Amateur-Pro ?

Does anybody ever learn music in order to get a job, a safe and steady professional career, a secure income to be able to buy a house and have a family ?? NEVER !! To achieve that objective, people study accounting, dentistry, finance, law etc. So why then do we learn music and dedicate so much energy to mastering our instrument ? Usually – hopefully – it’s because we love doing it. In other words, because it adds so much meaning and pleasure to our lives that we don’t care about those other materialistic objectives. This has to be the basic definition of an “artist”.

But if we play well enough, it ‘s possible that other people apart from our family and closest friends will want to share our pleasure. They may want to watch us doing it, listening to our playing because the experience gives pleasure and meaning also to their lives. And if we are extremely lucky, well-taught, talented, motivated and communicative, people may even be willing to pay money to do this, in which case we may be able to earn our living by our passion …………… but it’s getting harder and harder to achieve this dream.

To get a job in an orchestra nowadays as a simple tutti string player we need to play at the same (or better) standard as a soloist of 30 years ago. Orchestral auditions are not only rare events, they are also very sad events: there are dozens and dozens of people who’ve dedicated so much of their lives to their instrument, and only one will get the job. And this job, that everybody dreams about, is it really such a wonderful long-term occupation? (see Orchestral Playing). Long-term job satisfaction amongst orchestral string tutti players is nothing to celebrate.

Not only are there more and more fine players competing for less and less jobs, there is also less and less audience for “non-superstar” classical musicians. Why is this? Not so long ago, music was a magical rarity. The only way to hear it was “live”. Microphones were only invented in the 1920’s allowing vinyl records and radio, both of which became hugely popular. But this technological magic of recording, transmission and reproduction was still quite primitive: the sound quality was poor, and the technology quite expensive. Live music was still incomparably better.

Nowadays it’s quite the contrary. Going to a live concert of Cecilia Bartoli, we will almost certainly find ourself in a very large hall where we can neither see nor hear well, and it will probably cost a lot of money. By contrast, for less money than the concert ticket, we can have Cecilia Bartoli singing us a private concert, anywhere and at any moment we choose, and in the most perfect acoustics. She’ll even sing for us as we drive our car home. And when we get home, we can not only listen to her, but also watch her sing for us in our lounge. We can even choose what songs she will sing, and switch her off when we’ve had enough. This is a wonderful thing for listeners  – and for Cecilia  – but not for all the other singers in the world. While Cecilia has an audience of millions and a wonderful career (which she fully deserves), it is becoming increasingly difficult for anybody less magnificent to find a willing public.

Not only can we listen to the best music and performers anytime , anywhere, with the utmost convenience and basically for free, we are also nowadays permanently bombarded by music that we don’t want to listen to. Music has become noise pollution. In shops, restaurants, parking buildings, in the street, in lifts ………… everywhere now is incessant, intrusive, unavoidable, annoying music. Instead of music being a rare moment of magic, it is now the silence that has become a magical rarity !

For all these reasons, audiences are becoming harder to attract for anything but concerts by the most well-known international recording artists. In so far as playing is concerned, for 99% of all cello players, the future of music is mostly amateur. We will be playing mostly for our own pleasure and for that of our friends and families. But is this really a problem?

Music is just like most other artistic or sporting activities in the sense that, for more and more of us humans, our experience of these wonderful activities is simply as consumers, spectators or buyers. We prefer to watch professionals do our favorite activities (fantastically well) rather than actually doing those activities ourselves. Compare the experience of playing a friendly game of football with friends, to the experience of watching a fantastic top-class match (also with friends). Playing the match requires a lot more effort and is much more healthy in every way (physically, socially, psychologically) than the experience as a spectator. Unfortunately, the tendency is that we are playing less and less, and watching more and more. This is both sad and totally unhealthy. Exactly the same situation occurs with music.

At the same time that it has become increasingly easy to be a spectator, it has also become increasingly intimidating to actually do things ourselves, because we know that we will be criticised and compared (unfavourably) to the best in the world, by the ever-more-abundant-and-well-informed armchair critics, including ourselves! Instrumental training, like sports education (and education in general) has become focused on producing a professional elite, to the detriment of a more relaxed, enjoyment-based education. It is as though only the highest achievements of the elite mattered, and the lesser achievements of everybody else were worthless, insignificant, a waste of time and a failure.

This is a great shame because the main benefits of music, sport, artistic activities and of education in general should be:

  •  for the “doer” and
  • for the present moment

Instead of these emotionally healthy priorities we now find that the motivation for many of these activities are:

  • for the spectator, consumer or the economy and
  • for the long run.

Put another way, if we want to learn and play music (or do any other activity) in an emotionally healthy way, our most important goal should ideally not be professional or financial success (compensating and validating a long period of intense suffering), but rather a constant enhancement of personal and social well-being. In other words, our most fundamental goal in teaching or learning music should be the happiness of the “doer” or at least the reduction of their existential suffering.

How unfortunate it is then that so often the demands of perfection and quality associated with professionalism actually create existential (and physical) suffering in the “doer” (see Musicians Injuries and Psychology). The saying “music calms the soul” may be true for the listeners but is not at all valid for most professional musicians in their working lives! As with professionals in most highly competitive fields, the human price of high achievement is often very high, especially for those who have to work hard to keep up. The commonly found narcissistic cocktail of self-centredness and lack of empathy is not only a defense mechanism to cope with the high demands of professional musicianship (most notably Stagefright) but can almost be considered a common “work-induced illnesses” for many professional (and aspiring) musicians in that single-minded, never-ending drive to play well in even the most unfavourable circumstances.

But narcissism is what happens when things are going well! When things start to go badly, insecurity, anxiety, depression and other “nasties” can rapidly attack this armour from the inside. Becoming (and staying) a happy, healthy, relaxed, easy-going professional musician is at times like being a mountaineer walking along a narrow ridge with a steep fall on either side. Gravity is not on our side, there is no safety net and the higher we go, the narrower the path becomes! And we are not only “musicians”: we are also people, parents and partners, and when the demands of the profession are too high, all these other aspects of our lives can suffer.

While the opportunities for playing professionally are diminishing rapidly, teaching is a completely different story. For people of all ages, learning how to make music, is a very constructive, healthy and pleasurable activity – much more so than just listening to it. Music not only “calms the soul” of the amateur player, it also humanises us and softens us, breaking down communication barriers of all types. Music really is a shared language, unique to the Homo Sapiens species (well not really – think about birds, whales etc), no matter what our skin-colour or cultural beliefs. When we sing (or play) we become one with all other humans – with the universe even. It is curious that many of the most militaristic, intolerant, nationalistic and agressive politicians throughout history have been tone-deaf, incapable of singing and completely devoid of musical sensitivity.

Teaching (helping) people to become amateur musicians, in a kind and patient way, is a noble and wonderful profession in itself – and one with considerably more future than trying to be a full-time performer !! (see Pedagogy).