ol song and Wind 2.0 GOAL - ORIENTED TEACHING IN THE APPLIED STUDIO by Karen Marston Amold Jacobs is well-known for his uniquely innovative approach to brass teaching and. performance. Ata time when many teachers were focused primarily on the details of physical function, ne pointed to the internal state of the player—the imagination and its abilty to envision cutcames and guide motor function=as the ‘most important component of both practice and performance, ‘Thanks to numerous excellent biographers and recorders of his work, Jacobs’ philosophies have been widely disserninated and are well-known to the community; however, comparatively little has been said regarding a clear process by which teachers might implernent we Song and Wind method. he basic premise of Jacobs’ appro that the body is study of products, and that motor function i controlled not by conscious thought, but through a clear mental concept ofthe sound we wish to make. When the player leams to internalize a flly formed, expt sical phrase, the Body can make 1 match with this concept by realizing that sal through performance, This has been variously called a singing thought mode, singing through the horn,” or “teaching fom the concept,” all of which refer co a teaching ‘mode that relies on learning through ear teaining and imitation, rather than specific dlrectives on how to move of shape the body. Based on abundant accounts of Jacobs’ teaching, ts clear that this approsch was helpful and even tansformative for many players; however, aside from practicing the Skill of hearing and/or the sil of playing while hearing, how else can we approach using this philosophy in a practical way? Many commentators have avoided the notion ofa “Jacobs' pedagogy.” Well-known biographer Brian Frederickson asserts that Jacobs! process differed greatly based on the neds of each student; therefore, there are no consistent actions which can be organized imo a usable method, While this is ceainly accurate based on the anecdotal information wwe have, it may sill be possible to ext usable strategies if we look less at what Jacob did, and more closely at how he thought. I terms of informing a usable methodology, understanding the philosophy which guides specific pedagogical actions hs been identified as more sgnifiane than a specie, step-by-step prescription for teaching (Marston, 2011) From that perspective, ts hepfal to start witha broad view. Ina general sense Song and Wind canbe described os gol oriented —the desited products employed asthe primary teaching tool—rather than task-oriented —composite skis are separated from the whole so that they canbe practiced fone by one. tn Jacobs’ words, “I do not teach methods, becaise an excellent sound in the mine contains in itself everything necessary tots expression” (In Frederickson, pp 145) Challenging the player to build an International Trombone Ascociation Journal / www.trombone.net Photos courtesy of Wind Song Press increasingly detailed mental conceptualization fof beautifully resonant tone and a anistically expressive phrase eigges the Imagination creatively so that focus on the desired outcome is maintained throughout the learning process; thus, the pl nested thinking, By contrast, a oriented approse! ‘of movements, or physical directives, each of whichis learned and mastered individually This process is usually separated conceptually rm the act of music-making. Once the player gains an acceptable level of profcie tasks ate assembled into a usable tone and player ean begin working on expressive i nitions, taskeoriente ing focuses frst on smaller detll then stacks them up lke building blacks to create the bigger pictue, while a goal-oriented method starts with abroad view of musical ‘expression and sound, and then fills inthe details over time whale holding the big in place. (Marston, 2011) Task-orented leaming has been wel mented by the field, Starting in the 1950s, pethape ae byproduct ofa cultural Inuerest n behaviorist thinking which favored sn empirical view of wandardizing learing processes (Loubriel 200 ‘began tobe codified, categorized, and clearly-delineated in terms ofthe physicality of performance. Students were advised 0 complete specifi, discrete task, such as placing the face in a certain configuration, in rer to bull the mechanical sls whch were thought tobe present in expen players. Various commentators presented differing views on exactly which movements were the most efficient and efleewve, and many yeats of contention over the “cortect” method to teach brass players ensued, (Marston, 2011) By contrast, what we know about jacobs process is far less delineated, and perhaps asa result, less contended. Discourse on Song and Wind tends to be more theoretical than practical. Although his ideas evoke both interest