BY STEPHANIE ESLAKE
Music education matters.
Whether you first picked up an instrument at school, you’re working full-time in an orchestra, or you’re just entering your industry training, it’s likely you share the sentiment.
The airing of music education program Don’t Stop the Music on ABC resonated so strongly with Australian audiences that they donated more than $60,000 and 4,000 instruments to the benefit of schoolchildren. The legacy of music education advocates and activists such as the late Richard Gill have inspired generations of musicians to teach, and share their knowledge of music with students young and old. Australia can no longer turn away from the knowledge that children who sustain music education throughout their school years will experience permanent benefits to their brain, advancing their language and problem-solving skills.
In this new series Music education matters, we team up with a leading Australian educational institution to find out how music education can help shape lives.
Speaking with talent from the Australian National Academy of Music, we introduce you to practising industry figures – emerging and established, performing and teaching – so we can discover the true stories behind the power of music education.
Music education matters, says Sophie Spencer, Trumpet
Sophie Spencer is a musician of the Australian National Academy of Music. She had previously received the Sydney University Sydney Scholars Award and J.J. Kelly Memorial Scholarship as a Bachelor of Music student at the Sydney Conservatorium of Music.
The brass player has toured Australia and the world as she’s performed with the Australian World Orchestra (2018 India tour), Australian Youth Orchestra, and Tasmanian Symphony Orchestra with ANAM’s Side-by-Side project, among others.
Tell us about your upbringing with music education.
I began learning the piano when I was three, and soon after picked up the violin and viola — all through the Suzuki Method. This was pivotal in my musical upbringing, as it taught me to play from memory, provided me with continual goals to work towards, and gave me plenty of performance opportunities. Coming from a supportive family, I appreciated Suzuki’s encouragement for parents to sit in on lessons when the student is young so that they know how to assist with practice at home.
In Year 2, I began the cornet/trumpet and very soon began playing in a large variety of ensembles. My schools put a large emphasis on music and had an abundance of professional musicians teaching and conducting there.
I then started participating in ensembles such as the Castle Hill RSL Youth Wind Orchestra, Sydney Youth Orchestras, Warringah Brass Band, and Australian Girls’ Choir. Since 2014, I have loved participating in Australian Youth Orchestra programs, as our tutors and conductors are remarkable — the community is always very supportive and enjoyable, and the repertoire we get to perform is incredible. I owe so much of my musical and personal development to all these organisations.
When I was younger, I competed in many local and national level competitions and completed the AMEB Grades 1-8 Trumpet Exams which, similar to the Suzuki program, kept me motivated and always gave me a goal to work towards.
I have always had great teachers who have all shaped the player I am today, and in the last six years, I have been fortunate enough to have had David Elton, Tristram Williams and Yoram Levy as my teachers and role models. I am in awe of their trumpet playing and musicality, and always come away from lessons feeling inspired.
After doing a year at the Sydney Conservatorium of Music in 2017, I am currently in my second year at the Australian National Academy of Music in Melbourne, and am loving working with the many guest artists which come in, as well as my surrounding colleagues.
How do you feel a music educator is responsible for a young person’s passion for music?
I believe the role and importance of a music educator is largely undervalued. A music educator is responsible for assisting a student to progress on their instrument while keeping them inspired. Therefore, they must illustrate how to practice efficiently and how to recognise and promptly change bad habits that creep in, especially as we usually only see a student once a week.
A music educator must work on the fundamentals of playing from when the student begins in order to minimise injuries and maximise improvement. In addition to this, every individual is different and requires alternative approaches to teaching and alternative levels of encouragement. It is vital that the educator accommodates for this, or else the student may become disheartened or frustrated.
At what point did you realise you wanted to take what you’d learnt about music and form it into a career path?
This is a hard question as there is no specific date. However, I believe the more experiences I have, the greater my passion grows.
There have been specific performances I’ve played in, lessons and masterclasses with professional musicians, and concerts that I’ve attended that have greatly impacted my love for music and performing — for example, performing with the AYO, playing casually in professional orchestras, and touring with the Australian World Orchestra. This tour in particular was a one-in-a-lifetime experience. Besides the exceptional music making, I was overwhelmed at how appreciative some of the audiences were. It really demonstrated what impact music can have on communities and is now something I strive for each time I perform.
Why did you decide to pursue higher music education?
Although many people say that you don’t need a degree to be an orchestral musician, I think there is great value in having one. University is a place where you study the music world beyond your instrument. You learn about the different musical periods, meet future colleagues, perform in multiple ensembles throughout the year, and have on-site professional musicians to guide you.
