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Part of my day job is to find uses of technology in teaching (college math). This sounds like a great way to help students — personally, I have had times in my lesson where my teacher corrected me, and a few days later, when I was trying to remember **exactly** what she was doing with my thumb or my wrist, and could not remember all of the details.
The only thing I can think of right off the bat is that if your student has consistent access to a computer, it might be quicker for you to simply email the movies to your students, instead of burning the DVD’s. It would save a step, at least. And since the student you are using this with is conscientious, she will probably organize and save the files you send. These days, it might be even easier for a kid to have access to a computer (his/her own) than to a TV (shared)??
It’s a great idea! I’m feeling inspired to try it myself, when I can
get a camcorder. I did observe the teaching of a piano instructor who
regularly taped lessons. Her students were very successful. Switching
to role of observer, listener is one of the most important tools in
learning. 🙂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.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
Diane has a good list. Some of those are published. There is a collection with Erev Ba, Dodi Li and Erev Shel Shoshanim together. Another one is called By the Shores of Kinneret. There are additional Klezmer-style tunes you can find in Klezmer collections. Sunita’s arrangements may be too easy for a professional gig. Dewey Owens has a collection also, that was carefully chosen with Jewish advisors.
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.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
These are the qualities you need to survive: find and fill a need, be
flexible and adaptable, always have contingency plans. Plan like a
pessimist, but enjoy life like an optimist! 🙂One thing that
is difficult once you become expert in one field is to give it up and
start over as a novice in your 40’s. That is why you are absolutely
right, Carl, that students should get a head start on a second field. I
have seen too many of my peers become disillusioned and quit music
altogether after finishing graduate degrees. I am very passionate about
helping musicians/artists to find ways to collaborate and help one
another rather than tearing each other down. A culture of mutual
support will help each of us move ahead – sometimes this may involve
using a bartering system – offering services in exchange. That is one
approach that can kick-start the economic limitations and need for
investment in the arts.From my research
into options, a master’s degree in educational psychology accepts
students with bachelor’s degrees in a variety of fields. School
psychologists make around 50K. Other areas related to this are special
education and counseling. Simply put, careers that are stable and in
demand involve a skill that provides a service either to people or to
the machines they use. Two years of your
life is not too much to ask if it means the difference between
starving, working at minimum wage, or having enough money to take care
of your health and instrument. I’ll be honest, and have seen it too
many times, but it does hurt for a talented, expert person to be
overlooked for employment and be reduced to working alongside high
school graduates to scrape by. It can be especially shocking in the
performing arts for people who have grown up impressing everyone with
their gifts, and then suddenly nothing. When you are 18 it probably
feels like it could never happen because opportunities have been
provided at school, church, and family.Piano is a useful backup and has provided my bread and butter for about
5 years of my life. I have found it inconsistent support, though. The competition in piano can be more heated
than harp, actually, because there are so many pianists with doctorates
looking for work. Even though I have a doctoral minor in piano pedagogy
and years of experience, I just don’t have time to keep up advanced
repertoire performance and find it conflicts with harp technically just
a bit (some issues with wrist stability vs. flexibility, and left hand
overplaying on piano while underplaying on harp. It’s great to do both,
but extremely difficult to really
excel in both as a performer is all I am saying. I might be tempted to
suggest voice or a woodwind and harp. it’s useful to focus on a melodic
instrument to emphasize phrasing and a harmonic instrument. This also
teaches good breathing habits.I would like to add one thought. Many harpists give piano lessons, and it is a logical back-up as some of the students may switch to harp at some point. I don’t have enough training in piano to teach, so don’t neglect piano minor studies while in school as I did. Or have another secondary instrument that is popular, like voice or flute or violin.
