Wondering how you can channel your music training into job opportunities? Start by thinking of a degree in music as a set of skills rather than a narrow specialization.��

 

By Katie Beisel Hollenbach

 

Music “hard skills”

Skills are often categorized as either “hard” or “soft,” especially in the context of career development.��

In the world of music, hard skills refer to the specific knowledge and abilities relevant to the area of music you’re focusing on such as composition software like Finale and Sibelius; proficiency in certain music-related languages like Italian and German; or understanding of pedagogical techniques like the Suzuki Method.��

“Soft skills”

Hard skills are only one side of the coin. Employers are also looking for team members who demonstrate strong people skills, or soft skills.��

These include:

• Can you communicate clearly and effectively?��

• Do you show empathy?��

• Are you a good listener?��

• Do you demonstrate leadership and work well with others?��

Soft skills that are often overlooked by students working to develop technical skills through their college courses. But soft skills are crucial for success after graduation. The good news is that these are skills music majors tend to excel in.��

Translating music skills into job opportunities

In your day-to-day life as a music major, you’re probably focusing on theory homework, practicing, and making it to your next rehearsal on time.��

These help develop a mature skill set that includes technical mastery in your area of specialization and overall musicianship as well as the interpersonal or soft skills that will prove invaluable in your post-college life.��

Shifting the way you think about musical activities and being able to translate them as skills can be invaluable to your career.

For example:

If you practice daily on your own (as most music majors do!), you are developing:

• self-motivation

• discipline

• ability to work independently

• good time management��

If you play or sing with others in an ensemble, you are honing skills of:

• collaboration

• communication

• listening

• leadership

And by pursuing an artistic field of study such as music at the college level, you are likely:

• creative – both as an artist and problem solver

• empathetic

• detail-oriented��

What employer in any field wouldn’t want a team member who exhibits these skills?��

Expanding your range of options

By effectively translating these skills on résumés, cover letters, and LinkedIn profiles, it becomes clear that music majors are in fact qualified for an incredibly wide range of professional opportunities, both musical and non-musical.��

In fact, many music majors pursue both musical and non-musical roles after graduation, creating custom “portfolio” careers that may include multiple income strains that allow you to flex your many skill sets in different ways.��

Christine Chu, a 2022 graduate of the University of Washington, received dual undergraduate degrees in Violin Performance and Communications. She now combines her multiple skill sets as the development communications coordinator for the Seattle Symphony.��

“Prioritizing well is a skill I carried over from being a music major,” she says, “since I was often juggling more repertoire than I could prepare on top of the more academic assignments from different classes.��

“My job now is similar in that I have to keep up with a large volume of communications pieces to proof while managing my own email builds and miscellaneous projects. And as with preparing for performances, there’s always a good bit of organizing and prioritizing beforehand to prevent getting overwhelmed and still make sure all things get done to a certain standard!”

Voice performance degree opens doors

Maia Thielen graduated from the University of Washington in 2019 with a master’s in Voice Performance. Since graduating, she has applied her musical training to a variety of roles.��

“After completing a master’s in Voice Performance,” she says, “I became an events manager for a regional symphony where my knowledge of performance planning came in handy, to say the least!

“Later, I moved into education, first as a residential faculty member in an international dorm. My language skills from my singing days were useful, as was my piano playing for singalongs! Eventually I became a communications and marketing manager for a small high school.

“Along with having the skills to truly support the arts department at my school—from understanding the appropriate language for appeals and grant writing to turning pages during concerts for our music director—it is perhaps my propensity for learning that has been the most useful.��I spent years taking on constant challenges of tackling new pieces.����Now, I’m using the same drive to learn a whole new career and suite of software on the job!��

Music skills adapt to other fields

Christine and Maia’s paths are great examples of how to translate skills developed as a music major to a different kind of role. With a little creativity, thoughtfulness, and dedication — skills that music majors excel in — the possibilities start to expand for what your post-college career path could look like.

��– Photo Caption: Maia Thielen (in sunglasses) applied her musical training to a variety of career roles.

