It’s important to put your best face forward professionally. We’re all hustling for gigs, and it doesn’t make sense to do anything but make yourself look as appealing as possible. But perhaps there is another layer to it.
Knowing the specifics about each media outlet in your area can help you to target your communications more effectively. And there’s no real reason one has to choose between traditional and social media; a comprehensive communications plan should include both.
We are subsuming a mindset that places little value in our work and then wondering why no one cares about what we do. If a touch of entrepreneurship is how we survive our present situation, so be it. But I do not believe entrepreneurship holds great promise for our future.
Young people who want to compose or perform new music often don’t have a clear way to gain educational experience, but several organizations in Missouri are working to change that for local students.
I don’t think that teaching some basic entrepreneurial skills is by itself a bad thing, but it’s not a cure-all for the difficulties musicians face financially. Perhaps even more troubling, though, is that in promoting certain business practices there doesn’t seem to be a discussion about how they may conflict with artistic pursuits.
I wonder if, rather than anticipating an end to genre designations, perhaps new music needs to cultivate a whole lot more of them, since much of the terminology currently in use is overly general at best, and vague or misleading at worst.
Too embarrassed to ask your colleagues for guidance on handling performance anxiety? Facing a problem so professionally complex your mom doesn’t know how to help you? You need a fierce friend and NewMusicBox is here to help.
No authentic, talented artist is ever going to forget the importance of the quality of the art that they create just because they wish to earn a living from it. Only once an artist has wrangled those ingredients can they attempt to monetize them.
To teach, perform, compose, commission, start ensembles, or start a concert series is nothing new. We are not creating new industries or products, nor are we objectively improving on the past.
Students who improvise, in a rigorous context, become better musicians sooner; and the sooner, the better. Why are we waiting until students self-select to go to music school to introduce these ideas?