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Fooey :o(
New rule to keep it silly – a person can only nominate him/herself. At any rate, there would be no shame in being average.
Perhaps one solution would be if the AHS Archive has or can develop a lending library for recordings or post them, as people then donate their record collections to them. I don’t imagine someone out there wants to start a harp-only historical label. ETC has brought out a historical cd of Phia Bhergout that looks very interesting, but is very expensive.
This site has samples from cross-strung player Skye Hulbert:
http://members.cox.net/skyenotes/songs.htmlDo you have iTunes? If so, search for Harper Tasche and you will find plenty of recordings to hear a 30 second sample of, and of course buy by individual track. Lots is folky/new-age but there are a few jazzy and classical tracks that also show the chromatic possibilities (including Joplin’s The Entertainer). Likewise you can look up Cynthia Lynn Douglass on iTunes.
I thought it was peer instruction, perhaps allowed to develop by the mother, but mostly done at school, etc.
And then there’s the
Get The Check Event, in which you have to weave through a crowded ballroom, find the bride’s uncle and pick your paycheck out of his jacket pocket while he is dancing with you.
I don’t know what’s in the Schlomovitz Method, but I don’t think she was ever considered Salzedo trained, at least not by Miss Lawrence, who was the source. Her video is very important as a document of her playing and teaching, with excellent demonstrations by Elizabeth Morse. It is not a very professional production, unfortunately, but when Miss Lawrence got moving on a project, it had to get done regardless of minor details like sound. Her
P.S., I assumed that after going to college, I could attend conservatory for graduate training, moving up the ladder step by step, so to speak. I didn’t realize how unusual that actually was. It is not necessarily that easy to go to conservatory after a college or university, or maybe I’m wrong on that, or it changes from one period to another.
There are colleges and universities with conservatories within, or conservatory-type programs, so you can look for those.
I attended Macalester College and Manhattan School of Music. I strongly considered a doctoral program at various times.
I think it’s a good idea to have lessons with the teacher first, not so you have help getting in, but to find out if you want to study with that person. If you want to look at the value, I have the experience of attending a college that was well-regarded and has since risen to the top ten, thus increasing the value of my degree, so to speak.
As I have said before, I chose my graduate school based first on the teacher, and second on the school, as she had three I could choose from at least. I chose the larger school to be part of a department of several, not the only student. In retrospect, that may have been an error, though I loved the school I did choose.
I think a liberal arts degree is a great enhancement to a musician, but you should ascertain how many credits you would get for lessons and practice, what course load would be required, work study, and how much practice time you would realistically have. With a four-course full load of sixteen classroom hours per week, at least twelve hours a week of work study, two or three hours of practice time was the most I could manage, and I didn’t have enough study time left to really keep up or excell, unless I could study during my work-study hours, and it took a while to find those positions. So, I’d advise making sure you could do only three courses per semester if possible, up to 12 hours of classroom, so you can do 20 hours of practice and 20 hours of study, presumably. Time management was the biggest challenge of college, aside from money management. By contrast, a conservatory course was three hours a week and about three hours of study, as they want you to practice.
Also, take note of the entrance audition requirements, as you must plan ahead to learn all the repertoire for each school, starting in junior year.
Ironic as it may sound, it may help to be able to not take experiencing mean behavior to heart. The person doing it may be merely acting superficially, or trivially, or in a way they feel entitled to so do by virtue of circumstance or precedent, and it most likely may have nothing at all to do with the recipient, it’s a self-reflective behavior, as I think you are identifying. Everyone is a work in progress, some may be progressing more than others, others just differently, perhaps not at all, all we can do is be the best we can be if we choose to. Even if that is the 50th percentile.
I own an Andrew Thom 23-string harp with concert spacing but lighter tension, and it’s just lovely. The sound is big and clear, and the bass isn’t muddy at all. It’s nearly as ‘big’ in sound as my pedal harp!
I can’t see why, if you get a Thom harp with 34+ strings, fully levered, that you wouldn’t be able to play the classical repertoire available to non-pedal harps – there are plenty of people already doing so, including students doing the AMEB music exams. Certainly you can play folk and early music on a harp as small as mine, and it sounds perfectly fine.
The only drawback as far as I’ve encountered is that the paint can chip if you knock it hard, but it’s repairable easily if you have a single colour, with one of those touch-up pens.
Andrew Thom is also a very friendly, helpful and realistic guy to deal with.