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Katie Beisel Hollenbach is a musicologist and curriculum specialist with the University of Washington Graduate School. She is the former assistant director for Admissions, Recruitment, & Community Outreach with UW School of Music. She holds a B.M. in Clarinet Performance (University of�� Denver Lamont School of Music), MM in Musicology (Northwestern University Bienen School of Music) and a Ph.D. in Musicology (University of Illinois Urbana-Champaign School of Music).

 

Majoring in music and sleep; can you really fit these into the same sentence?

Despite a ton of research on the consequences (sometimes dire) of not getting enough sleep each night, you’ll be hard-pressed to find a lot of college music majors who actually get 7-8 hours of sleep more than a couple of nights in a row (unless they’re sick).

The culture – especially on a college campus – and especially if you’re a music major – may give lip service to the need for sleep. In reality, good sleep in college is far more elusive than good coffee, a good laundromat, a good parking spot, or a source for good gluten-free donuts. Late nights that turn into next mornings are common for many reasons. For music majors some of this stems from:

• The availability of practice rooms – and the time to use them – has to happen after classes, lessons, rehearsals, and homework/studying are over.
• Paying gigs often start late – and end early (the next day).
• Downtime to be creative and compose solo or with others can’t happen when classes and lessons and rehearsals are scheduled.
• Belief in the myth that you can catch up on sleep. You can’t.
• Assuming you’ll be able to fall asleep when you can find time to sleep.

We don’t pretend to know how to reconcile the need for sleep with the facts of college life. We’d like to believe that if you “get” how important sleep is while you’re still in high school, you’ll somehow be able to prioritize sleep along with everything else. But that’s probably not realistic. However, if you enter music school knowing that sleep will be at a premium, perhaps you’ll go off armed with some strategies that will help you stay out of sleep deprivation trouble.

If you have anecdotes, suggestions, ideas, tips, etc. for other music students around sleep, send them to contact@majoringinmusic.com.

Dual degrees, double majors, and music minors…What do these really mean? And what do they entail?

For many high school music students, majoring in music, by itself, feels limiting. A passion for multiple fields or pressure from advisors and parents can make you pause before deciding to go solely for that Bachelor of Music degree. Fortunately, many music schools now offer programs that allow students to pursue more than one degree – at the same time.

by Caitlin Peterkin

1. The Dual Degree

As she started her college search, Janice Li looked into programs that offered opportunities to study multiple fields and found that��Northwestern University Bienen School of Music��gives undergraduate students the opportunity to earn two separate degrees in five years. This dual-degree program offers a Bachelor of Music or Bachelor of Arts in Music alongside a degree from the Weinberg College of Arts and Sciences, the McCormick School of Engineering and Applied Science, or the Medill School of Journalism.

Music has been important to Li her whole life. The daughter of a violinist, Li began playing piano at a young age. At her high school in Santa Monica, she was able to keep up with piano even while pursuing other activities. However, when it came time to start making decisions about college, Li wasn’t ready to commit to just studying piano.

Currently in her fifth and last year, Li has been studying both music and psychology, and believes that she made a good choice. “There are times I’ve thought, maybe my life could be easier with just one [degree], but I have to say, after four years, I made the right decision.”

Lawrence University��and��Oberlin College��pride themselves on being on the forefront of offering double degrees over the course of many years. At Lawrence’s Conservatory of Music, half the students also enroll in the BA/BM program that “allows you to immerse yourself in music and at least one other field of study at a very high level.” This 5-year program provides a strong background in both music and another area students are passionate about.

At Oberlin, students accepted to the College of Arts and Sciences and the Conservatory get to dive into music plus a liberal arts field. All students are also invited to participate in the Creativity & Leadership Project, an entrepreneurship program that encourages and mentors them to implement their own ideas and projects.

As another example, the University of Redlands Conservatory of Music recently developed a double-degree program, where students can earn a BM and a BA or BS in five years. Along with getting a liberal arts education, double-degree students also have the opportunity to study abroad even with a full curriculum.

“It is a very flexible opportunity for students who also want to do science or math or government or theater,” says Brad Andrews, director of music admissions. The most common double degrees, he says, are music and business or biology.

