I believe that curiosity is fostered by building outward from the individual’s preexisting interests and strengths; by sharing our enthusiasm for our own research, performance, and teaching; and by employing a dialectical method that makes the asking of questions a habit of mind. While curiosity can be inspired by getting to know a student’s proclivities, to be sustained I believe it must be turned into an active practice, the habitual asking of questions. I believe this can be inculcated by conducting lessons in a dialectical method. I ask the student to relate each new concept to their existing model of knowledge, providing a more robust framework for understanding.T he point at which the student starts asking their own questions, especially the right questions, is my benchmark of success.

The development of effective study habits begins in primary school but is often still a significant hurdle in collegiate years. Anders Ericsson’s work on deliberate practice and Noa Kageyama’s translation of this work to music performance have provided research supporting practices developed over hundreds of years of performance. Ericsson’s concept of “deliberate practice” is effortful rehearsal of a clearly defined task just beyond the student’s current ability. My favorite response from students is when they try an aspect, and then ask to try to execute it again. This tells me that they have taken agency over their learning process, recognizing when there is an aspect to be improved, and committed to its refinement.

Performance, whether it be a classroom examination or a public concert provides vital motivation and structure for the student. While public presentation often induces considerable anxiety, I see this as an invaluable opportunity to learn how to manage the body’s anxiety response. I believe deeply that effective performance is a skill, not a talent. Anxiety can be managed with exposure therapy of gradually increasing pressure. Like practice, each exposure cannot be mindless. The student must be equipped with a new tool or strategy to try each time: a breathing exercise to manage somatic responses, a performance ritual to try, or a cognitive-behavioral strategy. Each performance then becomes not a test, but an opportunity to find the combination of preparation strategies and tools that is right for each individual, that can be applied to situations outside of music, such as a job interview.

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