and reverence, relaivey tle is known in terms of exactly how a “singing thought mode" mis 5), bras playingx au aha ramon for applying it. Fst clear that acabs work was helpful to any players: cherefore. itis important isseminate usable strategies which nor his approach so that fis le mpact fut ns, Fhe as mediately shifts the Broad Theories: Holistic Teaching and Sub-goals so field of a related and wel that provide thin the misc education fovinted teaching asa stating point, two guiding principles emerge. Fits, efficient formance engages many capseites within the player, not all of which are purely in the physical domain; therefore, sening should be holistic and moll dimensional Secondly, while performing fom the mental concept of sound .ow to function effectively within that state is developmental and ean be divided into smaller, learnable subegosls, Jacobs frequently talked about teaching the ant form of music, He states Performance is always being able tell a story in music, even at ‘the most elementary stage. The attitude must always be that of somebody imparting knowledge to somebody else, even while he is leaning” (in Frederiksen. 1996) ar that he viewed technique 1nd musicianship as being intrinsieal inked; thetefoe, performance is not only a combination of physical sills, hut emerges cxpression,o the abi oe 2 tn ‘sway of "imparting knowlege One can cy deduce that the player proces, and undesand st consid "f you want to enter this, profession, you have to do it as musician. I dont ike the word trombone player, trumpet player. or ‘tuba player’ know we play hese it artists, choose these particular instrument as a medium in which to express ourselves" [in Frederiksen, 1996) is muli-dimensional, how do we teach something so broad? The i the goal-oriented concept sel. The ' goa” of playing exactly play) requires mastery of many compost abilities, therefore, we cannot expect singing a target prs repeatedly and/ cor shifting one's attention to hearing sound will not AAs with any ski, lashing is stepwie and developmental; however. we ae to say true to Jacobs’ overall approach, the method International Trombone Association Journal / www.trombonenet —-33-Me by which we break it down must honor the idea of teaching through the goal. Thus, Wwe can structure leaning around sub-gols, and employ these composite capacities 3s temporary learning targets, pproaching, ‘them inthe same way as the larger goal cof teaching Unrough the musical eoncept Given the scope of musical expression, it follows that sub-goals must address ll omains—mental, emotional, and physical Holistic Teaching: Emotional Skills From a Song and Wind perspective, the primary goa s for te player to hear beautifl, expressive sound and forthe body to consistently produce that internat ‘cancept through performance. This fs both An eal anda natural state: the mind Is Tecused caltnly on hearing the target pase, the emotions are open and expressive, snd the body is ina state conducive to realizing the intended goal. in other ‘words, the mind, body, and emotions are synchronized and working together. From this perspective, “bad” playing s an unnatural state in which some element of this equation is out of balane. In Jacob's swords, "Al good teaching isa simplifying process, a weeding out of what is lunnecesary or distracting” (in Frederiksen, 1996) Jan Kagarce, professor of rembone at the University of North Texas, mirrors this idea, desenbing “blockages” within the players mind, body, or emotions that prevent the musical eaneept from emerging. (in Marston, 2011) Given tis, the teacher wishing to limplement a Song and Wind approach should focus on identifying and clearing ‘out whatever mental, physica, or emotional Impediment is preventing the student from hearing and relizing an expressive musical phrase. While this may appear to be an ‘unmanageable directive, observing student ‘behavior and applying abi of common sense goes along vay, For example, the ability to move ale outward and blow freely 0 that sound is consistently resonant is primarily a physical ssue; however fhe Individual lacks confidence, he/she will ‘be hesitant 10 commit, and the body will reflect this emotional state with tension, decreased air low, of hesitation, Similarly, ifthe players mental state isnot focused ton the sk a-hand—ie. blowing air—the process might be misdirected, resulting in fnconsisten oF inermittent performance, (Marston, 2012) In thei book Brasswind Arisry, Severson and MeDunn (1983) assert that positive emotional states ae crucial t0 International Trombone Association Journal / www.ttembone.net succesful practice. When young students bear music that inspires them, they naturally strive to recreate it This generates an innate desire to improve and practice becomes something