II

PERFORMING
MUSICIANS AS ARTIST-TEACHERS

THE TEACHING ARTIST AND THE

ARTISTRY OF TEACHING
by

ERIC BOOTH

The first and most important thing you should know about my education
history is that I have no musical background whatsoever. In any group of
musicians, I am always the designated naf, the one who doesnt under-
stand any of the jargon. This is actually an exquisitely useful place to be in
most learning situations. I represent the best of the great unwashed pub-
lic, the guy who is just delighted to recognize the musical theme reappear-
ing in a symphony; I feel like Ive done something awesome when I actually
recognize the variation. And thats pretty much the view I bring to all my
arts-in-education work, a sense of wonder, delight, and not a lot of inside
scoop on the artform. Furthermore, I come from a theatre background; I
had twenty years in New York as an actor until I began to be more inter-
ested in education issues, and was seduced into the life of an artist educa-
tor. I found it so much more interesting than being an actor that, before I
knew what had happened, I was suddenly not available for those auditions
because I had to work with a kindergarten classroom that day. And that ERIC BOOTH DIRECTS THE ART IN
passion reorganized and reprioritized my professional direction.
EDUCATION PROGRAM AT THE JUIL-
At Juilliard, I lead the Art and Education Program and its extension in the LIARD SCHOOL AND OVERSEES THE
Morse Fellowship. The work is based in the arts-in-education pedagogy MORSE FELLOWSHIP PROGRAM
that I first discovered at the Lincoln Center Institute when I came there in
the late 1970s. At Juilliard I teach graduate students of music who have a THERE. HE IS ALSO THE EDITOR OF
self-identified interest in education. They take two year-long classes with THE TEACHING ARTIST JOURNAL, AN
me, and then the really good ones get an additional year in New York City
AUTHORITATIVE PROFESSIONAL
public schools as a practicum. My goal is to nurture samurai teaching
artists who can go into any education situation and advance the musical DEVELOPMENT RESOURCE TO
engagement, whether that situation is a kindergarten classroom or a living CLARIFY, ENRICH, AND ADVANCE
room of wealthy patrons with martinis in their hands. The classes com-
TEACHING ARTIST RESEARCH AND
plete a number of projects throughout the year which extend the reach of
the work. For example, one of their projects is to get on a New York City PRACTICE.

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 16

bus, and before they get off, to into oboe sound. He spent most of they cant think up a single good
engage somebody on that bus in a the evening hanging out with the reason, as far as that kid is con-
serious conversation about musical wind ensemble, asking them ques- cerned, as to why he should give a
issueswithout tions and listen- damn about Mozart. And thats
getting hit. ing to them play. where we begin our year. Looking
Another chal- She got an A for back to the basics of, Why should
lenge takes place that project. somebody care about Mozart?
at one of those What is valuable about musical
rich persons Anyway, having experience? And thats probably
cocktail parties these enthusias- the key idea that they get all year:
where they per- tic students in were talking about musical experi-
form in the cor- class for a year, ences. Thats what were working to
ner in a in two classes, is generate, to nurture, to draw peo-
background almost an ideal ple into. Thats where the magic of
music ensemble. situation; its a our work is. Our work is not in the
Their assign- dream to have notes (or the concept and history
Eric Booth at New England Conservatorys
ment is to iden- that many weeks that shape them); our work is in the
Jordan Hall Conference, presenting the prin-
tify one of the of investigation. things the notes can do inside peo-
ciples and perspectives for becoming a musi-
rich people in We spend the ple. In fact, I dont call them teach-
cal artist-educator.
that room and first six weeks ing artists any more; I call them
make contact never getting Agents of Artistic Experience. This
with him or her at some point dur- near music. These are all musicians, is important because it draws
ing that evening in an appropriate and we spend our first six weeks together that separation between
manner, and advance the musical investigating theatre, visual arts, being a performer and being an
agenda. One student told me a dance activities. The purpose of
great story of how she did that. She this is for them to remember what
was at a party and the guy who its like to experience an art form M Y G OA L I S TO N U RT U R E
owns a major clothing retailer was without any expertise. They are so SA M U R A I T E AC H I N G
there, and while she was tootling narrow and hyper-musical in their
away on the oboe, she set her sights thinking, that it is almost shocking A RT I S T S W H O C A N G O
on him, trying to figure out how to them to think outside musical
she was going to get his attention thought. They rediscover how scary I N TO A N Y E D U C AT I O N
without getting thrown out or it is to participate in an unfamiliar S I T UAT I O N A N D
doing something inappropriate. So art form. In fact, the very first day
she came up with this ruse. On a of the first class I begin the class A DVA N C E T H E M U S I C A L
little break, she went up to this guy with this question: Give me one
E N G AG E M E N T, W H E T H E R
and said, Excuse me, I dont mean good reason an inner city 5th grade
to bother you, but do you see that kid, not a mile away from where T H AT S I T UAT I O N I S A
clarinet player over there? She just were sitting, should give a damn
bet me $10 that I couldnt get you about Mozart. I always get the K I N D E RG A RT E N
to make a good sound come out of same reaction. There is this snort
C L A S S RO O M O R A L I V I N G
this oboe in three minutes. Would of derisionits a Huh, not a
you take that bet on for me? So musician snort. Then they have RO O M O F W E A LT H Y
within seconds the guy is playing their knee-jerk responses about
with the oboe, hes trying to make Mozarts brilliance and the perfec- PAT RO N S W I T H M A RT I N I S
sounds come out. Hes asking tion and the beauty, and within
IN THEIR HANDS.
about the physics of the oboe. Hes about thirty seconds they realize

