Developing Philosophy

I’ve been through a lot of school.  One of the things colleges promise these days is to give the student skills for the “real world” but that hasn’t been my experience at all.  And I’m not saying that college should provide real world experience, since college isn’t the real world.  College has a different purpose: it’s purpose is to stop and ask why.

Regular readers of my blog know that I’m a jack of all trades, and I’m pretty comfortable operating at a professional level in many of those skills.  Currently I’m a software engineer, and I’m asked periodically what I studied in school to become a software engineer, and I usually give the short answer, “I didn’t. I just liked doing it.”  The slightly longer answer is that I took some entry level programming classes, shrugged about the strange things the professor was asking us to do, and got on with the business of graduating.  When I graduated I saw all the exciting things happening with DotComs and wanted in, so I taught myself.

Likewise, I’m a potter.  It’s something I had wanted to do since the first time I saw someone wheel-throwing.  And even though I’ve taken “classes” in pottery, it was mostly showing up and working at it until one day someone offered me money.

But probably the most demanding “real world” I’ve ever worked in is as a professional musician.  I play tuba with a number of chamber groups and sub regularly with some regional orchestras.  The transition from awkward amateur to seasoned professional was something that happened during college, but not because of college.  My college experience opened the door, and I stepped through.

Performing is a yes or no proposition: either the listener is happy with what you did, or they aren’t.  And hopefully, the person who writes the check is happy with your work and calls you again.  It’s a very clear barometer of your skill and professionalism; one that doesn’t really exist in college, where an A is passing, but so is a B and a C, and D too.

I write about this world of college vs “real world” because my eyes are focusing on arts administration: as a volunteer, as a passionate participant, as an experienced professional, and aspiring outsider, and as an educator.  My college studies in arts administration seemed a good bit like a puppet show, like many of my college classes.  We pretended to go through various steps as if we were in the real world.  The problem is that the real world doesn’t have a text book, and it’s pass or fail, like getting a call back on a gig.  And I have some criticisms of the textbooks I read, as they seem to exist in a space in between the philosophical “why” of college, and the practical “how” of the real world.

With that said, I’m going to be reviewing some of the books on arts administration I’ve come across in my studies.  These reviews are not meant as criticisms in their own right, but to open a discussion about the void between theory and practice, the observed and the experienced.

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Beginner Mind

I overheard somewhere this last week a martial arts instructor commenting about keeping the “beginner mind,” or as musicians might know it, “practice your fundamentals.”  It made me think about some of the things I’m doing right now, and puts a little perspective on life as a professional.  Professional anything, really.

I’ve long said that we in the Western world need to reevaluate our interpretation of the word amateur.  To say someone is an amateur musician is to imply the quality of their playing, but not the reason or inspiration for playing in the first place.  The word “amateur” says something else entirely.  The root of it is Latin for love, implying that an amateur is someone who does whatever it is because they love it.

As a professional musician, I remind myself constantly to enjoy what I do, even if the gig is rough or doesn’t pay well.  I’ve certainly been on gigs and played with people who clearly do not love what they do anymore, and seem hell-bent on sharing that lack of love with anyone and everyone who will listen.  But I choose to remain positive, and it’s not just sunshine and rainbows: it’s a matter of practicality too.  I play better, feel better, and get more gigs when I enjoy what I do.  It just comes through.

One of the things that struck me about the term “beginner mind” though was the idea of mistakes.  As a professional I’m not supposed to make them.  Even though my very new day job is in software development, I’m a professional there too, and I’m supposed to operate on that professional no-mistakes level.  The thing is though, programming has always been fun, like doing crossword puzzles or playing chess.  And like any game, you can’t not make mistakes; you just have to not get stuck by them.  Same as in music.

And that’s what I guess beginner mind is: you’d never get mad a kid for making mistakes, because kids tend to learn very quickly from their mistakes.  Don’t forget to learn from your mistakes.  And that means you have to let yourself make them

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Meta

Yesterday I gave my MUS 108 classes their final assignment: write a blog.  I know that some teachers will ask for “a blog” as part of a class, when that teacher doesn’t keep a blog themselves.  I also know that many of my students will do just what it takes for an A, and walk away having learned nothing.  But I want to open the door, if only for one student, on the joys of writing, and the power of social media.

