Majoring in Music?

[Elizabeth Volpé Bligh]

My husband majored in music, spent a few years touring with a brass quintet, (yes, I am another harpist married to a trumpet player), then decided to switch careers. He took one year to get his teacher’s diploma, and, with his music background, immediately got a job teaching elementary band. After a number of years, he became vice-principal, went back and got his Master’s and now is a principal. He plays his trumpet for fun and a little extra money. I have a friend who got his degree in engineering, then got a symphony position as soon as he graduated. Another friend got his degree in Music Education, then got a job playing French horn in one of the best orchestras in the world. This all goes to show that there is more than one path to success. Whatever you don’t learn in school, you can learn later, but it is certainly easier to do it while you’re young and unburdened by other concerns such as laundry, children and groceries.

[unknown-user]

I started gigging while working, and have supported myself solely through performance since I was 24.

Hi Diane,

That is actually a remarkable accomplishment. It would be helpful to
others if you could share some of your specifics about how you
succeeded. I have a number of peers with doctorates in performance
and/or composition who have amazing skill, chops, and so much to
contribute, but have not been able to support themselves entirely
through gigging. It would be wonderful if opportunities were there for
those individuals who were diligent, know their musicology and theory
like the back of their hand, and can perform with technical precision
and heartfelt expression. I have not been able to support myself, but
am fortunate to be married to a programmer. Here are a few profiles, I
have laid out as case studies (insignificant details changed) that
represent
my peers. Any information you can provide to describe how you arrived
at
consistent success would be helpful to an entire generation of gifted
individuals who have a tremendous amount to offer the world.

1. DMA, MM

[virginia-schweninger]

I used to make my living full-time performing, but began a business with my husband and the harp took to the backseat. We moved to Virginia a few years ago looking to get away from the fast pace of L.A. and haven’t looked back. I am back playing my harp, teaching and performing as much as I can/want and love playing more than ever.

We are near a college town with a population of around 70,000 (peak season) and there is only one other professional harpist here. Her story is amazing, and we could all learn a lesson from her! She did not MAJOR IN MUSIC but had a child to support so she TAUGHT HERSELF how to play. She began to sing and tell stories with her Celtic harp, she played for weddings, etc. and managed to make a living. She eventually got herself on our State Council for the Arts list and became artist in residence in many schools statewide playing her harp and being her charming self.

She became the first CMP and virtually brought therapeutic harp music to our University Hospital. She plays for weddings, restaurants, workshops, charities, libraries, parties, festivals, you name it! I never do a gig (often referred by her) that someone doesn’t tell me a story about her loving contribution to their hospital stay or family wedding.

She’s created a couple of CD’s, bought a house and sent her daughter to college.

Her secret? She cleverly cultivates all of her gifts, shares them joyfully, drives a lot and works her guts out.

[barbara-brundage]

Yes, Julieanne, these sound very much like the histories of many of my friends from Eastman. I was far from the most talented/able student there, but I’ve been been very fortunate to have been a harpist during the good years. Even in the 80’s you couldn’t get a gig playing ‘Misty” down at the Holiday Inn if you were a bassoonist.

Diane, I don’t follow the logic that lots of Music Majors must mean lots of jobs. There have been hundreds of thriving career fields that got wiped out over the years by changes in society/technology, and not just in the 20th/21st centuries.

Yes, some people will thrive as musicians in the new order. Those who are clever and canny about marketing themselves and using the amazing new tools available now. (I know one harpist who makes an amazing income by sheer self marketing of his CDs.) But on the whole, there’s no question that live music is not very valued in our current society, and that the guerdon is likely to go to the best promoters rather than the best musicians.

I’ve been amazed at how quickly it’s gone from, “My mom thinks I’m crazy, but I really want a harp at my wedding,” to “My mom says I have to have a harp at my wedding.” That’s not a good sign for the future.

[diane-michaels]

I wrote an elaborate explination earlier today, so in depth that I believe I stumbled upon a way to turn used harp strings into fuel, but as I hit send, my internet connection failed, and so, if I had any wisdom to share, I’ve probably lost much of it.

[diane-michaels]

Some corrections to my text would have helped – I was hoping to be able to post it without losing it, so I didn’t proof, chosing to get rid of it as soon as posible.

[unknown-user]

One thing that may be worth clarifying from my last post… I was
attempting to describe various levels of artistic contribution but didn’t clearly define them.

1. Those who have the capacity distinguish themselves internationally
and fuction as a model for other performing artists in their
generation. (calling this world class professionals)

2. Those who have the capacity to distinguish themselves nationally and
are leaders and mentors for developing artists, and for whom working
towards an international contribution is a reasonable career goal.
(calling this second tier professionals)

3. Those who distinguish themselves locally, within the larger
metropolitan areas and/or within some geographic range, and for whom
working towards a national contribution is a reasonable career goal.
(calling this third tier professionals)

Those whose contribution is limited to their immediate locale also
contribute a great and valuable gift, filling a social function that
aids in the appreciation of the arts. These people often give others
their first experiences in music. These individuals have often not
invested as much time/money/energy into the development of their skill.

The arts serve culture on different levels. The local sharing of gifts
is in many ways the bread and butter, and traditionally was the haven
of “folk” music (music for and by the common people). Sometimes
classical music now also serves a community music function when it
fills social roles in service playing, music appreciation, and
recreational lessons. The arts also serve culture when the finest and
best are valued and cultivated by our most uniquely gifted artists.
These people speak for the people, expressing the ideals, fears, and
hope of a given age. The community musician is not in much danger
in our society because there will always be local functions that
require music. It is the high level artist whose survival is most at
risk. What is happening is that many artists are trying to fill the
community functions, but are in competition with the community level
musician. There is resulting frustration because there just isn’t a
desire for what the artist can uniquely offer. Their level of expertise
is just not considered necessary for the task, and often isn’t. It is
often socially preferred to select performers based on their social
role in the community, or the lowest possible fee. The artist’s
contribution is equally important, but it’s function is more on an
almost spiritual or philosophical level, and provides meaning in a way
that most people benefit from but may not perceive or fully understand.