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 17

educator, between being an admin- tigate, What could possibly be going pening in there? What are the
istrator and a creator. Both a per- on in the creation of a marketing verbs, what are the actions, and
former and an educator are agents plan that would in any way be com- what skills are involved?
of artistic experience, but in differ- parable with playing Hamlet? And
ent ways. We do extraordinary this line of inquiry began to take me So I spend that precious time I have
things in our halls to be effective to what I refer to as the verbs of art. with the Juilliard students guiding
agents of musical experience. Look I was engaged in actions that were them into this same way of seeing
at this gorgeous place were in, Jor- the same as the actions I had the world. I refer to it as the
dan Hall, and hear the sound of it. engaged in playing Hamlet. Very research perspective. I try to make
Those who created and share this different media, same verbs. them life-long researchers of artis-
place go to extraordinary lengths to tic experience. The greatest benefit
be effective agents of musical expe- Over time I became more and more of this has been that the more that
rience in here. And in the class- interested in exploring these verbs they start to get this view of the
room, those young people whom of art. One little bit of research I world, and of their own artistry, the
we send out to be our emissaries did was to have a bunch of nonmu- more they start to find that their
learn, we hope, to be effective sicians listen to a minute and a half work as an educator advances their
agents of artistic experience section of a Barber woodwind work as an artist. That perceived
because thats what wakes up learn- quintet and to note carefully what gap between artist and educator is a
ing in all the media, not just within they were doing with their atten- big problem, particularly when stu-
artistic media. True, it gets reward- tion in the course of that listening. dents first come in. They are partly
ed in particularly juicy ways in These were people who had no thinking, Oh my God, I want to be
artistic media; thats why the artis- musical background, but who had the first violinist in such-and-such
tic media has been around since had some aesthetic education orchestra, but I also want to be an
day two of humankinds history, preparation, so they were poised to educator. I think that maybe means
because it is so rewarding to create try. Well, we found out that in that I have to be a 4th grade music
in music, dance, theatre, and the 90 seconds, they used an average of teacher, and thats not the picture I
visual arts. But we can engage six different listening strategies and have of myself.
artistically no matter what medium as many as nine different strategies,
were working in. to make personal connections to In other words, they have no sense,
the music. In other words, there is no image, of what they could be as
For example, I had a business for a kind of artistic competence peo- an educator, except for the models
seven years, a really businessy ple have, and when they are invited of those few educators they had in
business. There was nothing arty to apply these skills in appropriate school who made a huge impact on
about it; none of our customers and challenging ways, they begin to thembut they dont want to have
cared about the quality of their take back the artistic birthright our those careers. They cant quite envi-
metaphors, or the subtext of their culture has taken from them. They sion what being an educator means
order. One day I was working on a begin to do successful artistic work to them. So when we set aside those
marketing plan for my business, sit- making connectionsI call that anxious preconceptions and really
ting at my desk fully invested in this the work of art. And so my work in delve into the work of art, suddenly
marketing plan, when I came to the recent years has been about the what they discover as a teaching
realization that I was as engaged, work of art: What is going on in artist starts to make their practice
satisfied, and fulfilled in creating those exchanges between artists go better. Suddenly they find out
this marketing plan as I had been and kids, between artists and they dont get so annoyed at all the
when I played Hamlet. That was a artists, between artists and audi- slings and arrows of a musicians
shocking realization. At first I ence, between people who love to life. And they find that there are
thought, What a sellout Ive create things in their businesses ways they can engage people any-
become! But then I began to inves- and the tasks at hand? What is hap- time, anywhere. Thanksgiving din-