I started trying to blog in about 2000, when I moved to Cincinnati and became a web programmer.  I graduated from CMU in the spring, moved to Cinci in early summer and started trying to figure out what I was going to do with my life.  I decided that the .com boom was where I needed to be, but in order to do it, I needed to know one of the “hot” programming languages.  I chose ASP, gave my self an assignment, and applied for at least one job each day.

That was the daily regimen and it got old fast.  But I’m nothing if not stubborn.  Over the course of my “assignments” in ASP, I developed what was essentially a blog.  I made it public on the internet, and tried to fill it up with things that were interesting.  And that’s where I choked.  I had designed the database, come up with an ugly but elegant interface, worked out all the javascript, all the code…  and then I had nothing to say.

Before that I had put together my first website in about 1995 on Geocities.com.  It didn’t say much, other than “hello world.”  I had posted a resume, some photos, some scrolling text and flashing gifs, but not a lot of actual writing.  So even though I had taken a huge leap in my programming abilities, my problem in Cincinnati remained the same as it had always been.  I just had better tools with which to do it wrong.

I eventually got a job, life moved on, but because I was a web guy I always had a website, I was always tinkering with the mechanics of online publishing.  I don’t really remember when I started writing, but I do remember staring into my empty website from the early days and thinking that I wanted to write.  Needed to write.  Needed to say something.  And so one day I started.  It was a mess, and I made mistakes.  But good learning is like that.  My mission shifted from the medium to the message.

My MUS 108 class had a final assignment last semester (back in the good old days of MUS 107) of writing a website.  That assignment was a technical assignment.  But the blog assignment is a content assignment.  And for some of them, it’s going to be tough.  They get to see and read (or ignore) content all the time, but now that they are forced to take part in its production, they will have to think about it differently.  As part of the assignment they must comment on other classmates’ blogs, review/revise/support/rebut based on comments to their own blogs, and make sure to keep me in the loop.  It’s an experiment, but even if it flops I think I’m on the right path.  Especially in asking them to make their thoughts public and follow up on comments.  They can’t write a piece of fluff and then drop it like a hot rock.  They have to share it, and acknowledge others’ opinions.  They have to own what they write.

I have had two job interviews in the last two weeks, and both committees asked me about my skills in social media.  I gave examples and talked confidently, but I got the impression that they were making the same mistake that I made in the first days of my own website.  They seemed very interested in the mechanism of social media, but not the connections, not the content.  But they understood that there is this thing happening, and they need to get on board.  I hope someday they, like my students, understand that facebook is easy, a web page is easy, but content is hard.  That’s why it’s important.

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On Conferences

Like many college students, I was told when I was young that conferences were a great place to network, to learn what is going on in my field, and to stay abreast of the newest, coolest things coming out.  Away from school, away from our professional environment and peers, we jokingly said that conferences were really just an excuse to get out of town and go drinking with old friends.  But still I went.

Over the following years I have performed, judged, competed, attended, and crashed conferences.  I’d like to think that I have an open and inquisitive mind, but so many of those conferences only had one or two presentations I wanted to see.  Not that I didn’t want to learn new things, but so many of the presentations looked like fluff, or had nothing to do with me.  Recently, I have found myself disappointed in the offerings, and not attending any of the presentations.  I go, shake hands, see a performance (if it’s a music conference), and explore the town.

I did my undergraduate degree in music; I initially wanted to be a high school band director, but somewhere along the way decided I’d rather not do that, but couldn’t bear the idea of not making music.  I switched to a degree in performance, and hit the practice room, mentally set to win an audition.  I was all about professionalism, all about getting prepared for the “real world,” and all about running on the tread mill faster than anyone around me.

One of the things I see happening in the conference world has me concerned. It’s the same thing I see in academia; we (the teachers) are selling a world (to the students) that doesn’t exist.  So many conference talks are about how to “get a job.”  The definition of “job” is orchestra, military band, or college teaching.  And the “get” means to win by audition.   The message sold at so many conferences is summarized thus: you will win by practicing harder than anyone else.

Did anyone notice there was only one full time college tuba-teaching job in the country this year?  Where was that info at the conference?  My friend Andy has transitioned from grad school in music to employment in the music industry, so he was asked to sit on a panel at a conference; a panel about jobs.  He mentioned to me later that the other three panel members seemed to be missing the point that there just aren’t any jobs only playing the tuba.