2. The Double Major

Another option for students who want to pursue more than just music is the double major. At many colleges, students can double major within the music school or between the music school and another department. This is a great opportunity for students to earn a music degree in four years, while studying another interest.

At��Syracuse University’s Setnor School of Music, most students cannot double major within one’s own college (there are some exceptions, such as music education), but pairing a BA in Music with a non-music field can make a student more well-rounded when he or she graduates.

“I’ve talked to a lot of students who are nervous about going into the world with just a degree in music, or their parents are nervous,” says Amy Mertz, former assistant director for admissions and community programs at Setnor. The double major eases some of that worry.

At the��University of Southern California’s Thornton School of Music, students who choose to double major must apply and be admitted separately to each major. “Once admitted, they work with their two academic advisors (one in each major) on crafting a course plan that makes sense given the specific combination of programs,” says Phillip Placenti, assistant dean for admission and student affairs.

The Aaron Copland School of Music, Queens College allows students to double major in music performance and music education, or double major in music and other fields including math and science. However, scheduling classes in two distinct majors may result in conflicts that require an additional semester or two before a student can graduate.

Grace Prestamo is a student at Queens who will be staying on for a fifth year. A double major in piano and math, Prestamo is also in the Macaulay Honors Program, which adds additional requirements to her already intensive courseload. Although she wanted to complete her degree in four years, many factors, such as tendonitis and other health issues from being overworked, have prevented her from doing so. With her fifth-year tuition covered by the honors program, she is happy with her decision to take extra time.

“It really takes being sure of what you want to do, because otherwise, with the workload, you wonder if it’s worth it,” says Prestamo. “It’s not just dedication. It’s knowing yourself and knowing that’s actually what you want.”

3. Minors and Ensembles

Minoring in music or playing with an ensemble are great alternatives for students who want to stay involved in music, but choose to major in another field.

USC’s Thornton School of Music offers several minors for non-music majors. Music Industry and Music Recording are popular minors for those with little music experience, while Jazz Studies, Songwriting, and Musical Theatre are suited for those who already have experience.

According to Placenti, the number of non-music majors pursuing minors and elective courses has increased over the years. “We are always trying to think of new ways to engage the larger campus community,” he says,

At University of Hartford’s The Hartt School, a minor in music is open to all non-Hartt students. These students must have an area of performance experience and take the required theory, ear training, music history, and elective courses.

Most schools also allow non-music majors to perform in ensembles or take music lessons. So if you want to study piano with a private teacher or play violin in an orchestra while majoring in engineering or business, make sure that the college you’re interested in has these opportunities.

“The ensemble opportunities are there for every student on campus, not just music students,” says Andrews at the University of Redlands. “We encourage everybody to participate.”

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Caitlin Peterkin is a writer/editor and arts enthusiast who has worked as program manager for Earshot Jazz (Seattle) and has written for BestNewBands.com, The Chronicle of Higher Education, and Paste Magazine. She graduated from Indiana University Bloomington with a B.A. in Journalism and a minor in Music.

Most student musicians inevitably reach a point when they feel stuck. It’s as if they’ve reached their limit, their highest point, and can’t go any further. They keep doing the same routine over and over but don’t experience any growth.

by Donna Schwartz

If you are experiencing that stuck feeling, what you may not realize is that it’s only your own thinking that is keeping you stuck and holding you back from achieving your next goal.

Taming the Mind

Our minds can play really powerful tricks and convince us we are not talented enough to pursue our dreams. Half the journey to success has to do with our mindset. Telling ourselves we can achieve something will likely bring about change.

When I was younger, I would “beat myself up” if I didn’t do well at an audition or performance. I could hear in my head exactly how I wanted the performance to go, but got angry when it didn’t come out the bell of my trumpet. I demanded greatness from myself and most of the time got it.

But sometimes, I didn’t.

Those times, my performance was based in fear: fear of losing my seat in band, fear of not getting into All-State, fear of not getting into the college I wanted.

My practicing leading up to those performances was based in fear, too. My mind wasn’t clear and relaxed enough to reach my goals effectively and efficiently. It became a seesaw of emotions: extreme highs and extreme lows. I led myself to believe that music performance = fear.

