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Providing Constructive Criticism in Music

Module by: Catherine Schmidt-Jones. E-mail the author

Summary: Constructive criticism is specific and includes positive as well as negative comments. All elements of the music should be considered, but attention should focus on fixing one "problem" at a time.

Introduction

One of the most useful ways to help music learners is to offer constructive criticism of their performances or creations. Music teachers who are actively overseeing the development of students as performing or creating musicians should include critique as a standard part of lessons or classes. Systematic, thoughtful self-critique is also extremely useful to the music student. In rehearsals, workshops, and other group situations, critiques from peers can also be very valuable, but only if group members understand how to offer constructive criticism. A critique that is offered clumsily, carelessly, or in the wrong spirit can be harmful to the student's development. This module includes a number of suggestions for creating positive, useful critiques, including:

Analyzing the Offering

  • Focus on a particular offering such as a recent performance, a composition, or a piece prepared for a lesson. A general critique of a musician's present abilities is usually too vague to be helpful, can be experienced as a personal attack, and should be avoided.
  • Feedback should be as immediate as possible - The memory of specific aspects of the performance will quickly fade and get confused with other events. Giving feedback while it is fresh will ensure both that the critique is accurate and that the student will have a clear memory of the performance that led to the feedback. If feedback cannot be immediate, take notes and offer it as soon as is reasonably possible.
  • Creative works are best experienced by the critic. The weaknesses in creative work (composition, arrangement, and dance choreography, for example) are much easier to hear (or see) in performance than on a written page. Unless you have a great deal of experience analyzing written music, try to arrange for a performance or recording.
  • Separate personal preferences from generally-accepted practices - It is OK to mention your personal preferences, but make it clear which parts of your critique express personal preferences and which are shared by a more general music community. (For example, "I prefer a bold and brassy tone quality on this type of piece; let's work on producing that, and see whether you end up preferring it, too." or "I love Latin dance genres, so I like the salsa rhythms in your composition and would like you to consider adding more elements of that style.") This shows some respect for the student's own musical preferences, but also makes it more clear that your other suggestions are not merely personal preferences but reflect standard practices within a particular music tradition. It is reasonable to insist that the student perform or create in line with your preferences in the context of class, lessons, or group performance, but it may not be reasonable to insist that she agree with or permanently adopt your preferences or your music tradition.

Self-Critique

  • Encourage self-critique - The ability to self-critique is an immensely useful skill for a musician. Individual practice time becomes much more efficient and satisfying as the student learns to identify and fix problems without help. All students should be encouraged to practice critiquing their own work, to the extent that their maturity and developing musicianship allows.
  • Teach critical listening as a general skill - To help students develop critical listening skills, assignments should include listening to live performances and recordings and describing what they hear, what they do and do not like, and what they think might be an improvement.
  • Teach self-critique - Beginners may not be able to do this at all. It takes practice for a student to be able to perform and listen critically at the same time. It also takes practice to step back from one's own creation and evaluate it objectively. Teachers and colleagues can help by providing good critiques, along with appropriate commentary on the purpose and process of the critique.
  • For best practice, self-critique precedes teacher critique - Have students critique their own work first, including specific positive and negative comments and possible solutions, before they hear comments from others. This gives them real practice in self-critique. This also can provide useful insight for the teacher. Helpful fixes depend in part on whether the student is unaware of a problem, or aware of it and unable to fix it. Your comments can then include a critique of the student's self-critique, noting for example when comments are accurate and useful and when they suggest that the student is not hearing the performance accurately.
  • Demonstrate self-critique - A confident teacher can demonstrate self-critique. Present a performance or composition for the student, and then critique it honestly, including describing the steps you would take to improve it.

Positive Comments

  • Include positive comments in every critique - Beginning a critique with at least one positive comment acknowledges the student's efforts (which encourages continued effort); gives the student concrete, personally-experienced examples of how to produce something that is considered "good" or "acceptable" or "improved"; and underscores the fact that the critique is not an attack.
  • Be honest - False positive comments are dangerous because they can reinforce poor practices. If you cannot find anything positive to say about a performance, either listen more carefully or consider where the student was several months ago (you can say something is "improving" without saying that it is "good). See Elements to Critique for a list of things to listen for. If the student has not spent enough time preparing, see Helping the poorly-prepared student for suggestions.
  • Be specific - Anyone can say "good job" or "that was nice;" there is no real information in such statements. Specific positive comments from a knowledgeable teacher or colleague, such as "your tone quality was better that time" or "nice staccato" help reinforce good habits. Young or inexperienced students, in particular, may not be able to tell, without help, which types of efforts are producing the desired results. Specific praise can also help keep comments honest, for example, "your rhythm in the first eight measures was correct."

