Reprinted with permission from Tempo,
the official magazine of the New
Jersey Music Educators Association.
Citation information: Berz, William, "Defining Performance Standards." Tempo, 59(4), May, 2005, 72-73.
With the continued growth of NJMEA’s Concert Band Festival, the
debate
of what constitutes a high level performance seems to be on the rise in
the state. While this is certainly not a new argument, the topic might
benefit from continued thought and discussion given recent interest.
This is the first year in a great many years that I did not serve as an
adjudicator at any of the region festivals. This allows me the
opportunity to offer some views with the objectivity of being on the
sidelines. Since I did not hear any of the performances, my orientation
is therefore not linked to any particular band or rating. I am basing
my observations on work in other parts of the country and on
discussions with many high school and college conductors both from in
and out of the state.
In part, the controversy arises because of the competitive aspects of
the festivals. In fact, many directors choose not to participate in the
concert band festival because of their aversion to competition, even
though the final scores are couched under a rating rather than a true
numerical ranking as is done in most marching band contents. While
competition presents many philosophical challenges for teachers, it is
also a strong motivator in our American society. Teachers must work to
maximize the benefits of competition while keeping the goal of
“winning” in proper perspective.
Rather than focus of the actual rating, teachers might fashion the
experience to lead to higher performance goals in all kinds of
performance settings. This raises the question then of what constitutes
a successful performance regardless of the specific performance
setting. What qualities need to be achieved for the presentation to be
deemed successful?
At a traditional high school concert, these qualities may be
extra-musical. Very often concerts are more of a production intended to
garner support from parents and administrators, or to achieve some
other goal such as recruiting younger students to stay in the band as
they move to the next level, be it from elementary to middle school or
from middle school to high school. Many of these expectations have
little to do with actual music making. Still, these are all-important
goals and should not be minimized. They are however quite different
from the curricular orientation of the school band: to foster musical
growth and understanding. The musical context then must be removed from
extra-musical goals no matter how important that they are. The genre of
music should not really impact the actual level of performance.
One of the chief duties of a conductor is to accurately portray the
spirit of the music, again regardless of the style and genre. S/he
studies the score in order to ascertain the composer’s intent.
Rehearsals are held to lead to a performance that possesses musical
qualities that are rewarding for both audience and performers.
What
is a “Musical” Performance?
Good
performance is difficult to define. Musicality on its most profound
levels is deeply complex. From the very beginning of civilization,
great philosophers have debated what constitutes aesthetic value. While
important to consider, perhaps we need to look at more basic issues
here. One’s definition of “good” performance profoundly shapes the
ensemble experience. Broad goals determine methodology.
Many conductors, especially in the band world, focus almost entirely on
achieving technical mastery. They seek to produce the most accurate
performance possible with flawless intonation and definitive accuracy.
They hold the position that a performance lacking in fundamental purity
cannot be musical. Often times, literature is selected based solely on
technical rather than music criteria. Can the band play the selection
flawlessly? Critics of this philosophy would say that these
performances are sterile and lack musical feeling. This is the
criticism often leveled against many of the wonderfully clean
performances by those famous high school bands from Texas.
On the other hand, it goes without saying that most musicians aspire to
interpretations that are inspiring. Some conductors hold that
rehearsals that focus on achieving technical mastery are not
educational. Emphasis should be on achieving good dynamics, lyrical
phrases, correct style, interesting articulation, and great general
creativity. However, many conductors justify poor technical mastery
under a rationale of seeking a certain level of subjective musicality.
In this situation, the quest for expression serves as an excuse for
poor basics.
A more realistic position might be to find a balance between these two
orientations: a performance that is at a technical level where flaws do
not detract from the whole while portraying a musical spirit that is in
keeping with the composer’s intent and has artistic interest.
Performances that are replete with wrong notes, incorrect rhythm, a
lack of precision, and weak intonation, would not seem to be very
satisfying to anyone. However the criticism about the sterility of many
overly accurate performances is probably valid as well.
Achieving a good balance between these two goals requires a blend of
common sense, creative problem solving, and good musicianship.
