 The Clarinet BBoard
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Author: kev182
Date: 2008-03-26 17:54
USC
CIM
McGill
IU
U of M
Eastman
CCM
San Francisco
Where would you choose to go for clarinet out of THESE schools if you could study with any teacher? forgetting about money (hypothetically)
Post Edited (2008-03-26 20:35)
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Author: crnichols
Date: 2008-03-26 18:00
Wow, did you apply to all of those or are you?
That'll be expensive.
I do recommend that you select schools that have good endowments, i.e. you won't have to pay much to go there. If you're Canadian (I think based on your ISP), McGill is excellent and I think the tuition isn't as high. I'd seriously consider USC with Yehuda Gilad, University of Michigan with Dan Gilbert and IU with any of the three teachers there, depending of course on your career goals. All the rest of those schools are also excellent, but as a clarinetist you'll probably not see as much financial aid as you'd hope.
Good luck!
Christopher Nichols, D.M.A.
Assistant Professor of Clarinet
University of Delaware
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Author: redwine
Date: 2008-03-26 20:02
Hello,
My former professor, Steve Cohen, is at Northwestern now, and I highly recommend him. He's great! Also, if one is considering a state school, then University of South Carolina has my former roommate in college, a great clarinetist and teacher, Joe Eller. He's definitely worth checking out.
Ben Redwine, DMA
owner, RJ Music Group
Assistant Professor, The Catholic University of America
Selmer Paris artist
www.rjmusicgroup.com
www.redwinejazz.com
www.reedwizard.com
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Author: GBK
Date: 2008-03-26 20:06
Are you planning a career as a performer? ...GBK
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Author: Ryan25
Date: 2008-03-26 20:09
USC/Colburn
Univ. or Minnesota
CIM
Cincinnati
Depaul
Those would be my top five because they all have great teachers and succsessful students.
Many of the young players doing well at orchestra auditions are coming out of these schools.
Post Edited (2008-03-26 20:14)
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Author: Katrina
Date: 2008-03-26 20:21
I'd go to school for chemistry, if I had it to do over again...
I did go to Oberlin for my performance degree though, and to Northwestern. I do like a lot of what Burt Hara is doing up here in Minnesota these days though, so that'd make it on my short list. CCM and CIM are both pretty cool too...
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Author: kev182
Date: 2008-03-26 20:33
Yes, this is for clarinet performance.
And these are my choices can't change anything now haha...
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Author: brycon
Date: 2008-03-26 21:02
Congrats on getting accepted to such wonderful schools. I'm a college student now (and have been so for too long), if you'd like to talk more in depth about school email me.
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Author: GBK
Date: 2008-03-26 21:11
We all wish you much success in your dreams of a career in clarinet performance. However you should again be reminded (as I'm sure you probably have weighed the pros and cons) of putting all your eggs in one (small) basket.
My advice? Have a back up plan.
Previously, on this very subject I wrote:
...Let's ask a few questions:
The odds of winning an orchestral job? Not good
The security of an orchestral job? Not great.
The job market for clarinetists? Poor
The chances of making a living strictly playing the clarinet? Not going to happen.
The stability and liklihood of many 2nd and 3rd tier symphony orchestras financially surviving the next 25 years? Tenuous, at best.
Sure... follow your dreams, follow your heart, and all that goes with it...
But -
Each year (just in this country alone), conservatories and universities graduate hundreds of performers whose playing ability borders on the unbelieveable. The glut of clarinetists, flutists, pianists, etc... entering the job market is far more than is currently needed.
For example: How many great new concert pianists successfully break into the music world every year and have successful careers? 5? Certainly not many more than that.
The sad fact is that most clarinet performance majors will never earn a dime by strictly just playing the clarinet, for there is just no where for them to consistantly perform for pay.
When you are young, the notion of being a "professional clarinetist" sounds noble and intriguing.
However, after a few years, when your friends have moved on and bought their own homes, have retirement plans in place, have disposable income, medical benefits, and treat themselves to the better things in life, the "professional clarinetist" monicker loses its luster very quickly.
A struggling musician is not a pretty sight... ...GBK
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Author: EEBaum
Date: 2008-03-26 21:35
What, so were you accepted to all those?
Money not being an object, I'd say to go with a combination of which campus is the most comfortable, which department has the groups/atmosphere/options you'd like most, and which has the teachers you'd like. Look at all the factors. USC, for example, has an excellent reputation and top rate clarinet faculty, and is a very nice campus, but you risk muggings/carjackings/burglaries in the surrounding area, especially at night.
