Our educational system often operates with the limiting belief that growth and achievement are testable and measurable. When this mindset takes hold of music education, we set a high bar for conformity and proficiency, but lose sight of artistry, expression, and courage.
Fear and anxiety are the biggest roadblocks to creative music making. The good news is the right strategies can ease the most profound phobias.
(Warning, there are a few swears. And I was a bit over-caffeinated, so I was talking much faster than usual.)
I created a Creativity Triggers for Musicians Facebook group to connect readers and creative musicians all over the world.
Of course, our most important connections are playing music together in real life. The value of a digital community is that we can:
– Connect with musicians across the globe
– Share music
– Ask and answer questions
– Find collaborators
– Share insight and resources
To create and perform great music, we need to connect with other people. Our creative practices are often stuffed into a practice room, isolating us from our peers. If we can break out of that sense of isolation, we can create more and connect with wider audiences.
– Kaley Lane Eaton, composer, vocalist, multi-instrumentalist
Download a free digital copy of my new book Creativity Triggers for Musicians. See you in the Facebook group.
Download a free digital copy of my new book Creativity Triggers for Musicians.
Creativity isn’t a mysterious or magical gift. It’s a practice.
Creativity Triggers for Musicians will help you express your unused creativity, break through barriers, and create an abundance of original music.
– Eight creative practices that underpin idea generation in any creative discipline.
– Creativity Triggers: frameworks for improvisation that draw from creative practices. These are similar to improv theater games and creative writing prompts.
The trap of perfectionism keeps us from making the impact we seek.
Endless polishing and tinkering is one way we hide from emotional risk. We may tell ourselves that if our work is perfect, it will be immune from criticism. I know a jazz musician who has been working on his first album for over ten years because he wants it to be perfect. Insulating ourselves from risk feels safe in the moment, but it keeps our original contributions bottled up inside.
Self-evaluation is indispensable for making progress, but constant self-criticism can sabotage our performance on stage. I’ve struggled with this for years, and performance psychologist Dr. Noa Kageyama helps us identify and take steps toward solving this nagging problem.
I know many musicians struggle with a common problem—they have a vision of where they want to go, motivation to practice today, but don’t know how to bridge the chasm.
Flow becomes an alternative path to mastery, sans the misery. Forget 10,000 hours of delayed gratification. Flow junkies turn instant gratification into their North Star—putting in far more hours of “practice time” by gleefully harnessing their hedonic impulse.
– Steven Kotler, The Rise of Superman: Decoding the Science of Ultimate Human Performance
We’ve been telling ourselves the wrong story about practicing music.
Practicing is like a job. We need to subject ourselves to tedious work in isolation to achieve future results. The most successful musicians have the work ethic to slog through the most hours. Those who succumb to instant gratification are lazy, undisciplined, and destined for mediocrity.
Sound familiar? This story is the source of frustration, guilt, and self-doubt among countless musicians.
We can tell ourselves a different story. This new story is more joyful, fulfilling, and effective for attaining mastery.
Surfer at Mavericks. Photo courtesy of Flickr/jacobovs
Stop trying to beat everyone else. True success is creating work that no one else can replicate. Don’t aim to be the best—aim to be the only.
When you’re truly unmistakable, the competition becomes completely irrelevant. You’re not the best option, you’re the only option
– Srini Rao, Unmistakable: Why Only Is Better Than Best
Keith Jarrett doesn’t have any competition. If you want to hear Keith’s play live, there is no substitute for the man himself. Wayne Shorter, Esperanza Spalding, Bill Frisell, Roy Hargrove, and Pat Metheny are have carved out their own categories. They are unmistakable.
Are these musicians objectively the “best” at what they do? It’s an irrelevant question. These renowned artists have stepped out of the world of measurement into a universe of possibility.