A friend of my D’s from IU (Piano Performance BM) went to Michigan for collaborative piano. I know that he was hired by an opera company after. I just can’t remember where.
@compmom
I didn’t mean to imply that composers have it easy or that the scenario I gave was common, what I really was talking about is networking, that a teacher can be in the chain of getting opportunities, but it certainly isn’t a golden door either. Composers have it worse because as bad as it is for musicians, composers operate on a commission basis and those aren’t easy to get and there are a lot of composers out there so the competition is high. Several of the commission pieces my son has played with his group came about because of competitions they were in or because they got a grant to commission a piece, but it is really really tough and the pay isn’t exactly hot stuff either.
And with the big music groups (talking orchestras or music series) that commission, they tend to be very inbred, they want the ‘star composers’, the ones already with a name, when it is a serious commission, which is a very, very hard world to break into (it is kind of like movie scoring, only worse)
I believe NEC does. These days a lot of programs offer collaborative music (including piano) as an area of concentration, so if that is the route she wants to go she likely will have a lot of choices.
Yes he did, good luck to your son!
@oldmusic_prnt the music professors I know of do not find opportunities for their student composers. I suppose because they don’t want to play favorites. Or maybe they are busy getting their own opportunities. There are exceptions of course.
Quite awhile ago I posted a graph of composer commission earnings with a bunch of data points between $0 and $5k (most at or near $0) and a few dots further to the right, say, at $10k. There are fellowships and of course prizes like the MacArthur, For many grants that composers might apply to, they need musician collaborators, and musicians would need the grant to commit, so that is a bit of a catch 22. Most ensemble concerts of contemporary classical composers in NYC have attendance hovering around 20. I could go on.
That said, there are ways to continue the creative life and support oneself, if one is willing to be flexible and let the old models of that life go. Which is why I mentioned doing real estate! (No my kid isn’t selling real estate, but certainly would if the current academic job was cut .) The old model for composers was an academic teaching post, and that is certainly not the case now for most. If a composer has a day job, does that mean music becomes a “hobby”? I think not: Ives sold insurance, Glass drove a cab, etc. Again, flexible thinking about the role of creativity in a working life is needed.
1 Like
I think this mentality goes for most musicians to some degree. That is why some double major or double degree. But I could see how composrers are even more so concerned about making a living. My daughter who is 15 loves musical theater and is considering going to college for it, but her current teacher told her to think about doing something else on the side as well until she establishes herself. I also suppose it depends on the instrument. My D (viola) has already had a plethera of opportunities and has been paid quite a bit for being in a professional group performing and traveling with the the group. But I suppose that is also a case of who you know and being at the right place at the right time. My son (oboist 13) has also had fees waived for orchestral camps etc, because they needed an oboist.
Our experience has been that a double major or double degree to have a plan B is not necessary. However, my kid did internships with a music agency and an orchestra, and organized/curated events and festivals and gained a lot of skills outside of school. Teaching experience is of course often a part of grad programs. I don’t think it is unwise to focus on music as an undergrad, as long as debt is avoided- whether a BM or BA.
1 Like
There is nothing “hobby” about a composer who has a day job. Borodin was a chemist if I remember correctly too:) and Schubert was a school teacher,so it never has been easy. Composition outside of getting an academic position is extremely difficult to make a living at by itself, with the exemption of a very few who get the commissions from the big orchestras and such so few would be ‘full time’, it is much like writers actually, most are part time.
There are always financial concerts. With chamber music the big goal is to get a full time residency at a music school, it gives them a home base, benefits like medical insurance and a regular income. Without that it is very difficult to make a living even for the top groups.
My S interviewed on 3/7 for composition. He got an email last week from IU Admissions (not Jacobs) saying his application was missing Audition Results. I called the office and they said yeah it’s probably just not there yet because he had just interviewed and maybe I should call Jacobs Admissions. I called there and left a detailed message, as they instructed, but haven’t heard anything back a week later. IU portal still shows it’s missing but hopefully it’s just a timing thing and hasn’t been sent over yet. UGH.
Even with established groups it can be hard to make a full time living. As I noted in another post chamber groups usually try and angle for a full time residency at a music school because that gives them a home base, benefits and pay for teaching that helps make the rest of the career doable. Some groups make a decent living simply performing, but it is a relatively small number. Groups like the Takacs, The Miro, The Shanghai and others had/have residencies for that reason, even though they tend to get paid fairly decently, get into the major chamber music series and so forth. It is extremely difficult to have a music career that doesn’t require some creativity for most people, the big time soloists, the high end orchestra jobs, are extremely rare. It is like writers, very few make a living just from writing and unicorns are at the Sarah J Maas level.
