Do I need a college degree for my instrumental music career plans?

  • Classical or jazz solo artist, chamber/orchestral/theater musician, jazz big band or small group musician, studio musician. None of these “require” a college degree, just very fine playing. But these are lofty goals for making your primary living—very few people, even among the most talented and hardworking, are able to achieve them. But college study can help you develop the skills, the discipline, and the professional network that might get you there. And a college degree that you can fall back on for other employment might be a smart move.
  • Musician in “popular” styles (such as rock, blues, hip-hop, country, and many more). Even if you wish to study these in college, there currently aren’t a lot of options. But some classical or jazz training in a band or orchestral instrument, widely available at universities, will deepen and expand your musical understanding in general, and sometimes present valuable opportunities.
  • Public school music teacher. Yes: in most cases you will need a bachelor’s degree in music education.
  • University music teacher. Yes: in most cases you will need a doctoral degree in something related fairly precisely to the job you are applying for. (Some job listings list a masters degree as a minimum, but even for an adjunct or community-college position, you may well be applying against candidates with doctorates.)
  • Private music teacher, from home or small business. You probably won’t need the degree in order to set up shop, but depending on your local market and your reputation it may be an advantage in attracting students and giving them quality instruction.

While college study may not be the right choice for every instrumentalist, it’s hard to beat for a well-rounded musical education (with performance study, music theory, music history, and more), plus life skills, networking, and enhanced employability in the general job market.

Similar Posts

  • What I would do differently as a college music major

    Believe it or not, some of my college students make mistakes that seem somehow familiar. If I could go back to college (and graduate school) and do it all over, here are a few things I might choose to do differently.

    photo, m00by
    photo, m00by

    • Embrace my teachers’ approaches. As readers of this blog know, I tend to be a bit opinionated about woodwind playing, and as a student I was sometimes too quick to dismiss what I was being taught. A better approach would have been to learn enthusiastically and immersively my teachers’ playing styles, thought processes, equipment choices, and philosophies, mine them for every bit of value and wisdom, and wait until later to make better-educated decisions about what to keep and what to discard.
    • Invest more time and effort into fundamentals. Like many students (and professionals?) I spent a fair amount of practice time focused on learning an étude or repertoire piece, as opposed to learning to play the instrument and to make music. The recitals and concerts I was so fixated on at the time seem much less important now, but the time I could have spent working on basics of tone production, finger technique, and interpretation would have paid nice dividends in the years since.
    • Listen to more music. Mostly I did pretty well at attending concerts on campus. And I went to a few things in the community. And I checked out a few recordings. But why let such a large percentage of my musical intake be performances by other students, or by the professors whose playing I already knew well? What if I had made a point of listening to something new every day, even for a few minutes? What kind of musical depth could I have developed by listening to 365 great woodwind players per year?

    Study and practice smart!

  • Your first lesson with your college instrument teacher

    Every teacher is different, but here are some ideas of what you might expect when you take your first instrumental lesson with your new college teacher.

    Before the semester starts: When you have your login information, check your new university email and LMS (it might be something like “Canvas,” “Blackboard,” or “Moodle”—a site you can log into to see announcements, assignments, etc. for each of your classes). Check in daily to see if there are updates from your new teacher, like a lesson schedule or other instructions. When you arrive on campus, locate their office and check their door or bulletin board for information. If they are inside, they would probably be happy to say hello and answer your questions.

    Usually lessons are scheduled on a one-on-one basis. I look over my students’ course schedules, decide when I am going to have each student’s lesson, and post a link to an online calendar on the LMS, plus a copy on my door. Other teachers sometimes have a system for you to sign up for your own lesson time. Do this ASAP so you can get a time that works well with your schedule!

    The teacher might have instructions for you to show up with something prepared to play, or not. Usually I personally don’t expect them to have prepared anything for their first-ever lesson, and instead we will spend that time getting oriented and assigning materials to prepare for the next week’s lesson. (Returning students usually know what will be expected, and should show up with some scales, an étude, and the repertoire piece we picked out at the end of the previous semester.)

