Self-Identity

               To play the piano well requires strong self-identity and sensitivity to the composer’s identity.  Tomoko exemplifies that concept and helps her students to gain those same habits.

               Tomoko wanted to develop and share her playing skill beyond her opportunities in Japan. She came to the U.S. with little money but a strong self-identity and sense of dignity. That belief in herself led to her academic and performance success. She was even offered a job to teach at the Conservatory: the first Asian and second woman at that site. At her graduation ceremony, one European faculty member claimed that the Conservatory “rescued” Tomoko. In response, Tomoko protested – to protect her self-identity, even though she knew that her action might jeopardize her job offer. “I was so strong,” Tomoko recalls. She was vindicated, and not only secured her teaching position, but still teaches there as a highly respected member of the faculty. She comments, “I got my confidence from my knowledge and skill.”

               When asked what motivated her to compete from early in the States, Tomoko replies, “It’s another challenge. I make an extra effort. It’s my personality. I cannot leave that part of my identity out.” Tomoko advises, “Life is very short. We need to take opportunities to grow.”

               Tomoko instills that spirit of self-identity and dignity to her students. When she interviews a new potential student, she can tell the students’ qualifications and attitude: their musical identity. Sometimes she performs a short piece and asks the student, “Can you tell who is the composer?”  In that way she can discern if the student has a musical ear, or has listened thoughtfully to the classics. “Talent is like a sense of taste.”

               Tomoko believes in effort, and helps her students gain discipline and become strong. She challenges them to draw upon their inner strength, and reinforces their efforts: “You are doing a good job.” She knows that hard work can bring joy and pride, which builds character and dignity.

               As noted above, Tomoko’s knowledge about composers is another aspect of self-identity. If the piano piece includes lyrics, Tomoko asks students to read and interpret the words first. “What is the lyricist trying to say,” she asks. Tomoko explains, “The composer writes to fit the lyrics, or vice versa.” Each person expresses his or her self-identity, drawing upon each other’s expression. Likewise, the pianist expresses his or her self-identity through the music. “You must be true to the composer. You are their interpreter,” Tomoko tells her students.

               A quality piano performance showcases both the composer’s identity and the pianist’s identity. The performer is true to the music, and that respectful dignity shows. That is certainly the case for Tomoko.

I Have Confidence

Confidence is an important element in playing the piano, and Tomoko tries to instill confidence in her students. She knows, “Confidence comes from talent. If you have talent but no confidence, then there is nothing.”

It must be noted, though, that confidence without talent or effort, is insubstantial. Confidence is best when you have true pride in your own effort and results. Accordingly, Tomoko says, “I got my confidence from my contests.” She challenged herself to do her best, and she could hear and see her competitors  in comparison to her own performance. Furthermore, professionals judged everyone’s competence, so there was expert validation. Tomoko also received validation from people who gave her scholarships to continue her studies. 

Not that confidence is always there. “Just before performances, I ask God for help,” says Tomoko. “Back stage is horrible and stressful.” However, Tomoko has a higher aim: to communicate the expression of the music. “I hope that the audience gets it.” That communication during the performance takes super energy – and shares it with the listeners. The preparation and the wish to communicate the composer’s creativity brings forth self-confidence. “The spirit is great,” confides Tomoko.

Sometimes it is hard for people to feel confidence about their own playing. Tomoko tries to give them that confidence to persist in their efforts so that they will master the music and be justifiably proud. It is not only the end that is important, but also the means that make up confidence. Tomoko shares her strategies. “I tell them that they can make it. I say that I was worse than them to trick them into keeping on trying. They just need confidence. They never say, ‘I want to quit.’  They want to make me proud.” This approach also shows Tomoko’s self-confidence as a teacher – and rightly so.

Growing Strong Children Through Music

Sometimes parents can over-protect their children. They may be afraid of life’s difficulties, and want to shield their children from such dangers. Or parents might under-value their children’s own capabilities. Tomoko asserts, “But kids are strong,” and she shares her thoughts about helping children become strong individuals.

“I sometimes see children come to my studio who are shy or scared,” Tomoko admits, “but I help them find their inner strength.” She will say to them, “Don’t you think you are as good as your peers?” She says as evidence, “They end up doing find when they perform.”

On the other hand, sometimes a child – or the parent – wants to choose a masterful piece of music, such as a Liszt concerto. They want the status of playing such a composition, but it might not be appropriate at their stage of development. “Their motivation may be to show off,” says Tomoko, “but they will be miserable.” Instead, Tomoko asks the student to try it for themselves. “Then they recognize for themselves what is really involved.” If they really want to put in the effort, Tomoko tells them, “I will prepare this piece for you.” Tomoko explains each part, and then they agree on doing the hard work together.

“It’s important to help young people keep their confidence.” Tomoko goes on to day, “If a piece is 35% challenge, that is OK. 90% challenge is not good.”  If a child ‘folds’ from too much of a challenge, then it is wise to stop and choose another piece.” Tomoko says, “The important thing is to keep running, to keep playing and concentrating and learning.” This coping skill is just another way that Tomoko helps the child grow strong: through a balance of support and challenge.  

Tomoko concludes, “And when students succeed through their own hard efforts, they are so proud of themselves.”