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!

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  • More thoughts on multiple woodwinds degrees

    I often get email from people who are considering pursuing a college or conservatory degree in multiple woodwinds. Now that I’ve completed two of them myself, here are a few thoughts.

    If you want to enter a multiple woodwinds degree program, you should already have at least a basic technical command of each instrument to be included on the degree. This really should include a background of good private instruction on each instrument. In my experience, self-taught players on any instrument are rarely very well prepared for the rigors of college-level study.

    Bachelor’s-level programs are rare, and I think that’s with good reason. For most woodwind players, I think, diving right into college-level study of three or more instruments is ill-advised. You will do much better to spend those years focusing on your strongest instrument, developing your musicianship, learning good practicing techniques, and hopefully racking up some achievements like contest awards or high placement in top university ensembles. All of those things benefited me very much (my bachelor’s degree is in saxophone performance), and it’s likely I wouldn’t have been able to achieve as much if I had been dividing my practice hours between multiple instruments (plus completing music coursework AND general education coursework). Read More “More thoughts on multiple woodwinds degrees”

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    When things get canceled

    I had a very busy final semester of my bachelor’s degree. I was performing with six different university ensembles (one of which was planning a month-long international summer tour), doing woodwind doubling for a musical, teaching at a nearby music school, and preparing for graduate school auditions.

    Then I broke my arm. I slipped on something in a parking lot and landed on my elbow. The doctor put me in a cast from fingertips to shoulder.

    At the time it seemed like the world was coming to an end. But things worked out. I canceled some things and modified or delayed some others. Some kind professors gave me advice and perspective and helped out with some logistics.

    Looking back, it’s barely a bump in the road to where I am now. But I think of it now and then, when the next gig or recital starts to feel like the most important thing I will ever do.

    For my college students, lots of things have been canceled this semester. Some of them won’t get to do their recital class performances or their Honors Recital auditions or their ensemble concerts.

    It’s a shame to miss out on things. But right now there are bigger things going on in the world that demand some changes of plan. And in another year or two, those missed opportunities will be crowded out by all the new ones. A few missed performances will be a war story, not a lasting tragedy.

    (That said, we shouldn’t forget that some musicians’ livelihoods are threatened by things like shutdowns of venues. Now is an excellent time to buy your favorites’ albums and merch to enjoy at home.)

    Stay well, and look forward to the opportunities to come.

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    Advice on multiple-woodwinds graduate degrees and teaching careers

    I often have university students bring up the idea of graduate school and a university teaching career, and I have previously given general advice about that.

    Perhaps since my graduate degrees and a teaching career are in multiple woodwinds, my students sometimes wonder if that’s a path they should take. Here are a few thoughts:

    I’ve mentioned previously that, even for talented and hardworking folks, a graduate education is far from a guarantee of employment. Does a multiple-woodwinds degree help? I think it helped me, but I also had some significant luck.

    The year I was on the job market, I applied for a small handful of multiple-woodwinds jobs and got a small handful of interviews. I landed in the job that was the best match. I kept an eye on job listings in subsequent years, and years went by without a single multiple-woodwinds job being listed. If I had graduated a year later than I did, I may well have been unemployed.

    During my job search I also applied for single-instrument teaching jobs, and got zero responses. Having been on the hiring side of things a few times now, I understand why. Faculty jobs get dozens of applicants that need to be narrowed down quickly, and the ones whose qualifications and experience are laser-focused for the job in question rise to the top. Though I felt I had things to offer, my multiple-woodwinds background wasn’t a precise enough fit, and somebody else’s background was.

    So is a multiple-woodwinds education better, employability-wise, than focused study of a single instrument? It’s a calculated gamble. When you’re on the job market there might happen to be a windfall of single-instrument jobs, and if you’ve been focused on multiple woodwinds instead, you may be out of luck. However, there are fewer multiple-woodwinds graduates, so if a multiple-woodwinds-geared job opens, your background might prove very valuable.

    Multiple-woodwinds teaching jobs tend to be common at smaller schools with smaller music departments, and that may or may not affect your decision. I have a mixed but mostly positive relationship with my small-university job. If your heart is set on teaching at a major university, then most of the jobs won’t be multiple-instrument jobs, and your competition will mostly be highly-specialized, highly-focused single-instrument players.

    One other factor to consider is what kind of multiple-woodwinds education you want to get. Do you want to have a “primary” and “secondary” instruments, or study them in an equal way? Do you want to do a masters degree and a doctoral degree both in multiple woodwinds, or one in multiple woodwinds and one in a single instrument? How you focus your studies will affect which theoretical future jobs you will or won’t be a match for. (Each degree program is a little different, so check with the schools you’re interested in to see how their programs are structured.)

    Graduate study in multiple woodwinds can be valuable preparation for a career in higher education, but the job opportunities are limited and hard to predict. I suggest pursuing that path if you have additional reasons or motivations for doing so, like a fascination with the woodwind instruments and woodwind doubling.

  • Dr. P’s Practice Club: using Facebook to acknowledge student achievements

    I’ve been using Facebook this school year to semi-publicly acknowledge my university students who are meeting their minimum practice requirements:

    I’ve gotten a lot of questions about it from Facebook friends who are music educators, so I thought it might be worth discussing here.

