Leadership Suzuki-Style: An Interview with Dr. Kay C. Mclaughlin

I wanted to thank you for allow- ing us to interview you for the
American Suzuki Journal. We all
look forward to hearing your ideas
and experiencing your wisdom. We
appreciate your time and expertise.

Thank you for the opportunity. I’m
glad to be a part of it.

Your professional career is very
varied. Could you please tell us
what is your current occupation and
describe how your involvement in
Suzuki shaped your arrival at your
current capacity?

That’s such a good question. I would
describe my current work as being
a leadership consultant in a variety
of systems. It is often with a church,
but also with corporate and academic
groups. Delightfully, I sometimes
practice it with Suzuki as well.
The same summer I took my girls to
the University of Wisconsin at the
invitation of Marvin Rabin, my youth
orchestra director, we had a session on
“What About Suzuki?” with a number
of former section leaders and coaches
at the 25th anniversary celebration

of the Central Kentucky Youth Or-
chestra. All of us were having young

children at the time. We were very
interested in learning about Suzuki,
but not much was known. At the end
of that session, my youth orchestra

director told me Dr. Suzuki was com-
ing to the University of Wisconsin and

asked me to consider bringing the
girls to participate in a demonstration
group. I thought it was a marvelous
idea, and agreed. At the time, I was a

stay-home mother doing some teach-
ing and engaged as a music reviewer

for the local paper. The girls and I went
to Cleveland to purchase their first
violins, got on a train from Cincinnati
to Madison, and had a wonderful week
with Dr. Suzuki and Mrs. Suzuki. It was
a life-changing experience.
Two weeks later, I was signed up to
attend a leadership event through the
Episcopal church. I had no idea that

just as this violin workshop turned
out to be a philosophy of life as well as

teaching, that the leadership confer-
ence I attended would be the same. In

two short weeks, I knew my life was
changed. While I did not know what
this change meant, I knew something
important and foundational was being

shaped in my life through these expe-
riences. As a result, I came home and

founded the Lexington Talent Educa-
tion Association. Also, I began using

the methodologies I gained while
attending the leadership conference.
These two concepts fit together well.
They were both positive and based on
a building block methodology. They fit
with my upbringing by a father who
was a teacher. This represented the
coming together of something that fit,
and I was glad to be doing both.
I met Margery Aber when I saw the
demonstration group she brought to
that first workshop I attended. That
summer, Dr. Suzuki did workshops in
four different American universities.

The teachers who brought demonstra-
tion groups were part of the group

of A merican string teachers that
attended the first trip to Japan to
explore Dr. Suzuki’s philosophy and
pedagogy. These teachers had already
started programs and were available to
let us experience the Suzuki method
in America. I received a called from
Marge when she decided to start the
American Suzuki Institute. We got
acquainted during the workshop I
attended in Wisconsin. She felt the
one aspect of the Japanese summer
school that needed strengthening in
America was parent education, and
asked if I would be willing to help her
design parent education sessions. She
invited me to teach 1A (Violin Unit
One) at Stevens Point, which inspired
me to write my Twinkle book (They’re
Rarely Too Young. . . and Never Too Old “To
Twinkle”: Teaching insights into the world
of beginning Suzuki violin). Going to the
American Suzuki Institute was the first
time we all gathered and discussed
ideas. We just couldn’t get enough of
sharing our experiences and ideas

about this amazing method. Initially,
there were a limited number of Suzuki
teachers available at other institutes,

and we were eager to share our experi-
ences. I was very fortunate to be one

of the teachers who was invited to do
Suzuki workshops and other similar
things. All the leadership training I
had done found a natural way to shape
the various Suzuki events I was asked
to do. These two aspects of my life
worked hand and glove and continue
to nurture each other well.
The Suzuki philosophy is part of my
being. My daughter Diane and I have
a secret language where she’d say:
“Mom, I went to the dentist today, and
finally found a Suzuki dentist.” This
is our way to describe a person who
is knowledgeable about the subject at
hand. A Suzuki individual is someone
who addresses issues point by point
and refines concepts at each step of the
way. I am often using this terminology
no matter what group I am working
with because it is so foundational and
easy to understand. For example, I
often refer back to Dr. Suzuki’s words,
“We’ve got to do this 100 times for each
time it was done incorrectly,” when
working with a company that struggles
with conflict or change. They look at
me in shock! There are so many of our

Suzuki principles shaping our behav-
iors and training, and we use them in

any discipline we decide to practice.

I notice the first visit to Stevens
Point, Wisconsin, is always de- scribed as such a magical, different,
and unique event by those who
attended the Suzuki demonstration.
Something like this will never be
recreated, don’t you think?

