Westney - The Perfect Wrong Note: Learning to Trust Your Musical Self
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Those I wish to thank:
for indispensable help with the manuscript: Danny Mar and Angela Adams for expert artwork and graphics, Marilyn Westfall, Mary Kogen, Seymour Fink, and Emilia Westney for feedback on the text, and especially editor Eve Goodman of Amadeus Pressskilled, patient, thorough, and always encouraging;
for helping me learn essential lessons along the way: Leopold Mittman, Donald Currier, Claude Frank, Paul Baumgartner, Eloise Ristad, andmost notablyall the students and workshop participants over the years who have entrusted me (and each other) with their thoughts and feelings, their efforts, and their honest responses;
for offering creative ideas and asking good, penetrating questions when I needed to hear them: associates Julia Scherer and Monica Hebert and family members Rich, Mary, Hazel, and Eve;
for significant professional assistance that helped make this book possible: The Paul Whitfield Horn Endowment of Texas Tech University, Anthony Tommasini, Kenneth Ketner, Seymour Fink;
for incalculable gifts: Ann and Dick Westney;
and finallyfor unwavering support, treasured companionship, and belief in me throughout this project and all that has led up to it: Emilia, Ben, and Paul.
William Westney holds two endowed faculty positions at Texas Tech University: Paul Whitfield Horn Distinguished Professor and Browning Artist-in-Residence. He has been honored with many professional awards as educator and artist, including the Yale School of Music Alumni Associations prestigious Certificate of Merit, for his distinctive and innovative contributions to the teaching of musical performance. Westneys acclaimed Un-Master Class performance workshop, which has been featured in The New York Times, is increasingly in demand in the United States and abroad. An active concert pianist, he has won the Geneva International Competition and holds masters and doctorate degrees in performance from Yale University.
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Conservatories and symphony orchestras, as many are aware, are rife with hurting and injured musicians. To realize that music-making itself has caused painful, chronic bodily harm is devastating, depressing, and scary for anyone who has been devoted to the musical art and who has invested in it professionally and worked for years at mastering its craft. On top of that, such injuries can precipitate a major identity crisis (if I was born to be a musician, how could this be happening?).
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