Blogs answer questions the reader has yet to formulate.
I write when inspiration strikes and something is in need of vetting. If this endeavor were to serve as a means to monetize my thoughts, I'd fail miserably.
There are countless blogs worth subscribing to and even more unworthy. For my taste, I consider the source. In the percussion world, unfortunately, many of the industry's "fountains of knowledge" do not blog. Younger generations of percussionists have embraced blogging but the content may or may not contain wisdom. That's the downside when anyone can be "published."
On the upside, blogging raises the stakes, forcing the writer to put thoughts into the public domain. However, unlike something published in book or magazine, it can always be re-edited or simply deleted.
For this reason, blogging is a tool for my music business students to:
a. establish a web presence
b. raise the stakes on their writing and help clarify their thoughts
I'd like to share periodic entries of my students, because in some instances, they write about great topics with astute thoughts and opinions.
In this case, Chelsea, a clarinet performance, music education, and composition student (who also plays piano in my big band) writes on education. She has something to say. She has an angle. It's interesting and well-presented.
Give it a read and consider following her entries:
Chelsea's Blog
My perspective as a percussionist and educator.
Monday, February 20, 2012
Sunday, February 12, 2012
Seven Mountain Biking/Musician Principles
I love to mountain bike. This habit began some years ago while living in Northern California, arguably the birthplace of mountain biking.
There are certain principles you learn early on in this sport:
1. Crashes sometimes happen. Oddly, the more epic, the less they tend to hurt. The more mundane the spill, the more likely for serious loss of skin, broken bones, and even worse, broken bike components.
2. When riding in mountain lion country, you don't have to be faster than the lions, just faster than your slowest riding partner.
3. Lighter components are generally expensive. A fit/light rider plus a light bike equals speed. The average rider can save cash by having one less Sierra Nevada at the end of the ride and avoid that extra gram or two of bodily fat.
4. When the vultures start swarming overhead, you may want to hydrate, eat, and look for your missing riding partners.
5. The solution to navigating difficult terrain may be a matter of a little more speed.
6. Don't look at what you want to avoid- i.e. trees, cliffs, giant bone-crushing rocks.
7. When you get to the top of an epic climb, enjoy the view.
These principles apply to what we do as musicians. Let's consider the parallels:
1. Mistakes happen in performance. However, if you prepare to the best of your abilities, mundane mistakes are less likely to factor into your performance or psyche.
2. To succeed as a musician, you don't necessarily have to be the best. It is, however, beneficial to be better than some of your competition.
3. Having strong financial support, high quality instruments, and a great pedigree can help you achieve your career goals. However, self-discipline, perseverance, and dedication to your art is something everyone has access to, and more importantly, is free.
4. When things aren't going your way, evaluate what you are/aren't doing and correct the course. Seek advice if needed.
5. Over-analyzation, or "paralysis by analysis" can keep you from reaching your goals. If you've chosen the right path, keep going and enjoy the ride.
6. If you're hung up on what can go wrong, guess what... things probably will. Stay focused on the goal.
7. Take time to appreciate the simple fact you're lucky enough to be a musician and the accomplishments are plentiful.
There are certain principles you learn early on in this sport:
1. Crashes sometimes happen. Oddly, the more epic, the less they tend to hurt. The more mundane the spill, the more likely for serious loss of skin, broken bones, and even worse, broken bike components.
2. When riding in mountain lion country, you don't have to be faster than the lions, just faster than your slowest riding partner.
3. Lighter components are generally expensive. A fit/light rider plus a light bike equals speed. The average rider can save cash by having one less Sierra Nevada at the end of the ride and avoid that extra gram or two of bodily fat.
4. When the vultures start swarming overhead, you may want to hydrate, eat, and look for your missing riding partners.
5. The solution to navigating difficult terrain may be a matter of a little more speed.
6. Don't look at what you want to avoid- i.e. trees, cliffs, giant bone-crushing rocks.
7. When you get to the top of an epic climb, enjoy the view.
These principles apply to what we do as musicians. Let's consider the parallels:
1. Mistakes happen in performance. However, if you prepare to the best of your abilities, mundane mistakes are less likely to factor into your performance or psyche.
2. To succeed as a musician, you don't necessarily have to be the best. It is, however, beneficial to be better than some of your competition.
3. Having strong financial support, high quality instruments, and a great pedigree can help you achieve your career goals. However, self-discipline, perseverance, and dedication to your art is something everyone has access to, and more importantly, is free.
