Psicologia Dinamica 2009 the Music Teacher in Stress Prevention

8/3/2019 Psicologia Dinamica 2009 the Music Teacher in Stress Prevention

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Th hhe music teacherand the stage-stresnd the stage-stresprevention forfyoung musiciansDr. LUCHIAN IONESCULect univect. univ.FACULTATEA DE ARTE


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The expert teacher in musical instrument training plays a

primordial role in the young, prospective music interpreters

development for the stage performance. Most of the time, here resents a role model worth emulatin re ardin on-sta ebehavior, professional and artistic preparedness, and musical andinterpretative posture. His disciples must nor only respect him, but

pedagogical success and contribution to the psychological andemotional development of his pupils.

2L. Ionescu,The music teacher and the stage-stress prevention2009www.dynamic-psychology.eu


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The teacher must also be a trustworthy confessor; he raises

the students self-confidence, encourages him as often as needed,

and fosters his capacity to overcome the emotional barriers andsta e ri ht. It is his task to select the re ertoires level o di icultand complexity that will depend on the age of the young artist, hisartistic endowment, his heath condition, his technical ability, his

,memorization; only he decides when and where the stageperformance will take place.



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In all regards, the musical instrument teacher must provide

pertinent advice to the emerging little artist by featuring judicious

and personal examples, by advising his student in accordance withhis vast ex ertise in the ields o s cholo and eda o . Theintimate, soul-mate like relationship of the young interpreter withhis teacher is of the utmost importance. Thus, the student will

,psychological supporter in the audience. Drawing upon his ownstage experience and pedagogical tact, the teacher will avoid at all

,marred by negligence, lack of satisfaction or insufficientmotivation. All these factors will estrange the student from futures age ac v y.



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We are of the opinion that the musical training of

prospective interpreters and especially specialty training for a

specific instrument substantially contribute to the prevention of themani estation o sta e ri ht. For these reasons the teachers roleis decisive for the young, musical instruments playing virtuosointerpreters. First of all, the instrument teachers are expected to

perception and in-depth understanding of the psychology ofchildren and adolescents encompassing all age and temperament

.didactical success is his or her love of children, his keen interest,enthusiasm, and optimism in promoting on stage his studentswor , ap u es, an ar s c eve opmen .



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Educating the young, prospective musical instrument

playing interpreters is a heart wrenching, difficult ob, but at the

same time noble, interesting, and full of satisfaction. The teacherachieves his ro essional accom lishment and lives his creativepotential through the experiences of all those he teaches thiswonderful career of music interpreter and elevates them to

.disciples, who follow in his steps of artistic achievement andinterpretative accomplishment that the teacher gains artistic

.



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The straightforward, intimate relationship between teacher

and pupil confers the former a wide array of opportunities to know

and influence the future soloist not only in the realm of musicalinstruction but also or ac uaintin himsel with the u ilsgeneral musical understanding. Apart from a rich, well roundedgeneral education and musical expertise, the musical instrument

willpower, self control, perseverance, accuracy and punctuality, asense of responsibility and love for hard work, in order to request

-from his students.



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All these positive character traits enable the teacher to

inculcate in his students the ethical values of love for art and

diligent work, seriousness in their professional growth, thusrotectin them rom chasin a ter sel rati in success or bein

tempted by small-minded goals, or by superficial showy effects andmannerism that do not impact upon the superior musical

.



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The teacher must know how to penetrate into the young

musicians consciousness to model and transform it with a view to

attaining the utmost musical and interpretative accomplishment.Bein aware o his or her students stren ths and weaknessesdemands an acute spirit of observation on the part of the teacher.If he succeeds to carefully keep the students weaker skills and

,reveal the stage performing skills of the young musician in such away that he permanently feels supported by a positive,

, .



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Works of art(in order of apparition)

p.2 Giovanni Domenico Tiepolo, A Dance in the Country, 1755;p.3 Mikhail S. Ombysh-Kuznetsov, July, 1996;p.4 Joachim Tielke, Cittern, 1685;

p.4 Conrad Graf, Fortepiano, 1838;p.5 Jean-Baptiste-Joseph Pater, The Fair at Bezons, 1733;

. , ,

p.7 Sir Edward Burne-Jones, The Love Song, 186877;p.8 Tang dynasty (618906) Seated Female Musicians;

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Family, 1750.


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Psicologia Dinamica 2009 the Music Teacher in Stress Prevention