Inspiration and Reflection

As I was writing a personal statement for a scholarship application, I realized I would have to explain a lot about what it's like to be a musician. What came out is a fairly interesting piece of writing that might enlighten some of my non-musician friends and readers. For the musicians reading, this might be preaching to the choir, but on the other hand it might be thought-provoking. Here's part of my essay:

Like many people my age, I graduated from school with an undergraduate degree, a pile of debt, and poor job prospects. Unlike most people however, the poor job market for musicians is not something recent. As a music performance major, the prospect of “winning” a job in a professional orchestra has always been slim; musicians call getting the job “winning” because of the rigorous audition process one goes through in order to get the job. Instead of an interview, applicants travel to the audition site after passing the resume round, and after months of preparation, play a 10 minute audition behind a screen for a panel of judges. From there, an applicant pool of anywhere between 20 and 100 players becomes two or three finalists who play for the judges again before a winner is selected. There are three or four oboe positions in every orchestra, and an estimated 20 orchestras in the country with livable salaries. With these odds, getting the job takes intense training and with the addition of hard work, really does feel like winning the lottery.

For me, playing the oboe has been a passion of mine since I was 10 years old, and when I was applying to college at age 17 there was no other option in my mind than to play the oboe for the rest of my life. I have grown up and learned a lot about the world since then. I realized that just as one would not study political science with the sole goal of becoming the President of the Unites States, an orchestra job is not the only career option for a person with a music performance degree. More importantly, I realized that it is all right to want something different than every other music major, and that it is not inferior to do so.

Since earning my bachelor’s degree, the plight of American symphony orchestras – specifically, musicians’ strikes, declining audiences, budget cuts, and bankruptcy – has led me to the point of view that the classical music world needs innovation. I have always been convinced of the importance of music, both as an activity and an art, but there were a few events that showed me that classical music could be truly innovative.

At Northwestern I participated in an event called Music Marathon, a fundraiser for the People’s Music School, which provides free private music lessons to under-privileged children in Chicago. In order to participate in this 26-hour concert, my chamber group had to raise a minimum of $100. I was surprised by those who contributed: new and old friends who had life-changing experiences with their grade-school music programs, and parents thankful for the positive influence music had on their children’s lives. These people were willing to donate to a cause that was, in some cases, up to 2,000 miles away because they still believed in the importance of music education. Music Marathon offered them a unique opportunity to show their support for music education; instead of having to sign a petition to save a music program from being cut, they single-handedly created the opportunity for a child to receive an education in music.

Music Marathon was unique in that it showcased classical and popular music on the same program. As someone who avidly enjoys both the classical and popular music genres, I see these two media as more similar than different. I believe that the intersection of these two worlds is where classical music is going to be most successful at attracting new audiences. One particular inspiration is the Chicago Symphony’s composer in residence, Mason Bates, who moonlights as a DJ and uses electronic music elements in his orchestral compositions. The orchestra has built unique events around Bates’ music, including standing-room-only DJ sets with small groups of orchestral musicians. Putting classical art music in nontraditional environments, such as a club-like setting, attracts newer, younger audiences.

Here in Cleveland, there is a group called Classical Revolution (there are chapters in many cities across the country), which organizes chamber music concerts in bars around town. The first of these concerts I attended was at a bar called Happy Dog, which serves house-made hot dogs with custom toppings in a dive bar atmosphere. This is one of Cleveland’s “hippest” restaurants, attracting 20-somethings and locals alike. In addition to hosting Classical Revolution concerts once a month, they have weekly performances by local rock bands. The genuinely fun atmosphere in the bar fascinated me: the way the performers dressed in street clothes like rock stars instead of wearing tuxedos, the way the audience was attentive but not silent, bar regulars mixed with those who came just to see the show. The combination of the high-brow art and relatively low-brow food and beverage – hot dogs and beer instead of foie gras and wine – created an approachable, easy-going atmosphere for art to be enjoyed.

The biggest complaint for new orchestra-goers is feeling intimidated by the ritualistic traditions of a concert: knowing when to clap, how to dress, etc. Taking the same music out of the concert hall and into a relaxed, fun setting is a new mission of mine. It has become a long-term goal for me to combine my love of music and my hobby of being a foodie in a way that revolutionizes the classical music-going experience. As it is today, Classical Revolution does not have a way to pay its musicians. I want to find a way to make it a sustainable part of a freelance career.