Viewpoint

The Artist’s Dictionary: Redefining Success

success-banner

In this new and somewhat turbulent era for classical music, our own personal success isn’t just about us anymore. The old model is no longer relevant because simply having a job or being a superstar doesn’t necessarily contribute to our communities or to our art.

You’re Doing Targeted Marketing Wrong

Dart board

You want to grow your audience, but you have limited resources, so you target your marketing efforts at the groups most likely to respond to it. Sounds familiar? Sensible? It is. But almost everybody does it wrong.

The Shame Of Poverty And Investing In The Future

Philadelphia Skyline, by Flodigrip on Flickr

It is my hope that no one—especially young musicians—should ever face the shame and the self-questioning that poverty could force on them. Music, and more importantly access to music and music education, is vital to all communities.

The Entertainer

OpKrac Video Component

I believe that artists, more so than scientists or the religious, carry the seeds of miracle works inside them. And I believe we are seriously underperforming.

Audience Cultivation In American New Music

Seated audience

The milieu of new music has splintered into factions, each with its own loyal but marginal audience. All of these groups believe that they have meaningful formulas for creating provocative work, but what good is that work if no one outside the communities where it is generated has access to it?

Can We Move Past Post-Race, Already?

Open door

If you follow the American Composers Orchestra and you stay on top of your composer opportunities, you might have noticed ACO’s most recent Earshot post on Facebook: readings for emerging African-American composers. I was surprised to see some comments that weren’t so positive–comments that reflect some dangerous thinking.

Speaking of Which: Musical Expression in a Foreign Language

Jumbled words

Three years ago, I began a job teaching English as a second language (ESL) at the Boston Conservatory. There were no pre-existing texts for teaching second-language learners to use English to write and speak effectively and naturally about music, so I made my own. Despite success in many aspects of this endeavor, a glaring problem remains: my students have tremendous difficulty with the seemingly simple task of describing a piece of music.

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