My results were also lopsided. I got accepted into All-State one year but not the following. I got into 2 prestigious summer music camps but not into the college of my dreams.

The upshot? I had lots of great performance opportunities. But I had trained myself to think of performance as an event to be feared instead of enjoyed.

The Power of Believing

Beliefs lead our brains to act toward the end result of what we believe.

Does this mean that all you have to do is believe you’re great and then success and riches will follow? No! You still have to set big and small goals, realistically assess your abilities, and have the belief in yourself that over time, you will reach your goals.

For example, if you’re a jazz student, why not believe you are skilled at keeping time while soloing? To do this, you’ll need to keep listening to amazing jazz soloists, like Stanley Turrentine, Sonny Rollins, Freddie Hubbard, etc., to fill your brain with great information.

Action Steps

Pick one piece to work on at a time. If you’re a jazz student, set the metronome or Amazing Slow Downer app at a certain tempo, and work just on keeping your rhythms in good time with the beat. Push yourself to a faster speed, even if it’s just an increase of 1% every day. That 1% over time builds up to huge progress.

The key? While working on your goal, believe that you can achieve it.

When practicing, and especially performing, pick a superstar as your role model. Hear them play in your head when you perform. In time, what comes out of your instrument will be your own version of amazing.

By changing the way we think about ourselves, we can greatly improve our performances and enjoy making music. Granted, this is not easy to do at first, but starting small and looking for that 1% improvement on achieving a goal every day will, in time, yield big results.

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has been teaching music for over 26 years and has performed at all types of venues in the NYC metro area.

Prospective and current music education majors… you’ll be facing a very different job market than in the past. To be employable, you’ll be required to have a broader set of skills and be far more flexible in where and how you work. And it won’t work for you to wait until you’re ready to graduate to start looking for a job.

See what music educators around the country recommend to help prepare you to meet the job market head on.

1. Be an outstanding musician. “As a music educator, you have to be a great musician. Music teaching is about guiding inexperienced musicians in developing their musicianship and a big part of that process is always demonstrating high levels of personal musicianship,” states Kerry Filsinger, University Fellow and PhD candidate in Music Education at Temple University Boyer College of Music & Dance. “I am constantly striving to become a better musician, so that I can be the best possible music model for my future students.”

2. Learn how to improvise. A teacher who can walk into the classroom and perform on their instrument without music is a great asset, says Edward Smaldone, professor of composition and director of the Aaron Copland School of Music at Queens College. “Music is about communication, not just about playing what is on the page. ��If the music does not live in your imagination it can’t be communicated effectively. You need to practice both: reading and improvising.” Smaldone stresses that��improvisation is a valuable skill to learn and hone, and not just on your instrument. “Knowing how to improvise means you can adapt,” he says. “Lesson plans provide great ideas, but as a teacher, you can’t script every word for every situation.” This translates to myriad situations music educators will find themselves in, from needing to transpose to figuring out how to make a wind ensemble work with too many of one instrument and not enough of others. And it’s a life skill that can be passed on to your own students.

3. Acquire entrepreneurial skills.��According to Russ Sperling, president of the California Music Educators Association and instrumental music specialist for San Diego City Schools in the Visual and Performing Arts Department: “It’s no surprise that, as a music educator, you must be a fine musician. At the same time you have to be skilled in marketing because you’ll have to be recruiting students into your program. You’ll also have to deal with all of the administrative work it takes to run that program.”

Susan Wharton Conkling, the late professor and chair of Music Education at Boston University School of Music, had reminded: “Music teachers must stop limiting their thinking to music education as a K-12, public school enterprise. They must also stop limiting their thinking to music education as band, chorus, and orchestra.” She pointed to other areas where music educators can create employment for themselves: working with very young children, partnering with local YMCA or youth-based clubs; working with senior centers and retirement or assisted living facilities. Conkling added, “Music educators who have developed high-quality, broad-based musicianship are ready to be entrepreneurial. They can already think ‘outside the box.’ These music teachers will always have employment because they’ll create their own employment.”