I think it’s generally impossible to
repeat the wonder of an experience
that is such a “first” for everyone. The

sense of excitement about this op-
portunity to learn, the newness and

yet the universality of it. What an un-
forgettable experience! There was also

a dimension of adventure, as many
traditionalists, both professionallyand personally, thought we were a
bit crazy!

It is so wonderful to hear the stories
describing these memories. I am
sure retelling these experiences will
never do justice to the experience
itself. However, these stories are
invaluable in helping us relive his- tory for those of us who were not
a part of it.

I think there is something about
pioneering that has a distinct quality
to it. There is so much of the unknown

and surprising around it. This hap-
pens as a result of so many amazing

things happening around you at all
times, and everyone becoming so
curious about every aspect of the
experience. There were no experts
as we were all experiencing it for the
first time. We had so much reverence
for John Kendall, Bill Starr, Margery
Aber, and many of the teachers who
went to Japan and became the pioneers
of the Suzuki method here in America.
However, they were very quick to say
they were novices. There was no sense
of entitlement or importance around
those pioneering this movement. We
were all learning something together
and marching forward with great
belief in the philosophy. I remember

the early teacher trainer class’s phi-
losophy papers, and one comment

in particular stayed with me: “I was
brought up with a ruler over my hands
and punitive methods. I had no idea
what the alternative could be like. I
feel like I am coming up for air after
being held underwater for years.”
These comments describe some of the
feelings we were experiencing after
hearing about the Suzuki philosophy
for the first time.

I think it is one of the characteristics
that makes our community so rich.
It is the understanding that we are all
learning together and sharing ideas.
It makes us unique. Could you tell
us what is the most satisfying aspect
of your career?

My father always used to say, “The
most exciting thing in the world is
when learning begins to show.” It is
just exactly that. Presenting, teaching,
or sharing concepts and watching
people’s eyes react when they get it.
I think all of us as educators look
forward to that moment of under- standing. I would like to follow up
with an interesting remark you made
answering the first question. You
spoke about you and your daughter
“finally finding the Suzuki dentist.”
Tell us more about what you see
in someone that defines him as a
Suzuki-like individual.
My granddaughter started skating at
age four. I remember saying to her
mother that her skating coach was
a Suzuki coach. There are two parts
to this characteristic. One of them is

pedagogical and the other philosophi-
cal. First of all, there is a belief that

everyone is going to succeed eventu-
ally. They just need to try enough times

in different ways until the point gets
across. These individuals are often
very positive and build on what they
have taught one point at a time. They
spend time refining what has been
learned and keep revisiting it as they
move to the next concept. Those of
us who have learned to follow this
pedagogical approach recognize it in
an instinctive way. Likewise, we also

recognize it when these traits are miss-
ing. We notice the details left behind

as they move to the next point. We in-
stinctively notice not enough review or

repetition. We also see an individual’s
effort to diminish someone else by
making them feel they cannot learn
rather than building their skills. The
Suzuki approach cannot be separated
from what we do in our daily lives. The
traits of a “Suzuki teacher” are present
no matter the discipline in discussion.
We have been trained to see, recognize, and practice the Suzuki
approach so much that it becomes
part of our human fabric after a

certain number of years. We tran- scend the Suzuki approach to
learning beyond the music lesson
and see it in all occupations and indi- viduals no matter the circumstances.
It is an interesting phenomenon.
It really is. It becomes about being,
and not just doing.

How do you think Suzuki music
education has changed the music
industry?

There are many little violins being
made and sold, and that is a change
from the business end of the music
industry. More importantly, I would
like to speak to educational changes
that have taken place and others that
are in the process of changing. My
disappointment would be the type
of fine arts experiences students are
offered in schools. There are many
dedicated teachers in our schools
doing extraordinary things, but that
is not the norm. I still hear examples
of students in schools where the
approach has a narrow and limited
focus. . . The Suzuki approach has
changed our perspective on ability,
but I wish some of its ideas would have
been incorporated more broadly into
our educational system. I still hear of
students who feel bored with their
instruments in school, and as a result
are lost in the system. Additionally, I
do not think there is an understanding
of what to do with advanced students

such as accomplished first grade stu-
dents playing Book One, Two or Three

repertoire skillfully. It is my hope we
can evolve our educational approach

to provide a more wholesome experi-
ence for students. We have musicians

who learned using the Suzuki ap-
proach performing in orchestras,

professional ensembles, and chamber
music groups. We have Suzuki trained
citizens creating a larger community
of music lovers and supporters which
represents what Dr. Suzuki desired.
However, more could be done to
incorporate Dr. Suzuki’s ideas into oureducational system.

I do realize change
is difficult, and fine arts programs are
under great danger. I do not blame
them because I realize their struggles.

