Thank you for this! It’s such a coincidence that I have been trying to figure out my problem with emotions in my music. I recently changed teachers for masters in clarinet performance and, prior to that, I’ve always had an approach to my music where it’s emotion based, not too calculated. With my current teacher, I feel my music has suffered in a sense; not being able to express how I felt in that moment. It would sound robotic to me, even if I “convinced” the audience.
Thank you for commenting and sharing your thoughts! I think youve pointed out a very common place of exploration between emotions and mental/physicality of playing- How they work together or how separate they are in the process of making art. I hope your work with your new teacher will bring you more insight and to a higher level of playing - even if it might not seem that way now ❤️
This was a lovely window into how our bodies and emotional states connect, especially in music. A question I have is about integrating some of this into lessons with younger students - ones who are still getting introduced to the piano and haven’t quite extended repertoire into say, pieces like classical music. What could incorporating some of this info look like for students still getting acquainted to the structure of music/ pieces?
Great question that definitely deserves a time and space larger than a RUclips comment. I would say that inviting and encouraging the use of imagination, imagery, and emotionally descriptive words to be very helpful. For example, for the very young ones - asking them to create or your demonstrating the a staccato as a ‘happy bunny bounces’ to be a great foot in the door. Helping students connect sound and structure to emotions by creating stories or describing a phrase as an expression of relief,anger,exhaustion etc can help. I wish there was more time and space to go into this more thoroughly!
![5 Pieces by Hans Zimmer \\ Iconic Soundtracks \\ Relaxing Piano [20min]](/img/1.gif)
Thank you for this! It’s such a coincidence that I have been trying to figure out my problem with emotions in my music. I recently changed teachers for masters in clarinet performance and, prior to that, I’ve always had an approach to my music where it’s emotion based, not too calculated.
With my current teacher, I feel my music has suffered in a sense; not being able to express how I felt in that moment. It would sound robotic to me, even if I “convinced” the audience.
Thank you for commenting and sharing your thoughts! I think youve pointed out a very common place of exploration between emotions and mental/physicality of playing- How they work together or how separate they are in the process of making art. I hope your work with your new teacher will bring you more insight and to a higher level of playing - even if it might not seem that way now ❤️
This was a lovely window into how our bodies and emotional states connect, especially in music. A question I have is about integrating some of this into lessons with younger students - ones who are still getting introduced to the piano and haven’t quite extended repertoire into say, pieces like classical music. What could incorporating some of this info look like for students still getting acquainted to the structure of music/ pieces?
Great question that definitely deserves a time and space larger than a RUclips comment. I would say that inviting and encouraging the use of imagination, imagery, and emotionally descriptive words to be very helpful. For example, for the very young ones - asking them to create or your demonstrating the a staccato as a ‘happy bunny bounces’ to be a great foot in the door. Helping students connect sound and structure to emotions by creating stories or describing a phrase as an expression of relief,anger,exhaustion etc can help. I wish there was more time and space to go into this more thoroughly!
You havent uploaded in a long time what happened?