4. Become as broad-based and well-trained as possible. “Employers will look for candidates who can do a lot!” says Dr. Deborah Sheldon, professor and chair of Music Education at Temple University Boyer College of Music and Dance. “They will be more drawn to those who are skilled and capable in a number of areas, from instrumental to choral to general music. They will look for candidates who bring something unique to the school such as ideas for how to connect the school experience with the greater community, the use of new technologies to advance music and arts, and entrepreneurial ventures that will bring greater visibility to the arts. They will have their pick of many candidates so the one who is well-prepared, a polished musician, a creative thinker, an artful teacher, a good communicator,and a team player will have the advantage over others.”

5. Combine advocacy with exchange to create better programs. Lauren Kapalka Richerme, a doctoral student in music education at Arizona State University, published an important piece, “Apparently, We Disappeared,” in the September 2011 Music Educators Journal. She emphasizes the value of sharing ideas within the broader community that lead to action. Richerme states: “Music educators must alter their practices by implementing the ideas generated from their dialogue with various constituencies. Words are not enough; we must change our actions as a result of these exchanges. Combining advocacy with exchanges allows music educators to promote and improve their programs and build a better relationship with their communities.”

6. Learn all you can about relevant technology. Technology plays a significant role in music education. From apps and programs for everything from teaching chording and music theory to recording, tuning, and improvisation, music educators and music education majors have a wealth of options at their fingertips. But the technology changes quickly and sometimes dramatically, so it’s essential to continually stay on top of what’s current, assess its value, and learn how to use what’s relevant.

7. Keep an updated list of your skills, relevant experiences, and training. When you’re ready to enter the job market, having a running list of your experiences will come in handy. You’ll want to memorize some of it so you can succinctly respond to interview questions in a way that demonstrates why you’re the right candidate for the job. Take advantage of opportunities where you can teach or assist in teaching music to a variety of ages. Gain experience speaking in front of groups. Find performance venues and get your music out there. Participate in relevant workshops. Explore the music of other cultures. And remember to add all of it to your list of skills and experiences.

One of the most important factors to consider when deciding on a music school is who will be your musical mentor. Who will you study with and how will that person serve your musical needs?

Once you start school and for the next several years, you will interact with your private instructor in weekly one-on-one lessons. With so much personal attention given to you by your teacher, their influence cannot be understated. At minimum, they are entrusted to help you improve on your principal instrument. I believe, however, that your private instructor has the potential to do so much more. They are in a position to guide you to greater musical understanding and personal growth, and serve as your musical mentor.

The importance of mentors

Good mentors will work with you to identify your strengths and weaknesses and assess strategies to get you closer to your goals. They will provide honest and constructive feedback, help you develop self-awareness, and inspire you to reach beyond your own perceived limitations. In addition, mentors also often have the clout and connections to guide you in your career pursuits. Their job is to pass on their knowledge to you but it is also your responsibility to take action and implement the information they offer.

Where to start

In this day and age, you have many resources at your disposal to help in the search for a music mentor. To get started, visit the websites of music schools that interest you to find their private instrument or voice instructors. Search online for performers on your instrument that you admire, to learn where they are currently teaching. Use journals and publications to explore. Most instrument-specific associations publish their own magazines. These are good resources for finding professionals who are active in the field. Of course, speak to your friends, parents, and current teachers for advice.

Once you identify someone who you admire and respect, contact them. Ideally, you should form some type of relationship with this person ahead of your audition date. Try to schedule a private lesson, if possible. This will help you to determine whether you have chemistry with this person. You should have a good sense after a few meetings as to whether the rapport is right. Think about the qualities you are looking for in a mentor, and remember: not all private instructors view the act of teaching lessons to students as a mentorship relationship.