I recently read an article by Tom Loughlin where he decried the same flaw in the academic conference world of theatre.  One of my favorite lines is:

[The] emphasis is 97% on “how to succeed in the theatre business by trying a little harder.” It’s self-perpetuating, narcissistic, and almost cult-like.

I’ve marveled at this cult before.  In part because I am not a member, and in part because they seem to be missing the point. Most conferences seem to espouse an idea: the more you specialize, the more employable you will be.

The point is, education isn’t about getting a job; it’s about learning something you can apply to your life.  It might help you get a job, but colleges are not vocational training institutions.  And more than that, the things you learn in college aren’t just about music, or just about biology.  Another article I read addressed this idea very well: students have a lot going for them beyond the one little box of their degree title.  Basically, specialization doesn’t equal employment, and specialization doesn’t equal happiness.

I recently interviewed a very well-respected and successful arts leader here in town and the topic of conferences came up.  She admitted that she doesn’t go to any conferences anymore and explained why: after a few years of hitting all the major conferences she kept hearing the same things over and over.  She wasn’t getting much out of it, but she also noticed a pattern.  The people who were there were all trying to climb the ladder, not really trying to learn anything.  She liked the rung she was on, so she stopped going eventually.  I asked her about books and professional development, and again she sighed.  Her response was that at the end of a day she was happy with her work, but she wanted to go home to see her husband.  I smiled at that.  She explained further that she kept up with news and opportunities, but she was more than her job.

I know that conferences are limited to their own subject matter, but we as teachers and conference-goers should be careful not to buy into the idea that increasing specialization is the only path to employment.  And we need to drop the idea that gaining employment as a specialist is the only path to happiness and fulfillment.

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Concerto for Doorknob and Marching Band

When I was in high school I took a class called AP Computers.  Yeah, imagine that.  ME.  In an advanced placement class about computers.  I’m not a nerd or anything.

But as one of three people in this class, I was given the opportunity to help out a student who did not have the use of his limbs.  He could speak, and he could think well, he just couldn’t write, walk, or do a lot of the things most of us take for granted.  The school accommodated him by hiring an assistant to help him do his coursework, but they also took advantage of something new: voice recognition software.

My friend Patrick and I got to help setup and learn the software for this student, and then help him learn his way through it once we had figured it out.  At the time I thought it was the most amazing thing I’d ever seen, and it was cool to help out.  But the software was pretty slow (Any of you remember what a 486 was?  It used every ounce of power that poor machine had), and made some really interesting errors.  It didn’t tolerate any imperfection in pronunciation, and it had no context for words.  You couldn’t expect it to understand a phrase, just words.  Slowly.  One. At. A. Time.

Fast forward to now.  I have a cell phone.  Everyone has a cell phone.  Google has taken over the Earth too.  But there are some great things we do with technology that we just take for granted.  For me, one of those things is Google Voice.

Google Voice basically connects my phone to Google services, including voicemail, a local phone number, email notifications of missed calls, and text transcriptions of any messages.  It’s this last one that gets them in trouble.  Not because their technology isn’t amazing.  It is.  But because their technology listens like a computer.

Just like it did when I was in high school.

And now it sends me text messages: mangled, train-wreck English.  On my phone.  I’ve gotten pretty good at reading between the lines and figuring out what people are trying to tell me, despite the poor word choices, and wacky grammar.  But I always have to check the message myself.

For starters, it calls Anne Meade “Stanley.”  If I start dating someone named Stanley, it might take a blog post or two to explain what’s going on in my life.  But that I can understand; names are tough.  A few weeks into our relationship Google Voice even texted me to say that she was breaking up with me.  When I listened to the message, it was something like, “I need a break, um, when you get time, call me.”  Panic averted.

I got a call last night from a friend.  She left a message about a coffee shop called Francesca’s.  The text message reads in part, “I think you said intestines, which I have got totally.”

What a coincidence.  I’ve totally got intestines too.

Unlike the speech recognition software in high school though, at least Google tries to make sentences that are actually sentences, even if they end up being hilarious.  People recently have been awed by IBM’s “Watson” computer that seems to be capable of interacting like a human.  But we’ve been marveling at thinking machines for decades now, and a computer is still just a thing, and it’s “thoughts” are a mashup of words and bits that we might take to mean something.

