A Time of Gratitude: Reflections on Music, Teaching, and Growth

Having returned to Hong Kong for some time, just as life was quietly settling into the rhythm of Hong Kong(generally Allegro to Presto), an email from the Royal Conservatory of Music (RCM) brought an unexpected surprise—I was selected as one of only 46 RCM First Honor Roll Teachers in the entire province of Quebec, Canada! Among the 56 regular students I taught in Canada, 11 participated in the RCM examinations last season and achieved amazing results. While I have always valued the learning process over mere scores for my students, I am deeply honoured by this recognition! This does not belong to me alone, but to every student who grew alongside me. I am grateful for every encounter along the musical journey: all my wonderful teachers, my wonderful friends and colleagues, my supportive audiences, all my students and their parents who trust me.

Canada's largest and oldest music college (established in 1886). The college comprises several departments, including the Glenn Gould School, named after the legendary Canadian pianist Glenn Gould, and the Oscar Peterson School of Music, named after the legendary Canadian jazz pianist Oscar Peterson. Through its music courses and examinations, the college provides music education and personal development opportunities for students across Canada and around the world.

Can you find my name? (Tips: It's in the Right-Bottom Corner)

The Meaning of Examinations

Even post-pandemic, while many commercially oriented examination systems continue to offer recorded video options assessing only musical pieces; the RCM has maintained the content, structure (repertoire, études, scales, aural tests, etc.), and the live performance mode of assessment.

This "stubbornness" is not about clinging to old ways; but a respect for the essence of music. The pressure of a live performance and the immediate communication through music with the audience are integral parts of a musician's training. Music is a collision of souls, not just a perfect recording. RCM's "persistence" affirms each student's efforts, allowing their growth to be witnessed, critiqued, and elevated through a genuine trial.

During my teaching days in Hong Kong and Canada, I often encountered a scenario where, right after the very first lesson, parents(most of the time Asian) would ask, "When can my child take a grade exam?"

In Asian societies, "obtaining a certificate" is often viewed as the endpoint of learning. I understand that certificates provide positive reinforcement, and on the long journey of learning an instrument, children indeed need goals and perseverance to keep going.

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Insights from the Alexander Technique

However, as a teacher of the Alexander Technique, my practice constantly reminds me that no endeavor should be solely "end-gaining." When we focus excessively on the result, we often overlook the awareness, adjustment, and growth inherent in the process. For instance, if you want to lift an object, you might unconsciously use the most habitual, fastest way to do it, ignoring how other parts of your body may develop unnecessary tension and strain in the process.

Incorporating this concept into music learning, the state of "End-gaining" becomes evident. Many students fall into this trap when facing exams. Their goal becomes singular: "to pass the exam." Consequently, all their practice revolves around those few exam pieces. In striving to "lift" the goal of the certificate, they unknowingly employ the most "efficient" yet harmful habits:

• Technically, they repetitively "grind" difficult passages until they are "played correctly," but neglect to listen for whether their touch is stiff, their arms are tense, or their tone is harsh. This is like holding your breath and locking joints to lift a heavy object—the music becomes mechanical and lacks flow.

• Musically, they focus solely on reproducing the notes on the page, missing the breath of the phrases, the colour of the harmonies, and the emotional story behind the work. A sonata meant to be dramatic might be played as a series of correct but cold notes, forfeiting a precious opportunity for deep dialogue with the composer.

• In breadth of learning, they sacrifice the joy of exploration for the goal. Because it's not tested, they might never encounter the jazz, film scores, or contemporary works that could ignite their passion. This is akin to missing all the unique flora and refreshing breezes along the path in a rush to reach the summit.

The Alexander Technique teaches "means-whereby"—focusing on the process of "how" something is achieved. Applied to music, this means guiding students to be aware: Is my body coordinated and free of unnecessary habitual movements or muscular tension while playing? Can we use different touches to create a richer tone? Do we truly understand the structure and emotion of this music? When we shift attention from "finishing the piece" to "how to play each note better," growth occurs naturally within each moment of awareness.

Thus, music learning transforms from a tense sprint into a practice filled with self-discovery and nuanced perception.

My Motto

Music should be nourishing the soul, but never diminishing 音樂，應該是滋養靈魂，而非消耗心靈

The Value of Certificates

To me, a certificate should be a milestone on the journey of growth—like a small flag planted on a mountainside during a hike. Looking back, you realize with surprise just how far and how high you have climbed. 🚩 The true value lies not in where the flag is planted, but in the scenery experienced along the way, the endurance built, and the deepening inner perception of music.

Making Exams a "LABUBU Box" that Students Want to Open

Based on my past teaching experience, over 90% of students have a negative reaction to the word "exam." Therefore, I choose to treat the exam syllabus like a LABUBU box, turning it into a series of surprises waiting to be unwrapped. Only when a student asks me, "Is there something more challenging I can try?", do I present the exam book to them, treating it as an honour of bravery. We typically spend only about three months preparing for the exam content—these challenges are goals the students can reach with "a little extra effort," designed to ignite confidence without causing pressure.

Gratitude for Mentor on the Teaching Path

While teaching in Canada, the director of the music school, Kathy, is an advocate of "Happy Learning.", which is the completely opposite of the norm in Asian Societies. I remember when I first started teaching there, I was once admonished by her for being too serious and demanding. I am grateful for her inspiration, which helped me understand that:

Lesson can have both depth and warmth. 課堂可以既有深度，也有溫度

Besides a happy learning atmosphere, she mandated that every lesson must include:

▫️ At least two core pieces of different styles (e.g., an exam piece + an étude)

▫️ One self-chosen piece that makes the student's eyes light up (for example, if a student loves Demon Slayer, I would arrange the anime piece suitable for their level yet educational)

▫️ Fun and educational games for theory, ear training, and technique, etc.

This structure ensures students grow efficiently, and "exams" no longer feel burdensome. Instead, they become a bright lighthouse on the growth journey—not the final destination, but a "badge of perseverance" that children earn through their accumulated daily efforts. May we not only mark the "finish line" for our students, but also accompany them in enjoying every part of the voyage.

I am grateful to have the piano as a lifelong friend.

I am grateful for every encounter on this musical path: travelling to different countries, meeting different souls, and understanding different cultures.

May I continue to accompany every life willing to believe in the power of music, with both the sound of the piano and a passion for education.

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