That, and I'd personally recommend going somewhere that is part of a full-fledged university, rather than a standalone conservatory. It gives more opportunities to explore and to keep your options open. I started as a computer science major and added a major in music composition along the way... you might find something in the other direction. A fall-back "pay your bills" profession, if you will, even if only in the form of taking a minor.
-Alex
www.mostlydifferent.com
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Author: Ken Shaw ★2017
Date: 2008-03-26 21:38
If you get into Yehuda Gilad's studio, then USC is the absolute first choice. He's the best there is.
Many people love Frank Cohen at CIM. There's no better player of the instrument, but I'd still be cautious. I've heard him play live and on concert broadcasts any number of times, and I've never heard him make a mistake. However, at least for me, he's never made a note of music either.
Indiana is a factory. Michigan is almost as impersonal.
The competition at all the schools you name is ferocious, and unless you're the very best player there -- on the Larry Combs/Elsa Ludewig-Verdeher level -- you can't expect to get much solo performance experience (or an orchestra job, for that matter).
If you're really good, it doesn't matter where you go. Alex Klein went to Oberlin, where they had a great oboe teacher plus a great college, and quickly rose to the top.
Also, even a top high school player still has a lot to learn. The one thing you can be sure of is that your teacher will know more than you do and will be able to show you where you need improvement.
Finally, the great musicians have a broad education and know about much more than music. Go to a school where you can learn everything.
Ken Shaw
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Author: kev182
Date: 2008-03-26 21:50
Thanks for all the advice,
I absolutely agree with you GBK. Money, cars and nice houses, although making life significantly easier, cannot buy happiness and for me the pursuit of a professional career in music is the road I want to take. I'm fully aware of the material sacrifices that may entail. Ofcourse I will have a backup plan, but I will push for my dream until it has been exhausted. I was thinking about minoring in non-profit management and continuing to expand MusAid www.musaid.org
I did get into Yehuda's studio although the cost of USC is mindblowing, I'm still waiting on scholarship information.
As a Canadian citizen going to McGill will only cost around 1600... and even though I would rather go to USC. I don't know if the extra cost is worth it... The thing that seems nice about CIM is the small studio (7-8) and two orchestras allowing for a lot of playing experience.... I really don't know where to go... O_o
Post Edited (2008-03-26 21:53)
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Author: Brandon
Date: 2008-03-27 03:27
Having gone through the selection process twice, I would consider several things. First, do you want playing experience or do you want to sit in a concert band behind amazing grad students. If you are ok with this, then you will know that you have many talented clarinetists around you that you can learn from in studio class. This would likely be the way it is at the larger state schools and big conservatories (CCM). If you want to compete for the top spot right away with fewer players to compete against, go for the smaller conservatory.
If you want to be a soloist, choose a school that is putting out soloists. Having never desired to be a soloist and never saught a teacher who is one, I cannot comment on finding a good teacher for this side of the profession.
If you want to be an orchestral player, I would go USC or CCM all the way. If you got into Gilad's studio, go. I know several players who studied with Gilad and think he is amazing. I have never studied with him, but those that have gone to USC love his teaching. If you read the bio of many up and coming players, many will have Gilad's name in their bio.
I would go to CCM, but only as a grad student. I studied with a teacher at CCM and he told me that the Wind division receives very little scholarship money for undergrad students. When I studied with him, most of the grad students were either on full or partial waiver. Their money may be better now that they have finished all of these new state of the art facilities. Their orchestras rival some of best in the nation. The Cin Sym O is one of the most outstanding orchestras to hear. When I was a student the orchestra had a great student ticket program.
Personally, I would not go to Eastman, SFCM, or IU. While there will ALWAYS be exceptions and there are players at these schools who border on amazing, I just would not care to be in the clarinet studio at one of these three schools. These are the three clarinet studios that I am most unfamiliar with as well, not knowing anyone who recently studied in the studios. Ditto for Michigan (the U of M I am assuming, not the U of Memphis which has an extremely talented clarinet teacher, James Gholson). Michigan I think would be safe, but not necessarily the best IMHO.
If you think I sound a little biased towards CCM, well I am! Having grown up near Cincinnati I think it would be an outstanding place to study.