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 18

ners are better because they can to go through, which was getting
...I DONT GIVE THEM A
engage Uncle Larry the philistine in thrust out into the field and then
a conversation thats really of inter- being told, Ok, shut up, now start LITTLE KIT BAG OF TIDY
est to them! They can put a CD on assessing what youre doing!
and find a way to draw people in. LITTLE MUSICAL
In the second year, the best of those
ACTIVITIES THAT WORK
Anyway, during those first six students, about ten of them, get a fel-
weeks of the Art & Education class, lowship to go out into the public WITH ABSOLUTELY
we have artist-educators engage schools for a year. Theyre placed in
them in learning in the other disci- two public school classroomsand ANYONE. RATHER, WE
plines, and then we take the time to these are not privileged classrooms,
INVESTIGATE THE WAYS
unpack what happened: What hap- these are tough non-music, general
pened in that dance class? You were education classroomsand they YOU THINK AS AN ARTIST
nervous when you started. What visit those same two classrooms every
did the teacher do that made it ok week for a whole school year. Even EDUCATOR, THINGS YOU
for you to do some things with your more terrifying for them, they have
CAN DO THAT WAKE UP
body? And what did you notice as to invent the curriculum. In our
you were doing things with your preparatory year together, I dont give THE MUSICAL
body? What choreographic choices them a little kit bag of tidy little musi-
did you make? Out of their own cal activities that work with absolute- INVESTIGATIONS OF
experiences, we start to extract ly anyone. Rather, we investigate the
PEOPLE. THEN THEY HAVE
basic principles of effective arts ways you think as an artist educator,
agency. Then we begin to apply things you can do that wake up the TO GO THROUGH THE
those effective strategies to music. musical investigations of people.
We spend the rest of the first Then they have to go through the WEEKLY PANIC OF
semester translating effective expe- weekly panic of designing ways this
DESIGNING WAYS THIS
riences in other art forms into what will express itself with a particular
they mean in music. By this point, group of kids when the novelty wears WILL EXPRESS ITSELF
they are seeing the world afresh. In off. The Juilliard students come in to
the second semester, we do some the classrooms trailing clouds of WITH A PARTICULAR
practicums. We have some proj- glory, as most artists do when they
GROUP OF KIDS WHEN
ects, we practice, we do observa- have that wonderful appearance in a
tions. We begin to look at other classroom. But it wears off after a few THE NOVELTY WEARS OFF.
areas in the arts education equation visitsmeet the viola doesnt last
that I think are important because I longand thats when the serious
want to align them for life. We work begins. I give them the assign- they might do some fugue composi-
begin to look at how this mission ment that during the course of the tion thats very carefully arranged to
fits in with assessment, and what year they should try to create six dif- be relevant to the fugue they are
are the optimum ways of connect- ferent types of classes, which they going to hear, and then they hear a
ing curriculum learning with musi- quite specifically learn in our years fugue. Thats the way aesthetic edu-
cal learningin short, the panoply preparation. cation, as Lincoln Center Institute
of issues that people who spend devised it, works. The goal is
their lives in this field get to deal One is a class in what I call the aes- enhanced capacity to experience a
with. I want the students to be able thetic education classic model, where particular work of art. I call another,
to see how all these issues align and theyre doing a preparation for kids slightly different, type of class aes-
connect in a positive way, so they to listen to a work of art. So if the thetic education nouveau. In this they
dont have to go through what I had students are going to hear a fugue, use the powerful ideas of aesthetic