I remember 2 years ago when my daughter, who is at Jacobs currently as a Sophomore Piano BM, auditioned at Jacobs. It took them so long to officially inform her that she was admitted. (She was verbally told by jer professor after her audition that she was admitted) I think Jacobs is so large and they get so many applicants, they can be slow in responding.
2 Likes
Two comments:
IU tends to be late…every year…
My opinion is that musicians/performers etc should simply expect to do a variety of jobs (particularly in their 20s)…then it may become one other job in their 30s. I disagree that a Plan B degree is necessary. You are getting a bachelor’s degree and in most cases that’s good enough for a variety of work. However if a kid has a sincere interest in another area of study, then that’s fine to pursue it. There are the unicorns/very talent &/or lucky, that get more stable employment right away (typically classical instrumentalist) and then there is everyone else…working and gigging…building a network to be hired more consistently. My D is now hired one year out usually…but not always. She also teaches. It took some time to develop her network and skills in teaching and performing…as she worked as a receptionist in a salon (she wanted the discounted services!). She was recently in show where they highlighted the “other work” of all the performers: graphic designer, real estate, yoga instructor, dance teacher, music teacher etc.
My opinion is you should “normalize” the other work of a performer. I don’t feel that it needs to be explained away. It’s normal and fine to me. It doesn’t make my D’s life “less than” it expands it.
6 Likes
Finally! D(25 violist BM) received the golden ticket to Jacobs! But I am curious about interesting wording in the acceptance letter.
Back story..she reached out to two professors for trial lessons prior to her audition. One never responded to her (lets call this professor, Prof B) , and one professor (lets call Prof A) she had two lessons with, one over Zoom prior to audiotion and one after her audition. I mentioned in a prior post how the Prof A told her in her lesson after her audition that Prof B does not do trial lessons, but that if she reached out now, Prof B may give her a lesson. Prof B’s name was brought up several times by Prof A during that lesson. D and I read into this as Prof B probably mentioned right after her audition that Prof B would like to teach her. This is of course was all speculation.
But! After reading her acceptance letter there is odd wording, imho. It states she has been assigned to Prof B (our spectulation was correct!) It says that she has been admitted under the sponsorship of Prof B. What does sponsorship mean in this case? Obviously we know nothing about merit scholarship yet, as that comes out around April 1st. Has anyone seen this verbiage before?
PS. Her IU account still shows missing audition results.
PPS , Prof B is one of the top teachers for viola there, so D is thrilled to be chosen by Prof B!!!
13 Likes
Congratulations! So happy for your daughter! Now…all other parents please send good thoughts that my son hears good news soon and 
that the merit aid is great! We need all the positive mojo we can get. 
And one question…did this arrive today by email?
3 Likes
Yes she received an email. What music department did your son audition for?
1 Like
French horn performance
2 Likes
Congratulations to your daughter! I would think that wording bodes well for some merit money. Of my 3 kids who went to Jacobs, the one who had a prof specifically reach out expressing interest in working with her received the best financial package. Wishing y’all continued good news:).
1 Like
You can always reach out to IU music admissions and ask for clarification on what it means exactly. I’m assuming it is giving her a studio assignment.
Here is some context that may help. My D’s teacher at IU did not give sample lessons either. She would only meet with students after the audition if she was interested in them. My D did have a lesson with one teacher (picked randomly…she’s a vocalist so it’s a little different from instrumentalists). That teacher indicated that she had little too worry about…should simply audition…and then figure out the best teacher. My D’s experience was that most teachers for an instrument were pretty collaborative and worked to get students with the right teacher. My D’s teacher liked working with “Mozart” type voices (or similar voices). That was a big part of her professional background. She was also well-known so that is why she didn’t do sample lessons (too much demand). While she was great for my D, she may not have been the best teacher for a heavier Wagner type of voice. My D was also pretty advanced (it did plateau in college…lol!). But some teachers were better as students entered college with more budding talent and then may transfer teachers a year or two later based on their development (maybe more common for voice where the students are very young and can make great strides in college).
So teachers may have specialties in particular repertoire or a style, sound. Or some teachers may be better at “catching talent up”. So the first teacher may have seen your D’s talent, style etc and figured that other teacher would have an interest.
Of course this is speculation. Still it all sounds good to me. She definitely should reach out to that teacher for a lesson now!
1 Like
My D25 viola also has the “sponsorship” wording in her Jacobs acceptance, it is her first choice prof so we assumed she was accepted to his studio. I’m guessing it is Prof A!
5 Likes
Did your daughter receive the email today?