THE CHALLENGES OF TRAINING PIANISTS IN CONSERVATOIRES IN THE 21ST CENTURY

First and foremost, Conservatoires have a duty to equip their students for employment in the music profession. Successfully equiping young pianists for the ever-changing demands of such an unpredictable profession in the 21st Century presents enormous and diverse challenges, which I will discuss in turn.

Financial considerations are self-evidently of paramount importance. In addition to internal budgets, which need to be controlled, there is the thorny issue of funding. Without grants it is impossible to run a Conservatoire, and in this country the considerations of the H.E.F.C.E.,(Higher Education Funding Council for England) are crucial. Idealists and other-worldly artists may worry over the influence of the money-brokers on the running of a Conservatoire, yet the mission statement of this organisation's 'Strategic Plan' for 1999-2004 clearly outlines values which students intent on successfully entering the music profession on completion of their studies would surely embrace whole-heartedly. The H.E.F.C.E.'s Strategic Plan' aims to embrace the needs of Society, the Economy and the students themselves whilst encouraging collaboration with business, the community and other institutions. Of course this is in keeping with the general trend in the 21st Century to make education relevant to the needs of the market-place, and any Conservatoire which fails to do so will naturally face serious consequences from funding bodies. There will certainly be less difficulties if high grades from the Quality Assurance Agency are awarded. Grants from the Teaching Quality Enhancement Fund, National Lottery and Grants from the H.E.F.C.E.'s 'Higher Education reach out to the Community Fund' are all covetted and invaluable in meeting the needs of the students. At the same time the financial demands of foreign students,( and in this country in particular the ever-increasing demands of non E.U. students) means that bursaries, scholarship funding and funding from the world of Business are essential. Clearly a Head of Keyboard at a Conservatoire in the 21st Century has to manage the curriculum, teaching staff students and resources in such a way that will satisfy the financial backers and so ensure that the revenue is available to satisfy the demands and ideals of the students, staff and board of Governers.

In order to be as desirable as possible for the music profession, it is essential that Conservatoires ensure that their pianists develop their playing as far as they can. For many of them it will be the best opportunity of their lives to concentrate intensively on instrumental development without distractions: Technique, musicianship, repertoire, stylistic awareness, memory, assimilation skills and sight reading must be brought on as far as possible. But it is not enough to focus only on the solo repertoire and technique. Employability in the 21st Century demands training and extensive experience in chamber music and accompanying as well as in more specialist fields and in teaching. Alongside training in all of these areas Conservatoires must provide as much practical experience via concerts etc. Ultimately it is by putting training into practice that students are able to master key skills. In this sense links with the community are invaluable.

Conservatoires have a responsibility to cultivate and refine the tastes, interests and ambitions of students, both for artistic reasons and employment prospects, guiding the 19 year old who is only interested in playing/listening to the outer movements of Sonatas by Soviet composers towards involvement in chamber music, a love of Schubert Lieder, a desire to go to the Theatre, read, visit Art Galleries and listen to a broad range of music whilst also being aware of the historical context in which the repertoire he is currently learning was composed during. His performance of Soviet Sonata movements will doubtless greatly improve in terms of imagination from all of this, whilst his long term employment prospects will also look more optimistic in that he will have acquired skills in accompanying and chamber music. In sum, pianists will be better prepared for the Music Profession if they are experienced in several disciplines of performance rather than in just solo work. At the same time they will need to avoid the pitfalls of spreading themselves too thinly across the board, and of failing to find their own special abilities/interests which separate them from the norm and which therefore can lead to employment opportunities.

Every Conservatoire has a wide range of ability amongst its students, and there are tremendous challenges involved in catering for different levels of talent and contrasted types of pianist whilst still maintaining a systematic course of study for all students. It is about maintaining a balance between an all round training and the individual specialist interests, fields and problems of individuals. Solutions can be found by establishing minimum benchmark targets in each section of a syllabus whilst allowing flexibility for this to be extended and/or modified in key areas by pianists at a more advanced technical level or with particular niches. Such flexibility demands careful administration and monitoring in order to satisfy the demands of validating bodies and the Quality Audit Agency, but it is surely essential in order to keep everyone 'on message' with the Departmental Handbook. Furthermore, if employment in the Music profession is desirable, it is important that students are given opportunities to develop interests and talents in specific areas of the profession, for example contemporary music and Jazz. Both demand specialist one to one tuition on a regular basis, along with first hand experience of working with composers and professional performers respectively.

