understanding vulnerability and being open to opportunities, such as performing or learning new techniques, allow me to make music to the best of my ability, both vocally or instrumentally.

On a larger scale of performance, the importance of vulnerability only increases. Instead of being open and present in a one-on-one lesson setting, the performer (of any level) must be able to emote to an audience of their peers and/or strangers, which is extremely difficult.

Speaking from years of performance experience, vulnerability in front of an audience is hard, and most likely always will be. However, the beauty and opportunities an open, vulnerable musician can experience unmeasurably outweigh those of fear and self-doubt.

A voice student of Anna’s performing at Vibe’s 2022 Winter Recital.

Vulnerability’s Affect on Music Instruction

From a teaching standpoint, I aim to model and guide my students to recognize and acknowledge their vulnerabilities. This helps to mold them into the best, most confident, musicians they can be. 

In my studio, I have my students of both piano and voice engage in somewhat silly or awkward exercises. There is always a method to the madness and a technique to refine, no matter how weird the exercise may seem. I find that the students that are willing to be vulnerable and lean into silly or awkward exercises are able to acquire the skill easier and quicker than students who are more reluctant.

Fostering vulnerability in a safe and open atmosphere is essential to music instruction. A study by Papageorgi et al. (2010) explains that students thrive when the learning atmosphere is supportive, nurturing, and empowering. This is how the student recognizes the learning goals and processes that best reinforce their training journey.

I, along with Vibe Music Academy, believe that as a music educator, the goal is to create the type of learning environment that best encourages personal and musical growth.

I encourage you to step out of your comfort zone and allow yourself to be vulnerable to something new - the experience may positively surprise you. Join us at Vibe Music Academy if music is your next vulnerability venture!

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-Anna Holden, Instructor at Vibe Music Academy

How Muscle Memory is Used in Music

I first remember being introduced to the concept of muscle memory by the famous oboist, Alex Klein. Mr. Klein was the Oboe Marathon master class technician and had served as the principal oboist of the Chicago Symphony Orchestra.

His journey as it relates to this post began when he was diagnosed with focal dystonia. Focal dystonia is a neurological disease that affects transmissions from your brain to your muscles. Mr. Klein resigned from the symphony, spent a few years relearning to play the oboe despite his disease, and then amazingly re-won the principal oboe position.

Accomplishing this feat has made him a truly unique oboe legend. While Mr. Klein battled a neurological disorder where he tricked his brain into thinking he was doing something new, his teachings awakened the interest of muscle memory into many oboists.

Alex Klein, playing with the CSO in 2002 after being diagnosed with focal dystonia in 2001.

Source: https://www.chicagomag.com/chicago-magazine/february-2017/oboe-alex-klein/

What is Muscle Memory?

Muscle memory is the ability to move a part of your body without thinking about it, learned by repeating the movement many times.

Dr. Johnstone, a Doctor of Philosophy student, steers away from a misnomer, clarifying that muscle memory occurs in the brain, with the effects being on our physical movements. She further defines muscle memory in her article as: “the ability to move a part of your body without thinking about it, learned by repeating the movement many times.” Everyday examples of muscle memory include the ability to ride a bike or sing a musical tune.

Muscle Memory & Music

Some things we do in music come naturally and might even be described as easy. Yes, easy. Not all things are difficult thanks to muscle memory. Whether it is being able to find middle C on a piano or play a bar of arpeggios in a solo piece, eventually good practice pays off!

Unconscious procedural memory (UPC) is a type of memory where one is able to perform a task unconsciously without needing to recall past experiences in order to complete it. For example, Dr. Johnstone says that because you can ride a bike, doesn’t mean that you’ll remember where you learned the skill or readily be able to describe how you performed it.

To arrive at this phase of UPC, one most progress through three stages:

1. The cognitive stage

   • This is where we think about everything concerning a task. If we are looking at new music, we may go slowly, put space between notes, or group them into small bits that we have practiced in other contexts.

2. The associative stage

   • This stage gets easier and is more rewarding. It is characterized by being mostly based on repetition.

3. The autonomous stage

   • Once one has reached this stage, playing is much easier. However, the musician must still be engaged with their actions.

If you would like to learn more about each of these stages, read this article.

A Bit About Psychology

The cognitive stage can be a slow, difficult, and sometimes disheartening stage to be in. What you are trying to improve as a musician may be technically difficult, result in a product you think doesn’t yet sound good, and maybe include a screech or squawk.

Because of this, I would like to introduce another source from a non-musician that every musician and student should read. The title of the book is “The Inner Game of Tennis” by Timothy Gallwey.

Gallwey wrote, "Every game is composed of two parts, an outer game and an inner game." The former is played against opponents, and is filled with lots of contradictory advice; the latter is played not against, but within the mind of the player, and its principal obstacles are self-doubt and anxiety.

If you have been in an audition or a student showing up to an ISSMA competition, this book has value.

When I read The Inner Game of Tennis, it felt like a breath of fresh air. I was exhausted at university with having the ‘audition anxiety’ talks. Nobody had the same experiences as I did, and I was hearing hundreds of coping mechanisms that in and of themselves seemed to teach me that I should be more anxious than anything else. Whether you have had that experience or not, I think you will also find refuge in this book.

As Gallwey talks about the inner game, it gives room for your own voice. I could feel which words resonated with me and draw conclusions about strategies going forward.

The book emphasizes two seeds of the inner game: self-talk and preparation. To learn more, please find a copy of this book at your local library or buy a copy. So many of us are involved in multiple activities, so self-talk and preparation is cross-applicable to almost any activity from everyday school contributions to extracurricular endeavors.

My Integration of Muscle Memory

To finish off my contribution, I have included my hot-button bullet points that I utilize personally as well as in my teaching.

• Practicing the correct pattern of notes correctly comes first. The goal is to practice correctly to move through the cognitive phase. This can be done by practicing slowly, then speeding up.

• The cognitive phase can be slow-going. Quality over quantity is key. If self-talk or tension begins showing up along with more mistakes, it is time to take a break. Try again tomorrow. It doesn’t matter if it has only been 5 or 10 minutes. At least practice something else before taking a step back and trying again.

• [Bracket passages] and write down the skill being developed in the student’s assignment notebook.

• Change the grouping of technical passages.

• Practice sixteenth note passages as triplet passages and vice versa.

• Practice eighth note passages as triplet passages and vice versa.

• Turn eighth notes passages, or quarter note passage, into dotted rhythms.

To be overly repetitive (we are talking about practice after all): Quality over quantity is key. Take a break if needed and read The Inner Game of Tennis!

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-Dr. Jessica Myers, Instructor at Vibe Music Academy