The effect of the tomatis® method on student pianists piano performance and psychological well being

The effect of the Tomatis Method on student pianists’ piano performance and psychological well-being at North-West University, South Africa Wynand du Plessis, Ansie Vercueil & Hannes Taljaard North-West University, South Africa Introduction: The current study was preceded by three earlier South African studies of musicians, namely Madaule’ study entitled, Audio Psycho Phonology for Singers and Musicians (Madaule, 1976); carried out while Paul Madaule was helping to establish the Tomatis Centre at the University; a study entitled Multimodal enhancement of culturally diverse, young adult musicians: a pilot study involving the Tomatis Method, by Du Plessis, Burger, Munro, Wissing and Nel in 2001; and a 7 year follow-up study of one of the singer students in the previous study, due to be published in the online Ricochet journal.

In this context the question regarding the effect of the TM on student pianists arose as a further study theme. When an experienced pianist teacher, Ms Ansie Vercueil, expressed interest in pursuing this, the study was planned, presented to the Research Committee and funding by the Board of the IARCTC is appreciated.

1 Experimental design A two group, pre-post experimental design was used.

2. Study sample An availability sample of student pianists were solicited, informed of the conditions of the study and after obtaining written informed consent, were assigned randomly to the experimental (n=7) and control (n=6) group.

Previous attendance of the TM excluded participation.

3. Pre-assessment: The following tests were included: Profile of Mood States (POMS) Musical Performance Anxiety Scale Panel evaluation of piano performance Projective drawings 4. Post assessment: Repetition of the psychological tests Panel evaluation of a recording of another piano performance Interviews with participants (3 weeks postprogram) Interviews with piano teachers (1 month postprogram) Interviews with other lecturers (6 months postprogram) Experimental procedure: Pre-assessment was completed the exp. Group attended the first intensive of 60 sessions, structured as evening sessions from Mon.-Thurs.

The control group did not attend the program but could attend normal programs at conclusion of the study. One student accepted the offer.

One male piano lecturer also attended the program together with the experimental group. His results were not taken into account.

Results The results of the study has not been written up completely. Thus only the most salient qualitative findings will be discussed, i.e. structured drawings made during the program and linked to post program perceptions from piano lecturers and other lecturers.

Researcher reflections of participants’ drawings will be discussed and related to piano teacher feedback 3 mo. post program, comments from other lecturers and finally participant feedback.

Drawings Instruction: “Make a drawing in which you express your experience of yourself as a thinking, feeling, communicating and music making person. You are welcome to use any kind of metaphor. Explain your drawing on the back.

This drawing was initially requested after 15 sessions of Intensive nr. 1, at its end, at the beginning of the second Intensive and at its end.

Participants were given A3 papers and wax crayons.

Reflections on the 7 participants’ drawings are based on their explanations, perceived indications of enhanced psychological well-being and Tomatis notions. a. Lucy 20 ys old, B.Mus.III; 9 years of piano lessons Comments Drawing 1 and 2 here Drawing 1 depicts her ambitions to become a performing pianist so that she could “bless” the audience.

In Drawing 2 she acknowledges an uncomfortable awareness of being boxed in, primarily due to academic constraints in the process of climbing the stairs of training, but also aware of the shining yellow sun.

Drawing 3 and 4 here

Drawing 3 portrays her sense of being on a cloud, due to her joyous experience of music.

In Drawing 4 her joy rises to a crescendo as she feels like a “colorful musical butterfly.” “I have to an extent gotten my wings and I am free”. However the

asymmetry of the butterfly denotes that there is lots to learn but nevertheless she is flying around joyfully.

This drawing is remarkable as her parents got divorced during the program.

Triangulation: her piano lecturer noted positive changes in her piano playing. Other lecturers noted positive changes too at six months postprogram. b. Vicky Age: 20 years, BMus. III; 10 ys of piano lessons Drawing 1 and 2 Drawing 1 reflects the contours of her student life in terms of her residence, the Music Conservatory and her love for people. The question marks denote uncertainty about her destination in life. Sometimes she is running around like an ant to collect new information regarding her studies.

In drawing 2 she portrays herself as a little orange fish (always swimming forward) sharing a fish bowl with others. Possibly the container image of the fish bowl is also associated with the womb in this phase of exposure to filtered sound. She is satisfied because she is now “ a very impulsive fish who sticks to her decisions and responds in terms of how she feels and not how she ought to feel – perhaps suggesting that she has become more self confident. She masters musical pieces faster than before and now has a better grasp of the character/essence of the music.

Drawing 3 and 4 In Drawing 3 she progresses from being in a womb like container to acknowledging herself as a fruitful (female) container symbolized by the apple. It has positive and negative characteristics. On the one hand the apple has a yellow glow, but also houses a worm inside. According to her it denotes difficulties in life which also serve a purpose despite being uncomfortable. Possibly she is now gaining an important insight.

Drawing 4: Depicting herself as a flower who is self accepting and comfortable with her viewpoints (more self-confidence). Has more sympathy with others’ problems.

Does not criticize herself like before when playing piano. Perhaps it is an expression of flowering or flourishing.

Her piano lecturer perceived positive changes in her performance, and also her other lecturers.

She has been selected for an Honors course in Psychology. c. Kate Age: 21; B.Mus. IV; 13 years of piano lessons Drawing 1 and 2

All four drawings of this highly introverted student were remarkably concrete with apparently little development/growth.

In drawing 1 she states that she is so tired of thinking that her brain wants to explode, feels ill and does not communicate (closed mouth). However, playing the piano is the nicest and most therapeutic thing she engages in, even if she does not do it so well.

