Introducing “Music School Mythbusters”: A New OnCampus Series

We want your input! Send us a music school or career “myth” that you would like to see featured in this series via Twitter (@polyphonicorg), Facebook (Facebook.com/Polyphonic.org), or email (info@polyphonic.org).

You have to practice four hours a day to adequately improve. The only stable jobs are in the orchestra sector….but there are no orchestra jobs. Attendance at a summer festival is absolutely necessary if you want to make connections.

Sound familiar? If you’re a current music school student, your answer is probably yes. Almost from the moment we enter the storied halls of the conservatory, it seems as though we are inundated with a plethora of seemingly indisputable facts about the music school experience.

But are they? Do these ostensibly irrefutable axioms have a firm basis in reality–or are they merely exaggerations of rare, atypical experiences?

This October, I will be presenting a series of weekly blogs dedicated to answering these very questions, with the mission of providing new insights to these aspects of student life that could have a significant influence on students’ choices in school as well as in their budding careers. However, in recognition of my somewhat limited perspective as a conservatory cellist, I am inviting you, our OnCampus readers, to enter the conversation. Beginning today, and continuing throughout the coming month, you may contact us with a subject that you would like to see addressed in this series. This can be anything from a simple question (i.e. “Does mental practice really work?”) to a personal observation (“Everyone I know seems to think that an orchestral career is our best chance of securing a job, but is it?”). Each week, I will select a “myth” to either “debunk” (i.e. “Why Summer Festivals are NOT necessary”) or “justify” (i.e. “Why We SHOULD Practice Every Day”). You don’t necessarily need to be a current college music student in order to contribute; prospective students, young professionals, or simply anyone who finds themselves contemplating these types of questions are welcome to write in. As is the procedure on the popular “Mythbusters” television show, I will present a fair amount of observations and evidence to support my ultimate claims–but as always, I welcome rebuttals. My primary goal is that these blogs will not only bring some much-needed clarity and answers to questions that all of us grapple with, but promote a healthy discussion amongst readers so that we might reach a consensus on the realities and purpose of music school life.

We look forward to hearing from you.

About the author

Zachary Preucil
Zachary Preucil

Zachary Preucil enjoys a varied career as cellist, educator, and writer. Currently, he serves on the faculties of the Music Institute of Chicago and the Music for Youth Suzuki program in Arlington Heights, IL, in addition to maintaining a private studio in the Chicago area and coaching chamber music for the Schaumburg Youth Orchestra. Previously, he served on the faculty of the Kanack School of Music in Rochester, NY, and as a teaching assistant at the Eastman School of Music.

Zachary received his M.M. in Cello Performance and Literature and an Arts Leadership Certificate from the Eastman School of Music, where he was inducted into the Beta Pi chapter of Pi Kappa Lambda. He received his B.M. in Cello Performance with Academic Honors from the New England Conservatory of Music in May 2012. Zachary's primary teachers have included David Ying, Yeesun Kim, and his father, Walter Preucil; additionally, he has studied chamber music with members of the Borromeo and Ying Quartets. He has also studied at several summer music festivals and institutes, including the Aspen Music Festival in Colorado, the Bowdoin International Music Festival in Maine, the Castleman Quartet Program in New York and the Interlochen Arts Academy in Michigan. In recent summers, he has performed with the Midsummer's Music Festival in Wisconsin and the Caroga Lake Music Festival in New York. In June 2014, Zachary made his solo debut with the Schaumburg Youth Orchestra in Chicago's Orchestra Hall.

As a writer, Zachary has served as a co-editor of "The Penguin", New England Conservatory's student-run newspaper, and has blogged for Polyphonic On Campus since 2012. Recently, his work has also been featured on the Chicago Cello Society blog, the Huffington Post Arts blog, and the blog of the CREDO Music Festival. Along with flutist Elizabeth Erenberg, he is a co-founder of Musicovation.com, a multifaceted website dedicated to promoting the latest positive and innovative trends in the music world.