Cultivating musical talent

Early Experience

The earliest experiences a child has with music can be observed and measured earlier than birth. There are several studies that suggest exposing an unborn child to music can produce greater neural connections and potential in a variety of ways. In a paper from 2013, a group of researchers wrote about “event-related potentials (ERPs)” influencing neural pathways.

These results show that fetal exposure to melodic sound patterns can form neural representations which last for several months. Our results also suggest that the effects of prenatal exposure are much more long-lasting than reported in the very few studies conducted previously, which have shown effects from prenatal exposure lasting for at least six weeks for a melodic contour with no additional stimulation after birth (Partanen et al, 2013: 5).

Following birth, a child can experience music in a variety of settings. In the same manner one learns language, a child aurally observes the surrounding environment. There comes a familiarity of the sounds of language that the infant practices imitating and eventually those sounds becomes repeatable at will. These repeatable sounds blend together to form words. With continued observation, words become sentences that show intelligent thought.

Similarly, foundational learning in music takes the form of the song of our mothers and fathers as well as the surrounding community. Literal “song” is often the first place a child is exposed to music. When music is produced by parents, relatives, or other close community members, it changes the perceived, observable importance of music. To the watchful ears of an infant or young child, the regular exposure to music is the first crucial step in cultivating musical talent. Once a child begins to process this new “language,” regular exposure can take other forms.

Historically, before the advent of recordings, there was a rudimentary approach for experience with music—attend live concerts to hear or perform music. Many professionals would attest to the fact that both of these direct manners are likely the most effective and engaging regardless of access to source. However, many parents avoid bringing young children to live performances due to the somewhat capricious nature of children’s behavior.

While other orchestras had performed for television audiences, it was Leonard Bernstein that used the medium to educate audiences about the nuances and meaning behind music. In January of 1958, Bernstein and the New York Philharmonic Orchestra’s first installment of the Young People’s Concerts™ was broadcast. There were at least three of these programs every year until 1972. This initiative remains today (2020) in the form of public offerings by the New York Philharmonic for children as young as three years old. The organization boldly proclaims, “From early childhood through the teen years, Young People’s Concerts™ nurture a lifelong love of music and concert-going. Concerts explore real musical topics through repertory of all periods, including the newest works, in series tailored to three distinct audiences” (Nyphil.org, 2019).

Parents can establish a more consistent pattern of behavior at concerts by attending events, like these, geared specifically to help create a better connection to appropriate concert etiquette. This recent emphasis of bringing young children to concerts that have an interactive musical experience or familiar melodies extends far beyond New York City. Alternatively, there are other events not held in a traditional concert hall. Community, folk, and cultural festivals often provide unique experiences in an audience-friendly format that allows listeners more freedom and the chance to move around rather than feeling confined. Musical consumption of jazz, folk, and ethnically influenced melodies and styles can provide a diverse palate of harmonies, rhythms, and timbres not often heard in conventional settings.

Relatively modern gateways to music include a plethora of means to access and consume music. From records to satellite radio and from the concert hall to livestreams, exposing children to a variety of music from the comfort and security of one’s home has never been more convenient. With this ease of access to any or all types of music, there is a need to discern what holds a high standard of performance. For parents that are not sure where this delineating mark is, YouTube has recently improved its notation on recordings to include performing ensembles. Many colleges and universities have begun offering livestreams of their own diverse, performing ensembles (i.e. orchestras to steel drum bands) as well as applied faculty and guest artist recitals. Some of the most well-known orchestras around the world are also offering live performance streams, available through subscription purchase.

With all of these modern, diverse opportunities to experience music, children are more able to connect with a variety of sounds, rhythms, and styles. This early exposure is paramount in encouraging musical outlets of varying kinds. Children that understand and can identify how a cello looks and sounds can make a confident and informed decision in selecting cello as their own musical voice. Parents can take comfort that any financial investment is accompanied by an understanding of where this enriching activity can lead.

Practice

Regardless of application, the word practice can simply mean repetition. However, as one begins to apply this seemingly innocuous word to music, there are a variety of interpretations that emerge. In building upon the three stages of cognitive representation pioneered by Jerome Bruner, Eunice Boardman connects three modes of learning or practice to music learning. The first is an “enactive” mode; this is where one can see children engaging in basic activities such as keeping a steady beat in the context of played music. While exposing a child to various styles of music, a parent can also encourage this area of early practice. Clapping of hands, use of hand percussion (i.e. rhythm sticks, sand blocks, etc.), and marching in time can all be used to address this first mode with the youngest of active listeners (Boardman, 1988).

The second mode, as interpreted by Boardman, is referred to as “iconic.” As children begin to mature musically, parents can engage them in a variety of representative activities that allow a child to build upon the concepts realized from the first mode. At this point, parents can engage verbally with their child to discuss basic musical elements. A few elements easily considered include tempo, pitch, and dynamics. Examples of related questions to ask a child about these elements include:

– Was this piece fast, slow, or somewhere in between?

