Recently, I was asked to write a guest post on a relatively new music site. As I did some browsing through the archives to learn more about the folks behind this venture, I found some noteworthy articles that I thought would be of interest to the readers of this blog. String-heavy emphasis, but still very relevant to all the non-string players out there, and all worth Instapaper-ing, if not Evernote-ing.
I’ve never done a post like this, but thought it might be nice to tap into the collective wisdom of others out in the music world. Ready? Alrightie, let’s give it a go…
Concert artist Robert McDuffie shares his thoughts on how careers in music are changing, and the kind of musicians who will thrive in the years ahead.
And a personal example of what he means by taking responsibility for one’s career and actively creating one’s own projects and relationships (rather than working one’s butt off, and waiting to be chosen…and waiting…and waiting…).
And his vision of the kind of training and education musicians ought to have access to if they are going to enjoy satisfying and successful careers in the future.
More on career design
Angela Beeching (author of Beyond Talent and former director of Career Services at the New England Conservatory) shares her experience advising thousands of musicians over the years, via the six strategies that she has seen lead to successful careers in music.
Insider info on auditions and being a orchestral pro
Chicago Symphony violinist Blair Milton shares some advice on auditioning in an interview.
And provides some practical insight on being a good stand partner and orchestral player.
Thoughts on practicing
And on everyone’s favorite subject (practicing), there’s an old interview with Heifetz on his practice habits.
(Incidentally, if you would like to read the entire Martens book, you can download it for free in a variety of handy formats — legally, in case you were wondering: http://www.gutenberg.org/ebooks/15535)
And last but not least, here’s an article on deliberate practice by an astute young cellist at Northwestern (and an awfully articulate fellow too; I don’t think I understood what an “abstraction” was until grad school, and I still couldn’t use “tautology” in a sentence even if you paid me).
The one-sentence summary
None of us is as smart as all of us. ~Eric Schmidt (Executive Chairman and former CEO of Google)
Hello Dr. Kageyama,
I’ve followed your blog for a long time and regularly save the information you provide. I have a suggestion/request. Lately I’ve been reflecting on my music degrees, and comparing what I was taught in college to what I’ve experienced in the real world as a (struggling) professional musician. I’ve also spoken with colleagues about their own experiences, and opinions on what aspects of musical education were beneficial or not. I would love to see this topic opened up to the greater music community so people can share experiences and offer feedback/critiques to the educational system.
What classes were most valuable to your career?
What classes have been the least helpful?
What do you wish had been taught?
Thanks for the suggestion. This would be really intriguing to do, and I’d be curious to see what sort of discussion results from this. Will put some thought into how to make this happen!
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