Technical goals should probably receive the highest priority in early
stages of rehearsal – fixing incorrect rhythms and wrong notes probably
the most important. To this end, the conductor/teacher must find
solutions to address the practical performance problems that are faced
given the limitations of the particular ensemble.
Sometimes parts need to be re-written. Sometimes rehearsals at this
stage might need to become supervised practice sessions where difficult
passages are repeated slowly and carefully. Sometimes rhythms might
need to be isolated and drilled. The most important element is that
technical practice must be framed in a larger context and should lead
to better musical understanding not just mechanical accuracy as its own
goal.
Topics like intonation, blend, balance, and tone quality are larger
issues that must be addressed more globally and should be part of most
rehearsals. They are really more conceptual in orientation. If students
are not taught to hear, then intonation and other activities related to
intelligent listening become reoccurring discreet problems that must be
constantly be addressed. This approach is short-sided.
It is in large measure the issue of technical accuracy that has created
the debate. Nationally, bands in general have been very successful in
achieving rather remarkable levels of technical performance.
Participation at festivals and contests is certainly one of many
reasons for this success; it is impossible to deny that competition can
be a strong motivator. Virtuosity is an admirable goal, and bands
should continue to strive to achieve even higher levels. Unfortunately
many band conductors focus almost entirely on achieving technical
mastery, partly because results can be objectively evaluated and
methodology is fairly obvious. Rote teaching becomes the norm, and
students often become little more than robots possessing no musical
self-sufficiency. It is just too easy to turn on the Dr. Beat,
hand out the tuners, and not push students toward musical independence.
Obviously, rote teaching and use of mechanical devices are vital tools.
However too much emphasis on technical mastery often distorts the
teaching situation and dilutes student growth.
Addressing interpretive outcomes can be problematic as well. For
example, dynamics might be one of the easiest concepts to address.
Virtually every young teacher spends considerably too much time fixing
basic dynamics because it is one of the easiest things to correct.
Dynamic changes are relatively easy to hear and detect and the
methodology is obvious. The teaching of phrasing also can be distorted
if it is taught in a sterile way. Here also rote teaching can become a
too dominant methodology. Teachers can routinely say, “Play the phrase
like this.” The students then parody the passage back until it matches
the conductor’s interpretation. While this method is basic to music
teaching, it can easily become overdone. Modeling is vital in music but
it must be used to lead to greater musical understanding. Eventually
students must be able to interpret at least to some degree on their own.
Before
the Rehearsal
Certainly,
the selection of music is a vital first step. In very profound ways,
literature establishes the curriculum for performance ensembles
regardless of level. Music that is too difficult will be virtually
impossible to prepare from a technical orientation requiring too much
emphasis to be placed on basic technique. This can become frustrating
for students and teacher alike. Yet music that possesses little musical
value will not hold much musical interest. The conductor must work to
find literature that balances both goals. It is probably the most
difficult challenge faced by music teachers. Many of the concerns
outlined above can be eliminated in part if proper literature is
selected. The choice of music is critical.
Final
Thoughts
High
performance standards and artistic insight are both central to school
music performance ensembles. Students grow and develop (as do teachers
themselves) through meaningful experiences with fine music. However
when one particular goal and methodology becomes over emphasized,
excesses can develop. Just as the professional musician seeks both
technical mastery and musical interest, music educators must seek the
same balance. The difference between professional and student
performance might be one of level, not in direction. We must follow the
professional model while working to obtain the highest levels of
technical mastery that are possible within the given situation.
The solution to the problem is for conductors to address both sides of
the coin, balancing technical mastery with artistic interpretation just
as professional musicians do. If an ensemble seeks only technical
purity, performances are uninspiring. I might even go so far as to
suggest that this should be avoided in high school ensembles where the
goal should be overall musical growth. To seek only accuracy seems
little more than glorified animal training. As stated above, too much
concentration on technical skill forces too great a reliance on rote
teaching thereby ignoring conceptual learning. But with this said, the
ensemble must achieve decent success at achieving performance accuracy.
Otherwise bad skills are developed.
Certainly addressing all issues is a difficult challenge. Both music
and teaching are difficult masters. Perhaps it is the quest that makes
music teaching such a meaningful career.