[From Seth Godin, Stop Stealing Dreams http://www.squidoo.com/stop-stealing-dreams]
Ge Wang, a professor at Stanford and the creator of Smule, thinks so. The problem is that people have to get drunk in order to get over their fear enough to do karaoke.
Ge is dealing with this by making a series of apps for iPhones and other devices that make composing music not merely easy, but fearless.
He’s seen what happens when you take the pressure off and give people a fun way to create music (not play sheet music, which is a technical skill, but make music). “It’s like I tasted this great, wonderful food,” he says now, “and for some reason I’ve got this burning desire to say to other people: ‘If you tried this dish, I think you might really like it.’”
His take on music is dangerously close to the kind of dreaming I’m talking about. “It feels like we’re at a juncture where the future is maybe kind of in the past,” he says. “We can go back to a time where making music is really no big deal; it’s something everyone can do, and it’s fun.”
Who taught us that music was a big deal? That it was for a few? That it wasn’t fun?
It makes perfect sense that organized school would add rigor and structure and fear to the joy of making music. This is one more symptom of the very same problem: the thought that regimented music performers, in lockstep, ought to be the output of a school’s musical education program.
It’s essential that the school of the future teach music. The passion of seeing progress, the hard work of practice, the joy and fear of public performance—these are critical skills for our future. It’s a mistake to be penny-wise and cut music programs, which are capable of delivering so much value. But it’s also a mistake to industrialize them.
As we’ve learned from Ben Zander (author and conductor), real music education involves teaching students how to hear and how to perform from the heart… not to conform to to a rigorous process that ultimately leads to numbness, not love.
Tags: stopstealingdreams
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