What to look for in a mentor

• Availability – Your mentor needs to be available for interaction. At times, you may need to meet with them outside of your scheduled lesson, just to talk. Instructors who hold full-time positions at universities tend to be more accessible to students.
• Flexibility – Good musical mentors are able to teach and guide in a manner that works for you. They strike a healthy balance between adhering to standard practice and adapting to your needs.
• Similarities – Look for a mentor who has a similar attitude and values and goals as you do. It can only help your chances of success if your mentor understands you and is familiar with the road that lies ahead.
• Character – Your mentor should be someone who you respect and admire. They should exhibit personal integrity and be honest with you.
• Confidant – A good mentor is someone you can trust. There are times when you may need to be open and vulnerable with your mentor.
• Caring – A mentor needs to care about your success just as much as you do.
• Inspiring – A mentor should inspire you to want to reach a higher level.
• Positive – Your mentor needs to be positive. Your path to success will not always be smooth. It is important to have someone to help you along when you are feeling down.
• Challenging – Mentors are not afraid to criticize constructively. It is important for private instructors to have you experiment and work on ideas and techniques that are outside of your comfort zone. They should challenge you to think differently, and have you reach for heights that you did not think were possible. All of this will allow you to grow to become a better person and musician.
• Belief in you – A mentor needs to believe in your potential. If they do not, then they may not put all of their effort into the relationship with you.

Final Thought

I was once advised that while finding the right music school is certainly important, finding the right teacher is even more important. The relationship between a music student and their private instructor is a special one. When that relationship is a mentorship, it can be reap benefits even beyond the formal years of study.

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BIO
Wesley Ferreira is quickly becoming one of the prominent clarinetists of his generation.�� He joined the music faculty at Colorado State University in 2011 and leads an active and diverse career performing worldwide as soloist, orchestral and chamber musician, and as an engaging adjudicator, clinician, and conductor.�� Ferreira holds degrees from the University of Western Ontario and Arizona State University.�� To learn more about Wesley Ferreira, please visit his website:

Butterflies in the stomach; sweaty palms; negative self-talk; stomach pain; dry mouth; excessive swallowing; shortness of breath; fuzzy thinking; avoidance; or giving up. These are some of the signs and symptoms of performance anxiety. It feels so unfair when your hard work in the practice room is thwarted by fear or discomfort. A little stress can improve your game, motivating you to practice so you are sufficiently prepared by performance time. And sometimes the rush of adrenaline can sharpen performance. If stress is manageable, then all is well.

But if anxiety limits your ability to develop your talent and music performance charisma, you may wonder whether you should pursue public performance at all. Some people who suffer from performance anxiety decide to play music in ensembles, rather than as soloists. Some become music educators. These are valid choices, but before deciding to change your career path, give yourself time to explore some other options.

You Don’t Have to Be Anxious!

Our biological systems are wired to alert us to danger so we can defend, protect, survive, and procreate. Rapid heartbeat and increased muscle tension are valuable if we want to attack the wooly mammoth or run up a tree to escape it. But when it comes to public speaking, studio recording, or performing on stage, we seldom encounter situations where our lives are literally threatened. Your system doesn’t differentiate between clear and present danger and the perception of it. If you have a conscious or unconscious belief “as if” performing music were life-threatening, your body may tighten, your thoughts may become fuzzy, and you may encounter a variety of uncomfortable symptoms. It is an understatement to say it is not optimal to be in the throes of performance anxiety when you need to delicately coordinate your voice, breathing, arms, or fingers. We may be hard-wired to survey our environment for danger, but we can learn to cope. You can learn to orchestrate the level of stress at which you rehearse, as well as reduce the level of anxiety the day of a music performance, the moments before walking on stage, and even during the concert.

Coping with Performance Anxiety

As a long-time singer and lecturer who used to worry a lot, I found the Alexander Technique helped me improve my vocal technique, and that helped my confidence. I continue to use my Alexander thinking to center myself before performance, and –– most importantly –– to guide my thinking away from self-defeating thoughts and towards constructive ones. Using every Alexander option available to me, I can feel comfortable and joyous while preparing and then performing in front of people. For instance:

• Lying in semi-supine (see��) is a fantastic way for musicians to prepare for practice, rehearsal, auditions, and performance. It’s also a great way to unwind. When you literally stop and rest, you decrease the level of stimuli bombarding you, and anxious thoughts and feelings evaporate. When you resume activity, you’ll have more resilience to encounter new stress-producing conditions.
• Learning to sit or stand with ease while performing music can improve sound quality, breath control, and endurance. In addition, standing in the “monkey” position — where you bend your hips, knees and ankles simultaneously –– can be used during warm-up and practice to transform the quality of your sound.
• Special breathing techniques are often recommended as coping strategies. The Alexander Technique’s approach is the whispered “ah.” All musicians, including conductors, can reap the rewards from its calming effect.

