I spent my last semester at CalArts taking almost literally every class I possibly could with Tim Feeney, who’s not only a beyond-words percussionist, improviser, and composer but also arguably the nicest human being you will ever meet. During the spring, I saw Tim three times every week: Wednesday mornings for Writing for Percussion, Wednesday afternoons for Free Improv Ensemble, and Friday afternoons for The Experimenting Ear. By mid-March, I could no longer remember which thing we’d talked about in which class, and as such I spent a lot of time connecting very distant dots in front of peers missing one end or the other of the train of thought. While that was super confusing for almost everyone around me, it meant I walked around getting my mind blown for months. It was the best.
One of the most important lessons I learned from Tim—and, arguably, among the most important things I absorbed during my MFA—began in The Experimenting Ear as we were analyzing Jed Speare’s Inside the Cable Car Barn, a beautiful piece that provokes a daunting question: are the things we might find on a field recording already music, or do we make them music based on how we consume them? My analysis of the piece basically summed up as: “wow,” and my grade reflected that lack of attention to detail, but the conversations we had in the wake of the assignment piled questions on questions. Again, it was the best.
At one point, we were discussing a formal shift in the music where formerly prevalent tones give way to more rhythmic sounds. Tim posed a simple question. “What does this mean for the person holding the field recorder?”
It took us a minute, but someone got it. “They’re moving.”
That was the first of hundreds of times Tim must have uttered the words it all boiled down to: “when you are making or consuming this work, you are implicated.” Or, to put it another way, your decisions to make a thing or listen to a thing or frame a thing as music (or make any number of real-life interpersonal decisions) puts your own stamp on it out of necessity. In making/doing/consuming things, we give them perspective they would not otherwise have. In saying, “here’s a piece about a cable car barn,” we intentionally listen to appreciate sounds and nuances and decisions we might not otherwise think twice about.
“You are implicated.”
Continue reading You Are Implicated: Pedagogy Ethics and Why Everyone Should Have a Point Where They Quit Their Job
Since I started studying music in college, I’ve only rarely had the opportunity to work with a female conductor or ensemble director. (In fact, I think it’s happened . . . twice? Three times? Really rarely.) Before that, though, I was a product entirely of woman-run programs, and while middle and high school band were a long time ago, that education set me up with the expectation that my accomplishments were first and foremost my own, and while my teachers could be proud of me and talk about me, they could only claim so much credit.
This idea extended from my academic classes into my creative work in large part due to the guidance of the female and nonbinary professors and TAs I’ve had lessons and influential classes with over the past six years. These folks are supportive to no end, so eternally giving of their time and resources, but their support and praise is far less performative than some of their male colleagues’. It’s genuine, frequently private, and usually keeps an eye toward the future and what else I might accomplish. A good chunk of my male teachers, mentors, and colleagues also follow this model, but we’ve always got the handful of teachers who wait in the background, either refraining from genuine praise or being quietly unsupportive unless we jump through a little-communicated, preordained set of hoops (of which they are frequently gatekeepers).
Continue reading Fuck the Maestro Mentality
Last week on the blog, I gave you guys a runthrough of some of my favorite parts of CalArts. In short, the high points are the students, the faculty, and the general willingness to try new things and push back against tradition in ways that are useful and necessary. That said, as much as I’m proud of the work I’ve done during my degree, as glad as I am that I’ve gotten to collaborate with folks who are like me, I can’t pretend this is a perfect collegiate experience, even for a grad student. Am I glad I went to CalArts? Yes. It was the creative reach I needed at a time when I didn’t have many similar options. Would the decision to attend be a significantly harder one to make today? Absolutely. Though the reasons behind this are at times nuanced and difficult to articulate, I’m going to do my best to break down the most significant among them here.
Wish me luck.
Continue reading A CalArts Degree in Review: Part Two (The… Troubling Things)
Have you ever gone to something expecting to have a reasonably good time and come out of it with your life forever changed? I’m not talking about I-went-and-got-another-degree; no, I mean the kind of thing where you come out with unexpected new inspirations, role models, and routes of exploration, the kind of thing that makes you get out of bed at a reasonable (or maybe even unreasonably early) time because you can’t just stay still when there’s so much to do, the kind of thing that stays with you in ways you don’t expect.
It’s been awhile since I had one of those experiences (I think the last thing that even comes close was when I premiered He Probably Just Likes You with the Nash Composers Coalition), but I spent this past week at the International Women’s Brass Conference, where I presented two of my own works and a solo set. After just six days, I’m a different person. Like, my hair is still (blissfully) purple and I still need to practice for approximately forever, but I’ve got new paths dangling in front of me that I desperately want to explore. But first, I wanted to talk a little bit about what it took to get here.
Continue reading The International Women’s Brass Conference and the Price of Sisterhood