exciting and desirable, rather than @ chore. The brain focuses on the Ideal target, the emotions ae inspired, andthe body i mobilized to the task, \Without this depth of experience, students are doomed to “lll away" and will rarely Find the type of synchronlzation that leads to goad technique. They state: “Unless the musical concept \sin the mind, you are merely stumbling around searching for the proper mechanical combination of ‘muscles, often without knowing i yyou are right or wrong until your Instructor tells you" (p. 22) This quote polats to both mental and ‘emotional dimensions within the must learning process. The player must know and understanding the musical concept, which contains both technical and expressive information, as well as hold it in conscious thought while performing, This isa multi- layered sal, We are not just executing, movements; rather, we ae thinking, feeling, and acting, and all ofthese capacities must Function cooperatively Research in the broader field of ‘education support the imporeance ofan ‘etnotional component to music-learing, Sefficacy, ofthe estent to which an individual believes their actions wil successfully produce the desired results ‘strong predictor of academic success and skil," or salle movers which ae learnable, but will contribute othe large gol AX this stage, the student works to translate verbal inszracions into movement and the process is necessary directed by conscious ‘thought. This ean be overwhelming, <0 the teacher should target ony small, incremental goals which the sudent can readily achieve (Once basic movements are leamed, gol Trombone Assoclation Journal /-www:trom stacing, or stinging movements together imo usable pauzms, becomes possible, Less coaching s needed at this stage and the student can begin to at independently, Once aeration or muscle memery is achieved, efficient movement has become a abit and temo longer conrolled through conscious ‘thought rather, nerve centers in the brain take over contrl and the player can initiate ‘movernent by imagining the desired outcome, Performers who remain in ths sate—te, a stat of nr-ttenton to specific movements — «an continue to improve almost indefinitely. (Sloboda, 1985; Bloom, 1986) Given this, while muscle automation isthe end goal, ts nat an immediate ‘or quick solution, Simply shifting the student's focus of attention co the desired musical product may improve peeformance ‘temporarily, butt will not immediatly lead to the mind-body connection needed fora fully automated state; therefore, goal: oriented leaning is developmental and must be supported by a meaningful, stepwise process tha ean accommodate the diferent learning styles of individual players. Ie catalogue some or ll ofthe ‘mental, emotional, and physical skills listed above, iis clear that goal-oriented teaching must adéress numerous capacities ‘within the larger category of Song and Wind, Loubriel 2005) discusses this using the concept of causation, meaning changes to ‘one area of goal-oriented performance wil facilitate complementary shifts in all others, ‘Upward causation occurs when component shall, such as ear taining, musicianship, or blowing ar, ae strengthened, and in turn generate improvements in the individual's ‘overall ability to function in a singing thought mode." Likewise, improving theFigure 1: A summary model for goal-oriented teaching Whats the student trying to do? a ‘What is interfering with that goal? Mental sls more ofrmation nedod? sls bete focus nesded? sconthe eudent ar the phrase eel? Emotional Doe th nt fel confident aking Physical stothe body inastate of release conducive to sts the body fees mave alr and generate sti of the player to engage athe ovr fal of hearing he sel pe wl fEiitate mproverens al component, Akl eta eect wich Loubrel eal Saweard causation of working fo op dow approach. Given this, aging ls right teste supped through niet tnens, by working witha complementary foal rater han dey olan the Sours ofthe glich ‘Viewing eaming in this way ie asa web of interdependent sil al of twhich relate back to the over goal of sri bein o formulate a ap Which chan the aus componens of singing thought mode "Fr example, focusing ona target phrase willbe of (eluding muse) and dsconered that ‘hey spent an average of 25-50 houre per (week for 12-16 years uly engaged hte ‘cy, Wile suc a level of mastery i ‘ot appropriate to the gol ofl exer, Ieiscler tat the most meaning Ising ‘mode isome in which the players actively ping glonented tinang the ask ff performance, ater han listening o = teacher explain how to move “This allows for multiple phass thin the eiching proces. Obrouty,sudens need cent types of undersanlngs in ‘ch oes on verbleton can dract From the goa-orened process and nrg the formation of misle memory Jan aie employs