I’ve recently started taking singing lessons. A bit late, you might say, since I have been singing in choirs for decades, and I certainly wish I’d started sooner. But it has taught me something important about how we learn.
I have been surprised to discover that almost none of my lesson time is about singing in tune or in time! Everything is about technique – how you breath, how you pronounce the words – and a lot of my practice is just saying the words, not singing them at all. It is really hard to train your body to work in a very particular way: months or years of lessons, hours and hours of practice. You can’t just be told the right way to do it, and go away and then do it right - it is more like learning to drive than learning to pass an academic exam. And sometimes you have to be told something over and over again before you are ready to absorb it.
I have taken away three wider lessons:
• What you have to do to learn a new skill may be quite different from what you expected;
• Results may take a long time and demand considerable perseverance; there are no short-cuts;
• Hearing something is not enough – you have to hear it at the right time.
That has made me think about the problems of change in a different way. As an example, one of my clients has many junior and middle managers with a fairly low level of financial understanding, and with commercial pressure continually increasing this is holding them back. How should we fix this? The traditional approach would probably be to send them on a short course to learn the “facts” about finance – understanding a P&L, a balance sheet, etc. But perhaps it is not the facts but the practice they are short of, or they are not ready to hear the message? I have done enough short courses myself to know that few of the facts stay in the mind for long anyway. The singing lessons experience suggests to me that they are probably only part of the solution.
Time to think about a new approach, based on how we learn!
A couple of weeks ago, I had an evening out at the opera. I’d never encountered this on previous visits, but throughout the performance, there was a lady at the side of the stage translating the sung words into sign language. At the time I thought it rather odd – why would deaf people come to the opera at all? In any case, the words were displayed in English text over the top of the stage. Was this accessibility gone mad?
That prompted me to do a little research, and to realise that there are many reasons why there might be deaf people in the audience: from the obvious-if-you-think-about-it possibility that they might be with partners who are not deaf, to the much more important facts that most deaf people have some hearing and may well enjoy music (and even if they have no hearing, may find musical enjoyment in feeling the vibrations), and the more profound realisation that for some deaf people the English spoken and written around them may be ‘foreign’ compared to sign language.