The Inner Game Of Music 759h

Book Overview by Biljana Bojović February 25, 2010 The Inner Game of Music (1986) by Barry Green Inspired by the author of The Inner Game of Tennis (1974) by W. Timothy Gallwey Mr. Barry Green is a contrabassist living in San Francisco Bay Area. He was the principal bassist for about 24 years in the Cincinnati Symphony Orchestra. He teaches for the San Francisco Symphony Education Department, University of California, Santa Cruz. He gives concerts around the world as a bassist, and he frequently gives clinics for the Inner Game of Music. Sequel to the book -The Mastery of Music: Ten Pathways of True Artistry

W. Timothy Gallwey was born 1938 in San Francisco, CA, and has written several books for the development of personal and professional excellence in various fields. His works include The Inner Game of Tennis, The Inner Game of Golf, The Inner Game of Music (with Barry Green), Inner Skiing, The Inner Game of Work, and The Inner Game of Stress. Galway’s methods changed the way and the quality one learns, practices, performs, teaches, and listens. The essence is to LEARN FROM YOUR OWN EXPERIENCE through AWARENESS and to DISCOVER and USE YOUR FULLEST POTENTIAL.  REDISCOVERING THE CHILD 

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In order for people to learn to their fullest potential, they must become children again in any area of human activity, not just in sports or music. The goal is to combine the maturity and knowledge with child-like transparency. THE TWO GAMES THE OUTER GAME: to achieve the desired goal, to play well, to write well, etc. o Context: arena, concert hall, office, tennis court. THE INNER GAME: to overcome the inner obstacles which prevent one from performing well. o Self-doubt, fear, fear of failure, anxiety = self-interference. The games impact each other but the inner game determines the success or failure of the outer game. PERFORMANCE = POTENTIAL – INTERFERENCE THE SELVES Self 1 – the inner interference o Characteristics “the commentator” “You are going to goof up….Here comes the hard part….Relax your third finger….”

*We have a choice: Tune out Self 1

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Self 2 – the potential within a person

Note: the selves do not mean left vs. right brain

REACHING OUR FULLEST POTENTIAL GOALS Performance

GOALS

Experience

Learning

INNER GAME SKILLS Awareness, trust and will are the fundamental skills that help increase focus/concentration, help overcome nervousness, doubt, fear, and help use most of our potential at any given field.

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Will (goal clarification)

Awareness

Relaxed concentration

Trust

AWARENESS – being aware of what’s happening o Sight o Sound o Feelings o Pay attention to what you know Note: Trying vs. awareness WILL – the direction and the intensity of one’s intention o What you want to play o At times we are able to put 100% concentration into music o Auditions and/or playing for colleagues, is when Self 1 attacks due to concentration split o Performance goals: studying the visual aspect of the piece - how it looks on page, contour, articulation, phrasing, dynamics, etc; physical cues/kinesthetic preparation; sound; hearing music in your head; and the meaning and drama in music. o Experience goals: the way one feels while practicing or performing and the feeling that the music itself conveys. o Learning goals: set clear performance goals – they will clarify the learning strategies. (Program a little at a time – work in chunks) TRUST – to explore the trial and error trough awareness without judging. o Not blind trust but the type of trust that is a product of hard work o Major obstacles: o Self-image o Lack of control  Cooperate the trust with will and awareness  To gain self control and get rid of Self 1 o Doubts and fears of your own ability

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LETTING GO of SELF 1 The “falling asleep” analysis 8 ways of letting go: o Role playing o Becoming the music o Doing something familiar o Letting the body take over o Letting go to the environment o Letting go to overload o Letting go to the ridiculous o Letting go to the impossible

COPING WITH OBSTACLES Continual creativity is necessary o “ Yesterday’s invention and successful technique is stale today, in much the same way t hat yesterday’s successful interpretation is today’s repeat performance.” p. 111 Discovering which skill area is out of balance (awareness, will or trust) Dealing and accepting external interference

THE TEACHER AND THE LEARNER “Do this” and “try this” instructions have to turn into “awareness” instructions; o “Awareness exercises only ask one thing of the conscious mind: that it should pay attention to what’s happening, not to what’s right or wrong” p.135 o Visual awareness o Auditory awareness o Feeling awareness Positive benefits of learning by discovery and awareness are noticing what is happening and what works vs. what is good or bad - similar to learning how to walk.

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THE LISTENER Why do we listen to music? (To move, to dance, to express feelings to change feelings, to accompany other activities, to learn about other types of music, etc.) Why do we find difficult enjoying music sometimes? (Having certain expectations as interference.) Making the switch: experiencing the music from inside than from the outside. o The concert goers: o How to approach music you know o How to approach music that you don’t know o See, hear, feel and understand music through listening Listening without judging: Self 1 and 2 battle. Different focuses: visualize the music, imagine a story, listen to individual instruments, listen to the sound type/color, imagine being an orchestra musician or the conductor as a listener, etc.

THE PARENT and THE CHILD or the TEACHER and the STUDENT Develop a ive relationship Help the students trust their musical ability o Judgmental vs. non-judgmental phrasing of comments. Help the student establish clear goals (journaling) o Performance goal tools: knowing how the music sounds before it is learned, journaling, tape recorders, etc. o Experience goals: having a fun practice, playing for others, playing with others; creating a story to music, and motivation. o Learning goals: Ask questions to increase students’ awareness (related to vision, sound, and feeling) Expand the students’ musical awareness (vision, sound, feelings, and understanding)

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BALANCE “In music one music think with the heart and feel with the brain” – George Szell Authenticity and order vs. deeply felt expression; emotional experience vs. critical and analytical approach; and ion vs. restraint. Music and the two hemispheres of the brain o Left vs. right brain function; “analytical” vs. global o Music is both right and left-brain function. Howard Gardner says in his book Art, Mind, and Brain that, “it is far too simple to conclude that music is principally a right-brain function.” (p.177) o Analytical or global preference: each person naturally leans toward either the analytical or the global approach. However if one prefers the analytical approach then he/she should work on the global approach and vice versa to create a balance. (“Adding the layers”) • The analytical mode: is in charge of producing and controlling articulation, beginning and ending of notes, correct order of notes, proper rhythm, memorization of muscle movements. • The global mode is in charge of emotions, style, and meaning of music. KEEP EXPLORING The last two chapters of the book continue giving practical tools and examples to be used when playing in an ensemble, and encourage the musician to improvise, compose and be creative. POSTLUDE I would highly recommend this book. It gives many practical examples It lets you explore new ways in at your own pace It explores “new” ways of learning – it encourages learning “naturally” It is practical for any musician: the learner, the teacher, the performer, the parent, the student, the ensemble player, the soloist, and the listener. I have found it extremely helpful and I have started applying concepts while working with my students and in my own practicing and musicianship. I hope you find it helpful as well. Enjoy exploring! 

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