

Why would any musician (or anyone, for that matter) ever claim it's good enough? We know the pathway-to-excellence is neverending, and yet we are constantly searching for teaching techniques that will stimulate our students to reach a higher level of personal achievement, to push them beyond the perceived, "It's good enough."
Without question, every individual has an unlimited supply of undeveloped (or underdeveloped) talent. Even the master performers are constantly pushing themselves to a higher level of skill attainment. If we know we can be more proficient, what keeps us from developing to the next level musical awareness, performance, understanding? Isn't this the same inquiry we have concerning our students? Why don't they practice, invest, commit, dedicate, and enjoy the benefits of their efforts?
The human, by nature, enjoys comfort. Add to that, we are "creatures of habit," and we find ourselves "repeating behaviors" simply for the sake of fulfilling the requirements of life; in a sense we do what we do to maintain the status quo or to get to the point of, "it's good enough." Therefore our students replicate the behavior by learning what they need to learn to meet the assigned goals, play/sing the chosen music, and complete the requested objectives; but it is rare to find those who overachieve, or push themselves beyond the targeted finish line.
Instead of focusing on, "What motivates the individual?" (In other words, "What does it take to stir one to push beyond the given requirements?"); perhaps we should look at: What holds the person back?" What is it that hinders the forward momentum of our students, ourselves, our race? The world of psychology spotlights two specific areas that impede us in our quest-for-quality: #1. Fear of failure #2. Fear of success.
FEAR OF FAILURE
It is easy to understand the hesitation to put oneself in a posture of failure. We have learned to avoid failure at all costs along with the embarrassing emotional pain that accompanies this dreaded outcome. Instead of seeing failure as a stepping stone to achievement, we often see it as a termination point. However, the most successful people we know have all embraced the concept of failure and, in fact, have even used it as a motivating force to accept, correct, and retry the task-at-hand. There will never be success without failure, therefore failure must be reframed in our understanding as part of the formula to help us reach our highest goals and aspirations.
FEAR OF SUCCESS
Why would someone be frightened at the prospect of success? Isn't that what we are trying to achieve? Isn't that the payoff for all of our hard work? Ah yes, but success brings along some companions that are not always part of our comfort zone:
Based on the two expressed fears (failure/success), the most comfortable place to be is, "It's good enough." The mind logically concludes, "Do what you have to do to avoid failure, but be careful not to catapult yourself to a high level of success."
To counteract this reasoning, we, as educators, must be the first to model the benefits of both failure and success. In other words, we must be willing to set the pace by demonstrating our own willingness to push the envelope-of-possibility. Failure (that results from an effort to achieve) needs to be rewarded with guided encouragement to "learn from the mistakes" and then use the newly discovered data as we make a second, third, fourth attempt. Success (resulting from a calculated effort) needs to be acknowledged immediately, followed by the assurance that the value of the learning process was more important than the achieved product/outcome.
Students will reach beyond, "It's good enough," when they understand there is a personal benefit to both failure and success; we, as educators, must reinforce this behavior to insure the positive seeking of higher levels of proficiency becomes an integral part of our students'behavioral habits. The only time it's good enough is when we decide to take action on the fact, it's not good enough.

Dr. Tim Lautzenheiser is a well-known name in the music education world as a teacher, clinician, author, composer, consultant, adjudicator, and above all, a trusted friend to anyone interested in working with young people in developing a desire for excellence.
His own career involves ten years of successful college band directing at Northern Michigan University, the University of Missouri, and New Mexico State University. During this time Tim developed highly acclaimed groups in all areas of the instrumental and vocal field.
Following three years in the music industry, he created Attitude Concepts for Today, an organization designed to manage the many requests for workshops, seminars, and convention speaking engagements focusing on the area of positive attitude and effective leadership training.
He presently holds the Earl Dunn Distinguished Lecturer position at Ball State University. Tim also is the Director of Education for Conn-Selmer, and he serves as the national spokesperson for MENC's "Make a Difference with Music" program.
Tim's books, produced by G.I.A. Publication, The Art of Successful Teaching and The Joy of Inspired Teaching, are best sellers in the music profession. He is also co-author of Hal Leonard's popular band method, Essential Elements, as well as the creator of the highly-acclaimed Director's Communication Kits.
Tim is a graduate of Ball State University and the
University of Alabama. He was awarded an Honorary Doctorate Degree
from VanderCook College of Music. Additional awards include the
distinguished Sudler Order of Merit from the John Philip Sousa Foundation,
Mr. Holland's Opus Award and the Music Industry Award from the Midwest
Clinic Board of Directors.