Until we get the thinking machines to listen like people do, everything will still just be a mashup.

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Avuncular

One of my fellow grad students emailed me the other day asking for job-seeking advice.  I’ve been banging around the adjunct world since 2006, and held a full time teaching job in there as well, have worked summer programs, developed a private studio…  I’m living “the life” as far as some musicians see it.

However, as I see it this lifestyle sucks.  And here’s why: I used to work in computers, and aside from the generous paycheck, the regular and predictable hours provided enormous peace of mind.  Granted, I worked my butt off when I was in software, but I had every weekend free, my evenings were my own to go see concerts, practice, cook good food, sit on the couch with my girl and watch lousy movies, etc.  I didn’t have to manage every minute of every day.

And I do now.  It’s Sunday morning and I’ve already written another section of my dissertation project, formatted several others, responded to several professional emails.  And I need to re-write the assignment I’m going to give out for my class tomorrow and grade the assignment I handed out last week.  On top of that I have a recording session this afternoon, and a rehearsal with my accompanist.

This is my weekend.  And it’s like the weekend of so many other grad students and young professors.  We work because we’re excited about the work, because we want to climb the ladder, because we are the low man on the totem pole.  The problem is that 10 years ago, 20 years ago, the job prospects were better.  At the moment, my cohort is working its collective butt off while tenured professors refuse to retire while trying to recover from the economic slump, and universities tighten their belts and reduce full time jobs.  We do all this work with the expectation that we’ll make a living at this someday.

Don’t get me wrong, I love music, and I love the things I do.  And I feel fortunate to be able to make a living doing my thing.  But I’m tired of always being on.  I know there’s a better, easier, more satisfying way to live.

So when a fellow grad-student asks me for advice on how to do what I’m doing, I have to restrain myself from shouting, “DON’T!”  And after that urge passes, I still want to tell him to get out while he can.

The only way I can think of to properly address the topic is to format it like an open letter to every aspiring music-academic:

Dear Future College Music Professor/Performer:

You’ve embarked on a path to learning, performance, teaching, research, and service.  You get the unique opportunity to mold the minds of the next generation of professionals, advocates, and enthusiasts.  Your contributions will shape the future.  But your training, degrees, and expectations have woefully prepared you for the job market of today.  Your education does not even address the job market of tomorrow.

When you finish your formal education, if “the life” doesn’t happen easily, quickly, go do something else.  Work regular hours, earn a steady paycheck, pay your bills, eat healthy meals and have friends outside of music.  Maybe it will seem weird, and maybe it won’t even be permanent.  But it will change you, it will make a difference.

And don’t play the starving artist card.  You’re not waiting tables, just waiting for your big break.  You’re waiting tables, just like everyone else waits tables.  Own it, love it, live it.

And for goodness sake, don’t work for free.  We’re so trained as musicians to play for the university for free that we forget to attach value to the things we do.  Don’t sell out for nothing.  You’re working that job at the mall to pay bills, so make music to pay bills.  Think of yourself as a business, You Inc., and you’re the CEO.  What is your mission?  How are you going to get there?  Where are you putting your resources? How are you making your money work for you?

After several years of working outside of music you may be happy.  You Inc. is making a profit, is stable for the time being, can afford to daydream.  If so, that’s the point.  Then again, you may sense this growing need to go back to school, to get back into music.  If the music is louder than the paycheck, then go with my blessings.  But for goodness sake, don’t forsake a paycheck in the name of art.  You can have both if you put your mind to it.

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Something to Say

I had a conversation a few days ago with some dear friends, friends I met while working at a summer camp.  My one friend is nearing completion of her Masters degree, and at the ripe old age of 23 is wondering what to do with her life.  She mentioned the possibility of getting a doctorate, but I recommended making some hard, messy, delicious mistakes with her life.  You know, get a job making rugs in a commune in New Mexico, meet and date a painter named Raul, and get a tattoo espousing her love for figs.  All the sorts of things that make for great stories after you get over your embarrassment.

No, I have not done any of those things, though I do love figs.

Some years ago, when I was living in Cincinnati, my roommate George was finishing his Masters and we had a similar conversation.  But he wasn’t interested in a doctorate, only in where he should go next to further his education.  George made a very astute observation: he said, “You do a doctorate when you have something to say.”  A doctorate is about having something to share with the world, and needing the support a university can provide.  Because he knew he didn’t want that, he chose an alternate route, and has had great success.

