I had the good fortune to participate this week in a two-day workshop on mentoring and coaching – skills that everyone can use, not least of whom me. As part of the course, we watched a really good video put together by Ben Zander, the Music Director of the Boston Philharmonic.
Zander’s a whirlwind of charisma and positive energy, and it appears that he’s carved out a nice sub-career as a motivational guru. While I was watching the video, I thought about how many pipe-majors of premier bands might be able to transfer their leadership skills to self-help consulting.
In a sense, many already are motivational speakers, as we see guys like Richard Parkes, Terry Lee, Robert Mathieson and Bill Livingstone hired to conduct clinics. I’d imagine that many attendees go expecting to get some secret sauce for success and become better players or bands overnight. But in actuality I would think most leave these workshops simply feeling a whole lot better about what they do and what they need to do. They get motivated to improve.
There was one point in the Zander video where he has a cellist perform a difficult piece for the business people attending his seminar. She’s clearly a terrific player, and executes the piece technically perfectly. Zander applauds her for that, but then points out that, while her technique was brilliant, the piece lacked emotion. She was so concerned about getting it “right,” that she forgot to engage her audience, who were clearly impressed, but not emotionally moved.
He said, “Perfection is not to be gained at the cost of music.” I found this summarized perfectly what we pipers and drummers struggle with all the time. We’re so focused on getting it “right,” that we leave the audience cold. And then we’re often too quick to criticize a technically flawed performance that got an audience out of their seats and cheering.
It’s an age-old problem for us: how to encourage, recognize and reward music played with emotion and meaning and have the conviction to place more importance on those attributes rather than the “perfect” but soulless performance?