Skill or art?(In Unison)

As is true of most pianists, I am a very fast typist. When I enrolled in a typing class in junior high school (yes, there were such classes), I was taught "touch" typing. A repetitive, tactile approach seems perfectly suited for teaching the skill of typing. Just place your finger as quickly as possible over the appropriate letter. Every exercise that we did in class helped me develop a strong muscle memory. Using computers at Internet cafes in Europe this summer demonstrated how powerful this memory can be as I read the illegible results of my typing due to the relocation of several key letters on the European keyboards.

When I hear music students talk about their learning approach to new repertoire, I fear they are using the same repetitive techniques I used when I learned to type. I hear so often, "First I learn the notes and rhythm, then I work on the fingering, and last I add the dynamics. After playing it countless times, I have it learned." This mechanical and non-musical approach concerns me!

1. Regardless of whether a student is listening and making musical decisions, the body is still incorporating these sounds and physical gestures into its aural and tactile memory. When a student decides to add dynamics at the end of the learning process, it will necessitate relearning what has already been mapped into the body. Not very efficient learning!

2. Music can be magical. Often referred to as an international language, music can speak to people even if they know nothing about it. It can serve as a trigger for hidden memories and emotions, can make people feel incredibly happy or peaceful, or can bring the listener to tears. Why, then, choose to learn music in a vacuum--turning off the ear and focusing solely on the mechanics?

3. Facility and agility are important. An efficient and effortless technique serves as the tool that enables performers to express their musical ideas. Possessing a diverse palette of sound that can be called upon as needed enables the musician to convey the emotion and content of the music to the listener at will. Teaching technique apart from sound and musicality is very much like teaching calisthenics for the fingers and encourages mindless playing.

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SO ... how do we create an environment where sound and expression are paramount? I offer the following suggestions, which can be incorporated right from the first lesson. Although piano-focused, these ideas can be extrapolated for all instruments and voice.