a mule tsehing As subg are mastered they should be alowed tl fom conscious tase edueaton has dented te concept ol proximal ous san flecve caching tool or promoting ongoing progress, student at earn by ding es sats, "The ability to lea is geste than the ability to teach, (in Frederisen, 1996) Sinmlssatene conte dieea‘RESDHMHOWach (een) ec spe at wheter oemesigsoud For EMHBE De aby wo am fom and eth al Sinptrinc hesiicentcnaacny SRSSCUDMSA AA A arene foreach tndbscomeced ns ‘SeToMAcametng Seca Room ETS pe ein wre Site tecmetytmatesteuta RYO ances ney i eco apostive outcomes because the student [Epresened with gals they can ace, Soboosing xlbconBidene i fortunate byproduct (Arn, 2006, Kennel 1992) “Through abseraton, tution, andor experience the exper teacher becomes ‘dep at honing non exactly where the sents and how much challenge wil oie produce lang while Triimicing tation. (Duke & Skanons, 2008; Maron, 2011) Prin gols at highly conducive to goal-onemedinstroction bese hey low the teacher to conceive of progress ‘see of interrelated bring tbs, each of which can be pastes {adully, whe sl courting to he overall product na postive way Foresample fa tudents srugling to reproduce pitch accurately, he teacher ‘hl ake step to detemine the Mahest loved of funtoning within the series of sub goethat re aceded inorder to produce tha al, Thi ay bea esc as Inching ich tthe plana or ae aeanced ‘singagthe pase im smaller chunks. tn inerense, collaborate disusion Le “king te student what hey doo donot Uindtstand—andlor cael oberon ‘the payers mannerisms, perfomance, ‘or serbl responses a all provide clues ‘Sto what pe of proximal goals woul be moa hep, Tal and ettor sao val strategy fone gal ast aiitate Iperesed undetsanding nd perfomance, the angt can be ete Sphied of made more cllnging, Fo the eacher, 2 ey question i: Ah momen, wht is jst Beyond ny stents cure! evel of fanaonng withthe pyc, mental, oF tmotoal rl a a caring? ‘AModel for Goal-Oriented Teaching Taken togeter, these 180 principles haiti aching and eaang through sub soleil lear eourse acon for mplementing some ofthe concepts which characte Sng ond Wind. BY Chyaging ne ser of gnostic questions, the tescher esn determine a goal-oriented or uporing theultimate product, bf singing through the born Figure 1 ‘provides low char fortis process, along ‘ith several examples of possible ses th tre sows with each aming domain “The pal ofthis approach is that vwe can stain he natal proces for Tein arity and creat for which ‘cobs Song atd Winds revered, while providing sadents wih acer path for improvement. Sting proximal sub goals which age he next logieal ep fa proces of golestacking provides 2 developmental, systematic ap for training the mind, emotions and body to tron synchrony wit the players ‘wn aii oie. Further, hs argets the need ofthe player so that leaning is individualised and adapabe allowing the teacher faneion asa guide and mentor. Given the amount of content ‘within the feld whic fcases on tas rite lsming, the conceps presented inthis acl may provide x meaning framework for discussing in greater dei he possible benefits and strategies Inherent o goal-oriented instruction, In cloang, 1 wish a convey that such ofthe pilsophical work behind this article ws inspired by in-depth thsetvations competed ducing 7 ‘doctoral diseration project, which focused on the teaching methods of Jan apace atthe University of Noch Texas Het thought, dynam approach to rusiomaking i both revluuonay and Fighly ellecrive- ANhough st snot possible to capture the al scope of her work in thisorany atte, tis my hope tha the ‘concepts presented here might prompt ‘testo Incorporate some aspects of {oal-ointedapprosch to bass pedagogy. Dr. Karen Marstons curently Profesor of Trombone ad Brass Chander Misco! Sov Jaci Cale Covrl in Pasadena, Tenge hehe completed both a decree Gand mat’ deren museca rom {Cumbia Univers, where se dieters research on moat eahing sates in the trombone sul, ad abs hols degrees tn rome pvormance rom toh Re Universy and he Univers of North Texas ‘She the ouding manera Arise Dwetor of Ot Bras ond currently resides se Moon, Texas Works Cited Artin, A. 2008), Sel fcr i: From educational hey 0 insuconalprace Univers of Connecticut any, 1, Hallam, 5.2002). Practice tn Parnet EA), ‘snc and pychalogy of ms performance: Create Sitges for each and arin (pp. 151-103). Cary, NC: Oxford University Press, Bloom, 8. (1986), dutomaisy: The hands and fe of genivs dual Leadership, 43, 70-77 (Clemons, M. (2007). Rapar inte apple vie suo, New Yor: "Unpublished doctoral disetaion, Teachers Coleg, Columbia Univers. Simmons, A. 2006), The nature of expertise: Naraive eseiption of 19 common elements abserved nthe Tess of tne renowned aristeachers. 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