In answering these questions, children operating in this second mode may be asked to respond verbally or visually. Additionally, “Iconic learners can engage in the appropriate musical behavior even though the context is absent” (Boardman, 1988: 28). For instance, in this mode, students can re-sing a melody or recreate a steady beat on their own.

The third mode, symbolic, transfers the first two modes to that of a synthesis model where the elements and concepts set forth in the first two modes are symbolized—notes, rhythms, time signatures, etc. Furthermore, children that are in this mode will be able to create musical sounds from symbolic notation (Boardman, 1988: 28).

Once a child is prepared to enter this third mode, this would be an appropriate stage for a parent to assist in instrument selection. While singing is still the most organic means to create musical sounds, there are a wide variety of options for even the youngest instrumentalists to begin. For instance, in the string family, violins come in a variety of sizes to accommodate physical development of children. In the brass family, there are options such as using a cornet. Recently, plastic instruments have gone through substantial research and development in order to market quality instruments to younger children that desire to learn but have not yet developed physically to the point of being able to support a metal instrument (Pbone.co.uk, 2019). In the woodwind family, there have been similar strides to accommodate younger clarinet learners whose fingers are not yet able to cover all of the holes (Nuvoinstrumental.com, 2019). Many parents, however, choose to look to the piano as a source of learning and creating music for their children. If a family can not commit financially or to the physical space required to own a piano, other options such as various keyboards and electronic pianos can be considered.

Mentors

Discussing Boardman’s synthesis of the three modes of cognitive representation leads one directly back to Kiewra’s common factors. Kiewra’s classification of mentorship directly applies to the pursuit of advancing children musically. Dr. Kiewra adequately summarizes Benjamin Bloom’s view on mentorship by stating that, “talented children often worked with three mentors over a 10- to 15-year period, with each mentor fulfilling a successively more complex role that matched children’s emerging talent level” (Kiewra, 2019: 17). In comparison with other fields, parents may need to expand their ideas regarding mentors. For instance, a child engaged in sports may be able to work with one coach for a number of years. Music itself is often a very collaborative process. While some musicians may work independently as solo artists, most often, musicians work together performing in ensembles ranging from two performers to an entire orchestra. Mentors can be found in many different areas and a child might have multiple mentors concurrently.

The first mentors are often the parents that engage the children in their initial exposure to, in this case, music. At this stage, all of the above mentioned activities and approaches allow parents, regardless of training, to function in the role of mentor. Additionally, there may be relatives (including the parents themselves) that are musicians. Hearing regular practice or performance from people that the child knows and respects can take the form of both early experience and mentorship. The impact of having a parent or relative simply take the time to clap along or demonstrate music at even a rudimentary level can lead to an almost “pre-mentorship.”

As a child continues to grow, parents would be advised to seek professionals in the field to function as a second mentors. Depending on the type of schooling a child is engaged in, a school music teacher could serve as an early second mentor. This person may also be able to suggest specific ensembles or experiences that could benefit the child. Depending on the community, there may be additional mentorship available via ensemble directors. Exploring groups such as children’s choirs, community bands, and youth orchestras will provide a deeper level of engagement, diverse repertoire, and the chance to learn from multiple mentors. Performing with such ensembles will allow a child to learn about music from multiple perspectives, allowing many individuals to function as second level mentors.

After selecting a means of making music, a school teacher might also be able to provide a recommendation for a private instructor. Due to the specific nature of music, parents would be advised to find a mentor that focuses specifically on the instrument of study or a vocal mentor. Similar to how a coach can provide mentorship to members of a team, a school music teacher can provide mentorship to members of the school ensemble. While this school mentor can play a large role in child’s musical development, there is often very limited contact with students as individuals. At this point, parents should explore finding a private lesson instructor that specializes in the chosen instrument or a mentor that specializes in singing for vocalists. Jason Paulk addresses this issue in stating, “Herein lies the great challenge of developing the vocal talent in the choral setting: balancing the needs of each individual singer with the overarching performance goals of the choral instrument” (Paulk et al., 2013: 28). Additional mentorship with a private instructor in addition to the mentorship of an ensemble director will be of great benefit to a young musician.

School music teachers functioning as mentors could be a resource in providing contact with private instructors. An additional resource can come from exploring colleges and universities in the area. In addition to providing diverse opportunities to connect with music within a level of early experiences, colleges and universities with a music department typically have faculty whose studies focus specifically on voice or different instruments. Parents can approach these experts for a recommendation of a private instructor. Depending on the level of musical comprehension or accomplishment, the child might be ready to study with the professor immediately.

The benefits of private study are numerous and hard to dispute. As discussed, the role of a school music teacher is to provide instruction to a class of students. In an effort to advance the many, teachers likely will not have time built into their schedules to work with students in a one-on-one setting. A mentor functioning as a private instructor is able to provide specific guidance. Private teachers are able to evaluate tone production, pitch and rhythmic reading, and a number of other musical elements while providing detailed feedback for the individual. Private instructors can also guide parents in establishing and helping a child maintain appropriate practice habits. Studying privately will also expose a child to a breadth of musical literature that might not be presented in a larger ensemble setting.

