If you’re earning a comfortable wage and living a happy life doing Exactly What You Thought You’d Do With Your Degree(s), I applaud you. Sincerely! I am among the many people in the music world who are not, but I couldn’t be happier with where I landed.
A brief history: I went to school for flute performance and, along the way, I learned a lot. Music history, how to maintain sanity after being in a confined, solitary room for hours on end, music theory, flute repertoire, patience (see “practice room”), a little jazz improv, pedagogy, large and small ensemble playing, and many other things that are specific to the field of music performance. Mission accomplished, right? Sort of. In the first year out of my master’s degree, my desire to win a full time orchestral flute job (What I Thought I’d Do) was diminishing at a rate that didn’t align with my increasing desire to lead a more diverse career and lifestyle.
So, what next? First, I’ll share a few things I wish I’d learned in school: marketing, web design, sound recording, grant writing, and public speaking. I’m delighted that some institutions are extremely forward thinking in training what I’ll call the “Whole Musician.” Exhibit A: Paul Taub at Cornish College of the Arts teaches a career development class to junior and senior music majors which covers representation and promotion, fundraising, music business, recording, and graduate school applications. Exhibit B: Brian Chin at Seattle Pacific University leads a quarterly series for all music majors called “Futures in Music: A lecture series providing vocational exploration through engagement with renowned artists.” Last week, students heard from Roomful of Teeth’s Caroline Shaw and Cameron Beauchamp. Up next will be New Music USA’s Kevin Clark, and later this year Seattle recording emperor David Sabee.
Awesome, right? I bet all former music majors out there are thinking, “I wish I had a class like that!” If you’re still in school and there isn’t such a course but you have some extra credits to fill, consider exploring the communications course listings. Volunteer or apply for internships. Looking for some extra cash? See if the recording engineer at your school is hiring student techs. Seek out an expert in one of these areas and ask to shadow them, or to have a coffee and ask them some questions. Most professionals will be willing and there’s nothing to lose by asking.
These seem like such obvious ideas to me in hindsight, but in the trenches of playing in at least one too many ensembles, practice time, class, papers, group projects, and more practicing, it was hard to stomach the thought of adding something else. If you’re like me and didn’t seek the aforementioned opportunities, you are not imminently doomed. I can offer some coping mechanisms and philosophies:
- A creative and open mind is crucial to exploring career paths
- Proactively continuing your education is strongly advisable (whether through formal courses or informal mentorships)
- Timing and luck do account for some success
Those principles led to my current job as assistant program director at Classical KING FM where I co-founded Second Inversion and currently manage all it’s content and platforms. It’s a project dedicated to rethinking classical music through a 24/7 audio stream, blog, Seattle event calendar, and collection of music videos filmed in our studios and eclectic venues around town. After a year of four young KING FM staffers brainstorming, sketching logo designs, making contacts, and building the website and stream, it launched in 2014 out of our general manager and program director’s desire to reach a younger, more diverse audience for classical music.
Entrepreneurship and advocacy—two buzz words from a session at the 2016 New Music Gathering called “The ‘How to Be’ of Being a New Music Musician”—are foundational to Second Inversion, and I’ve been thinking about them a lot ever since. While many agreed that the E word can have a bit of toxicity attached to it in the music world, Claire Chase reminded us of entrepreneur’s Sanskrit meaning: inspiration from within. On advocacy, Claire went on to say, “It’s doing something for oneself and the community in the same in breath and out breath.” NANOWorks Opera co-founder Kendall A. added, “Advocacy is the rising tide that lifts all ships.”
Second Inversion began as a grassroots, entrepreneurial project and has grown into a thriving, active community joined together by and advocating for the common interest of new and unusual music from all corners of the classical genre. I didn’t learn about these things in formal ways in music school, but rather through trial and error (entrepreneurship) and relentless passion (advocacy). For new music to thrive, we need composers, performers, recording engineers, promoters, audience, donors, and advocates. We’re all in this together and none of us could do our work—whether it’s Exactly What You Thought You’d Do or not—without each other.
Maggie Stapleton is the assistant program director at Classical KING FM and manager of all programming and platforms for Second Inversion. As an active flutist, Maggie plays regularly with the Seattle Rock Orchestra, Seattle Metropolitan Chamber Orchestra, and Puget Sound Symphony Orchestra. Outside of the office and rehearsal hall, Maggie loves to cook, rock climb, run, bike, hike, and explore the beautiful city of Seattle and surrounding areas of Western Washington.