Last year, I was in a committee discuss-
ing being a music supervisor in the

school system at Lexington, VA county.
This is a big school district with many
great music programs, and we have
no supervisor of music position. This
creates a leadership vacuum. It does
not surprise me to see that teachers
are struggling to hold on to their jobs
and have a program that thrives when
I see this kind of stress around our fine
arts programs. I just wish there could
be more done because Dr. Suzuki’s
philosophy and educational approach
could strengthen a lot of programs. I
become inspired and optimistic when
I see the chairs of our local Lexington

Philharmonic filled with former Su-
zuki students, and realize the impact

Dr. Suzuki’s ideas have had in the
music industry.
There are two things I notice when I
look at the big picture of what Suzuki
music education has accomplished
in our music community. I notice
how much Suzuki music education
has challenged what is perceived as
possible, but also realize how much
more can be done. It’s an interesting
paradox. On a personal note, I hope
I continue to have the drive to seek
what’s necessary to grow for our
organization and the method. I hope
we continue to challenge what’s
possible so we can grow into a more
transformative and inspired version
of the Suzuki method.
Absolutely. You just triggered a
reflection from the time I did my
leadership training. At that time,

people took time off from their oc-
cupations to seek this leadership

training. That is not as easily possible
anymore. However, we are creating
alternatives to make this opportunity
more of a possibility for many. I was
part of working on a project a few years
ago to gather the essential teaching

points and organize the course into

weekend intensives. This is the popu-
lar model society is using today, and

have seen it with some of our Suzuki
institutes as well. A former high school

orchestra director in Kenosha, Wis-
consin distilled the principles from

the Suzuki philosophy that could help
his orchestra and adapted them into
useful teaching tools for his ensemble.
I wonder if we are we helping provide
ways to help school systems realize
how the Suzuki methodology can be
used in their settings. All of us would
like to see full Suzuki programs, but I
think there are aspects of the method
that can be modified and applied in
public school programs resulting
in deeper learning for students. We
should reflect on what we, Suzuki
teachers, can share with others that
can be used to benefit students.

One of my personal favorites was
your keynote speech at the 2018
Biennial Suzuki Conference. It
was powerful, and well said. It
spoke directly to thoughts many
of us were having, and connected
all these ideas into a cohesive and
memorable whole in a thoughtful
way. What inspired you to write
these remarks?

One aspect that drew me to Dr.
Suzuki was not only his belief that
music can save the world, but also
that he had the courage to say it. It did
not make a difference whether people
laughed at him, or ignored him. I was
also drawn to his philosophy that
people can achieve the highest version
of themselves with consistent and
dedicated effort. After time, you see
the stories that prove people’s lives

are changed. It does not happen over-
night, but it does make an impression.

I think our society is at such a place
of danger that the idea of something
truly transformative bringing us

together seemed like a needed reflec-
tion to make in the speech. I was so

honored to have been asked to speak,
and it was a very important moment

in my life. Dr. Suzuki touched my life
very powerfully and gave me a call as
clear as a bell. I remember saying to
Dr. Suzuki, “I am not a violinist,” and
him replying, “But you are a musician.”
Then he said, “You have a heart. Go do
it.” I understood it as a charge, and it
has never left me. I think only another
Suzuki teacher would understand
this feeling and see that the Suzuki
philosophy remains foundational.
We are at a critical moment in our
world where courageous people like
Dr. Suzuki, who said music can save
the world, are called to act. He did not
let those who did not believe in him
stop him, and instead, he believed it
and kept at it.

I have noticed in all my conversa- tions with colleagues describing
their encounters with Dr. Suzuki
that he was able to reach them
viscerally. It was not just informa- tive, or transformative, but visceral
as well. Could you please describe
what was it about Dr. Suzuki that
he could reach people so viscerally
in his efforts to change the world
through music?

I picture being back in Dr. Suzuki’s

studio and thinking about his pres-
ence. There are people whose presence

in a room makes a difference. He had
a powerful personal presence and
displayed full engagement with those
around him. His presence was not
that of importance, but instead of a
very human person with incredible
discipline. He had a great sense of
humor that he used intelligently to
connect with people. Let me tell you
a story about my younger daughter.
Laura would have been approximately
10 or 11 years old, and she had been
struggling with pain in her arm. We
arrived at the Hawaii conference with
Laura’s arm in a sling. There was a long
hallway leading to the registration,
and as I walked, I noticed my daughter