BTW, listen to GBK. I was one of those performance graduates with debt and no job. But unlike many of my friends who put ALL of their eggs in the performance basket, I now teach band and perform when the phone rings. I have great benefits and a decent salary. My friends who put all of their eggs in the performance basket are still searching and are struggling. I certainly am not miserable nor do I eat Ramen noodles! Plus, I don't have the stress of trying to make a living playing full time.
On a final note, Ken, you don't like Cohen's Debussy?!? But I agree his orchestral playing, while phenominally accurate, is a little yawnn...
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Author: crnichols
Date: 2008-03-27 03:50
Kevin,
I would recommend you make your decision upon receipt of financial aid information. I've served in the United States Army as a bandsperson to get back on track after going into significant debt as a performance major from a lower class background. I can't recommend your getting yourself into anything you can easily get yourself out of financially. Idealism seems easy to overcome when you're embarking upon the adventures of life, but student loan bills are difficult to cope if you're working outside of the field of music (both personally and financially). Again, I suggest you go with the school that accrues little or no debt. If you're as successful as you hope to be, you'll gain pure profit. If not, you've lost virtually nothing except time (but gained a bachelors degree with potential to attain something greater). You've applied to a collection of wonderful programs. If you've been accepted at all of these, I doubt you could do wrong.
Best wishes,
Christopher Nichols, D.M.A.
Assistant Professor of Clarinet
University of Delaware
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Author: William
Date: 2008-03-27 19:42
GBK tells it like it is. And it will most likely only get worse given todays economy outlook and the publics taste (or distaste) in music. Back in the 1960's, I gave my college bound cousin this advice: music school is good, but have a back-up plan such as education or business. My "backup" was the school of education and I became a middle school band director (which I thoroughly enjoyed). He chose business and is now a successful Chicago area administrator. He also enjoys a second career which has included playing with the Chicago Lyric Opera and several guest appearances at baroque music festival playing his vintage bass instruments. I am now retired after 34 yrs and surviving nicely on my State Teachers Retirement plan. Over "the years" I always enjoyed playing in area musical groups--some for pay, but most for not--and now, in retirement, I continue to be more musically involved than ever and making a little side money as well. Bottom line, I'm glad we both chose careers that offered steady incomes and retirement plans while pursuing what we both like to do best, playing music for fun--and sometimes for profit. Steady income and the opportunity to play music: THE BEST OF BOTH WORLDS.
BTW, like 99.9% of us on the BB, no matter how good you become on your clarinet, where ever you go, you will always meet other clarinetists who are just as good as you, if not better. And many of them will already have the gig ahead of you. If you come to Madison, I might just be one of "those" clarinetists...........good luck with your choice of school and career.
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Author: Sylvain
Date: 2008-03-27 22:01
kev182,
I went to McGill for something completely different than music but spent a lot of time in the music building. McGill is a great place, but it is not a conservatory. It's a University with an emphasis on academic achievements as well as performance achievements. The teachers are all good there.
During my time there, I saw about 25 clarinet students/year about 5~10 in performance (including graduate students). I know of 3 who are successfully paying the bills playing or teaching the clarinet and 2 for which it is still unclear whether they will make it. The rest have moved on to other things than the clarinet. The advantage is that if two years into your program you realize this isn't for you, McGill can offer you all the options in the world. It is a top academic university where you are certain to find your match if clarinet does not work out.
That being said, Yehuda Gilad has a reputation of being one of the top teachers in the US and his students consistently win auditions/competitions. His studio would likely be my first choice if playing the clarinet was the only thing that ever mattered to me.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: bstutsman
Date: 2008-03-28 06:21
kev182,
You seem to have a proper perspective about "chasing your dream." That's a good start.
I would vote for Indiana for several reasons. I know you are interested in clarinet, but a large music school can offer a wealth of musical experiences. The last time I looked, IU was the largest. There are classical musical activities other that symphonic playing. There are operas and lots of chamber music. Indiana is also one of the most beautiful campuses anywhere. You should visit before you decide. It's also fairly safe. I think the out-of-state tuition is in the area of 23-24k. Not too bad compared to others on your list.
Wherever you go, I wouldn't expect to sit down in a principal chair as a freshman. It's a lot like the real world later on. Very competitive.
Keep in mind also, that you don't stop studying when you graduate. We keep taking lessons. I would imagine that most of us studied with different teachers after graduation. So, while your undergrad teacher is important, he/she is probably not the last teacher you will have.
