Classical music appreciation begins early in life

By Laksmi Pamuntjak-Djohan

JAKARTA (JP): Western classical music has endured many misfortunes. In settings where it takes a backseat to traditional music or MTV, a litany of misleading terms like "elitist" and "high-brow" have been attached to it, making it seem pretentious, inaccessible, exclusive and expensive. In Indonesia, it is often equated with "background" music because many of our professional classical musicians -- starved of funding, adequate facilities, competent teachers and opportunities to perform -- are forced to make ends meet by playing background music in public places.

True, Western classical music has never been an integral part of Indonesia's culture, so one cannot really expect it to have carved a significant niche here. While the current official school curriculum here is not a vehicle for proper initiation into music, one needs only to look at MTV's Top Ten to get an idea of what mainstream music is. Many have never seen an orchestra perform or have the remotest idea what a conductor is.

But times have changed. Not for the best, to be sure, but encouraging enough for the future of classical music.

Grace Sudargo, head of the Amadeus Music School, observed that many people are starting to believe music is a skill they should equip their children with, besides being a positive, enjoyable and stress-reducing hobby.

They have come to realize that music is a potent vehicle for intellectual stimulation.

"For instance, the mechanisms of keyboard playing have been scientifically proven to develop both sides of the brain," Bambang Soemitro of Yayasan Musik Indonesia (Indonesian Music Foundation) said. "They also think that if their children are not very successful in their formal studies, they can always earn a living from teaching music."

As parents are undoubtedly told, classical music appreciation begins at home and it has to be introduced while children are young and at their most receptive.

Sie Swan Liong, a senior piano teacher, believes music appreciation comes from consistent exposure from an early age. "As children receive their earliest education at home, I have always encouraged parents to consistently play classical tapes to their children, to let them read about music, and to take them to performances." she said.

Babies

Indeed, a feeling for music resides in every child because they are sensitive to sound. Even as babies, they channel this sense through elementary musical concepts such as humming, cackling and clapping as a way of communicating with their parents. While parents often dismiss these gestures as inconsequential, they actually represent their children's feelings -- anger, joy or satisfaction.

One revolutionary method currently implemented by Heidi Awuy, Indonesia's first harpist and head of Bina Bakat Belia (BinBaBel) Music School, is to teach toddlers as young as 16 months the first stages of coordination, concentration and conceptualization through music.

"At such an age, children hear many sounds, but they don't necessarily listen to them. They don't know where certain sounds originate. My basic method is to connect sounds -- and later on, musical concepts -- with everyday things such as rain, a running tap, or a kettle boiling. Once the students have succeeded in articulating what they have heard, I introduce them to the sounds of different instruments."

Throughout this process, she uses many colored pictures, audio tapes and instruments to help develop the students' visual, aural, and motor skills simultaneously.

"I ask them to 'draw' the sound of a running tap. Most of them draw downward lines. This introduces them to the most elementary musical concepts," said Heidi.

"By the first year or so of learning this, many children come to realize that there is a natural connection between music and the things they do instinctively. For example, there would be no singing if there were no such thing as music."

Heidi's method is also based on fun.

"When children at their earliest learning stage enjoy what they do, they are motivated to learn," she said, "Furthermore, putting these kids in a group of 12 or so also encourages healthy competition."

The method's objective -- as opposed to the more orthodox rebarbative method, in which children as young as possible get burdened with the task of memorizing notes -- is to avoid the latter methods' tendency to quickly deem those who fail to learn their notes as untalented. It is also intended to be less intimidating to parents eager to support their children at home.

"Many parents don't bother to enroll their children in music schools because they think they have to be musicians themselves to be able to supplement their children's music education at home." explained Heidi.

But such an approach is clearly not everybody's preference. Much of the problem lies with parents' unrealistic expectations.

Sie Swan Liong lamented that many parents put tremendous pressure on their children. "They want a method that can successfully teach their children how to play Blue Danube by the end of their first lesson," she said, adding that the process of socialization requires time, but ultimately yields bigger rewards.

Today we still hear laments about people overwhelmingly choosing to learn piano over the many other different classical instruments. "It isn't surprising, given the lack of exposure to other instruments." Heidi said, "No wonder many children quickly grow to detest music lessons because they feel forced to adopt certain instruments which don't really appeal to their natural instincts."

Appreciation breeds dedicated students which creates good teachers. It also breeds funding which creates more opportunities to perform. But, because appreciation is a continuous process, several obstacles like extreme polarization and prejudices among musicians have to be addressed. The emergence of Top FM (Stereo 89.7 MHz), the country's first classical radio station, certain groups' ability to hold regular concerts, and the proliferation of good music schools are among today's encouraging signs.

And last but not least, there is the integral question of mentality. "Misconceptions, prejudices, and outdated fears are borne out of a deep-seated mentality," Grace said, "That's why the most important part of teaching for me is to shape good characters. After all, music is a mirror of one's soul."

Laksmi Pamuntjak-Djohan is a pianist.