In Drawing 2 she acknowledges that she is feeling angry and that the beautiful music she is listening to, does not want to come forth through her hands when she is playing piano.

Drawing 3 and 4 In drawing 3 she admits to not wanting to talk about certain things and being tired of always stressing about the piano.

In drawing 4 she expresses her very slow piano progress with an image of a chameleon. Perhaps she is also admitting that she is highly adaptable and quick to grasp things (quick chameleon tongue). However, it may also express extreme carefulness as a result of childhood sexual abuse, which was eventually disclosed.

Surprisingly her piano lecturer was most impressed with her progress as well as the other lecturers.

Personal progress? d. Paul 21 ys; BMus. II; 3 ys of piano lessons Personal comments: Drawing 1 and 2

Drawing 1 expresses a self portrait of his face, his passionate experience of music and hopes of a future career (dollars in drawing) with good interpersonal relationships.

Drawing 2: Although still maintaining a sense of calmness, the tone of this drawing is more grave, as his explanation of heart like leaves which are tearing themselves away from pain, suffering and heart aches to glide towards grey countries is suggestive of violent endings. It may be suggestive of perceived pain and may be associated with his childhood suffering when he was placed with relatives.

Drawing 3 and 4 Drawing 3: An overwhelming sense of exhaustion is portrayed because of people who violate others’ boundaries (laptop was stolen), loss of information, conflict with academic staff, making meaningful comments without being heard. e. Tracy 20 ys; BMus. IV; 13 ys of piano lessons

Drawing 1 and 2 Drawing 1 shows ambivalence: between happiness and uncertainty primarily regarding her future plans: whether to study or work, relationship, with finances a big issue.

In Drawing 2 she is comfortable with herself, more stable, “care free” but less motivated to practice her music. Closed eyes perhaps avoiding the demand to practise.

Drawing 3 and 4 In drawing 3 she expresses a sense of clarity and readiness to move on with her life (start a new chapter): tired of her studies and piano, and focused on the future.

In drawing 4 she reaffirms her desire to move on to “greener pastures” since she is needing a “change of scenery”.

Piano lecturer perceived positive changes in her piano performance.

f. Mary medication 19 ys; BMus. II: 12 ys of piano lessons Researcher comments Drawing 1 and 2 In Drawing 1 the overriding message is her love for music and composers her sensitive heart and need for close relationships.

The tone in Drawing 2 changes from an optimistic outlook to a central question mark: she knows her destination but not how to get there. Feels all alone on the world and no one understands her. Caught between a cliff and the sea, the theme of a recurring dream. And also does not fit in with others.

Drawing 3 and 4 Drawing 3 after the integration break: the sun is symbol of an enlightenment as she has now found herself, accepts herself and is on top of the world. Though still uncertain about things, she is stronger and not as oversensitive anymore and is surrounded by supportive others.

Drawing 4 symbolizes her aloneness and oscillating emotions. Flowers depict her satisfaction with her life. Realized she is less interested in piano and more focused on work and romantic relationship.

Needed medication at some point post program. Was fine afterwards.

In case of all six these students, their piano lecturers perceived positive change in their piano performance.

f. Anne Age 21; BMus. IV; 11 ys of piano lessons Researcher comments Drawing 1 and 2 Drawing 1 is suggestive of a very busy final year B.Mus. student, perhaps overcommitted and: significantly, “sometimes suddenly anxious” , a clue that we missed.

Drawing 2 depicts the centrality of her sensual red mouth in the context of her love relationship an desire to communicate, business as in competing in an Olympic event, (perhaps indicative of aspirations which exceeded her abilities) and need to study.

Drawing 3 and 4 Drawing 3: the alarm clock again depicts her sense of being hard pressed to honor her commitments and her excitement with her romantic relationship.

Drawing 4 depicts her love of singing (probably again the sensuality associated with her romantic relationship and fear of going to class because of too little time to practice.

Piano lecturer did not perceive positive change regarding piano performance. She failed her practical examinations at the end of 2008.

Discussion i. Piano progress according to piano lecturers at 3 months post programme Evidence of subtle progress observed in the drawings of 6 of the 7 experimental participants who elicited positive comments from piano lecturers reflect that the listening program had made a qualitative difference in their piano performances.

Five sub-themes emerged: Listening skills Accuracy, continuity and fluency Rate of studying new performances Music performance anxiety Self-confidence and artistic independence Illustrations Drawing 3 (Paul) Despite is apparent tiredness, after one month his piano lecturer observed that his piano sounds were more “relaxed” and that his listening had improved.

6 of the 7 exp. Participants were noted to have improved their self-confidence and artistic independence.

Drawing 4 (Kate) Observed to be more open and spontaneous” Kate (drawing 4)and Vicky (Drawing 4) appeared to have “crawled out of their shells”.

Lucy (Drawing 4) appeared to have opened up most.

ii. Other Lecturers perceptions regarding self conduct at 6 months postprogram Drawing 4 (Kate) Three lecturers referred positively to the Quality of Kate’s work ..“ working more disciplined, took more pride I her work etc. more self-confident; more creative and better interaction.

Mary ‘s Drawing 4: She has more guts and self-confidence.

Conclusions: i. Tomatis stimulation and guidance through the program has led to qualitative indications of improved piano performance in all but one experimental participant.

Results cannot be generalized beyond these participants. ii. The positive qualitative results were obtained not only by the listening program, but also by consistent support from the researcher, a highly dedicated, experienced piano teacher who guided the students with great care throughout the program.

Recommendations i. Future evaluations of the TM with student pianists should be more individualized and preferably presented during holiday breaks to reduce participants’ academic pressures. ii. To obtain statistically significant results larger groups have to be solicited.

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