    If you have previously taken lessons or have worked on études or repertoire pieces on your own, make a list of those.

    The day of your lesson: If you can possibly squeeze it into your schedule, find a practice room and warm up a little. Pick out a good reed if applicable.

    Gather your materials:

    • Your instrument and all accessories
    • Your list of previous repertoire, if you have any, and your copies of the most recent ones you worked on. Your teacher may find this helpful in evaluating your level and deciding which materials to have you work on next.
    • Something to take notes with. I personally don’t mind if you use a digital device for this, but some teachers might prefer that you don’t have your phone out during your lesson. Bring a notepad to the first lesson just to be sure.
    • A pencil. In fact, stock your instrument case, backpack, etc. with pencils. Keep one in your pocket or purse. You will need one for every lesson, practice session, and rehearsal. Pencil, not pen.

    Lesson time: Show up at least a few minutes early, with your instrument assembled and ready to play. (You may or may not actually play in this first lesson, but it’s good form to come prepared.) If you feel nervous, take a few deep breaths. Use the restroom. Mute your phone.

    Some teachers tend to run a little late, and they might be finishing up the previous lesson when you arrive. Unless they have instructed otherwise, I think the best thing to do is go ahead and knock right at the stroke of your lesson time so they know you are there. Give a real knock that they can hear, not a timid/quiet one they might miss. Then wait patiently if they take a few more minutes to finish up with the previous student.

    Call your teacher by their academic title (like “Dr. Pimentel” or maybe “Professor Pimentel” if you’re not sure), unless they tell you to call them something different. You might be able to figure this out by reading their biography on the university website, or by checking to see how they sign emails they send to you.

    Don’t try to write down everything they say, but taking a few notes might be appropriate. If you need another moment to write, or you’re afraid it will be rude to look down at your notepad, you could try asking, “Do you mind if I write that down?” Definitely write down what they assign you to work on for next time.

    Depending on your teacher’s personality, the teacher might dive right into lesson stuff, or may want to spend some time getting to know you.

    After the lesson: Review your notes and edit/clarify if needed while it’s still fresh in your mind. Make a practicing plan for the week to make sure you prepare your assigned materials as best you can for next time.

    If your teacher asked you to purchase some repertoire or other materials, do this right away! I usually try to help my students out with a photocopied page or two so they can get started while they wait for their own copies to arrive, but some teachers may expect you to get it on your own and be prepared by the next week. (Tip: if you’re at a large music school, the university library might have copies of some materials, which you can use until you get yours.)

    If, during the week, you realize you are unclear or have forgotten something, visit your professor during their office hours (probably posted on the LMS and/or their door) or send an email. Much better to ask for help while there’s still time to practice, than to show up unprepared at your next lesson.

    Make friends: You will hopefully be meeting some other students who play your instrument and take lessons from your same teacher. (If you arrived on campus early for marching band camp, that’s a nice advantage.) Those people remember what it was like to be brand new, and if they are nice (they probably are!) they won’t mind answering some questions about the teacher, giving you a few lesson tips, and maybe even loaning you an old étude book while you order your own. Sometimes the students know the processes and procedures (signing up for classes, getting your ID card, logging into the LMS) better than the professors do.

    Have a great semester!

  • Ideas for directing student jazz bands

    The following is a summary of lessons learned from observing rehearsals of jazz big bands. A great debt is owed here to Dr. Ray Smith of Brigham Young University, director of the Synthesis big band.

    A picture is worth a thousand words

    The student jazz group should be exposed to recordings (or, when possible, live performances), especially of the arrangements they are learning. This benefits the band in several ways:

    First, the band members further absorb general concepts, such as swing feel, sense of time, and concept of tone, as well as bits of jazz “vocabulary” (melodic, harmonic, and rhythmic ideas, for example). These concepts, no matter how clearly explained, can only really be learned by listening and imitating—like learning the correct accent for a foreign language. Read More “Ideas for directing student jazz bands”

  • Teaching a college woodwind methods course

    If you are teaching a woodwind methods course, you might be interested in my book.

