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?
Day-dreaming drifting time is the luxury that I have out on the trail. Instead of my usual pattern of working on four or five things at once, I work on just one piece, mulling things over sometimes for days before actually writing them down. I’m not distracted by emails or petty bickering on social media.
What lessons can we as fans, musicians, and members of presenting institutions learn from the Metropolitan Opera’s situation? Can we prevent this from happening in our home institutions?
This week marks the Disquiet Junto’s 134th composition challenge and the assignment takes things in a fresh direction: score an already-filmed dance piece. The visual movement is complete, but its sound has yet to be crafted in response.
Improvisation offers valuable educational applications and allows students to get their feet wet in the world of new music without being tied down to some of the technical challenges inherent in much modern repertoire.
I’ve been thinking a lot about this over the last two weeks because I felt that this was an unrealistic route to change. Here are some reasons why I think that the statement isn’t sufficient to address the problem of unpaid gigs.
I believe that this merry band of students has the power to change the music world as we know it, but I fear the “bump” when they leave this environment and explore college options. Will the post-secondary world continue to foster their leadership potential? How will these “over-educated” young composers approach the college experience?
Fair trade ethical consumption has gone mainstream when it comes to certain products. Wouldn’t music fans follow a similar path if it was laid out for them?
What is the best option for a student who has received a solid and complete education, academically and musically, through their pre-college years? Is there anything that will really fit the bill, or will these young students stimulate a new approach to compositional study on the college/conservatory level?
Mr. Ficklin humbly acknowledges that his analysis is “unscientific,” so allow me to correct his impression that music publishers have been fickle in their support [of composers and contemporary opera]. Their presence has been continuing and ardent.