Cross-cultural communication in the music studio

American Music Teacher, August-Sept, 2002 by Kenneth Williams

For musicians, the individual attention of applied instruction and solo performance takes on a different meaning for students from these two fundamentally different cultures. The notion of expressing oneself through musical performance and individual interpretation must be considered in a cultural context, especially when one's culture might promote conformity over individuality. Some students may feel uncomfortable accepting praise for a solo performance or even for good progress in their practice. Some may view those feelings as false humility. Other students need recognition for their unique talents that may distinguish them from their siblings.

Power Distance or Attitudes toward Authority

Culture affects our attitudes regarding the degree to which we accept inequality in power as normal. Hofstede calls this dimension of culture "power distance"; (3) others might call it reverence for authority. Power distance separates the old from the young, managers from employees and teachers from students. In some cultures, persons who hold authority consider their subordinates to be very different from themselves and vice versa. The extent to which we are conscious of our roles is a manifestation of culture. In cultures with high power distance, a wide gulf separates teachers from students; in cultures with low power distance, persons can move easily among different roles, acting as a superior in one situation and a peer or even a subordinate in another. In these cultures, teachers must earn the respect of their students rather than presume respect would come with the position. Students from high power distance cultures would never question or challenge the teacher's views.

Along with respect for teachers, there are high expectations for teachers in high power distance cultures--teachers are expected to have all the answers. This can be problematic in situations where the teacher from a Western culture might use the Socratic method or discovery learning. The teacher would ask questions leading the student to new insights or discoveries. It would seem very strange for a student from "high power distance" cultures to have a teacher ask a question when the answer might be obvious; the teacher is supposed to have the answers, not the questions. Likewise, students from "low power distance" cultures might be reluctant to trust the teacher's way as the right or best way to solve a problem until he or she is convinced the teacher is correct.

This cultural dimension makes it particularly difficult for young teachers in training to participate in peer teaching exercises. To assume the role of teacher means to take on great authority in some cultures and can make students uncomfortable. International students holding positions as teaching assistants often are appalled at the lack of respect they receive from American students.

Virtuosity versus Creativity

While training performing artists, teachers cultivate both artistry and skill. Pianists invest time and energy in developing technique and analyzing scores, but an artistic performance must have a unique and personal contribution from the performer. All musicians work toward a balance between the demands for virtuosity and creativity in their performances--an ideal blend of personal interpretation within the limits of style, good taste and technical mastery. Each teacher chooses whether to encourage freedom or control in each student depending on the individual's needs and development level. The relative emphasis a teacher places on skill development as opposed to artistic freedom and self-expression is a function of both individual and cultural values.