Music and Art

Tomoko sees a strong connection between music and art. She asserts: “Music and art are transformative and active.” She considers both of these creative expressions as active processes.

Both music and art draw inspiration from the close and familiar, the larger arena of life with its struggles and triumphs, and from the creator’s own imagination.

Both use a variety of tools in their creation, tools that they need to master over time. While both are creative endeavors, they also require much discipline in composition and execution.

Both draw from universal principles within their own field, and optimize the elements of their field. Interestingly, some terms are found in both fields. Rhythmic beat and symmetry are found in both fields, for example.  Tone in music encompasses duration, pitch, intensity and timbre or quality. Tone in art deals with light and dark values. But both fields use the term tone to express the mood of a piece.

Both meld intellect and emotion. While each field internalizes the technical aspects of composition (another joint term), the creators also externalize their own emotions– or capture the passions of those around them who inspire their works.

Both can move and impact their audiences as they reflect their times – or change society. Both fields can produce little known and ephemeral works, and both can produce enduring masterpieces.

Tomoko states that “music is powerful and never-ending.” The same claim could be made about art.

She also things that “art is a happy life. However, some push themselves too much so are not happy.” Again, the same cautionary tale can apply to musicians and composers. Just look at Mozart.

In any case, both music and art can inspire – yet are the result of much hard, disciplined and creative effort.

Folk Music That Binds and Frees

Tomoko considers folk music as the soul of a culture, and a musical inspiration for composers.

Music comes form humans, and human emotion – like spirit – is the same over the ages. “The most important thing is the performers’ emotional communication with the audience,” Tomoko asserts. She recalls attending a balalaika concert, where the audience was so swept away, that they called for an encore. Tomoko remarks, “I felt sorry for the performers, forcing them to do more. They had poured out their emotions in their concert.”

“Real music is everywhere,” says Tomoko. In France the churches hold concerts. “These events promote community, and people think about the after life,” says Tomoko. Music brings a community together as a common emotional language. With music and dance a community celebrates traditions that reflect and unify them’ “People experience heightened feelings, and the music follows.” Tomoko adds, “And music can bring all ages together.” She says,“I remember attending a music festival, and a 95-year woman sitting next to me said how much she loved music.”

Much of folk music is carried on from generation to generation vocally and through instrumental performance. Composers draw upon those tunes to capture cultural and values. Both Chopin and Bartok based compositions on homeland dances, and shared their musical heritages with other nations. Tomoko points out, “The folk inspiration fostered music that came from the heart, and yet how the composers built upon that folk music helped them express their own individuality.”

Folk music brings about a feeling of belonging, and helps share our identity.  It both binds people together, and frees them to be themselves.

Ageless Aspects of Music

Tomoko has loved music her whole life, and encourages people of all ages to enjoy music. She also has many examples of livelong engagement with music.

Tomoko has students who start taking piano lessons from her in their forties and older.  They are often working professionals, and they bring their work ethic to the piano. “They bring emotional maturity and dedication,”

Tomoko asserts: “Piano playing is good when you are 60 years old; you can even start after 70.  As long as you can move your hands, you can continue to play the piano. Tomoko remarks, “Playing also stimulates the brain, and keeps it younger.” Playing at an older age has other benefits too. “When you get older, you may find yourself repeating pieces,” says Tomoko. “They can be so beautiful, and give you warm memories as well as console you.”

Likewise, Tomoko knows musical performers and teachers who are in their nineties. Tomoko recalls Pablo Casals performing publicly at the age of 96. At that time, in 1972, one of Tomoko’s college friends was inspired by Casals, and flew to Arizona State University where he was playing a benefit concert to raise money for an International Cello Library. Tomoko went along with her friend, and met Casals at the airport. They spent a meal with him and his young wife, who was the same age at Tomoko.

 And even if people cannot play the piano, they can enjoy and appreciate piano performance throughout their lives. Tomoko remembers performing at the Carmel Bach Festival, and seeing many rich ladies sitting in the audience. One woman came up to Tomoko and said, "I am 95 years old, and I love music.”

Tomoko recalls another incident. “I remember an older lady who was a relative of the Gettys and on the San Francisco Conservatory of Music board. She enjoyed going to the  courtyard  at the old conservatory building and where she would trim the leaves and do a little garden maintenance. At the same time she enjoyed listening to all the music coming from the windows of the three sides of the building that overlooked the courtyard.”

Tomoko notes, “Emotion is the same, regardless of age. Spirit is timeless.”

Emotional Wasabi of Playing the Piano

Tomoko rightly says that the language of music is international and timeless. The keyboard is international. Similarly, emotions are universal: “In any language, feeling is the same: guilt, nastiness, courage,” asserts Tomoko; “emotion is same as in Egyptian time.” Furthermore, piano playing is an emotional experience, as Tomoko explains. She realizes the importance of emotion when practicing and performing. “I go with the feeling philosophy.”

“I love music,” Tomoko says. “I feel good because I can play well.” But Tomoko warns, “If you take piano lesson you have to be miserable. Every lesson has a challenge; one thing may be ok but you need to improve as well.” On the other hand, “When was I disappointed in myself, the piano could lift me high,” Tomoko remembers. She also advises, “Enjoy the challenge, and feel confident.”

Composers integrate emotion in their writing of piano music, and the performer tries to recreate that emotion in playing the piece. For example, compositions based on folk music often convey nationalistic pride.   “Think about The Star-Spangled Banner,” Tomoko reminds us. “Other music moves the listener to tears.”  She adds, “Liszt and Ravel translated violence.  Beethoven’s music conveys his emotion, which was so strong inside.”

As a piano teacher, Tomoko recognizes the impact of emotion. “A student’s first experience learning the piano needs to be fun. The teacher needs to be welcoming. She is opening the door to the world of music. The teacher is the passport.” Tomoko continues, “From day one the teacher needs to instruct with love with respect at any age. You need to be sympathetic.” By sharing her passion for music and the piano, and care for her pupils, Tomoko lays the emotional groundwork for student enjoyment and perseverance when playing gets tough.

Tomoko concludes, “If there are no emotions, why play? If you have no interest, do not share. Without feelings, you are missing wasabi.”