Further expanding the range of mentors could involve dedicated music study away from home. The focus of these programs can span from specialized to comprehensive and from summer-only to year-round (boarding school). If parents have some kind of connection or experience with musical enrichment, it seems a natural progression to have a child attend a summer camp designed to nurture talents of young people. However, many parents are completely unaware of the very existence of such places and activities. Some examples of summer programs include Interlochen Center for the Arts, Blue Lake Fine Arts Camp, Aspen Music Festival and School, and Illinois Summer Youth Music (ISYM). All of these programs are open to students of diverse ages and vary from sessions lasting a week to longer summer terms. Interlochen accepts students from grades 3 through 12 (Camp.interlochen.org/summer-arts-programs, 2019). Blue Lake accepts students from grades 5 through 12 (Bluelake.org, 2019). The Aspen Music Festival and School has no age restriction whatsoever (Aspenmusicfestival.com, 2019). Programs such as ISYM are hosted and administered by colleges and universities, such as the University of Illinois (Isym.music.illinois.edu, 2019). It is important to note that at each of these camps, there is a varied cost of attendance, and scholarships are available based on merit and need in some cases. All of these programs feature different offerings, allowing a parent and student to select the type of mentorship and training they would like to receive.

Although Interlochen has a summer music program, it also has an Arts Academy that is a de facto boarding school. Many professional musicians from around the world have attended either the summer-only program or the year-round boarding school. Other boarding schools in the United States focused on music include Idyllwild Arts Academy (California) and Walnut Hill School for the Arts (Massachusetts). It is notable that other countries have different courses of study for academics. Due to this, there are many additional offerings in other countries that serve children younger than typical college age (18 and older). Considering these additional opportunities can further expand the range of mentors and possibly lead to future opportunities and growth.

An additional way to seek out mentors would be to explore clinics and masterclasses available from a local to international level. Searching for these events can start at a local level with colleges and universities in close proximity. Students will benefit from information provided in specialized clinics and, with some application, might be able to perform in masterclasses for professionals. Many music associations support young artist competitions. Parents can begin by exploring associations linked to instrumental or vocal performance.

These experiences can bring students closer to mentors at the second level and can serve as a bridge to mentors at the third level. Kiewra identifies third-level mentors as, “…a master teacher, nationally recognized as one of the few elite teachers in the field” (Kiewra, 2019: 17). Within a musical context, parents seeking a third-level mentor need to seek out a high-quality musician that is a recognized performer with an established record in teaching. These mentors and teachers will strive to refine the work that has been accomplished by previous instructors.

There can be a misconception that students can achieve mastery without proper guidance and instruction. While a child might have some innate musical abilities, the direction of proper mentorship is crucial in the learning and development process. Mentors that are accomplished in their field and understand the needs of a young learner can expedite mastery. In order to fully develop musical prowess, parents can also investigate mentors outside of a specific instrument or the voice. Jason Vest states that for college undergraduate students working to develop their singing voices, “The needed skills include not only vocal frames of reference but also at least a basic knowledge of music theory, aural skills, and piano” (Paulk et al., 2013: 22). Students and parents interested in pursuing music to a higher degree can also find mentors that specialize in these areas or private instructors capable of incorporating these concepts into lessons.

Centers of Excellence/Singleness of Purpose/Managerial Support

Musically, the final three areas of Kiewra’s discourse should be approached on a case by case basis. Not all parents are interested in having their child become the next Wunderkind in music. But, there are many parents that see the advantage of studying music at a variety of levels. In those same terms, not every child that shows proclivity for music will be able to have the singleness of purpose needed for long-term success in the field. In fact, it is quite ironic that Kiewra includes managerial support as the final area of developing and mentoring talent. Parents will need to stay in contact with their children’s mentors in order to manage to what degree the shown talent can be developed.

Final Thoughts and Epilogue

There are a variety of ways to encourage musical ability. Dr. Kenneth A. Kiewra lays out a clear framework for how to nurture talents in a general fashion. Parents that are interested in nurturing specific musical talent should consider how to apply these concepts for children showing an inclination toward this art form.

During writing, many musical experiences and opportunities were altered due to COVID-19. Individuals worldwide began to shelter in place. Performance venues closed their doors to both performers and audiences. With no live performances, attending in-person became an impossibility. However, the ability and accessibility to stream past performances became an increased reality. As referenced previously, these streaming opportunities were not new. Rather, due to the dearth of live music and musical events, more organizations made their performances more accessible, many without subscription purchase, during this unprecedented moment in history. Symphony orchestras, chamber ensembles, individual musicians, musical production companies, and others have made accessibility to their product a priority as families have spent many hours at home searching for sources of enrichment for themselves, including children. Through this time, the prevalence of online and remote opportunities has flourished. It is the hope of the writers that this moment will produce increased feelings of need for the performing arts and an encouragement for children that may show a positive disposition toward musical engagement.