There are hundreds, if not thousands of music competitions around the world, ranging from small local competitions to the high-stakes “career-launching” variety like the Van Cliburn or Tchaikovsky competitions.
The question of whether these competitions are ultimately good or bad for both musicians, the industry, and the art itself have been debated for years. Like any complex issue, both sides have some valid points (here’s one person’s take, complete with fun anecdotes and corresponding links to some cool historical recordings).
So which is it?
Good, because competitions build mental toughness and prepare musicians for the competitive reality they are heading towards?
Or bad, because competitions squelch creativity, and are detrimental not just to the development of young artists but to the evolution of the art itself?
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Have you ever driven to the mall on a cold wintry weekend morning with two screaming toddlers in the backseat, and circled around the parking lot fervently hoping for a parking spot near the front?
And have you ever noticed that as soon as you give up and resign yourself to a crappy spot near the end of the row, get out of the car, and strap the kids into the stroller, the perfect spot opens up right by the entrance?
This sort of thing happens all the time – and not just in parking lots. It actually hints at a curious principle that can help us handle high-pressure performances and auditions more effectively.
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Most often, the stories we hear about confidence are the ones where the athlete (or musician) was certain that success would be theirs. Where they went to the Olympics (or the big audition for principal trombone) absolutely convinced that they were going to win.
That kind of confidence is nice, and it can definitely be an asset in tough high-pressure situations. But if you are having trouble finding the self-assured uber-confident hotshot within, don’t stress out about it too much.
Why not?
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I recently had the good fortune of hearing an Israeli conductor by the name of Itay Talgam give a talk on leadership. He has taken what he knows about leading from the podium, and uses conducting an orchestra as a metaphor to help spark new insights about leadership in the business executives and government officials he works with (ranging from the CEO of Chanel to the Mongolian Parliament).
Watch the following TED video which provides a glimpse of his ideas.
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There is, undoubtedly, a certain standard of excellence that must be upheld. A command of the mechanics of playing one’s instrument. A deep and nuanced understanding of the vocabulary, grammar, and language of music. An appreciation of the point of it all.
But in a day and age in which the level of technical musicianship is higher than it’s ever been, what if we are reaching a point of diminishing returns? After all, how much more is a listener willing to pay for a performance that is 2.4% better in tune, has 3.6% fewer botched notes and 1.9% cleaner sound?
I think on some level we all know, that whatever our instrument, whatever our profession, technical excellence is a necessary but insufficient pre-condition for success.
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