In The Inner Game of Music, Barry Green has a great chapter on integrating the analytical and intuitive sides of the musician’s mind.
Some musicians play from intuition, searching for expressions of beauty, passion, shock, sadness, and joy. The intuitive performer sometimes sounds sappy, gushy, corny, or sloppy because pitch, rhythm, and consistent control are not his foremost concern.
Other musicians are analytical, focusing on playing the notes correctly according to the marks on the page. The extreme form of the analytical musician functions like a musical robot, turning out sounds mechanically while suppressing all creative, human, emotional output.
Most musical kids grow up in the analytical path. They are scolded for inventing noises and improvising on their instruments. Band practice is about playing the correct notes and watching the director. Some kids sit there hardly making a sound so they will not get yelled at.
The intuitive kids are the ones who teach themselves how to play guitar or piano because they are fans of so-and-so. Sometimes there is a pride in being sloppy and untrained. I have met musicians who brag about not being able to read music and not even knowing the names of notes.
The struggle between intuitive and analytical can lead to performance problems. For example, imagine a musician is very intuitive when practicing. She enjoys practicing, enjoys exploring the music, and feels satisfied with her progress in getting more comfortable with her material. But when a performance comes along, she suddenly feels panic. Her analytical mind starts taking over, fueled by a sudden nervous surge of on-stage excitement. “How does that piece start?” “How fast should I play that thing?” “Am I playing that high part in tune?” It’s like having a committee meeting where one important member is brought in at the last second for a vote, but that member complains, “I don’t know what we’re voting on!”
Performance problems can come up for the analytical musician as well. SShe practices precisely, plays with sharp focus, good timing, and the correct articulations. When a performance comes along, she faces her intuitive mind, aroused from its hibernation by on-stage excitement. “What are all those people in the audience going to feel?” “Am I really ready for this?” “What if I sound boring?”
When practicing, notice which area you tend to emphasize. Are there ways to balance the analytical and intuitive sides in your practice?
Think about one of the music teachers you have had. Did that teacher have an emphasis on analytical or intuitive? Or did the teacher show a balance between the two, providing both structure and spontaneity?