Over the last few decades, many American schools of music have embraced the repertoire and missions of new music ensembles. Boundaries are broken, venues explored, students challenged, and new sounds ring out. What a change from the 1980s, when musicologist Susan McClary argued that “both popular and postmodern musics are marked as the enemy, and[…]
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Bill Zuckerman, founder of www.musicschoolcentral.com, has written a recap of the January 15, 2015 Chamber Music America pre-conference workshop “How to Succeed in a Changing Musical World,” presented by the Paul R. Judy Center for Applied Research at the Eastman School of Music. You can read Bill’s article here. The pre-conference day included: a keynote[…]
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Moderated by Norman Ryan, Vice President of Composers and Repertoire at Schott Music Corporation, the panel for this session included Amy Garapic, Co-Executive Director of Contemporaneous; Beth Perdue Outland, Vice President of Community Engagement and Strategic Innovation, Indianapolis Symphony; Jen Richards, Managing Director, eighth blackbird; and Julia Rubio, Executive Director of the Black Pearl Chamber[…]
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Just like Rip Van Winkle, American orchestras have been asleep for twenty years. Season after season of the same repertoire, played again and again for generations until the idea of an orchestra participating in modern musical life seems outrageous. Last week, the League of American Orchestras focused their annual conference around the idea of “Imagining Orchestras in[…]
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My assumption would be that 'score' here refers to the musical portion of the recorded soundtrack, and not the written…
History is filled with people who have tried to define art. They have all been wrong, and there is no reason to suspect we are any better at it than they were. Changes to what experts call “Art” happen all the time. There was a time when people questioned whether photography constituted fine art. Some[…]
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This is always a difficult question to answer and it varies from person to person. It stands to reason that if you do one thing and take it to the max, your chances of being superior to the person who does two or more things is enhanced. With a few exceptions most musicians who are at […]
Read MoreThe ultimate measures of success are trial and repeat, and the buyer is the final judge. If a manufacturer of just about anything, from dishwashing detergent to automobiles, gets you to try their product, and you are satisfied and return to purchase again, that is success. Using a music example, let’s say you get a […]
Read MoreIt’s important to understand image. Your brand exudes a certain image and is made up of the following: Tangibles & Intangibles[i] Tangible—Can you play accurately? Do you show up on time? Are you a good sight-reader? Intangible—Do you have a beautiful sound? Are you musical? Do you make the notes come alive? Do you add […]
Read MoreHere is the third installment in this series of blogs that discuss the musician as a brand. If you are new you can catch up quickly by reading the two previous posts. You’ve probably heard the cliché, “To get ahead it’s not how you play, but who you know.” Certainly having connections or a network […]
Read MoreWhat Is a Brand and Is Yours a Good One—What Is Your Brand? The last blog gave a few definitions to work with. Now think about your brand. And it isn’t just about your playing, but we can start with that. What do people think of when they think of you? Make a list and […]
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