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 19

education pedagogy, but for an end and David was racking his brain, C O N V E R S AT I O N Q U OT E
other than enhancing the experience thinking what he could do musically
of a performancefor example, to with the topic. He didnt know much The Guild is training another
illuminate a musical concept or pre-Civil War American music, and
open up a fascinating musical ques- he wasnt excited by it as a viola play- new twenty artists to do pro-
tion. A third type of class is an inter- er. But he tapped into his own inter- grams for us in New York City
active lecture-demonstration. I want ests as a fiddler, and he developed a
them to practice going into the lec- fascinating unit of study wherein schools in professional devel-
ture-demo mode in a lively and they studied the musical influences opment. And our one chal-
interactive way. The fourth is a com- that had come across the ocean with
lenge for those people will not
posing project with the class, where the Africans, and how those African
they guide the students to compose musical ideas changed and informed be to actually teach them
a piece together, usually about American popular music of the time, what they need to do, but to
something the kids choose as a sub- particularly American fiddling. So
ject, ranging from a funky contem- the class was intently exploring the provide for them an identity
porary piece to an opera. The fifth is nuances of American fiddling at that of themselves as educators.
a skill development sequence, using a time to pick out polyrhythms, where
That doesnt distract from
musical skill that is approachable they were starting to appear, and
given the realities of the situation. how, and how they were notated. So what they do as performers,
The kids are not going to learn how that group, after they spent several but adds value to that. The
to play the violin in those short weeks exploring that conjunction of
chunks of time; they probably arent musical ideas, had a way different fact is that most of these
going to learn to play the recorder in definition of what slaves were. Slaves artists are going to be doing
that chunk of time. But they may were not things. Slaves were not just
learn something about polyrhythms generic people who had a terrible education work; they just
that they can master and feel skill- time. Slaves were musically intelli- dont know it yet.
fully successful. And the final one is gent individuals who came over here
David Dik, director of education
a curriculum connections project, and made new music that affected
at the Metropolitan Opera Guild
wherein they explore the musical permanent change in the land they
enhancement that can illuminate lived. They realized that musical cre-
some existing part of the curricu- ativity sustains people under the
lum. These can be quite glorious. most degraded circumstances. They time. They used the same skills they
One thing Im proud of is that they learned that the musical heritage of developed in the fiddling study to
tend not to do the kind of perfunc- those people contributed to Ameri- tease apart musical influences they
tory relationship to the curriculum can pop music of that time, and right could start to hear and pick up traces
which happens in some other pro- up to our time. This is a personal of in American music of the period.
grams. They will not teach fractions connection to those Africans in the Then when they got to the end of the
through music. Theyre dead seri- history bookwe can pound out the year, the students had an astronomy
ous about the musical focus of their same rhythms, and hear those same unit of study, so David decided to
engagements with the students. musical ideas on the radio. Then create the Gustav Holst project. As
when the class was studying early the kids would study the scientific
For example, one of our students, 20th century immigration, David elements of a particular planet,
David Wallace, now a thriving pro- had the kids use their same investiga- David had them investigate the musi-
fessional Teaching Artist who has far tory skills to look into the way that cal elements that Holst had included
outstripped his old teacher, was Eastern European folk music was in The Planets. And since Holst did
working with a class that was study- starting to trickle into American not compose a section on Earth,
ing pre-Civil War American history, popular and classical music of the David made it the final project of the