In a large school there are also more opportunities for scoreing scholarship money. For instance, band directors have access to funds. They often pay 1-3k for students to play in their bands. Granted, clarinet players are not as likely to get these funds as a double-reed person, but there might be an opportunity. You may not be interested in band, but as someone else pointed out, it can put you around other good players.
Another advantage of a large school like Indiana, is the summer program. Big schools still have things going on in the summer. You might be able to get into a group that you couldn't get into during the year. Plus, studying music all year is a good idea if you want to perform.
The Kelley School of Business at Indiana is also excellent. Business Week magazine ranks it 6th among undergraduate business programs. This might help your "fallback" plan.
Whatever you decide, I think you are asking good questions. Good luck.
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Author: S. Friedland
Date: 2008-03-28 18:31
"What?" Only the following quotation:
"There are no great teachers. There are only great students"
William Kincaid, Principal Flutist Philadelphia Orchestra, 1921-1960
respectfully,
Sherman Friedland
Post Edited (2008-03-28 18:32)
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Author: Ed Palanker
Date: 2008-03-28 23:49
Kincaid was a great flute player and teacher and a very wise man. A great teacher cannot make a mediocre student a great player and mediocre teacher will probably not harm a great student. I suggest everyone check out as many schools-conservatories as possible. Read the bios and teaching philosophy of the teachers. Then choose several that seem to fit in your philosophy and style and go take a lesson or two if possible to see if you “fit” together. There may be a very reputable teacher that you simply don’t get along with. You may not fit into their teaching methods. They may insist your use certain equipment that you don’t feel comfortable with or insist you play everything only their way and not give you any latitude for expression. Any number of things. ESP
www.peabody.jhu.edu/457
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Author: S. Friedland
Date: 2008-03-30 19:28
This is of course, is one great problem, that of the teacher forcing the student to use his or her equipment. The kinds of coercion used are extensive and I have experienced it first hand and seen its imposition on many students to great damage done. I have seen great students harmed by this procedure, and had it imposed on myself by no less than two noted great teachers of the instrument.
So again respectfully, I suggest that any university where this practice is at all tolerated should be crossed off ones list, or at least strongly considered for its particular merits.
I would suggest finding the post-secondary school or conservatory where there are the most orchestras, the most concerts of chamber music, and the most music majors who play the clarinet. One goes to improve and the best way to improve is not necessarily the teacher, but those other who play the clarinet. You find your level and you find if the whole thing is worth it. The world of the clarinet, or more specifically the orchestra business is based on the act of competition, all the way to the top, or less.
Best wishes; it all goes by quite quickly.
Sherman Friedland
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Author: Ed Palanker
Date: 2008-03-31 01:44
Well said Sherman, bravo! You only hear of the successes of the famous teachers, you never hear of the failures, and I believe there are many. ESP
www.peabody.jhu.edu/457
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Author: tarynone
Date: 2008-04-01 21:56
If money is still not part of the equation I strongly recommend USC. Yehuda Gilad's teaching, in my opinion, is definitely worth it and I cannot recommend him highly enough.
Good luck with your decision. You've got some great choices.
Post Edited (2009-10-31 00:15)
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Author: eofung
Date: 2008-04-04 22:10
i'm a little biased, since i'll be going to IU next year (Eli Eban's studio), but it's true that you just need to meet the profs and visit the campuses. IU is beautiful, has a great community, and seems like a really great place to live.
I just went to the clarinet conference at BGSU a few weekends ago where Eli Eban gave a masterclass. I was really impressed by his teaching methods, and how intelligent and eloquent he was. He seems both extremely musical, and logical in terms of how to learn technique, has a gorgeous sound, and was a really nice guy. I'm pretty pumped to study with him next year. Of course, I didn't exactly feel that way about some of the other faculty, so I guess you just need to meet them yourself.
I would probably go to USC, though, if i had applied and been accepted - everyone seems to win jobs coming out of that place.
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Author: jmcgann
Date: 2008-04-05 13:55
If you are open minded about all styles of music including "classical", consider Berklee. You can learn the craft and art of improvisation and by learning a variety of styles, become employable. Consider saxophone as a doubling instrument. Versatility = employablility.
We have a clarinet choir, other chamber music ensembles, as well as a myriad of ensembles including my Django Reinhardt ensemble which welcomes clarinetists.
