Honestly, performers can have a really hard time choosing grad schools.
I say that as a composer and composer-performer who’s always had way too many things to think about when it came to school choices. During my undergrad auditions, I managed to piss off an interviewer at a school that will remain unnamed because I insisted on continuing to play my instrument as I continued my composing. (They didn’t accept me. This was not a surprise.) Yet as I’m starting to look toward the final semester of my MFA, it stymies me that so many teachers request or insist that their students focus on one thing and one thing only. I was incredibly lucky at Arizona State to have not one but four composition teachers who supported my performative endeavors, and that streak has continued at CalArts. But as my performance-major friends look at grad schools and doctoral programs, often they’re only focused on one thing: the teacher.
Continue reading CalArts Brass and the Pursuit of What’s Missing
I hate artist statements. I hate them with a fiery, burning passion. I’m not good at writing them and I often feel like I’m leaving out something significant in an effort to fit my creative practice into an approachable, understandable box. The fact that I’m still in school and still learning about aesthetics and sound worlds and crafting environments doesn’t help—I’ve known since undergrad that unless a project started with me, I’m very comfortable molding my sound world to fit around an instructor I’m learning from or a period of music I’m learning about at any given time. These days, that’s not exactly something I consider a skill.
Continue reading A Concert, A Recital, A Show
One of the best pieces of advice I’ve gotten since I went to college came from Brianne Borden, and it was a simple one: set goals, no matter how far away they may seem, and keep track of them by time period. One of the first things I did my senior year of undergrad was break down a bunch of goals for the semester, the year, the next five years, and the next decade—and it really helped me maintain my focus during a hectic fall semester of grad school applications and recital planning.
This time around, I’m entering the second year of my master’s and what I somewhat hope is my final year of being a student (in academia, anyway). As I started making my goals lists, I decided I’d try to hold myself a little more accountable than otherwise and share some of them with all of you.
Continue reading Looking Forward: My Last(ish) Year of College
Hello, friends! I hope this finds you well.
I’ve spent much of the past week reflecting on my experiences at the Rafael Méndez Brass Institute and getting back into the daily grind. I had such a great time getting to know everyone at RMBI, but it’s dawned on me that as someone who actively identifies as both a composer and a performer, I don’t talk as coherently about my creative practice as many of my new friends do. To be completely honest, I’m a little envious—from the outside looking in, it seems nice to be able to start by saying “I do this” and then getting more specific instead of explaining that you do two or three or five different things and having to elaborate on each one. I’ve also realized that I haven’t at any point sat down and written out how I describe and view my own work. (Grad school application essays don’t count.)
Generally, I dismiss myself pretty quickly. I tell people that I try to marry traditional technique and tonality with experimental idioms, and that’s true. Making weird things accessible to audiences regardless of their musical background is and always will be a priority. Even still, there’s so much more to my writing and performing than “it sounds a little weird but also sort of normal.” There are facets of my creativity I haven’t talked about very much. So this post has two objectives: to introduce myself a little more thoroughly to my friends (new and old, musicians and non-musicians) and help define for myself how I frame my creative practice.
Continue reading A Manifesto? (otherwise known as An Intro to My Creative Practice)
Over the past year, CalArts has allowed me to learn at my own pace while providing countless opportunities I wouldn’t get elsewhere. That said, it’s not all sunshine and rainbows. Like every school, CalArts has serious downsides it needs to address. I can’t speak as much to programs and events outside the music school, but even within HASOM (the Herb Alpert School of Music), there are significant issues that require more management than students or faculty are capable of providing individually. And sometimes, the administration’s what’s causing the problems. So buckle in, everyone. This one’s long.
Let’s start with my favorite part of every school: the Title IX office.
Continue reading A CalArts Year in Review: Part Two
This time a year ago, I was a newly-minted college graduate, enjoying a verylong summer and preparing for the rigor and adventure of a master’s program. I’d already made my choice – CalArts won for a number of reasons – but like most students approaching an arts school with an absurd reputation, I didn’t quite know what I was getting into. I came in prepared to work hard and hoping for an academic culture better than the one I’d found (and struggled with) at ASU. And while life spent a large part of the last year throwing me for a loop, I’ve had some time to reflect on what CalArts has given me and what I wish I’d gotten out of my first year. I’m going to present my findings in two posts; this first one will focus on the positives.
Continue reading A CalArts Year in Review: Part One