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 20

year for these students to compose music, what are they doing, and and how we can draw forth other
Earth. So they had to go through a how do we encourage people to use peoples yearning. Probably the
whole series of investigations: What that kind of attention? Second, we most important thing I say to them
do they want to say about Earth? focus on a verb that I call response throughout the year is that as agents
How can they musically capture ability. This is the capacity to have of artistic experience, were in the
these ideas, even though they cant an authentic responsenot the yearning business. Yearning is that
play any instruments? What can they response you were told to have or human impulse for more, more of
musically do that captures some of taught to have or supposed to have, something that we personally find
these ideas? What makes for an effec- but the one you actually have. This valuable. We need to wake up that
tive composition? At the end they capacity to touch down into an yearning, and guide students to
pulled it together and performed authentic response in the encounter apply it to rewarding tasks, so that
their class composition, Earth, for with something new is innately people can very quickly get this
another 8th grade classroom. artistic; artists are exemplars of this sense of reward from musical
invisible skill. Thats where we investment. We challenge ourselves
When these Morse Fellows are in begin to see the appearance of a per- to create activities that invite stu-
the schools developing these curric- son finding her own voice that dents heartfelt participation, and
ula, they are moderately well sup- results so often in our work. Third, which they can complete satisfying-
ported, in terms of being observed we look at the variety of ways people ly enough so that even though they
and getting feedback on how their make connections to things. Schools dont have advanced musical skills,
work is growing. They are given are great at encouraging people to they can get that hit of having made
unlimited access to call me. I spend make connections; its just theyve something they care about.
hours a week, especially in the first put all their emphasis on making
half of the year, hashing through the logical connections, and there hap- Ultimately, I encourage these stu-
minutiae of developing musical pen to be a dozen other ways that dents to do three things in their
ideas for drawing people in. Over people make strong connections to year in the schools: Get young peo-
the course of the year, they develop things. So we become articulate ple to make music; get them to apply
a body of work. Some of them who about the ways people make differ- their best energies to music that oth-
come back to Juilliard get to do it ent kinds of connections; the ways ers have made; and take a look at
again and again; weve had some that are going to form so much of what happens in those processes of
Morse Fellows participate for as the quality of the rest of their lives. making and hearing music. Its that
many as four years. Fourth, we look at pattern recogni- simple. Its perception, production,
tion and the process of improvising and reflection. Those three tasks lie
Basically, their approach empha- and making conscious choices at the heart of their work.
sizes these key skills that I have again, a skill that applies both in
been talking about, the verbs of art: artistic and other media. Finally, Now, to give you an idea how we
Attending, Responding, Making late in the year we turn spiritual. Its actually do this work, Ive extracted
Connections, Recognizing Patterns, not something we talk about much the following few pedagogical prin-
and Yearning. in the arts, but for an educator in ciples that serve as guidelines for
the arts, there needs to be a spiritual Morse Fellows and for teaching
First, we ask what are people doing component to sustain a lifelong pas- artists in general. Some of these are
with their attention? How do people sion for what were doing. We dont a little counter-intuitive:
attend when they are artistically need to broadcast it, but we dont
engaged? Etymologically, the verb back away from it either. So we I N F O R M AT I O N A F T E R
attend means to stretch out of the dont get sanctimonious about it, ENGAGEMENT
self. When people bother to reach the term we tend to use is yearning.
out of themselves, have the courage We look at developing our own Generally in our field, we love to
to try to make connections through yearning to draw people into music, introduce people to musical expe-

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 21

rience through information. 50-50 to adhere to, but there is a RECOGNIZE
Theres nothing wrong with telling necessity to keep that product pas- INTRINSIC
people lots of cool things about sion alive and pay attention to the M OT I VAT I O N
Mozart. The only trouble is it process along the way. We look at
holds almost no direct link to artis- a variety of ways we can guide This means that unless the indi-
tic experience. Its not bad, but it is learners to attend to processnot viduals choose to engage in the
a weak way to provoke and engage just: Now take out your journal creative act (be it constructing
the verbs of art required for mak- and answer this question. People something or perceiving some-
ing artistic connectionsto be an start resisting attention to process if thing) for their own reasons, they
agent of artistic experience. How- it doesnt have the same kind of may do what we tell them, but
ever, once we have engaged people flair, surprise and reward that cre- theyre not going to make that step
artistically, they become curious ative process itself does. into artistic experience. So we
for information. And thats the become aware of creating just
time for all that wonderful infor- S E PA R AT E enough space in these engagement
mation. When someone has made O B S E RVAT I O N A N D activities for the individual to take
a fugue, and you say, You know I N T E R P R E TA T I O N personal ownership. So young
what you just made, that is whats people are not just saying, Ok,
called a fugue. And then they say, Most of the time we shift back Ive got to do an ABA form, heres
Tell me about fugues. That is and forth between the two; we your stupid ABA form, but
very different than entering the allow opinions and observations rather, they have a reason to make
learning equation with a little to be in a big undifferentiated this thing in an ABA form, for
handy description of what a fugue mishmash of This is what I their own reasons. And it is that
is. Real learning is a volitional act, think-feel. But we have found tiny stepoften forgettable,
so we must tap the intrinsic moti- that if you can slow down that because were so intent to have
vation of the learner, or learning interpretation process just a little them create the thing thats use-
will not happen. To accomplish bit, and allow a period for just fulthat is the sine qua non of
that, engagement comes first. And observing whats thereWhat did whether the artistic experience is
we dedicate ourselves in finding you actually hear in the music? going to happen or not. The prod-
ways to engage any learner, be it the What things were really there? OK, uct will probably appear in either
kindergartner or the wealthy it seemed sad, what did you hear case, but there is no arts engage-
patron, in musical experience. that gave rise to that feeling? i.e., ment without intrinsic invest-
by nurturing the observation ment.
BALANCE PROCESS process with real down-to-earth
AND PRODUCT questions, and then allowing the TA P N A T U R A L
interpretations to appear as an COMPETENCE
As we know in the arts, the product extension of observationthen
is vitally importantno products, those interpretations are far more We strive to walk into a room with
no arts. For a while I was a bit of an informed, and we dont have half the assumption that everyone in
anti-product process-Nazi in my the room feeling stupid because there is musically competent.
teaching practices until I found out the verbal and smart kids have This is different than most musi-
people were having less fun. But been mouthing off. Because we cal situations, where the learners
the fun is in the making of the stuff; have gathered what is there before are seen as musically incompetent,
the learning is all in this juicy we begin to apply our meaning- and the job is to try to reduce
process stuff. So we develop ways making skills, we begin to slow some of that incompetence to an
to balance the focus on product down that impulse for instant ear-tolerable level. And that goes
and the inquiry into process. judgment and reacting from right through DMA at Juilliard;
Theres not a percentage balance of unexamined prejudices. where these splendid musicians