I meet plenty of folks in the classical/academic music world who look at a doctorate as the next logical step after earning a masters.  I’m not one of those folks.  It’s not because I don’t believe in the degrees, but because I believe more in the power of experience.  The university experience is often so guided that it stops resembling the groping-around-in-the-dark that frequently is life in the real world.  The degrees provide a great experience, great learning opportunities, but I think George hit the nail on the head.  That’s not what the terminal degree really is; it’s shelter so you can craft your ideas, hone them into a message, and get that message out there.

I have had the good fortune of taking several years in between my degrees; as a programmer, then as a college teacher.  Those years were every bit as instructional as my time in college.  But in a way, they were more important because it’s as a programmer that I learned time management.  It was as a teacher that I questioned the materials and techniques I had been taught and developed my own.  It is through my extracurricular experience that my curricular experience has gotten its flavor.

And as I sit hacking away on my doctoral document I am glad I have something to say in its pages.  I don’t know where my next step will take me; maybe out of academia altogether.  But truly having something to say, and being given the time and guidance to say it has been priceless to me.

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Why I Hate Computers

I’m a techie sort of guy. I used to be a programmer, web designer, etc. I’ve integrated computers into everyday life, like so many other Americans. But, I give regular thought to canceling my facebook account and unplugging everything. I’ve considered being a lumberjack. It has its perks. Like plenty of sawdust and flannel shirts.

This past week in my music technology class, I introduced a lesson on video editing. One of the students- an older student- does all her work on her own computer, keeps up, asks questions, and gets everything done on time. She wasn’t born to technology like all the younger students in the room, but she is old enough to know how to get things done, regardless of the medium. So, despite her lack of technical skills, she does good work.

However, because she does everything on her own computer, there is a new layer of complication added to the mix. She uses Windows, and the lab computers are Mac.

I’m operating system agnostic; if you want my opinion I’ll tell you why they both suck. And this is a story illustrating my point, now that I think about it. But it shouldn’t be a story illustrating why they suck. I thought they had this crap figured out years ago.

Operating system manufacturers: the moral of the story is PLAY NICE.

Mac/Quicktime/iMovie won’t export a movie format that can be read by Windows/Media Center/Movie Maker. Any codecs that facilitated such cross-platform interoperability are no longer supported. We’ve managed to crash her computer a few times just trying to make it do what my computer at home does. Which is to say, do what you expect.

But I’m not sure why my computer at home opens those files. According to the Intarwebz, Media Player and Quicktime used to play along nicer than they do now. And that makes me think that these problems are on purpose. Someone somewhere actually decided that not playing nice is ok.

I’m going to have to re-make all my resources for the project now that I know you cannot use a windows machine to do the assignment as it is written. Keep in mind I’m not changing my materials just for the student, but on principle as well. The class I teach is an entry-level technology class, and there are so many good tools to help the students be productive. Why should I force them to use one they don’t have when they could just as easily (in theory) use one they do?

But that gets me back to my hatred of computers. Computers are dumb. I mean that in the nicest possible way. They do exactly what we tell them to do. I stopped helping people out with their computers years ago not because I don’t enjoy the challenge of figuring out the puzzle, but because most often the user did it to themselves, and by fixing the computer I’m not really fixing the problem. The problem is that computer operating manufacturers sell operating systems, not usability. We as a buying public have gotten used to modifying ourselves to meet our computers’ needs. So how much are we willing to change for a dumb and inanimate object?

Extend that idea a little bit more, and you have to ask why someone would buy [brand X] word processor when [brand Y] word processor does everything they need and seems to play nice. The answer is that things change and the tools we have sometimes just don’t play nice with the changed world. So we have to change to make the tool work. Why do we spend and change to accommodate technology? We shouldn’t, but we do.

So, to wrap up my rant, I have to ask a semi-rhetorical question; how many of you felt after purchasing the latest wonder-gizmo that it had changed your life? How many asked the follow-up; how?

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Tuba for Sale

I’m selling my Cerveny CFB 653 F tuba.  It has 5 valves (4+1), and is on the small side for an F tuba.  It plays with a full resonant sound, even in the basement, which is surprising for a horn of its size.  The horn has no dents, but a little wear and tear from regular use.

