It takes a newborn giraffe approximately one hour to begin walking. As their instincts inform them of this majestic skill, they wobble until being able to fully gallop by the end of the day, intuitively. Meanwhile, a human baby takes its first steps around 12 months of age. At about the age of 5, a child could begin to learn a musical instrument. As with all ancient crafts that are essential to human development, music has been historically taught from mentor to student. It required patience, humility and dedication to absorb every bit of knowledge from your teacher. For centuries, mastering an instrument required either privilege or extreme devotion. Through direct tutelage and lived experience, a pupil learned not just notes and theory but how to sit, breathe, and think as a musician.

In India, traditional Tabla drum students had to wait a full year before earning the privilege to touch the instrument. They initially learn the distinct traditional patterns while only allowed to bang on tabletops. This idea of musical pedagogy has transformed considerably in the brief century since the advent of recorded music. Humanity’s relationship with technology and information has drastically narrowed the gap between understanding an instrument and developing masterful intuition. What began with passed down traditions and labored hours over printed sheet music has developed into youtube informed child prodigies shredding Slipknot songs. A large percentage of the population now has countless resources to learn and become a fully realized musician without ever interacting with anyone, entirely skipping the often trauma riddled traditions and institutions of old. I believe this trend benefits creativity overall.

The Industrial Revolution began in 1760, with Great Britain and the United States transitioning from producing handmade goods to machines. As a result, there was a massive rise in the population and the culture hungry middle class was created. The recently invented piano developed tremendously and by the 1820s, companies were making customized pianos for composers like Frederic Chopin. As David Bryne explores in his book How Music Works, certain music is in essence an echo of the space in which it is presented. Gregorian Chants are composed for cathedrals. Dancehall is named after the dance halls hosting sound systems in Jamaica. Flamenco is a reflection of the low ceiling taverns in 19th century Spain. Frederic Chopin’s masterful piano works are rooted in the intimate salons in which they were performed. Born in 1810, Chopin grew up in the Saxon Palace in Warsaw, Poland. First tutored on the palace’s lavish grand piano at age 6, by age 13 he attended conservatory at the Warsaw Lyceum. Once he began composing now classic works at age 17, Chopin had access to private practice rooms, studios and various curated upper class settings. Only ever giving 30 public performances, he more often played in the posh homes of aristocrats. His beginnings were in no way humble. Chopin was an absolute product of elite schooling. However, Chopin pushed beyond his teachings and created eloquent and uniquely expressive music that was deeply influential. At one point he sustained himself by selling sheet music of his works. Chopin’s expertly learned technique only served to elevate the poetic intuition his pieces demanded. One listen to the nearly 200 year old piano sonatas Nocturnes will reveal sounds still heard today in film scores along with shades of melancholic pop artists like Rosalia and Drake.

In the 1930s, vinyl records went into production and recorded music became a commodity. Suddenly, the art form that for centuries was transcribed to paper and required a physical performance to be heard could be listened to on demand and on repeat. Without a teacher or a band to hire, you could now playback and learn songs by ear. In 1942, as vinyl sales boomed, the American Federation of Musicians began a strike because of disagreements over royalty payments. After the strike, work for many union-related Big Bands began to decline in favor of vocalists. The strike ended in 1944, that same year John Coltrane was given his first saxophone, an alto, for his 18th birthday.

John Coltrane began playing clarinet and alto horn in community bands while in high school and switched to saxophone after being influenced by Lester Young and Johnny Hodges. He took saxophone lessons at the Orenstein School of Music for a year. Then Coltrane saw Charlie Parker and in his words it hit him right between the eyes. After a stint in the military, he used the GI Bill to enroll at the Granoff School of Music where he met his mentor: guitarist Denis Sandole. Coltrane studied music with Sandole until the mid 50s. While studying with Sandole in Philadelphia, he received a call from Miles Davis. This would result in Miles’ “First Great Quintet”. John was influenced by the style and harmonic sensibilities of pianist Hasaan Ibn Ali. John Coltrane would develop into an absolute musical giant. He took the depths of his teachings and pushed the boundaries of emotional expression with sound. Like Chopin, Coltrane is an example of musical pedagogy being a jumping off point for the creatively divine. Yet, along with the beauty of their work there is an intimidation to its greatness. Sometimes works deeply rooted in studied traditions are less of a gateway for young musicians and more simply a gate, keeping the untrained out.

The definition of what a musician is has changed significantly over the last 50 years. How music is learned can be as individualistic or ritualistic as you prefer. An oddly collective focus on individuality has gifted us with many unique, passionate and expressive artists who neither had nor needed a teacher. In the case of the earth shaking genius J Dilla there was no one to teach him the art he was developing. I think this freedom of choice to explore like a novice or absorb illimitably will benefit the development of musical creativity and musicians. With the constant development of easily accessible DAW recording platforms like Logic Pro or Spire, a musician can create in seconds. However, there is a danger that the context, history and full potential of instruments and sounds can be lost for the sake of immediate productivity. In the ever customizable landscape of contemporary music production it is not tradition but an artist's heart and intent that lead the way forward.

Lido Pimienta was born in Barranquilla, Colombia and though she grew up surrounded by Colombian music cultures she never properly studied. The internet was her resource for musical education. Her music embraces Afro and Indigenous traditions while melding her own unique take on modern electronica. She proudly refers to herself as a “YouTube tutorial musician”. Virtuosic bassist Thundercat is another great example of musicians evolving in a new direction. Stephen “Thundercat” Bruner began playing bass at an early age but the closest thing to a mentorship in his life was being in his high school’s jazz band. He was 17 when he had the elite skill to join legendary crossover thrash band Suicidal Tendencies. Thundercat was a key contributor to Kendrick Lamar’s “To Pimp a Butterfly”, arguably one of the most significant creative works of the last decade. Bruner’s diverse taste comes through in his playing whether it’s lightning fast licks or a 2 note funk line. Like many of the best 21st century musicians, there is no fear of over simplicity or complexity.

Perhaps the contemporary creator is better off without a mentor. Of course, guidance is not always a stifling thing. I do not mean to dismiss the institutions in place now where a young player can learn and be tutored. The point is for there to be more diversity among practices. The extreme benefit of many potential creatives with access to countless resources for learning can’t be ignored. I like to think of it as very slowly tapping into the instincts of a running newborn giraffe, knowing how to gallop because her heart tells her how.