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 22

will still feel incompetent about authentic work. Using an example are fined a nickel every time they ask
some aspect of their fingering from another art form, if I were to a question that has a single correct
and few feel competent at impro- do a dance class right here and answer. Its not because questions
vising. But our work takes just the now, I would assume you are that have single right answers are
opposite view. We look for ways choreographically competent. bad questions; its just not worth the
in which people are musically You might doubt that, as every cost. We are carving out a different
competent, and we draw forth that student in a music classroom kind of inquiry when we invite kids
competence into satisfying, does, but I would give you precise to work musicallydifferent from
challenges that would invite out the other kinds of thinking theyre
C O N V E R S AT I O N Q U OT E your natural competence. For doing in school. We need to project
example, you already know the and protect the value and delicacy of
A couple of themes that we choreography of a crowded side- this aesthetic inquiry in which there
walk. You know the choreography are many correct answers, and in
have been discussing really of a reception line, and youre which right/wrong is just too sim-
struck a chord for me. One is annoyed when somebody blows plistic a way to assess the value of
the choreography of a reception ideas. So even though for the sake of
that one of the most moving
line. You know what looks better expedience, Im tempted to say,
moments to me as a per- and worse when youre on a dance What was the name of the compos-
former is after concerts when floor. If I could create a challenge er we studied last week? I have to
for you that invited you to explore realize that by doing do I damage my
somebody stands in line and a modest creative challenge with relationship with them for no bene-
comes up to me and says, I those competencies, you would fitsome student starts to feel
come out feeling you had made dumb, another thinks this is like the
dont know anything about
something, and you could turn to other classes in school. So instead we
music, but . . . And I imme- Twyla Tharp and say, Wow, so work to invent questions that invite
diately have my antennae you created your sidewalk piece their students to consider issues of
like that. Well, heres what I did qualityWhat are all the things we
raised, because almost always creating my sidewalk piece. remember from last weeks class?
there is something coming Thats the kind of competence that Our work requires complex ques-
we invite teaching artists to bring tions that invite sharing your best
from that person which Im musically into the classroom answer and then comparing answers
going to treasure forever. And because it provokes a much more across the room: which are the same,
courageous and invested partici- and which are different, and why?
I, as many of you, am devoted
pant in the arts. As teaching artists We create an environment with our
to helping students, teachers, we have serious questions about questions; they must be open-ended
and performers everywhere to what musical competencies second and inherently-interesting. I recall a
graders have, and we study those sixth grade teacher I worked with
ask questions, not just to do competencies, we look for them. who claimed his rainforest unit
something because thats the bored his students every year, until
ASK QUALITY one year he built it around the ques-
way we were taught, or the
QUESTIONS tion: who will survive?
way we grew up, but to ask
questions and rediscover. One of the rules I give students, INCLUDE ACTIVE REFLECTION
which is very hard to live up to, is IN EVERY CLASS
Alys Terrien-Queen, New that they are never to ask a question
England Conservatory that has a single correct answer. We dont just say, Take out your
Never, not even once. In fact, they journals and write an answer to