    The concept is pretty simple:

    • When my students come in for their lessons, I ask them to self-report their practice hours for the week. My students are good kids (born and raised in the Bible Belt), and I generally just trust them to report honestly. I also have them keep practice journals, which would at least slightly complicate fibbing about their hours.
    • If they meet their minimum weekly requirement (it varies: more for performance majors, less for music education majors, etc.) they are automatically inducted into “Dr. P’s Practice Club” for the week. At the end of the week I post their names on Facebook and on my office door, plus usually a running tally for those who have made it for several weeks in a row. There are, at this point, absolutely no benefits or privileges to “club” membership other than a little recognition (and, of course, a week’s worth of improvement).
    • I also use Facebook to give public kudos to students for their recitals, ensemble performances, and competition participation and awards.
    • Most of my students have become my Facebook friends, so I can “tag” them when I post. This means that they get alerted that they have been mentioned in my post, and certain of their Facebook friends and mine will also be able to see it. For some of the students, this may include classmates, other music or non-music faculty, friends studying music at other schools, authority figures from work or church, and even parents. Read More “Dr. P’s Practice Club: using Facebook to acknowledge student achievements”
  • Mindset shifts for college music majors

    Here are some mindsets that I find can hold college music majors back from reaching their potential—or can launch them to the next level.

    From “This is how I was taught” to “I’m here to explore new ideas.

    I can’t tell you how many times I’ve suggested a better fingering option to a student who resists because they already know a different fingering and would rather not have to remember a new one. But my most successful students are curious to learn new things and try them out. Someday you’ll have the option to choose your own path, but you’ll do so from a place of experience, not habit.

    From “I have to practice for hours” to What can I get done in ten minutes?

    Mastery takes time, but the quality of that time is what really gets results. I’ve had students suffer alone in practice rooms all week with nothing to show for it. But if they can set a few small goals and spend a few minutes pursuing each of them in a focused way, by their next lesson they have measurable progress, the confidence to show it off, and a grade that reflects it.

    From “I’m never going to use this” to “I’m building a versatile skill set.”

    My students often have very clear ideas about what they will and won’t be doing in their careers. But working in music and/or education can mean wearing a lot of different hats, and broad knowledge and experience can have surprising advantages.

    From “My teacher my is judge and executioner” to “My teacher is on this journey with me.”

    Rather than playing your assignment for your teacher and nervously waiting for a verdict, let your teacher be a guide and consultant. Be ready to outline and demonstrate your successes and frustrations from the week, and ask for help and advice on what’s holding you back. It’s not you versus your teacher—it’s the two of you versus the technical and musical challenges.

    From “I don’t play well enough to perform in front of others” to I have something to share.”

    My students perform frequently for other music majors, for faculty, and for public audiences. It’s pretty normal to feel inadequate to the task or to feel outclassed by others. But our audiences, even when they are our peers or teachers, want us to succeed. If you see your performance as a gift rather than a test, you never know who you might impress, inspire, or uplift.

    Which of these mindset shifts feels the most uncomfortable to you? Often the one that scares us the most is the one that offers the biggest breakthrough. Let’s do this!

  • Not majoring in music

    I was a very committed college music major. I had picked music as a career years earlier. Being a music student felt like a central aspect of who I was. While I did struggle at times, and had other (perhaps more widely marketable) skills I could have fallen back on, quitting the music-major track never seemed like a real option.

    For me, it turned out well. I was successful in my studies and now have a job that is a good fit and more or less pays the bills. But in my role as an educator and advisor, sometimes I encounter students who are considering changing directions. Here’s what I have to say to those students:

    • You don’t have to be a music major. Even if you’re good at it. Even if you really do love music. Even if friends or teachers think it’s the right choice for you. Even if you have already invested time, money, and effort into it.
    • There are other ways to make music a part of your life. In many cases you can continue to be in college ensembles, take music courses as electives, and maybe continue to receive music scholarships. (Check with your music department.) Beyond college, there are probably opportunities to make music in community ensembles, garage bands, churches, theater productions, lesson studios, volunteer efforts, and more. Even if you never play or sing again, your background in music opens up richer possibilities for you as a listener and patron.
    • There’s time to try something else. Music degrees are intensive and usually thrust you right into lots of major-specific courses right from your first semester. That can feel like a trap, like if you change majors you are wasting semesters you already completed and starting over as a freshman. But in the scheme of things, isn’t it worth extra years and dollars to graduate in a field that feels right to you?
    • This is your decision. People might try to talk you out of switching majors. Being a music major can feel like kind of a club or fraternity/sorority or cult, but it isn’t really. You aren’t betraying or disappointing anyone by doing what’s right for you. Be aware that in some cases professors or fellow students may be thinking about how your decision will affect them or their classes or ensembles. They probably don’t really mean to put their own interests above yours. Good teachers and friends, in the long run, want what’s best for you, even if it isn’t a music degree.
    • But you don’t have to rush into a decision. If music has been your life for years and now you’re having second thoughts, it’s worthwhile to figure out whether you’re dealing with a real change of heart or just some temporary frustration. Sometimes I have seen students transfer out of the music department, only to transfer back in later, now a little behind. If you need to dabble in something else for a while to find out whether music is your thing after all, then go for it. But minimize the flailing if you can. Before making a decision, give yourself time to think things through with a long-term view. Consult with people who know and love you, plus your music professors, plus people in whatever alternative fields you might be considering.

    Music is great but it’s not the right career for everyone. Make your life choices carefully and honestly.

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