Besides performance, you can access courses to develop other music related skills to keep food on your family, as W would say:
* Composition
* Contemporary Writing and Production
* Film Scoring
* Jazz Composition
* Music Business/Management
* Music Education
* Music Production and Engineering
* Music Synthesis
* Music Therapy
* Professional Music
* Songwriting
Full disclosure: I am a professor at Berklee.
www.johnmcgann.com
Post Edited (2008-04-05 13:57)
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Author: whonderwhy797
Date: 2012-12-12 22:33
GBK,
Many of your points have been floating in my head for a long time. I'm young and naive at 19 and am scared for what's ahead of me. However, my clarinet professor tells me that despite the poor outlook, she believes everyone can find their place in performance...she's very down-to-earth and doesn't sugar coat things too. She warns me that I'll struggle and it will be very hard, but I can make a living. Then again, I'm still worried. She has some cd's out and has enjoyed success, but she got started during a better time.
I'm majoring in music ed because I think I could be a great teacher and I want to inspire kids. However, I still have a yearning for performing. I guess there are a ton of other great and probably better clarinetists/musicians out there but I don't want to give up. I've considered playing multiple instruments as boosting my chances to play gigs.
This paragraph was a rant, sorry :D, but my real question is this: Are there great musicians out there who are satisfied with 2nd and 3rd tier orchestras? Even just playing in them for fun, do they provide the musical challenges that a serious musician desires?
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Author: rmk54
Date: 2012-12-12 23:07
I've got news for you: It's almost as difficult to get into a second or third tier orchestra as it is for a top tier.
When I auditioned for my present position in a third tier orchestra there were over 70 other clarinettists from around the country competing for that one position. That was over 25 years ago, and the situation is even more desperate today.
I think what you mean is: Can a great musician be satisfied performing with a community or amateur group? My opinion is, no, it would be too frustrating. I remember as a student being a ringer in some community groups and it was never an enjoyable experience.
Do what you do best. If you want to teach: teach. If you want to perform: perform. If you are truly great at what you do you will succeed, although perhaps in a different capacity than you originally intended.
There is a time, though, that you have to face reality. If you are 30 years old and never made it to the final round of an audition, or if it turns out you hate (other people's) kids, then it may be time to explore other avenues.
You're going to see a lot of advice on the internet from people who have no real idea what they are talking about (possibly including myself!). I suggest you show your teacher what you are reading and let her cut through the crap for you.
Just remember that progress is not always linear and rarely instantaneous.
Best wishes, and good luck.
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Author: EEBaum
Date: 2012-12-13 01:02
Things may get better in a few years, but now is a particularly bad time for performers, with even a shortage of openings at Starbucks to make ends meet.
CDs mean very little financially. I know people with multiple CDs out who are struggling to pay rent. Many took a loss on the CD.
Just look around, take a good hard look, and see if you can even FIND people playing music in enough situations that you think could add up to enough to pay rent. If you teach lessons, a lot, you can probably make it work. I know people with masters degrees (in instruments more highly desired that clarinet) that do OK that way, bringing in money that a semi-flunkie C-student engineer straight out of undergrad would turn his nose to. Other friends with masters degrees are living in garages or couch surfing.
Even the university system, long the stalwart of "where performers can make a living teaching", is floundering (and never mind saturated... 70 applicants for one position??).
Ask yourself this: Do you love performing so much that you can be content playing in 83 consecutive shows of Oklahoma, taking disinterested students whose parents are forcing them into it, dealing with condescending stage directors, playing benefit shows of "crowd pleasing" music, and getting a call to sub with a good orchestra or play in a studio recording MAYBE once every few months? That's a doing-all-right scenario after a few years. Though I think Oklahoma just has two violins and a guy playing synth now, so you're SOL.
That's what "very hard" means. Not just that you have to practice harder. Everyone does that. The market is so saturated with talent, and the work so scarce, that people will work for next to nothing in poor conditions (trained monkey?), just for the chance to play.
Look around for what would happen if everything goes WELL, see if even THAT appeals to you, and consider that you'll likely not do quite as well.
Now, it definitely CAN open doors into other arenas, closely and distantly connected to performance. And if you're creative and lucky, you might find a niche. If I can give one piece of advice, it's to ALWAYS keep your radar up for things like that, and learn to hustle.
-Alex
www.mostlydifferent.com
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Author: EEBaum
Date: 2012-12-13 01:07
The pay can be so abysmal that a good friend of mine, a pianist, gave me this rule of thumb:
If they ask you to play a gig for twenty bucks, think to yourself, "If someone told me that there was a $20 bill on the ground where the gig is, and all I had to do was drive all the way over there and I could have it for free, would it be worth my time, gas, and effort?"