Conservatoires can help students find their feet in the profession by training them for and, supporting, entries for competitions. Links with the community can provide valuable contacts, and collaborations with established musicians,(eg a well known conductor who works with an outstanding student in a concerto performance), can open doors. Career advice, workshops with professional musicians specialising in fields of particular interest to certain individuals and marketing advice are all invaluable. In the 21st Century it is essential that pianists are trained in Information Technology and business skills. They need to be aware of the Market, how to find work in it, how to maximise their chances of success, and how to market themselves as musicians. To this extent it is no longer enough for them to rely on brochures. Conservatoires can help them set up their own web sites, complete with sample recordings of their performances. By making their own C.D. and Video recordings before leaving College they can equip themselves with invaluable promotional material for seeking work in the 21st Century.

In order to get the best out of young pianists they have to be essentially happy, motivated, inspired, healthy, have self-esteem, feel part of the community they work in and feel valued and respected within it. In as competitive a field as piano playing, Conservatoires face the challenge of ensuring that their students remain as positive as possible. Lack of self-esteem in individual students should be tackled not only through one-to-one lessons, but also through the tutorial system, counselling, and by allocating specific projects for the individuals concerned that is specifically for them. Learning the piano is an essentially lonely and isolated vocation, with many hours spent in practice rooms. Compulsory year group performance ,repertoire and discussion classes which meet on a regular basis with the Head of Keyboard can encourage a spirit of cameraderie, as well as being invaluable from an educational viewpoint. Group projects and activities in which everyone takes part are helpful for morale as well as for stimulation, as are masterclasses given by exceptional communicators, concerts by outstanding artists, and projects which link students with other Conservatoires, Institutions, Communities and Organisations. The challenge of ensuring maximum attendance and involvement in such events can be overcome through enthusiasm, communication with the students, tenacity and lateral thinking.

The allocation of a suitable instrumental tutor is crucial, and this individual can be of great influence over the happiness of students. Indeed it is often the quality of relationship between teacher and pupil which determines the rate of progress. Clearly it is essential to employ exceptional individuals as teachers then to keep these individuals motivated and loyal to the Institution. By taking on board a well known performer, an institution can gain valuable applications from exceptional students who may choose to study at the Conservatoire specifically to work with the performer in question. Often it is well known performers who inspire and motivate students the most, but if they are employed, they may not be able to teach on as regular a basis as is desirable. The challenges of accommodating such individuals can be met through a system of appointed assistants, but only if there is appropriate liasion and unity of purpose between Main tutor and assistant. For such relationships to work there has to be flexibility, planning and a degree of pragmatism.

On a departmental level the challenges are to ensure that there is a spirit of support, cameraderie and goodwill alongside direction and purpose within the department as a whole. Goodwill amongst the staff can be encouraged by regular informal conversations on a one to one and group basis as well as more formal meetings. A spirit of 'unity of purpose' within the varied and diverse personnel of staff is desirable. If there is a feeling of support and a passionate belief in what is being done,(as well as in what could be accomplished) throughout the Department, astonishing achievements can become everyday occurances. Whilst it is often healthy to have different approaches to teaching within a department, it is clearly essential that there is complete support for the Handbook, its Syllabus, and the activities of the Conservatoire in general. The performing Arts demand freshness and enthusiasm, and it is essential that staff are given as much stimulation as possible via exchanges with other institutions, conferences, attending masterclasses/Seminars/Festivals, as well as appraisal.

Goodwill amongst students will also be forthcoming if high quality instruments are available frequently enough to satisfy the practice demands of the students. This is clearly of great importance to their instrumental progress. Conservatoire instruments have to be adequately maintained, ideally via contracts. Additionally, long term plans have to be put in place for the replacement of old stock.

Health issues are of serious importance in the training of pianists, and whilst many of these will be directly addressed by appropriately qualified individuals outside the Conservatoire, much can be done within to prevent damage before it occurs. In an era where an alarmingly large number of pianists are continuing to suffer, it is essential that all students are informed of the dangers of tension, stiffness, poor posture, stress and bad nutrition. Pianists in particular can benefit from courses of Iyengar Yoga,(involving stretching and 'opening out' of the body) as well as Alexander Technique, Meditation techniques, and solid advice as outlined in standard books such as Kate Andrewes' 'Healthy Practice for Musicians' and 'The Inner Game of Music'.

In conclusion, the challenges discussed above are considerable, but they are also highly stimulating and exciting. I believe that there is nothing more rewarding and fulfilling in life than helping the talented youth of today become the achievers of tomorrow.

Murray McLachlan, February 2000