Hello Basel,
Please don’t give up. Going to Dubai could be a stepping stone. Saul is
right – if you can find a way to make enough to buy a harp, perhaps a
lever harp, then start accepting gigs and students. Maybe you could
gradually cut back on your non-music work load as you build up
freelancing. There are some places where you can buy a lever harp and
within five years trade it in towards a pedal harp for it original
value. That might be a way to go for you. Although I realize it could
be difficult saving up enough as a salesperson. Maybe you could find a
piano gig first on top of your sales and use that money towards a lever
harp, then towards a pedal harp. While in school I took piano and harp
at the same time, so learned the same pieces on both instruments. It
helps with the memorization later on to have a feel for the phrasing,
etc. Maybe you could start playing harp repertoire on piano for now?If your first job in sales is just shoes or something, maybe you could
continue to look until you find something like a restaurant that has a
piano you could play as part of your job. It helps me to see each thing
as a step – not permanent – but a step towards an eventual goal. You
know I wish you the best and will keep in contact.Eek out a living is right! I went to college first, then a conservatory, which I would recommend, as I was much better educated than the conservatory kids doing undergrad degrees, though they could play their instruments better. I was unable to take art classes because of their extraordinary time demands: three three -hour classes per week plus at least nine hours more of studio practice time. What also really cut into my studies and practice was doing about fifteen hours a week of sometimes menial work/study. By the way, menial work-study was once shown to be an illegal practice of schools to avoid hiring more workers. Work-study was created for students to solely work within their spheres of study, not washing dishes in the cafeteria.
One of the important benefits of studying music is learning to think creatively. No doubt that is why so many musicians have had successful careers in computer software and such. I constantly think of viable businesses or products I can’t develop.
I’ll add one more thing. As Barbara mentioned, the practice time
required for music can make it one of the most difficult degrees. Some
science majors also get caught up in extended lab times. Some of the
double majors that work best with music would be education and
psychology like I mentioned before. Oftentimes the approach to learning
in these fields is guided by research that shows people learn best when
relaxed and not overly stressed. Sometimes the professors and students
in these fields are just plain nice. 🙂 It can be a surprise after the
rigors of music performance.It is true that the job market is grim for professional musicians.
Advanced degrees in music are a requirement for work in academia – a
resume won’t make it passed the first round without credentials in the
specified field. These jobs are not as rare as orchestra, but more
people apply then ever find a position.It will be sad indeed if the music major becomes a thing of the past
for many. I don’t think it is practical to learn music with the same
level of accountability in performance, theory, history, etc. that a
music major requires. The majority of freshman music majors do not
understand the importance of learning theory, so it seems likely to me
they wouldn’t without the academic structure requiring it. The
inability to discern the layers of texture, harmonic and formal
structure, and motivic analysis, does show up in performance. It is
like reading without a clear understanding of punctuation and dramatic
pacing. Some can be accomplished intuitively, but there are limits.The problem
is that all the money that is devoted
to the arts in our society goes into popular music. That industry is
just rolling in the dough, and it is really sad how many far more
gifted musicians scrap each penny together to eek out a living. This
subject makes me very sad because there are so many peers that I
care for and admire deeply, who are amazingly gifted musicians who have
either given it up entirely out of disappointment, or who struggle to
make ends meet. Most of them are considerably more gifted than a
typical uber-marketed “pop” star. I tend towards advising students to
have something to
fall back on. At least we don’t have it as bad as philosophy,
musicology, literature, and other esoteric fields. The Bachelor of Arts
degree in music is an excellent
choice because it requires fewer hours and enables the student to
double major. You miss out on a few classes, but it provides some of
the structure. Combing music with psychology, ed psych., education, or
other human development fields can provide flexibility in future career
choices. We also need more high level music
education majors to help arts education from the ground up and inspire
a generation more willing to pay for an orchestra ticket than a pop
princess concert ticket.Good luck in Dubai. I hope you can make enough to buy a good harp and start working. It is not so different here. My teacher had a graduate student from the Dominican Republic who didn’t have his own harp, and had to work full-time until he had enough to buy one. Now he is doing very well. I hope you have lots of energy.
