Why we Play-Comparing Music and Tennis

I was just looking through a recent isssue of a newsletter that I receive and to my surprise, I found an article that I wrote. Wonderful since I had been angry with myself about not doing much writing recently.
Hope that you enjoy.

Why we play?

The latest issue of the ACMP newsletter mentioned that some musicians were picking up their instrument after a gap of many years, as much as 50, and the focus of the articles was their disappointment with how they were received by the music community. This stemmed from the fact that not everyone welcomed them openly and did not invite them to participate in music making. Over time, I have found that there are usually two sides to any issue. As a tennis player, I regularly come across a similar problem. We want to play with players who challenge us to be better but do not want to get on the court and be trounced so badly that we want to hang up our racket and give our tennis balls to nearest friendly Labrador retriever. At the same time, we do not want to play with some one so new that we are able to beat them without any effort and are not challenged to do our best, in fact we become poorer players when playing with the beginner too often. Musicians are like athletes and we need to examine and understand why we play. Hopefully to enjoy music but we must also realize that we can not always expect to play with others who are superior players. It can be a frustrating experience for both.

During the summer, my club organizes Social Tennis, bi-weekly round robin sessions with players regrouping with new partners and opponents every ½ hour. This past summer, a new player whose first racket sport was badminton joined the mix. She became the subject of a great deal of discussion and frustration. When she was able to get the ball over the net, it was always with the same soft high shot, lobs for those who play tennis. Because she did not move on the court, something tennis players need to be able to do, it was very easy to win points against her and her opponent. Players were willing to play one ½ hour with her but after that begged off and wanted to play with others who would provide challenging and interesting games. Players hope to play with others who will challenge their skills, raising the level of their game in the process but generally not play others who are so good that they win every point and neither side enjoys the experience.

Many years ago, when I was fresh out of school, I was asked to join a group of musicians for a reading session. Within 20 bars, I was lost. The group did not stop and wait for me to regroup because that would have been frustrating for them. I understood this and was very impressed that they played the music at this level. I was not surprised that I was not asked back. After many years of playing music that challenged me and hours of practice, I am now able to play like those musicians. I understand how frustrating they must have found my playing and how patient they were. I had the luxury of many years to improve my skills and reach the level that allows me to play music that is challenging and organize groups of musicians who are A and B level. I can hold now my own. I understand the disappointment when time does not stretch out in front of us and we might not always be able to play with A level players.

We have to ask ourselves why we play. I play tennis for the exercise, challenge and camaraderie. I play music for the joy of the experience of playing great music with others and performing; I love the challenge of playing music that is the work of geniuses and I am pleased that I am able to perform the music for others and also appreciate the camaraderie of other musicians.

Music groups like ACMP and CAMMAC understand the challenge of providing satisfying experiences for musicians at all points on the continuum; not an easy task. ACMP has started to address this issue. CAMMAC offers a variety of musical experiences at its camps in Ontario and Quebec. The Greater Toronto Area is blessed with many large ensembles that offer playing opportunities to players of a variety of skill levels. Chamber music is more challenging than large ensembles and requires individuals able to find music and organize groups that provide a learning and rewarding musical experience. We must continue to try to find ways of connecting musicians and encouraging them to take advantage of programmes like the ACMP coaching programme which provides funding for coaches for ensembles. As difficult as it is to be inclusive, it is a goal worth striving for so that everyone can participate in a wonderful experience at an appropriate level.

Nora Mular-Richards, ACMP and CAMMAC members
noramr@sympatico.ca