Often, the answer is no. So why do so many people drive all the way over there, AND WORK FOR A COUPLE HOURS, for that same twenty bucks?
But they do.
And that's exactly the problem. There are enough people at a high level that love music so much that they'd do it even without getting paid for it, even taking a financial loss. It becomes an indulgence, a hobby. This is fatal for people who would try to make a career of it.
-Alex
www.mostlydifferent.com
Post Edited (2012-12-13 01:09)
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Author: ruben
Date: 2012-12-13 12:50
My suggestion is to go abroad. Learn another language and other ways of doing things. France has two top conservatories: Paris and Lyons, but Germany has a couple dozen. All of these are very well-equipped and very well organised. The Royal Manchester Conservatory in England is also tops and very dynamic. Austria is conservative and stodgy. Of course, it is important to have a fine teacher, but one shouldn't rely on this too heavily. You have to find your own way; your own style of playing.
rubengreenbergparisfrance@gmail.com
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Author: Claireinet
Date: 2012-12-13 18:11
Congrats on your acceptances. It sounds like you are very talented.
I would like to first voice my agreement with GKB and others here in this thread. You may be absolutely certain you know what you want out of life- that is fine, and really all we mere mortals can try for. However, I would suggest first to take a serious inventory of all you think you are certain of. Just to be safe. Secondly- if even after this you continue to think/feel the same way *still* have a back-up plan. It is possible to plow down the path for a long time with *no doubts* only later to realize you wish you had done something differently. This can hold true even if you are incredibly talented, a hard worker, and/ or have some measure of success in the profession. Yes there is a chance that someone could be one of the few that are very successful and remain very happy -- but isn't it always better to know you've done your due diligence?
On to your question: My suggestion would be to go wherever the lowest financial risk is. It sounds like that would be McGill, but if you still have yet to hear about financial packages it may be another. This is of course unless you clash with the professor.
You need to seriously consider how you will get along with any professor you are thinking of studying with. This can be very difficult given you usually don't get to spend too much time with them when you are out auditioning and taking test-drive lessons... add to that that there are (unfortunately) some (this is not to say anyone on your list) professors that turn out differently than they were when they were "wooing" you to their school. Given this I would say to pay very close attention to any small hints of unrest you have with potential teachers. It may turn out your subconscious picked up on something and it is the only warning you may get before it is too late.
As for the cost- try to calculate what your potential student loan payments will be. Don't forget to factor in interest, yearly increases to your tuition, and that while you are paying those loan bills you will also need money for housing/food etc. Honestly, how much is too much? What will make you happier in life: studying at a less expensive school with a good teacher and not having as much debt, or studying somewhere more expensive with a good teacher and knowing you are enslaved to your debt for that much longer? (Or even enslaved to your debt and not able to pay it)
I really think that given you have a decent teacher you will make most of your progress due to your own hard work. You could always arrange to play at masterclasses with other professors, or travel to take lessons every once in awhile with someone other than your main teacher.
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Author: donald
Date: 2012-12-13 18:13
The original post is from 2008, I wonder what the outcome was?
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Author: Bob Phillips
Date: 2012-12-14 16:23
Reality therapy:
The Spokane Symphony Orchestra board just imposed a severe pay cut on their players --putting their incomes on a par with part-timer at WalMart. The band has a large population of highly degreed players, and the woodwind section is stunningly together always.
Philosophically, the players think of themselves as Symphony Musicians, but categorize their symphony salaries as the "foundation" of their incomes. I think that that means that they think of their day job work as just one of the costs of their chosen profession.
Day jobs normally include handling a bunch of private students and play with other groups. Much of the latter are of the "put $32 in the gas tank and drive for $20" nature.
To the extent possible, the colleges and universities provide slave-labor wages to symphony players as adjunct profs.
Other day jobs include computer engineering, personnel management, repair tech work, marketing, music ed (band teachers).
As one SSO musician (with 4 jobs) says, "I don't know why they give music majors student loans. They know they'll never get paid back."
Bob Phillips
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Author: Sylvain
Date: 2012-12-14 18:38
I think Kevin went to Indiana to study with Eli Eban.
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Sylvain Bouix <sbouix@gmail.com>
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The Clarinet Pages
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