The Problem with Elitist Attitudes and Music Education

By Elizabeth Faidley: Last spring, my studio had the wonderful honor of having the inimitable Ray Chen come give a masterclass. After the masterclass, he generously answered our 100 questions and met each student for photos and autographs with his special gold sharpie. Among the students performing for Ray were Saiya, a 16-year-old from Florida performing Barber Concerto; Mia, a 7-year-old from Iowa performing a beautiful Mozart Concerto; Alex, a 15-year-old from New Jersey performing Piazzolla; and Adrian, an 11-year-old performing a very exciting third movement of Mendelssohn. As usual with Ray, he approached each student with charm, grace, and humor. The 200 people in the room laughed along with Ray and Alex as they conquered the style of Piazzolla and Ray danced around stage to demonstrate. Last week, a woman came across a post of a student performing for Ray, and she commented that the boy was "not good enough to play for Ray" and that the "audience would not learn anything." Normally, I would ignore this as another internet troll, but she really hit a nerve. I don't think she was a troll. I think she represents an elitist and incorrect view of classical music and music education in general. Unfortunately, her comment inspired countless stories from others who reached out to me, and she has proven that there is still very much a problem in classical music. The lack of inclusivity of students is a significant barrier to classical music's continued relevance in today's evolving world. It is crucial for classical music institutions and educators to work together to make this art form more inclusive. It's important for all students of classical music to be recognized and celebrated. Classical music -- making music, playing an instrument -- are things that develop a student's emotional well-being, learning capacity, self esteem, problem-solving skills...the list is endless. Music education is the right of all children. Classical music, with intricate composition and demanding technique, offers a multifaceted avenue for personal development. Engaging in music provides an array of benefits that extend well beyond the realm of learning Vivaldi's A Minor concerto or Bruch's G Minor. The discipline required to learn an instrument or comprehend complex compositions strengthens a student's ability to focus, memorize, and process information. As students achieve milestones in their musical journey, they gain a profound sense of accomplishment and self-worth. This reinforcement contributes to a healthy self-image, nurturing confidence and self-assurance that can extend into other areas of life. Additionally, classical music fosters problem-solving skills, improves resilience, and the ability to approach challenges with determination and a growth mindset. In the realm of music, competition is an ever-present facet. Sometimes, it feels as though the pursuit of musical excellence is overwhelmingly competition-driven. High-profile competitions such as Queen Elizabeth and Menuhin Competitions have long held the spotlight in this regard. However, it's important to clarify that within my studio, the landscape is fundamentally different. In my studio, I approach the selection process for special events and opportunities with a distinct perspective. Rather than adhering to the strict competitive norms, I base my choices on a holistic assessment of each student's qualities. Factors like dedication, work ethics, artistic spirit, the ability to perform exceptionally well at the given time and even, duration of time in the studio, and involvement in other musical activities all come into play. Approximately 50 percent of my students go to music conservatory and 50 percent go to top colleges. Having other aspirations should not limit opportunities in the musical field. It is my firm belief that having diverse aspirations should not serve as a limiting factor when it comes to exploring opportunities in the musical field. The comment from the Instagram lurker was so bizarre to me because she was commenting on an 11-year-old student performing the third movement of Mendelssohn at an extremely high standard. My 7-year-old, Mia, might be SEVEN years old, but she understands Bach's style innately. Just because they aren't ready to perform on the grand stage of the Queen Elizabeth Competition, it certainly does not negate their ability to perform for someone as iconic and inspirational as Ray Chen. Her further comment about others not learning from the learning was also fundamentally misconceived. I've found that I glean significantly more insights from masterclasses where students are navigating imperfections and challenges, than from watching two concert artists on stage together. I love teaching. I feel like it's my calling. This is my 19th year at Manhattan School of Music and my 25th year of teaching. Even when I was performing with major orchestras in my 20s, I was thinking, "I wonder what Jeffrey is doing right now...." It seemed like there were many violinists who could play as well as I could, but I felt that I had a special niche in the pedagogy world. I pour a lot of myself, my energy, my time, into my students. I currently have students from nine states and six countries. I try to make an impact on both the violinist's playing and also, the life of the violinist. In order to make music more of a central part of the lives of my students, I plan many special events for my studio. I believe these special opportunities provide inspiration for all students, whether or not they are performing. Being in the presence of Sarah Chang is pure magic. Can you imagine being a twelve-year old violinist and being able to meet her, talk to her, feel like you know Sarah Chang? That is the most special gift I can give my students. In the past, I have hosted amazing concert artists like Sarah Chang, Rachel Barton Pine, Stefan Jackiw, and combined efforts with Orpheus to have incredible classes with Lisa Batiashvili, Pekka Kuusisto, among others. I also arrange special projects during the year to put my students in the spotlight even further. In 2022, I resurrected the "Bach Project" where students performed every movement of the sonatas and partitas. They also learned about Bach's life and composition from our resident musicologist, Michael Wittenburg. They learned the proper steps to a Gigue and a Minuet with a Baroque dance specialist and listened to a concert using Baroque instruments. In 2023, I asked an orchestra to work with my studio, and 36 students performed movements of Vivaldi's "Four Seasons" at Merkin Hall in NYC. The feeling of performing with an orchestra can't be replicated, and there are never enough of those opportunities. We opened this year with a private event with TwoSet. The students sat in a circle with Brett and Eddy and discussed anything and everything. I am proud to have a very active Instagram, (@faidleystudio) where I post short clips of students (at every age and level) as well as funny happenings in my life. In early December, our studio eagerly anticipates the arrival of the esteemed musical cultural icon, Midori. From among my beloved group of 65 students from across the globe, I have selected those who have demonstrated exceptional dedication and deserve the opportunity to perform in her presence. There will be some out of tune notes, some imperfections in the Mendelssohn Concerto, some nerves that get in the way. Things will happen. Nevertheless, I hold unwavering confidence that our entire studio, together with Midori herself, will wholeheartedly celebrate each and every remarkable student, ages seven through 17, playing Mozart or Sibelius. You might also like:

• A Masterclass with Ray Chen
• A Masterclass with Sarah Chang at The Manhattan School of Music
• Remembering Violinist and Teacher Shirley Givens

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