4. When things aren't going your way, evaluate what you are/aren't doing and correct the course. Seek advice if needed.
5. Over-analyzation, or "paralysis by analysis" can keep you from reaching your goals. If you've chosen the right path, keep going and enjoy the ride.
6. If you're hung up on what can go wrong, guess what... things probably will. Stay focused on the goal.
7. Take time to appreciate the simple fact you're lucky enough to be a musician and the accomplishments are plentiful.
Sunday, January 29, 2012
Skills You May Want to Have. Part II. Something Besides Your Primary Instrument
In a previous post, I discussed how the job-set skills needed to succeed in higher education jobs greatly exceeds the ability to give great faculty recitals, well-programmed ensemble concerts, and stellar private lessons. The first part in this series related to event planning.
This post will pertain to the realities of many college teaching positions:
Be comfortable/competent teaching something besides what your primary area of study says on your degree.
If you're looking for college jobs, you probably follow the Music Vacancy List and have likely been disheartened at the few jobs available. If so, take a moment to collect yourself, take a personal inventory, and dig a little deeper.
I am lucky enough to have a full time college teaching gig. Here's what I teach/have taught in this job:
Percussion Lessons
Percussion Ensemble
Steel Band
Percussion Methods
Percussion Literature and Pedagogy
Hand Drumming Classes (enrichment)
AND:
Jazz Ensemble (big band)
Jazz Combo
Dixie Combo
Marching Band Assistant Director/Drum Line
Improvisation
Introduction to Music Literature
Topics in Music Business
Basketball Pep Band
I annually conduct one of our high school honor bands and when needed, our concert band and wind ensemble. I also supervise the audio work studies who are responsible for all audio/video recording and sound reinforcement needs of the department.
Many college gigs require the above, as well as an expectation to teach theory, aural skills, music history, additional conducting duties, music ed classes, and a host of other areas.
I love my job. It is full of diversity and offers a variety of skills to draw upon and continue to improve upon. However, this gig isn't for everyone.
Many of my full-time friends and colleagues do something similar, and very few teach courses specific only to percussion. Those who do rarely did so in their first gig.
If you aspire to teach college, the best advice I can possibly give is to diversify your skills, seek opportunities outside of your primary area of study, and acquire significant professional teaching experience.
The upside is you become a more versatile person. And if you're lucky enough to land your utopian gig of teaching only in your primary area, your diverse background will enhance your relationship with colleagues and effectiveness with students.
Watch for more in this series in the coming weeks, and visit my website at www.jameswdoyle.com
This post will pertain to the realities of many college teaching positions:
Be comfortable/competent teaching something besides what your primary area of study says on your degree.
If you're looking for college jobs, you probably follow the Music Vacancy List and have likely been disheartened at the few jobs available. If so, take a moment to collect yourself, take a personal inventory, and dig a little deeper.
I am lucky enough to have a full time college teaching gig. Here's what I teach/have taught in this job:
Percussion Lessons
Percussion Ensemble
Steel Band
Percussion Methods
Percussion Literature and Pedagogy
Hand Drumming Classes (enrichment)
AND:
Jazz Ensemble (big band)
Jazz Combo
Dixie Combo
Marching Band Assistant Director/Drum Line
Improvisation
Introduction to Music Literature
Topics in Music Business
Basketball Pep Band
I annually conduct one of our high school honor bands and when needed, our concert band and wind ensemble. I also supervise the audio work studies who are responsible for all audio/video recording and sound reinforcement needs of the department.
Many college gigs require the above, as well as an expectation to teach theory, aural skills, music history, additional conducting duties, music ed classes, and a host of other areas.
I love my job. It is full of diversity and offers a variety of skills to draw upon and continue to improve upon. However, this gig isn't for everyone.
Many of my full-time friends and colleagues do something similar, and very few teach courses specific only to percussion. Those who do rarely did so in their first gig.
If you aspire to teach college, the best advice I can possibly give is to diversify your skills, seek opportunities outside of your primary area of study, and acquire significant professional teaching experience.
The upside is you become a more versatile person. And if you're lucky enough to land your utopian gig of teaching only in your primary area, your diverse background will enhance your relationship with colleagues and effectiveness with students.
Watch for more in this series in the coming weeks, and visit my website at www.jameswdoyle.com
Subscribe to:
Posts (Atom)