    It’s that time of year again when I start getting more traffic to my posts on teaching my woodwind methods class, and sales of my textbook start to pick up. If you’re scrambling to prepare a new woodwind methods course, here are a few resources:

    What questions do you have about teaching woodwind methods classes? Let me know.

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    Things you need to cover in woodwind methods class

    If you are teaching a woodwind methods course, you might be interested in my book.

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    A few years back I posted a rant about non-mission-critical information in woodwind methods textbooks.

    This is a course primarily for instrumental music majors, who will go on to become school band or orchestra directors, and who need a crash course in the playing and pedagogy of each instrument that will be in their future ensembles. At the places I’ve taught, it means taking students from zero to playing a little bit of flute, oboe, clarinet, bassoon, and saxophone, all in one semester. It’s a semester-long sprint.

    I went on to list things I have found in textbooks intended for these courses, which I think are distractions or filler or otherwise misguided.

    woodwind methods class
    photo, Ace Foundation

    What should a woodwind methods class focus on?

    • Fundamentals, fundamentals, fundamentals. Fundamentals. For woodwinds, the following are absolutely, non-negotiably crucial technical elements: breath support, voicing, embouchure, articulation, and finger technique. They must be understood and properly connected to audible elements: tone, intonation, response, volume/dynamics, and fluency (of finger movements). This material should probably make up 90%+ of lecture, readings, in-class activities, etc.
    • Woodwind-specific band-room survival skills: minor instrument repairs and adjustments, reading and interpreting fingering charts, woodwind transpositions, selecting equipment (this needs to be a much bigger conversation than just a list of brands and models), and matching students to instruments (hint: gender, anatomical factors within broad norms, and ill-conceived proficiency testing are not good ways of doing this).
    • Introduction to additional resources. One, two, or even several semesters are not enough to make a undergraduate student into an effective teacher of woodwinds; they need to know how and why to consult available pedagogical books, journals, and online materials.

    Also, disturbingly, I have been hearing occasionally from woodwind methods teachers who are choosing or are being encouraged to skip or minimize the double reeds and focus on flute, clarinet, and saxophone. (I even heard from a publisher alerting me to their woodwind methods textbook that does not cover the double reeds!) I think this is a disastrous side effect of a marching-band-centric approach to music education, and leaves future music educators woefully unprepared to lift their band programs above that level. You have to teach oboe and bassoon!

    The question I get a lot from new college professors about to teach their first woodwind methods course is which textbook to use. I don’t have a strong recommendation. Dietz and Westphal seem to be commonly used, but they are expensive and have the other problems I have previously described. I currently use some materials of my own with my woodwind classes, which may or may not at some point become available. If you like, join this mailing list and I’ll use it to spam you if I ever get everything edited into a book-like form. Update: the book is now available!

    Make sure you are using your woodwind class’s time well, preparing them to teach woodwind fundamentals clearly and thoroughly.

  • Advice for prospective college music majors

    Photo, Surat Lozowick

    Planning on being a college music major? Good for you! But if you’re like I was as a high school senior, there are some things you haven’t thought of yet. Now that I’m on the other end of things—a college music professor, teaching music majors—I have some advice that I share with potential students (and that I’d like to send back in time to my younger self). I hope these tips help you get off to a good start on your own college music studies.

    • What you need the most right now, before starting college, is a good private teacher. If you’re not already taking lessons, it’s time to start. (Note that if you have your sights set on a top-tier school, most of the people auditioning will already have years of serious private study under their belts!) A good teacher can help you choose some possible schools, prepare audition material well, and get a sense for what advanced music study is like. Oh, and sculpt you into a fine young musician. The money you spend on lessons will pay off when scholarships are awarded.
    • Read More “Advice for prospective college music majors”

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