PRINT: The Whole Musician Model: Mindful in Body, Mind and Spirit

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The Whole Musician Model: Mindful in Body, Mind and Spirit
Janis Weller

Quote by Ellen Langert

The Whole Musician model provides a structure to mindfully integrate individuals with the institutions that train, support and employ them, in the context of the ways these various communities and others interact. Whether discussing personality theory, career development, psychological health, physiology, or talent development within the Whole Musician model, the issue of defining and developing the "self" is central.

Tri-part models emerge as interesting images for these holistic approaches to the Whole Musician. The triune brain—cognition, emotion, and motivation—provides scientific grounding in psychology and neuroscience. Talent, Temperament, Personality serves the Whole Musician model well, emphasizing aspects of the self that connect particularly well with the artistic personality. The concept of Body, Mind, Spirit emphasizes an integrated, perhaps more spiritual approach. Each of these three-part models provides distinct perspectives and useful overlapping viewpoints on these issues. No one model alone adequately describes the diverse issues or provides a singular best approach to solving the dilemmas presented. Discovering effective ways to fully integrate these models will be part of the research to come. In the meantime, a description of the Whole Musician model itself follows:

The Whole Musician diagram (below) is a simple illustration of the wider mission, vision and goals of The Whole Musician model that can be used on several levels. At the center is the individual, with her unique and always dynamic complement of talents, temperament and personality. The second ring outlines the broad areas of content in the current curriculum of most music schools (artistic and academic studies), while naming important additional areas (personal and pragmatic) that I suggest should be included. These four educational aspects are not separate, discrete bodies of learning, but need to be fully integrated with one another. This integration of learning, a concept not fully embraced by most educational institutions at this time, is a central tenet of the Whole Musician model, and a core challenge of its mission. The artistic, academic, personal and pragmatic elements are then balanced with an individual’s innate abilities, learned skills and acquired knowledge, placed relative to suitable contexts and infused with appropriate attitudes, forming a complete, comprehensive approach.

The Whole Musician Model

This model can be used for curriculum design, with instruction, classes and activities developed and measured against each of the elements. I have used it as a point of reference to successfully develop workshops, lesson plans and even provide outlines for entire courses.

Again, this model focuses first on the individual—her or his talents, personality and temperament—ultimately providing tools for musicians and their teachers to take personal responsibility for developing and sustaining meaningful paths in life, that is, focusing on achieving authentic vocation or calling. An important corollary to the quest for authentic vocation, however, is recognizing that an individual’s ultimate success and opportunities for personal fulfillment are inextricably linked with other individuals and the communities in which they interact.

Therefore, the second major aspect of the Whole Musician model is concerned with the educational and societal institutions in which musicians learn, work and live. As can be seen below, high school, college, the point of career entry and sustaining a career are each distinct cultures, with their own expectations, requirements, and lifestyles.

Whole Musician Education and Career Cultures
Often, we send individuals from one culture to the next with little preparation or awareness of the expectations and demands of the next time frame. Strong self-awareness (talents, temperament, personality) combined with a clear awareness of the realities and issues of the larger world have a significant impact on choices, opportunities, health, happiness, longevity and fulfillment throughout a career in music.

It can be useful to compare and discuss these four different time frames in the musician's life, looking for both connections and possible opportunities for change. Clearer expectations and smoother transitions would benefit aspiring musicians, their teachers and institutions, and the field as a whole.

High School

Focus is on large group performance focus (Band / Orchestra / Chorus) (limited solo opportunities)
Students may be under prepared for what is expected of a college music major
Students often have little exposure to available options for college and career
Educational process is highly structured with most accountability to authorities
Therefore need for community music schools, private teachers, preparatory programs, summer programs, outside of traditional school time who can provide information and experiences

College-Conservatory

Expectation: enter as an "expert"
Specialization = expertise (music ed is generalist)
Academic / soloist orientation
Advantages and disadvantages of the 'ivory tower'
Educational process less structured = personal accountability
Demanding, full curriculum (often little room for variation or exploration)
Practice and rehearsals consume many hours each day
Hierarchy of performer over other specialties
Music major as undergraduate prep for other career areas
Academic structure and demands make adapting to changes in field difficult
CMS, other professional organizations recognizing need for growth and challenges of change

Career Entry

High level of academic and artistic skills
Collegiate hierarchy (performer is the “most talented”) does not equal the reality of employment opportunities
Few actual 'jobs' exist
Rehearsals and concerts become ‘work,’ no longer ‘special events.’ Prep time much shorter
Non-musical skills often have large impact on career success
Find/ create a niche(s)
Often must develop several income threads in and (possibly) outside of music
May need additional training, coaching to launch career - studio teaching, organizing, writing, entrepreneurship, networking
May not understand reality of life style issues
Stylistic diversity often required for steadier employment

Sustain, grow and develop

Exploring, expanding your niche(s)
Maintain and further develop skills, musicianship, aesthetic enjoyment
Diversifying skills and activities to increase income, variety, options, counteract burn-out
Continue to develop non-musical skills as needed
Support - mentor / mentee, coach
Collegial relationships outside of the competitive arena are important
Improving workplace environment—health/safety, employment benefits

Yet musicians travel horizontally through these systems with relatively little preparation or understanding of how best to both navigate and maximize each stage of the process. Recognizing these issues, facilitating connections within and between each system, and working to prepare people for these transitions could help individuals make the most of the opportunities and demands of each level while preparing them for the next. Ultimately, institutions themselves will be strengthened when the individuals within them are empowered and focused. Students coming in and new employees being hired will then bring a clearer vision and more honest expectations to their work, enhancing the likelihood for growth and satisfaction. This potential for sustaining meaning and renewal over time should provide long-term opportunities and growth and help retain the richness that experienced individuals can bring to the field.

Copyright 2003 Janis Weller. All Rights Reserved

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