Booth/Teaching Artist Journal for Learning Through Music/Summer 2003 23

this question now that were at the was very clear on what that experi- a young person. That is where the
end of the class, but we think ence was for her. I feel its very learning really comes to life. So
about all the ways that people important that we not kiddify the were very attentive to the quality
reflect. They sometimes reflect arts; in fact, the artworks need to be of our emotional state, our psychic
with their bodies; they sometimes the ones the artists themselves are preparation, and our artistic readi-
reflect in visual arts. There is a host jazzed about, and the ones that ness when we step in that room. I
of ways we naturally perform the turned them on when they were want them to have great lesson
creative acts of reflection on our younger, and the ones theyre plans, and I want them to be pre-
experiences, and the reason I rehearsing now. I recall one Morse pared to improvise with whatever
require that teaching artists Fellow who went in to her fourth happens, but more than anything
include active, creative reflective graders and said, You know, I have else, I want them to be aesthetical-
activities is to enable the learner to a terrible problem. I have an audi- ly alive with them. Remember the
precipitate out a few bits that real- tion for this orchestra next week, word aesthetic, a flagship word of
ly mattered for that individual in and this one piece Im playing Ive the publics preconception of
the learning. As John Dewey tells played in 400 times, and Ive come artistic elitism. John Dewey was
us, people do not really learn with- to hate it. What do I do? And sud- asked if he could define it, and
out reflection on what they have denly the class became a part of this after he spent some time trying, he
just experienced. The learning sit- authentic challenge of how to finally concluded that he couldnt,
uation is so dense and goes by so revive excitement about a piece. It but that he was convinced that its
quickly, we need to structure was a wonderfully successful class opposite was anaesthetic. And
reflective opportunities in creative and forged a strong bond between thats the aesthetic awareness I
ways for learners to get a little them as artistic colleagues. encourage them to bring into the
firmer grasp on key concepts. classroom, the kind of awakeness
THE CHALLENGE OF that awakens the kids with them,
USE SERIOUS 80% so they are all sharing in this musi-
A RT WO R K cal improvisation. Certainly, as we
I have an adage that states, 80% of were saying earlier, it changes the
I encourage the students to use the what you teach is who you are. young peoples understanding of
artists they love, even with young Twenty percent is your content, all what it means to be a musician,
students. In fact, these Juilliard those good activities and informa- but its bigger than that. They get
Morse Fellows have found that tion, and thats important; but a glimpse of what it is to be a live
introducing the classical repertoire what really has the impact in that person, of what it is to be artisti-
works better in inverse chronology, classroom, whether youre a music cally aware as a human being. It
that kids love to start with the mod- teacher or a mathematics teacher, may translate into Symphony Hall
ern composers. Weve even had is the quality of the individual who ticket sales - maybe, but probably
some big hits with Webern in the is in front of the room. And Morse not. It may translate into a kid
4th grade, and Bartok is a star with Fellows pay dead serious attention wanting to study an instrument.
the inner city elementary school to the quality of that 80% in their That happens sometimes, thank
set. In fact, in one reflection, a 3rd pedagogy. Because of this 80% heavens, but its not why were
grade class was asked, What is it like truth, the art we teach appears in there. Were there because that
to listen to Webern? And this one the way we listen to a childs kind of awakeness wakes up learn-
kids response was, You know response, the way we mirror back ing of all kinds. And thats why the
when youre so involved in playing what has just been said, the way we artist coming in from the outside
that time seems to go by in a differ- make a connection between some- with this kind of skill and prepara-
ent way? Well, Webern is exactly the thing we see on the bulletin board tion becomes the samurai teaching
opposite of that. I dont know and something we just heard, the artist who can single-handedly
exactly what that means, but she way we elicit an observation from save the kingdom.

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