Many of us study or work in schools of music, or departments of music. At McGill, I work in the Department of Performance which is just one department of the larger Schulich School of Music of McGill University.
We call ourselves that, I guess, because we are performing professors who teach about performing to future performers.
Or do we? Is it all performing all the time? Certainly it looks that way with over 600 public performances given each year in our various venues on and off campus. (That's a lot, mind you.) Each of those performances represents hundreds of hours of preparation, score research, listening, active learning, studying with mentors, and - especially this - practice.
"Practice makes perfect" or my favourite (NOT): "How do you get to Carnegie Hall? Practice, practice, practice."
Both of those famous quotes are truly not true. Far from it. Research has shown that too much practice focused on achieving perfection oftentimes does not give one perfection. And really, what's perfection? Totally unattainable outside of a few Olympic gymnasts or divers, (or Julia Child's recipe for boeuf bourguignon.) As well, getting to Carnegie Hall is pretty easy nowadays. Put together some money, gather your forces, and rent the hall. I know lots of people who've performed at Carnegie, but I can tell you honestly that very few got there just by practicing.
But practicing is a huge part of a students' world. When I was a piano major, I never practiced (I've blogged about this probably too much. It sounds like a boast, but it actually is my only regret in life.) There's a famous memoir "I really should be practicing" by the great pianist Gary Graffman. The title speaks deeply to many instrumentalists during their student years, and it really spoke to me as it was my mantra at Simpson. I'd say it late at night while painting a set, or I'd say it later the same night over shared Dominoes Pizza with others who should've been practicing too.
Nowadays, just like in yesteryears passed, students stress out about practicing - either they're risking injury by practicing too much or ignoring the pile of music on their desk. It's stressful just typing about practicing!
I think what might be adding to this stress is that, through social media, we are now teaching young people that learning itself is stressful. Because, you see, stress sits very close to the feeling of being uncomfortable. Stress is now being seen as entirely negative, which is too bad because stress is not always a negative force. Uncomfortable, yes. But not always a negative thing.
"Stress kills!" read the headlines. Then there are all the medical sites, with their "stress and high cholesterol", "stress and depression", "stress and binge eating", etc., etc., etc.
Depending on what motivates a musician to practice, the stress is magnified or lessened. Deadline to memorize a movement of a sonata looming? Good stress. Accepting a gig at the last minute that causes you to have to learn gobs of music overnight? Good stress. Taking on too many gigs while starting a new program of study and a new job bartending at night? Not the best kind of stress. Forgetting to translate your texts until the day before stagings begin? Shame on you!
Practice is not solely a sole activity. Collaborating with others is what most musicians do as the next step beyond their own practice. And collaboration can be difficult. Everyone in the room seems to have done more research than you, prepared more dutifully than you, had more coachings and lessons on their role than you. And they're all skinnier it seems and wearing cooler outfits in order to impress their new colleagues (why did I choose to wear the tight jeans today?) The stress of collaborating, especially with new colleagues, is like the stress of a blind date. You know the name of the restaurant (La Boheme), and the name of your date (Marcello), but you know little else and have to wing it, even though you've prepared for your date simply by living your life. Preparing for the first rehearsal of an opera takes a lot of practicing, a lot of preparation. Everyone is nervous and trying to impress, so everyone is stressed (and don't you hate the person who knows everyone else and is running around kissing everybody on the cheek?!) Why have sweaty palms too?
Collaborating is the big step towards being able to perform in public. It is a courageous act. It is also a joyous and wondrous communal act as well. Collaborating is the reward for practicing. A lot of times, I think young singers misunderstand that rehearsing is practicing. We even use those two words for the same activity (particularly in high school when your parents would say "how was practice tonight?") But practicing is really something that happens before collaboration and rehearsal, and those two things are continuations of actual practice, to be sure. For most of us who do this long enough, collaboration is usually pure joy.
If one doesn't feel some sort of joy in the activity of practice or feel mostly joy while learning something new, collaborating on it, and then performing it, perhaps one shouldn't be encouraged to study music. Music schools think they teach performers, but it is a misnomer really. We teach "practicers", because that's what we all do 'till our own song ends.
Practicers are who we are, really, because it's what we spend 98% of our time doing.
Practice doesn't make perfect, but it does make performers.