The possibilities of time. (Independent Music Teachers Forum).(Brief Article)(Editorial)

Lately, I've been thinking a lot about time. I read articles in music publications talking about the incredibly (and not-so-incredibly) talented students we teach. I hear teachers discussing the gifted students fortunate Teacher X acquires, and how we're back on terra firma with our lot. I hear a great deal of rationalizing about the time the teacher's students have to devote to their homework, soccer or other interests.

Seldom do I hear anyone discuss the amount of time and effort that go into fine teaching or the hours of focused, informed practice that have made a fine student performance possible. It's time to talk about the possibilities of time--teaching time and practice time.

Teacher Y refers to a departing student as "Teflon brain" for his inability to memorize his pieces. Two-and-a-fraction years later, Teacher Y selects said student as a winner in a rather stiff competition, apparently satisfied with the degree of sticking to the pan. What could have happened? It was two-and-a-fraction years of teaching, with lessons long enough to provide a harmonic structure, an educated ear and enough performance experience to make the student's practice time pay off, and a Teacher Z who motivated this student with belief and determination.

My father was prone to repeating simple, vexing statements like, "If the student hasn't learned, the teacher hasn't taught." And, "If the dog didn't stop to bark at the cat, he would have caught the rabbit." I still puzzle over that one. But I think I understand where he was heading.

Certainly, and obviously, there are different levels of talent and musical intelligence in our students. I personally do not know a single teacher who doesn't count in his or her studio a goodly share of students who are, by the teacher's standards, less talented. But less talented than whom? Or, as we used to say, "Compared to what?" Rubenstein? Rubenstein, by the way, considered himself less talented (at least as a pianist) than a whole parcel of younger pianists. So what? Is it the level of talent that matters in our teaching? Or is it the learning process itself?.

I have four walls in my studio. On one wall is a framed saying from Mary Anne Radmacher-Herchey: "Excellence begins with an exacting inner commitment to possibility--possibility sits very close to discipline." On two walls I have all the evidence I can display of students who have accomplished excellent things--MTNA certificates, a few ...