ANAM provides exceptional conductors, instrumental tutors, and guest artists throughout the year, and is a place where you are constantly surrounded by incredible colleagues every day.
I have also really valued receiving guidance and classes on matters such as event management, psychology and wellbeing, mindfulness and meditation, finance, and Alexander Technique; and I would strongly advise anyone wanting to pursue music to educate themselves on these areas while they are still studying!
What have been some of your strongest needs as a musician?
I have really valued my teacher’s advice on how to self-analyse and practice productively. As we hear ourselves play more than anyone else, it is important to recognise when you make errors or play in a potentially damaging way.
As well as having supportive communities in the ensembles I have played in, I am grateful to have had supportive family members and teachers who have encouraged me to perform as much as possible as both a soloist and in ensembles and orchestras. This has been imperative in my development as a musician, as it has increased my confidence on stage and improved my resilience when things don’t go to plan.
When it comes to studying and applying for jobs, I have been fortunate to have had many role models and teachers to guide me on what to audition for. They have many more connections than I do, usually have first-hand experience of studying at some of these places, and most of all, know my playing in depth and can therefore suggest which places they believe I would thrive best at.
Lastly, seeing professional orchestras or musicians play has played a significant role in my musical development. Like performing, each concert I see inspires me and teaches me something different. I believe it is important to be constantly reminded of where you are aiming to get to with your music.
How can teachers best support adult students?
For me, the main differences between teaching adult students as opposed to young students is the approach you take to teach them — the depth in which you explore certain aspects of musical and technical matters; as well as the language that is used, both general language and musical language. As adult students have had more life experience, they will often be able to apply a broader level of thinking to the music and can therefore make more in-depth musical decisions. As they will usually be able to solve technical obstacles easier, a teacher should only guide them rather than dictate solutions to encourage individual problem solving. However, it is important therefore to still encourage adult students through the process.
As adults will most likely have a much busier schedule, a teacher should advise their students on how to practice efficiently. In preparation for auditions and jobs, teachers should also educate their students on the basic expectations and etiquettes of working in an orchestra or ensemble as these influence job outcomes significantly.
There’s been a lot of dialogue about the importance of music education in Australia. How do you think music education can benefit the community as a whole?
Music brings people together to create strong communities. Music benefits communities as it teaches individuals patience, attentiveness, determination, resilience, and time management – all skills that are imperative to develop as they are needed in everyday life.
In primary school, music ensembles are one of the few activities that connects students in different year groups. This encourages teamwork and teaches the older students to act as role models.
Playing in ensembles and orchestras throughout school and beyond has helped me grow as a musician and as a person. In addition to creating lifelong friendships through these groups, being surrounded by supportive and welcoming communities, as well as music-making in general, can provide relief from stress or hardship.
What changes would you like to see in music education in Australia on an industry level?
A major issue I see is the lack of importance placed on music making in some schools. Australia needs to implement necessary music education in all primary schools, which includes having the funds so that all students can participate.
It is also incredibly important to have dedicated, qualified teachers as well as multiple ensembles and band camps for children to participate in. I do not know where I would be without these opportunities growing up.
What impact have you made, or would you like to make, on the industry?
I believe music plays an important part in everyone’s lives, and therefore think it should be much more accessible. I love teaching and get great happiness from seeing my students enjoying playing as well as thriving on their instrument.
I strive to provide each student with the same guidance and encouragement I was given growing up. It disheartens me to see individuals without the opportunity to play an instrument due to financial reasoning as there are so many benefits from music making. Therefore, I’d like to see further funding go into music, as this will in turn bring up more musicians and grow the art through the increase of quality teachers, education programs, and perhaps more frequent music programs or festivals.
What advice would you give to musicians to help them get the most out of their educational experiences?
Perform as much as possible. Sign up for competitions, stand up in class when it is optional, or just play in front of friends and family. Every performance will teach you something different and will improve your confidence in performing.
Know that there is always room to improve. Ask advice from musicians who do not play your instrument. Learn how to manage your time when you’re young and practice making time for practice; you’ll only get busier!
And last of all, learn to forgive yourself if you have a less-than-perfect performance. Treat others around you with respect, and constantly remind yourself why we do what we do!
Check out the ANAM concert season to see musicians such as Sophie Spencer and music educators, live in action.
We’re teaming up with ANAM throughout 2019 to share these interviews in our series Music education matters.
Stay tuned as we prepare to bring you more of the personal stories behind music education in Australia.
READ NEXT: Music education matters, says Rachel Shaw, French Horn
Images supplied. Sophie captured by Pia Johnson.
