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Few sounds seem as innocent as a child working through scales, and yet the youth music festival circuit has quietly grown into one of the most cutthroat corners of Canadian childhood. Parents once signed their sons and daughters up for the plain pleasures of rhythm, discipline, and self-expression; more and more, though, those gentle aims have been crowded out by a raw determination to place first. A small number of parents now schedule marathon practice sessions, dispute the adjudicators' marks out in the lobby, and trade cutting remarks with rival families while the children are still tuning up. Their numbers are few, but the harm they do spreads well past their own recital rooms: friendships fracture, gifted young musicians walk away for good, and a pastime meant to nurture patience slowly earns a name for the very opposite. Alarmed by the trend, music federations in a growing number of provinces have begun requiring parents to sit through a brief workshop on encouraging conduct before a child may be entered in competition.

The friction broke into the open last month at an information night held by the Open Chord Music Society in Peterborough, Ontario. Most of the two hundred or so parents who came shared a single frustration: a loud handful were souring the whole experience for everybody else. The society's artistic lead, Delphine Aubry, urged the room to loosen its grip. A parent's real task, she said, is to hang back and let a child land on the instrument that genuinely moves them, or leave music behind altogether; freed from an audience to satisfy, children stop performing for approval and start playing for the sheer pleasure of it, and that is when they truly bloom. Her single caution concerned vanity. An inflated ego, she warned, is a weight a person hauls around for the rest of their life. When the microphone opened to the floor, one father, Marcus Ilesanmi, held that even half-hearted competition teaches children a self-discipline they will draw on for years. A self-styled "recovering festival dad," Reidar Solberg, saw none of it that way: "Ranked competition crushes a child's spirit and drags out the worst in parents. Keep them clear of formal contests until they are at least eighteen."

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1Theo Nakamura's son mainly struggled with
Athe coldest adjudicators at the festival.
Byears of exhausting nightly practice.
Cthe strain of competing against his own peers.
Da lack of self-discipline.
2To protect young musicians, provinces increasingly require
Achildren to pass a music exam
Bparents to complete a workshop
Ccostly disputes with adjudicators
Dmore climbing clubs
3Yolanda Krivak blames her daughters' exhaustion on
Abig egos among young performers
Brival brothers and sisters
Ccompetitive music itself
Dthe pushy parents of other young musicians
4Who said both their daughters gave up music after burning out?
AYolanda Krivak
BReidar Solberg
CTheo Nakamura
DDelphine Aubry
5According to Delphine Aubry, letting children pick their own instrument protects their
Apersonal reputation.
Bcompetitive edge.
Cself-discipline later in life.
Dlove of playing.
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