The Adult Advantage
by Linda McCloud-Bondoc
We’ve all heard of the music teachers who think that students are incapable of learning music past a certain age, ones who will not even teach adult students. And we all know of the 9 year old down the block that seems to learn new music as easily as breathing. So are there any real advantages to being an adult learner of music? What, exactly, do we bring to the table when we take up or return to the study of music as adults?
To find out, I sat down with three highly experienced and talented teachers and asked them about adult students’ strengths and challenges. What I learned was that in the teaching community, many teachers of music agree that there is something special about adult learners of music. They understand that, given the right kind of instruction—instruction geared to adults—and the right teacher, that adults will flourish in their studies and will bring a maturity and nuance to the music that younger students have yet to develop.
Kay Alexander has been teaching music for over 30 years, and suggests that adult learners have many advantages over younger learners, especially when it comes to motivation. “Adults are learning because they want to,” Kay explains. “There is no parent or group to please. It is usually something they always wanted to do, but for some reason, couldn’t, so just having lessons is a prize.” From a teacher’s point of view, this built-in motivation means that students will likely come prepared and not have to be nudged constantly to practice.
Rhona-Mae Arca, owner of Musespeak studio and a piano teacher since 2001, agrees that strong motivation is a strength of adult students. “Adult learners face the constant struggle of trying to carve out enough time, energy, and focus in their schedule to practice consistently…(but) in spite of the challenges, they are, in many ways, more committed than their younger counterparts.”
However, this motivation comes with a great deal of self criticism and impatience to achieve goals. So says Jennifer Aumentado, owner of Imagine Music Studios, who has been teaching for 40 years. “People have limiting beliefs, and nowhere do they come out more strongly than when learning music. This means that you have to learn about yourself (as a learner),” she says, as well as the discipline of music—no easy task.
Kay agrees. “Adults are notoriously mean to themselves,” she says. “They criticize their progress regularly, and as a teacher, I have spent as much time cheering them on to counteract this as I did in teaching them musical skills. Even people who logically realize that learning is a process have very little patience with themselves.” This means that adults might do things that actually impede their progress, like pushing too soon to polish a piece simply because they know what it’s supposed to sound like. At worst, it might mean they give up in frustration if they don’t learn to be kinder to themselves. “Don’t beat yourself up,” Jennifer advises. “It’s the same for everyone.”
Adult students also have to work harder at some aspects of their musical training than much younger students. “For instance, it might take more time to lock things into muscle memory,” Rhona Mae explains, which again, means that adult students must be patient with themselves. And some adult students also might also encounter physical limitations, like reduced dexterity on their instrument, as compared to younger students. Or they might be dealing with health issues. “I taught a student once who was blind, and we had to adapt all of his practice and playing to account for the fact that he couldn’t see,” Jennifer recalls.
However, both she and Rhona Mae are quick to add that neither physical limitations nor even health problems need to stand in the way of learning music. “Sure, it may take adult students longer to master, say, two note slurs, than their 10-year-old neighbour,” says Rhona-Mae. “But by setting practice goals and engaging in consistent, mindful practice, they’ll make steady progress.”
These unique challenges and strengths that adults bring to learning music means that it’s critical that they find the right teacher, one that can adapt to the student’s goals, needs, and learning styles. “I view myself as a passenger in an adult student’s vehicle, as a companion on their musical journey,” Rhona Mae says. “My instruction comes out more as tips, and recommendations for students to experiment with and make their own.”
Kay agrees that she has to bring a different attitude when teaching adults. “Kids are used to getting things wrong and being corrected, but if you are too open about corrections, some adults take it as criticism. They do better if you suggest changes and explain why it’s needed.” In other words, the “right teacher” is one that understands adult students should be more in control of what they learn and the speed at which they progress. It’s simple, says Jennifer. “Teachers have to let go of expectations and adjust to the students.”
This need for a more independent approach means adult students should consider much more than just academic qualifications when choosing a teacher. First, it’s paramount to find someone who is versatile enough to help adult students realize their particular goals.“If you want to play folk music, then look for someone who likes and plays that,” Jennifer advises. “If you want to perform, then find a teacher who performs and can help you to develop those skills.”
Kay agrees that teachers of adult students need to remain flexible. “The teacher needs to be open to playing the style that the students like and not get stuck on the idea that you need to do levels in proper order and follow a prescribed system.” She even goes so far as to say that learning notes are not necessarily required before students can learn a song. “Learn it by ear,” she says, “and start to learn notes at the same time.”
To find a teacher that fits well, it’s also necessary for adult learners to take stock of themselves—what they need—and to be aware of their own learning preferences, goals, and yes, even their own individual personality. For instance, Jennifer says adults should consider what kind of person they like to work with. Do they like things structured, or are they more comfortable with a looser approach that lets them ask questions at any time or select their own learning materials? They should also consider what kind of personalities they tend to mesh well with. Do they like “down to business” types or do they like to “warm up” with a little social chit-chat first? All of these things will influence how well adults are able to learn with their teachers.
“You should determine what your deal breakers are,” Rhona Mae advises. “For example, one of my adult students asked a mutual acquaintance to recommend ‘gentle’ music teachers. Another sought a teacher who shared the same faith as she did because that was important to her.” The point is that when choosing a teacher, it’s necessary for adults to consider what’s important to them—their musical goals, their personality, their values— before choosing a teacher that they very well might spend years with.
All of these highly talented and experienced teachers have so enjoyed working with their many adult students over the years that they all made a point of offering words of advice and encouragement for members of ALMSG and other adult learners.
Rhona Mae suggests that we remember all the strengths we bring to the table and the things that we are already doing right. “You have an active peer support group with regular opportunities for growth through meetups, recitals and master classes,” she says. “Continue to attend performances and listen to a variety of musical genres to inspire you.”
Kay wants us to learn to trust the music within us.“You know what you like and if it doesn’t sound right to you, change it so it does,” she says. Then discuss (with your teacher) what you changed and why. You will learn to a greater depth (this way) and develop true musicality better than you ever will by just following a book. I’m not saying ‘don’t learn to read (music) properly’, but learn the way you learn any other language.”
And finally, Jennifer advises that, for us adult learners, “progress, not perfection” should be our motto. “In the end, it’s about expression,” she says. “There is no such thing as perfection. It’s hard to let go of the things you didn’t achieve, but try to enjoy what you are creating instead of analyzing what you do wrong.” Easier said than done, as we all know, but to that end, she advises us to take time to enjoy the sounds that we create—to listen when we play. “Don’t lose sight of the ultimate goal,” she says, which is to create beautiful sounds.
