Jessica Lizak shares her thoughts on the pursuit of excellence in music, and how competition can be a positive teaching tool.
by Anthony Enslow
Jessica Lizak, Winchester Community Music School (WCMS) faculty flute instructor, recently sat down with me to share some
ideas about music lessons, learning, and more. As we
spoke, a theme emerged centered on competition. Since WCMS is on the
heels of having conducted a successful mock-audition for Massachusetts Music Educators Association (MMEA), and the fact that WCMS students did well, it
seemed like a great topic.
Jessica,
an accomplished performer herself, has had numerous students place and win in
auditions, especially at the MMEA district competitions. In addition to
her impressive music credentials, she has had experience with both dance and
sports, and understands the pulling forces of all that is available to young
students today.
AE: We’ve brought up
competition a few times and it is clear you believe this is a critical part of
music learning.
JL: With music lessons,
students gain incredible insight into how to successfully and healthfully
practice--for enjoyment, recitals, goal achievements, personal interest, and
performance in ensembles. Entering into competitions and auditions allows
students to use this information and overcome musical challenges from an
enhanced perspective. The pressure of a deadline encourages students to
focus their attention on the task at hand, just like an exam at school or a
project at work. The skills involved in the process provide a lesson in
life. You spend time preparing to the best of your ability (even
further!) and then present it all in what feels like a flash of a second.
In this sense, music study parallels familiar life skills, like preparing for a
job interview or thinking ahead. Mastering skills in music helps build
confidence. You learn more about yourself.
AE: And the process helps
students work through strong emotions…
JL: One has to be able to
objectively (and emotionally) know how to break things down to build them back
up again. Laughter, tears, frustration are all a part of the learning process.
Music becomes an expressive and powerfully communicative way for someone
to channel emotions. Probably the greatest benefit of competition is the
chance to embrace a higher set of standards. Without a clear goal, it is
hard to define achievements. I truly believe in striving for excellence
with all I do. I pass on that energy, encouraging my students to do the
same.
AE: I noticed you said
“excellence,” as opposed to “perfection,” which I infer means excellence is
always attainable, while perfection is not. Do you agree?
JL: There is a quote by
Harriet Braiker: "Striving for excellence motivates you; striving for
perfection is demoralizing." Perfection does not exist. The
concept of perfect varies between one person and another. Of course, there
are a certain set of qualities and items on a check list that must be at such a
high standard before one can present convincingly and with confidence. It
is the act of perfecting the details that leads to capturing excellence.
AE: In my own experience performing
as a child and later professionally, I know there are many levels of
competition in music, from auditioning for an orchestra to aiming for first
chair in middle school. What other forms of competition in music are
obvious, and not so obvious?
JL: Many students have
auditions within school for placement in music ensembles. Typically they
are tiered based on levels of musical ability. Then there are MMEA
district and All-State auditions. These are one-time-only honor
band/orchestra experience. There are also regional orchestras, and youth
programs such as BYSO, NEC Prep, MYWE, are elite and competitive. Other
than that, students must learn to compete with themselves. Play every
note and every day to be better than yourself the previous day.
AE: What are some of the
standards you set for your students?
JL: I encourage
conquering at least one audition/competition and performing in at least one
recital per academic year. But I also consider the individual student and
his or her particular level and needs. Sometimes a student benefits more from
further individual attention from me before going out and presenting.
Aside from music skills, I also incorporate information about how to behave in
a professional manner, including how to present with confidence, complete the
appropriate applications, write accompanying essays, and in general present
themselves as musicians and as people. Poise
is essential and is found when you are true to who you are. Don’t try to
play like someone else; play the way you have practiced and be YOUR best.
You may be the exact person the judge has been looking for all day.
AE: You mentioned how some
students have amazing achievement in one area but perhaps are failing at
something in a lesson. Can you share your insights?
JL: I always use sports
analogies. The path to achievement in sports is similar in music. We
use our bodies to make our instruments sing. I love sports myself and many
of my students excel in a sport. I am an avid runner, okay tennis player,
and former ballet dancer....these are easy avenues of comparison for me,
enabling me to relate. Other instructors
excel in other ways they can relate. The key is to focus on something the
student has achieved elsewhere in his or her life and relate it to a point
being made in the lesson. Take breathing as an example. Sometimes I
have to remind students that an instrument is just a piece of metal without
us. It needs our energy and air! I sometimes tell a student to just
go outside and do a mad dash for a mile or so. Then, immediately come
back to the flute and just blow. This frees up the air flow and allows
them to fill the instrument with a more natural feel. It is all about
being as creative as possible and using all one’s resources to excel.
AE: I have on occasion
seen children persuaded to pick an instrument based on the chances they might
have better playing (and more frequent paying) opportunities down the line.
JL: A student should always
choose the instrument that intrigues him or her most. You have to love
the sound of your instrument and have a desire to pick it up every day.
You have to love the challenges that come with your instrument. Never
choose an instrument for a superficial reason. It will be your voice,
your means of wordless expression. You can only do this well when it
feels natural to you. The competition among flutes is extremely high,
especially in the Boston
area. To be accepted into an elite program or ensemble is quite difficult
when there are only three or four positions in a symphony orchestra. A violinist
may have more opportunity to be accepted in an orchestra simply because there
are more seats – but that is not meant to downplay the challenge. I help
all my students prepare seriously and healthfully so that they have the
greatest chance of success. I also lend them support and credit when they
work hard and deserve it, despite the outcome.
Loving
the sound of the instrument and making the effort to play as much as possible
are far more important in the long run than winning a single audition in the
short term, but winning because you are passionate about your instrument is
immeasurably gratifying in so many ways
AE: Thanks for your time and your
thoughts. Final question: “Flutist” or
“Flautist”?
JL: For
me....flutist. :)
