Klarinet Archive - Posting 001303.txt from 2000/10

From: "Ian Black" <clarinet1@-----.uk>
Subj: Re: [kl] A curricular issue
Date: Fri, 27 Oct 2000 14:31:36 -0400

On this issue, I've not posted so far because being neither a US resident nor a music
student/graduate, I'm not sure how qualified I am to comment. However, the more I think about it,
the more I am convinced that an "outside" view may be worthwhile.

Surely a student whose principal instrument of study is Clarinet, and where there is a requirement
for that student to participate in the/an _appropriate_ ensemble, that student should expect there
to be a place for him/her to participate in an ensemble playing clarinet. Would it not be reasonable
and logical on the part of that student to expect a place in an ensemble playing clarinet?

So, would it not be unfair on that clarinet major student to be held back simply because there were
too many students (non music majors) who performed better at audition?

To put it another way, if non-music majors are to be given the same competitive access to these
ensembles, which in turn could deprive music majors, then surely there are not enough ensembles to
go round? A clarinet major could be part of a symphonic wind ensemble, a military-style wind
ensemble (not necessarily marching!), or an orchestra. Try looking at the list of audition
candidates, and fit the ensembles round them. Each year, offer the "core" ensembles which have
already been mentioned, and add sufficient other ensembles or larger chamber groups to ensure that
all music majors can participate in an ensemble on their principal (or closely related -
flute:piccolo, clarinet:bass, oboe:cor, etc.) instrument.

This just seems like the logic to ensure that no music major misses out on the appropriate ensemble.
I'm not for depriving the non music majors of an ensemble. If I had had the chance of this at
university, I'd have jumped at it (we had no music department to speak of...) and would not have
wanted to be excluded. Similarly, there's no point in having one ensemble for majors and another for
non-music majors. The top players should have the challenge/experience of the "top" ensemble, and
should not be kept to a lower standard either
(a) becuase they're not allowed in if they don't major in music, or
(b) if they are a music major, the ensemble has excluded other top-class players who are not music
majors.

Seems like a sensible solution, which may or may not be practical, but it's my £0.02 worth...

Ian

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