Negative Comments

  • Don't overwhelm - Unless you are a contest or audition judge and it's part of your job to list every single problem, a long list of negative comments is not helpful. It can easily be very discouraging, or so overwhelming that the main points in the list are quickly forgotten. Most students can only work on one or two problem areas at a time, so helping the student focus will be more useful. Leave other problems for later sessions. If the student is mature enough and independent enough as a musician to work on two or three things before the next lesson/performance/rehearsal/composition, then you can mention two or three things. If not, just stick with one.
  • Negative critique from a group - In a workshop or other situation where many people will comment on a single student's offering, try to cooperate in focusing on the main problems and easy fixes and avoid overwhelming the student. For example "X mentioned some problems with rhythm; I noticed in particular the dotted rhythms..." or "I agree with X that the bass line of your composition could be stronger. Here's an idea that might help..."
  • Prioritize - You may want to focus on the most noticeable problems, on underlying problems that create a number of difficulties for the student, or on problems that are keeping the student from achieving specific goals.
  • Easy fixes - Even if something is not a high priority, if you know it will be easy to fix, give it some attention and get it fixed.

Elements to Critique

If the student has made a reasonable effort, it should be possible to find something true, specific, and positive to say, even if it is only to notice that some element shows improvement from previous efforts. (See below if the student has not made a reasonable effort, but try to distinguish actual lack of effort from frustrated and ineffective efforts.) It should also always be possible to find something that needs more work; in the case of high-achieving students, this may mean challenging them to do things that most students at their age or level do not yet do. Like any other skill, critique improves with practice. Remember, specific critiques that suggest possible fixes are much more helpful than general statements of dissatisfaction. For example "The dotted rhythms sound like triplets" is much more helpful than "the rhythm is wrong;" and "The chord progression feels too repetitive and predictable" is more helpful than "I don't like the harmony." If you are trying to lead a group of less-experienced musicians in critiquing each other's performances, you may want to try using the attached checklist, or develop your own checklist to use as a note-taking sheet. I suggest that rather than sharing the checklist directly, the critic should use it as notes to help organize a more focused verbal or formal critique. The musician who is just learning how to critique may want to consider each of the following elements.

Performances

For performances, including performance of a piece prepared for a lesson or class, consider:

  • Pitch - Is the student playing the correct pitches, in tune?
  • Rhythm - Are all of the rhythms correct? Is the performance smooth and without hesitation? Does it convey a good sense of the meter, if there is one, or a sense of flowing freely, if there is not?
  • Tempo - Does the piece work well at this tempo? Are any changes in tempo deliberate, appropriate, and effective, or are they accidental and distracting?
  • Dynamics - Did the performance include all written dynamics and accents? Did it also include appropriate dynamics and accents even when they were not indicated (for example, phrasing dynamics and accents implied by the style of the piece)?
  • Articulations - Were articulations correct, performed musically, with good technique, and with attention to the style of the piece?
  • Tone quality - Is the student performing with a good sound in every part of the range? Is the timbre one that is considered appropriate for the instrument, the style, and the mood of the piece?
  • Technique - Is the student using the accepted techniques (for example, for bowing or fingering) that make a musically-satisfying performance easier to produce?
  • Musical style - What is "right" or "good" depends very much on the musical tradition to which a piece belongs. Specific approaches to tuning, articulations, and rhythm that are "right" in one piece may be "wrong" in another. Are all elements right for the style of this piece? Do they all work together to convincingly create the appropriate style? (This includes all of the above elements as well as any that are specific to the style, such as ornaments or improvisation.)
  • Physical - Are posture, stance, instrument position, tension, breathing and other physical elements making a good performance easier or more difficult? Would they convey confidence and competence to an audience?
  • Presentation - Do any other elements of the presentation have a positive or negative effect on an audience, for example facial expressions, or the placement of the written music if the piece is not memorized? When it is relevant, the student should also practice introducing the piece, dressing properly, and responding to applause.
  • Ensemble elements - If this was a group performance, was the balance between parts good? Did group members stop and start together? Did they play together, producing clean, clear rhythms? Did they use the same stylistic elements, such as articulations and accents?

Creations

For Compositions and Arrangements, consider:

  • Form - Is the form clear? Does it organize the piece aurally, make it more understandable, memorable, enjoyable, and compelling? Is there an appropriate balance between repetition and change? Are cadences believable and satisfying?
  • Presentation - If written, is it notated clearly and correctly? Would a performer have any difficulty interpreting it? If recorded or performed, do the performance or production values allow the listener to enjoy the piece, or do they create distractions?
  • Melodic Elements - Are melodic elements interesting, effective, pleasant, or compelling? Do they make effective use of phrasing, motivic construction, or counterpoint, as appropriate to the style and form of the piece? Does the voice-leading in each part make it easy or difficult to sing or play?
  • Rhythm - Do the various rhythmic elements work well together? Do they fit the meter, the time signature, the style? Is there a good balance between simplicity and complexity?
  • Harmony - Are harmonic elements used correctly within the chosen texture and style (for example, drone, tonal harmonic progression, traditional counterpoint, or dissonance) clear? Is the voicing effective?
  • Instrumentation/Orchestration - Are timbre, technique and other capabilities of each instrument used effectively? Are range and other limitations considered, so that parts are not difficult to perform well? Are parts written so that the correct balance between leading and supporting parts is easy to achieve?
  • Dynamics, Accents, and Articulation - Do these add interest to the piece? Are they appropriate to the style, genre, and instrumentation?
  • Text or Lyrics - If there are words, do they add interest? Are the language, grammar, and sentiments appropriate to the style and intent of the piece? Do they work smoothly with all of the musical elements?
  • Style - Which elements (rhythm, melody, instrumentation, etc.) successfully evoke a particular style? Is the result a persuasive use or example of a style or fusion of styles?
  • Interaction - Finally, does each element support or undermine each of the other elements? (For example, is the form reflected in the orchestration? Does the melody fit with the harmony? Does the rhythm seem to fit naturally with the lyrics?)

Suggesting Solutions

  • If the student was unaware of the problem - Stating the problem and pointing out the correct way to do things may be all that is necessary.
  • If the student is aware that there is a problem, but has trouble hearing or recognizing it - Then a major goal of the session will be helping the student recognize when the problem occurs and when it has been solved. This may involve repeatedly demonstrating the desired sound (for example, the correct rhythm or desired tone quality), as well as directly teaching the student a variety of strategies for analyzing their own performance or composition, so that they can accurately identify and fix problems. Having the student play with you or focus on mimicking your performance may help.
  • If the student resists or disagrees - If your critique was objective and would be echoed by most practicing musicians, a bit of psychology may be in order to discover the source of the reluctance and persuade the student to your opinion. If your comment was based on personal preference, and many musicians might agree with the student, consider clarifying for the student when things must be done your way (and why) and when the student's preferences can be exercised.
  • If the student can hear the problem but cannot fix it - Then simply pointing it out is not at all helpful; in fact, it can be very discouraging to the student. The session should focus on brainstorming strategies that might help fix the problem, including working on the issues that underlie the problem (such as poor posture during performance or ignoring the rules of counterpoint during composition), suggesting quick fixes when possible (such as alternate fingerings), demonstrating and practicing techniques and procedures that might help, and introducing warm-ups, exercises and studies that, practiced regularly, will overcome the problem over the long term.

Helping the Poorly-prepared Student

There are few things more frustrating to the teacher than a student whose work is not well-prepared. Without sufficient time and effort spent, the offering is not a good example of the student's present abilities, so critiquing it will not help the student progress. Rather than spending time on an ill-prepared offering, it is more useful to discuss the lack of preparation and work on other things.

  • Judgement - Express disappointment in terms of the inability to progress when there is not enough practice or preparation. Harsh judgements of the student's character usually backfire, as they tend to convince the student that she is simply the kind of person who disappoints you.
  • When lack of preparation is unusual for a student, determine the cause. An occasional "bad week" due to illness, busy schedule, etc. should not be considered a problem. If the student is unprepared because she misunderstood, forgot, or was not clear about the assignment, did not know how to do it, or became frustrated because it was too difficult, the main focus should be on brainstorming solutions so that practice sessions will become more productive.
  • When lack of preparation is typical of the student, then the lack of preparation should be a main focus of the session. Try to understand the reasons for the consistent lack of preparation (a little psychology goes a long way here) and brainstorm possible solutions that seem reasonable or agreeable to all parties. The student may simply need help organizing a realistic, regular practice schedule. If the student generally experiences practice as frustrating and overwhelming, then instruction should focus on "how to practice well" until the underlying issues are resolved. If the student experiences practice as boring or pointless, a two-way discussion of practice goals may be in order. You may be able to explain how practice time will help the student achieve her goals as a musician, but it also may be useful for you to have a better idea of the student's goals. Adding practice items that the student enjoys (such as favorite songs) or that incorporate the student's personal goals (such as composing pop tunes) can be very motivational, and the motivation should spread to other practice items, particularly when you can point out practical connections between them. If progress on motivation is minimal in spite of repeated attempts, it is possible that what the student finds appealing in music and what she is doing as a musician are simply too far apart to bridge. It may be best to allow the student to switch to a different instrument, a different style of music, or a different learning situation (for example, many children who dislike solitary practice love learning in ensembles with their peers).
  • Suggestions for working with unprepared students - In a group setting, you may want to simply skip that student for that session, with the clear understanding that that student is expected to be prepared and first on the agenda at the next session. In a one-on-one setting, practice things that do not require specific preparation, or that should always be prepared, for example, scales, improvisation, sight-reading, ear training, and memorized repertoire.

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