It is almost as though our society is experiencing a role reversal. Pop
musicians communicate in a folk-level form of expression
with simple formal structures, themes regarding personal and everyday
life, varying levels of skill accepted, etc. However, their performance
setting and function is that of the classical musicians in former
societies – individuals whose lives are set apart for the sole purpose
of expressive communication. Although much of their time is focused on
marketing, so their craft is not developed as traditional classical art
has always been. Also, instead of the wealth being concentrated into
the creation of marvelous instruments capable of tremendous expressive
resonance, (jewel studded Burmese Harp, elaborate temple gongs,
Steinway grands, etc) the money is displayed in the wearing of jewels,
expensive cars and other non-musical expression of material items used
in everyday life. It is the glorification of the ordinary, of
mediocrity. Everything is backwards and upsidedown. It may be necessary
for high level artists to infiltrate the pop world raising its
standards. I really don’t know what is going to become of all of it.

I do agree with the ideal of using music to heal and nurture people.
Artists can actually contribute uniquely in this regard because poor
musicality will never be as beneficial as a deeply
expressive performance with technical ease. For example when someone
plays out of tune, it creates a lot of anxiety, especially for
sensitive
ears. I even wonder if the agitated resonances are not that great even
for people who are “tone deaf”. Stiff and choppy phrasing is not
soothing. Poor performances are just not
going to help someone who is ill and needs relief from chronic pain,
anxiety, or needs to relax and sleep. Although, complex pieces are
generally not going to assist in this endeavor, so the ideal is simple,
clear music that is flawlessly and expressively played. So this task
does not require a virtuoso, but someone who can play artistically.

When performance becomes too focused on the adulation of the
individual, some of the empathetic and more deeply meaningful aspects
of artistic communication suffers. I am personally working towards
contributing as a hospital volunteer harpist and working with students
with special needs, many of whom are extremely bright and gifted
musically, but need assistance negotiating their way around their
obstacles.

[carl-swanson]

Julieanne-

[Richard Shapiro]

The most important aspect of life is to enjoy it. I am a pianist doubling on harp.

I always made and still make a good living performing on keyboard.

I majored in accounting. Worked a year at it, and hated it. Prepared taxes etc.

I did this because my parents and friends told me many times that I will starve as a musician. Well that is a bunch of…… A word of advice till those of you who want to major in music. Do it, Dont waste your time doing something just for money. If you are good the money will come. But you have to be the best or try to be, at whatever you do. And that means giving 200 percent to practicing,

and being able to perform in any given situation.

[unknown-user]

Boy, you make me think twice about getting a doctorate. One problem those people may have had was staying in school so long, if they went straight through. There are a lot of people drawn to music who are actually not very musical. Though they do well enough with school, why should they really expect to be the ones to get some good position? At some point it has to be about talent and artistry, I should hope. Some have great concentration, drive and competitiveness, and end up in plum orchestra positions. A lot has to do with personality type. I am not the agressive type to promote myself to an obnoxious degree, apparently, and I don’t have limitless energy to run around either, nor are my looks going to do it anymore, either. And when they might have, I didn’t stoop to using them to get ahead. Pride and dignity are important things to maintain, however costly.

So, once again, we need to stop complaining and take action. One of you harpists who is good in business, who understands management and promotion needs to open an agency who will

[unknown-user]

Very good comments everyone. 🙂 I’m glad Carl pointed out the
complexities of success that go beyond talent alone. Success requires
funding. This is true. Life simply does not offer everyone an even
playing field. Learning to look beyond personal success to the larger
contribution music makes in the world, we can learn to appreciate the
success of others as part of our own. This can give us that
morale boost to move forward ourselves. Sometimes in highly competitive
environments, one person’s success is another’s failure. Perhaps this
is based on the competitive sports model. Since the arts are aesthetic,
one beauty can add to another, not detract. To me it is like seeing a
sunrise reflected on a lake – the beauty of the water enhances the
colors in the sky. Even if life does not offer us the chance to succeed
to our full potential we can still experience those who have in the
same way we see this sky, we can still be the lake to reflect the
beauty they
offer over
all the world. It is a philosophy based on the “whole being greater
than the sum of its parts”.

I appreciate Saul’s idea of having musicians with talent for marketing
and arts management working to contribute to the success of other
musicians.
When I am struggling the most to have my artistic voice heard is the
very time it is most satisfying to be able to assist another artist’s
voice. That is one reason I became a harpist in the first place – to
offer my playing to artists who have created works that need to be
heard. This cooperative professionalism should be taught, perhaps
already is in some schools, during the university/conservatory training
years.

What is most important for artists is to have a plan to insure they
have income to survive on, even if that means developing a second area
of professionalism. Even some of the greatest contributors in history
worked as clerks, or other odd jobs during part of their lives –
Einstein, Tchaikovsky, to name a few. Being a classically trained
artist in today’s society is a challenge not unlike climbing Mt.
Everest. It requires cooperative survival strategies. Knowing what to
bring and what to leave behind is essential to survive it. This does
not mean one should not attempt to climb.

[Diane Patenaude]

A late reply, as I am just reading this thread.

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