was nowhere in sight. Someone men-
tioned she had gone with Dr. Suzuki,

and when I found her, she no longer

had a sling in her arm. We discussed
what Dr. Suzuki had helped her do,
and she said “he worked on her arm.”
Then I said, “What did he do?” and
Laura replied, “He just held his arm
over mine very close, but not touching
it.” I said, “Did he say anything?” and
Laura replied, “He was talking to me,
but it was the feeling I remember most
when he held his hand over my arm.”
Dr. Suzuki never put the sling back
on Laura’s arm, and I did learn later
Dr. Suzuki possessed some mystical
qualities of healing. I do not know the

medical terms, but there are practitio-
ners of the transmission of energy in

certain medical situations. Years later,
Laura was diagnosed with arthritis.
It started in her hands, and she had
to relearn how to use her hands. I
kept thinking back to this time with
Dr. Suzuki. This memory makes me
realize Dr. Suzuki was a person with
gifts of the spirit. I do not just mean
that in a religious sense, but also in
a perspective of faith. There was also
a profoundly mystical and spiritual
presence about him. I went with him
to the Catholic church in Matsumoto,

Japan, where he and Mrs. Suzuki wor-
shiped. He would say, “Play for the

great spirit of Buddha. Play for God.”
It was interchangeable for him as he
talked about both. He was a person of
many unique spiritual qualities with
a very human personality and a great
deal of wisdom. Humility was a huge
part of him as well. All these qualities
not only describe him, but also explain
how we perceived him as “Sensei,”
meaning “one who came before.” He
had many gifts that enabled him to
take many of the horrible things that
could have happened to anyone in
the war and create a sense of beauty
out of it. The idea that Dr. Suzuki
would state that children would not
remember anything of beauty from
the war, but that he could change some
of it is incredible. That is so enormous,
because how many of us can reach
that deep within ourselves to think
this way? The people in my life who
have touched me at that level are great,

deep, and wise. They are aware of
themselves and connected with those
around them.

We are so honored to have you as a
member of the Suzuki Association
of the Americas’ Honorary Board,
and were wondering what prompted
you to say yes when you were asked.

I could not have been more honored.
Having Suzuki in my life has been so
foundational, and given so much to me
that I want to give back. I have always
said that I never really left Suzuki. I just
engaged in a different application of it.
Thank you for the opportunity.
I can now see after your description
of how you arrived at your current
occupation how this transformation
happened. How would you like
to see the Suzuki method and the
Association Suzuki des Amériques
grow in the future?
It has been very exciting attending
the leadership retreat, speaking with
Institute directors, and attending the
Suzuki conferences. The realization
that those who I trained long ago are
now the senior teachers is fulfilling.
We now have a wonderful influx of

new teachers. I hope that the applica-
tion of the philosophy will grow to

be ever more important. We have
reached a place in the world when
those of us who know how to bring
people together and create beauty have
been called to act. We cannot recreate
the pioneering stages. However, it is
now up to the new generation to take
the foundational pieces of the Suzuki

method both pedagogically and philo-
sophically. The most important part

is how the new generation will live
the Suzuki philosophy. This means
the older generation will have to let
go of some things to make space for
needed change. This is difficult to do. I

remember Dr. Suzuki tired after teach-
ing, but later perking up and saying,

“New idea! New idea!” He was always
evolving. He would still be evolving if

he were here today. People would visit
Matsumoto to see Dr. Suzuki in action,
and would catch one idea he had. They
would teach with this idea in mind for
a long time thinking this is what Dr.
Suzuki meant. However, they would
have observed how his ideas evolved
if they had stayed for a much longer
period of time. This is a model for us
to continue studying and learning, as
we are never going to be finished. We
have many opportunities to seize, and
I hope we take hold of them.
Each year our teachers and families
are further removed from people who
knew Suzuki Sensei’s unique persona

and passion for the mission. His imme-
diate disciples are no longer present.

The students and disciples who come
later have an immense responsibility
to maintain foundational principles
and values. We have to thoughtfully,
carefully, and with real discernment,
evolve and move forward in the spirit
that contains the essence.
Speaking with you has been so
refreshing. I appreciate your ability
to courageously present a vision
of what is possible. I admire your
ability to notice what is around you
that could be changed for the better.
This interview was no exception.

It is lifegiving to seize every oppor-
tunity to speak with others who also

have a passion for Dr. Suzuki’s work.
Thank you for the opportunity.

Oscar Soler is a native
of Caracas, Venezuela.
He was appointed to the

faculty of the Hurst-Eu-
less-Bedford ISD Suzuki

Strings program in 2016
where he teaches students using the Suzuki
method. Mr. Soler has taught in workshops and
institutes both nationally and internationally. He
currently serves on the Board of Directors of the
Suzuki Association of the Americas. He earned a
Bachelor of Music, and a Master of Music degree
in violin performance and Suzuki pedagogy from
the Cleveland Institute of Music. He studied with
Paul Kantor and Kimberly Meier-Sims.