I played this horn on a doctoral recital and regularly as my “practice” tuba at home.  It’s small enough to travel well, and big enough to be heard when you want to.  It has generally good intonation, with the normal quirks one expects on an F tuba.  The horn is mouthpiece sensitive; I found that the stainless steel Baer F mouthpiece makes this horn light up.

It includes a custom Glenn Cronkhite bag in blue and black.  Those of you not familiar with his bags; it’s very sturdy and comfortable, with high density padding and wide straps.  The bag will save you from a good deal of careless bumps that might go through a different bag, and you can sling it on your back and walk like a normal human being.  It’s well-designed and constructed.

I’m selling because I don’t need it (I have a few other horns I use more) anymore and am moving in a month.

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Formal Education

It’s been about a year since I began my “formal” education in arts and non-profit management and I’ve learned a lot.  A lot of my classes have been fun and enlightening and my teachers the sort of people I want to work with or for.  But the things I’ve learned have by and large not been what I thought I would learn, and not from the places I expected.

UNCG does not offer an arts administration degree or even a focus.  As some of my readers know, I’m currently finishing my doctorate in music at UNCG, but it struck me one day that I needed to go into arts administration.  In part because I was seeing so many people do it wrong, and in part because I know that I’ll be good at it.  I believe I’ll be more than good, in fact.  But back to the problem of UNCG not having an arts administration degree: I got creative and talked to people around campus and discovered resources no one in the music school knew about.  There is coursework and a certificate in non-profit management through the political science department, entrepreneurship classes, the MBA program, plenty of stuff to work with in crafting a minor that addressed my interest.

A year after drawing up my plans (and revising them when new information comes to light) I have some observations about arts administration that seem obvious now, but did not occur to me when I saw the world only as a performer:

Observation Number 1) There is no right way to do it.  There is no text book.  There are no instructions.  You are given a mission statement, a problem, some resources, and you have to figure it out.

Observation Number 2) Coursework and academia are not a substitute for experience.  The coursework I’ve taken helps me understand the problem, but it doesn’t give me tools to tackle all of them.  And keep in mind, I constructed my coursework after thoughtful consideration of what I will need (based on asking people who DO the job) and from multiple departments and sources.  I am suspicious of Arts Administration degree programs because if they are anything like degree programs I’ve been in, there’s a lot of fat in the degree, and not a lot of thoughtful planning.

I had an instructor in one of my classes (actually she was in charge of the non-profit program) who had lots of degrees, lots of ego, and little experience or practicality.  I discovered that I could fake my way through assignments, not do what was asked, and still get high marks.  As a teacher myself, I caught myself sliding into bad behavior and self-corrected.  However, in the real world you’re either competent or incompetent.    When I discussed some concerns with her, it became apparent that she was of the latter kind, and I dropped the class.  It was the first class I’ve ever dropped, and she’s in charge of the program.  Titles and degrees don’t make for experience.

Observation Number 3) There are two categories of people who end up in Arts Administration; those who go into it from other careers because they feel a passion to do the job, and those who sort of “end up” in it because it was what was available.  I tend to be passionate about whatever it is I’m doing, but I am also an opportunist so I can identify with both groups.  However, I have worked with people (personnel managers, marketing directors, etc) in the arts who clearly fell into the job and just like the title and income.  Having worked with aspiring performers all summer, many of them were naively surprised to discover that I am a musician, and have no concept of making a living other than playing.  Many of them will be disappointed to learn that playing jobs are few and far between and will end up in administration somewhere, if in music at all.  I sincerely hope they learn passion for the job or get out.  It’s not a high salary field, so if you don’t like what you do you’re in for a lean and unhappy career.  If you discover passion for the job, you can have a full and happy career with the same paycheck.

Observation Number 4) Most of my learning has come from deciding to learn.  Now that I’m paying attention to arts administration, I find I can take lessons from anyone or anywhere.  Lessons aren’t limited to books or coursework.  I feel so much wiser about the world just from seeing in from a new viewpoint.  It’s the same world, and I have the same “job” as before, just new eyes.

I mentioned that I am suspicious of degrees in arts administration, but I don’t want that to mean I don’t think they are a good idea.  Just know that learning is a process.  Completing a degree is not the same as completing an education.  Never stop learning.

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