Motivation is a slippery thing. Most people can recall an unfulfilled ambition or dream – a time when you knew what you wanted, what to do to get it, and… you didn't do it. Perhaps you never got started, or perhaps you began with a bang and then petered out.
We can also think of things we did achieve – painting the kitchen, passing an exam… but why do we work at some things and not others? Today I read about the incredible Sarah Thomas, who swam the English Channel. And back. And then immediately did it again. Thomas, a breast cancer survivor, said it was the thought of all the cancer survivors out there that kept her motivated.
Most MT readers are not aiming for a double Channel crossing, and have our sights set instead on becoming better teachers and musicians. Many of our pupils are adults – the 2014 Making Music report carried out by ABRSM and partners gave a figure of 2.5 million UK adults having instrumental lessons. Each will have their own combination of motivating factors, their own practice routine and their own aspirations.
I live in Bristol, a city bursting with music-lovers and music learners, and it wasn't hard to find adult music students willing to discuss motivation.
Moving forward positively
For many, learning or returning to an instrument was, as with Sarah Thomas and her superhuman swim, a way of moving on from illness or bereavement.
Trumpeter Mark Stanley told me: ‘An old friend died after a long illness. As well as being a professor of astrophysics, he was an accomplished flamenco guitarist. Many people didn't know about his music life – I've long felt that when someone close to you dies, you should honour them by taking something from their life into yours. His advice was – get the best teacher you can. That's what I did.’
Everyone I spoke to had strong internal motivation but needed the routine of lessons and feedback from a teacher in order to keep up momentum. ‘It's the only way to go’, said Stanley.
Guitarist Jonnie Raynes said: ‘I wanted structured learning, direction to how I practised, specific tips on issues that I have been struggling with – and of course you don't know what you don't know’.
Taking ownership
The idea of ‘doing things on my own terms’ also came up repeatedly. Violinist Sophie Blume said: ‘I think as a child you're just trying to get through the lessons, do what you're told and somehow you acquire this “mysterious” skill, whereas as an adult, you're more pragmatic and think, right, there must be a structured practical way to learn this – and you actually ask the teacher. I go into lessons with a set of questions and aims.’
Occupational therapist Nicki Townsend, an adult beginner, said: ‘As a part of my job I promote learning new leisure skills to encourage a healthy life balance. I guess one of the reasons I decided to learn the ukulele was to practise what I preach!’
She continues: ‘My motivation to continue was definitely not that I have lots of spare time to fill. I have a job, a family and run a BnB. I loved the fact that pretty quickly I was playing an instrument! For the first time in my life – and I was playing tunes. My motivation came from a fantastic teacher – we share a love of punk and 80s music.’
Townsend is not the only student fitting lessons and practice around a busy work and family life. Violinist Claire du Heaume told me:
‘I have two young kids so I don't get much time to myself. This is a good way to make sure I get some time to myself each week, plus it's a complete escape from the stress of work, and I'm using my brain in a different way.’
NHS doctor Melanie Merricks, a flute player, experiences similar benefits: ‘It's the satisfaction of developing a non-work-related skill… it's a great way to de-stress as I find it almost impossible to think about anything else when I am playing – it really contributes to work-life balance.’
Getting organised
So, what about practice? Everyone I spoke to had a different take. Dr Merricks described what works for her: ‘I make practice a habit, the same part of the day, every day. I come home from work, get changed, cook and eat dinner, then I go and practise. My family have got used to this so it is what they expect. Mornings before work wouldn't suit me as I am so not a morning person!’
For others, separation is needed – materials scientist and pianist Noel Briscoe told me: ‘It's easier now I'm approaching retirement, but on working days it's impossible to get fired up. My mind is buzzing with other things, or I'm tired.’
City living can be a problem. Raynes said: ‘Before work would disturb others too early; so it has to be after work, and sometimes I'm just too knackered, but I'll try to do one or two nights and then a longer practice at the weekend.’ For Raynes, practice is often its own reward: ‘I love playing music and the sound of the instrument… getting to play stuff that I love and immersing myself in the sound.’
Tangible progress
Most of the players I spoke to placed great importance on technique acquisition, seeing no contradiction between that and ‘playing for fun’. ‘I'd got as far as I could alone and needed loads of input on, for example, bow hold. There's a lot I'd forgotten and even more that I was never taught. We've done loads of hand shifting exercises that I didn't know existed. I also do scales every day’, said Blume.
Sarah Tauwhare plays flute and mandolin. ‘I notice that improvements take weeks and months, hence it's best to have a long-term mindset,’ she told me. ‘Once the technique is there, playing pieces becomes much more enjoyable’.
Some students enjoy taking grade exams and describe achieving a distinction as one of their proudest moments, while others use the syllabus to measure their level without actually taking exams. Several placed importance on ‘staving off dementia’ rather than passing exams, while others had a desire for a certificate as evidence of their hard work and progress.
Everyone I spoke to described the pleasure they get from group music-making – it was often the biggest motivation of all. They told me about playing in folk groups, bands and orchestras, singing in choirs and taking the stage with Bristol's fantastic Fantasy Orchestra for technicolour versions of Beyoncé, Bollywood and Bowie.
One of the best things about teaching adults is the fact that they all want to be there. The students I spoke to were full of praise for their teachers. Our job is to meet the learner where they are, find out where they want to go and work together to get them there – whether that's a favourite tune, a diploma or the main stage of a festival.