Other useful Alexander practices help you shift your attitude or behavior to prevent confusion, panic, or getting hooked into negative thinking. By mentally preparing yourself ahead of time, there is less to deal with during a music performance. But if you do get triggered, stress hormones that course through your system are only effective for some 20 minutes. Once you know that, the feeling of your heart pounding doesn’t have to perpetuate anxious thoughts. Moreover, you can ask yourself what you want instead: clear thinking, easy breathing, and less tension. It may seem improbable that you could entertain these thoughts in the midst of performance, but that is what Alexander Technique lessons train you to do. The combination of skilled hands, gentle touch, cognitive instruction, and training in how to send yourself messages becomes a powerful and unique way of learning.

Conclusion

Becoming a professional musician offers tremendous rewards––and challenges. If your talent leads you to music performance, don’t let anxiety prevent you from experiencing joy and satisfaction in your chosen field. Students of the Alexander Technique learn many skills to reduce the harmful effects of music performance anxiety. They develop strategies to prevent and diminish discomfort, to put uncomfortable situations in perspective, and to continue organizing themselves to enable peak performance.

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Ruth Rootberg is an AmSAT-certified Alexander Technique teacher, designated Linklater theater voice teacher, Laban Movement Analyst, and classical singer. After graduating from the New England Conservatory of Music, Ruth sang opera and symphonic literature in Europe and the United States. She teaches the Alexander Technique and voice to people of all ages in Amherst, Massachusetts, and gives workshops around the country, including her highly successful Moving Voices with Quiet Hands—weekend workshops for voice professionals. Ruth conceived, edited and published Teaching Breathing: Results of a Survey (2002).

Programs, professors and opportunities are all extremely important, but should not be the only considerations for deciding on which grad school to attend.�� Here are 6 other considerations for making your decision:

Cost of living

Say you get fairly equal financial offers from two institutions in two very different parts of the country.�� You’d be happy to attend either, but funding is going to be the ultimate deciding factor. You may want to do a little research on the cost of living in those two regions. Lower cost of living means lower apartment rental fees, food, and energy costs.�� A seemingly “equal” offer may get stretched further where the cost of living is lower.

Size of graduate student population

If you are one of 30 instrumental conducting students in a program, will there be enough ensembles and professors for each of you to receive adequate podium and one-on-one time?�� Conversely, a school with a very small graduate population may not dedicate sufficient resources towards its programs to provide an eclectic mix of electives and opportunities.

Pay cut

If you are leaving a full-time job to go back and get a graduate degree, start mentally and financially preparing yourself for the pay cut.�� If you’re able, start putting some money from each pay check aside while you’re still working, to act as a cushion for when you’re pursuing your degree. Some assistantships pay well and include reduced or free tuition, but stipends are not usually a substitute for full-time employment.

Assistantships vs. tuition discounts

There are pros and cons to both assistantships and tuition discounts. Assistantships generally come with stipends and a tuition reduction. On the surface this sounds like a better deal than the tuition discount alone, and in many ways it is.

Beside the extra money, students gain valuable experience through organizational tasks, leadership roles, and as teaching assistants for relevant courses. This means that you agree up front to do a certain amount of work (usually 10-20 hours a week) in conjunction with getting your degree.

If you want the flexibility in grad school to hone your craft, then mandated time outside the practice room may not be as ideal for you. A tuition discount alone may be just as valuable.

Opportunities to continue playing your instrument

Most students initially decide to go into an undergraduate degree in music because they love to sing or play their instrument. Surprisingly, though, as you move up the ladder of your education, those opportunities sometimes slip away.

If you have applied to be a performance major, then of course you will continue to perform. But graduate music education students, conducting students, and composition students sometimes find themselves hunting for extracurricular options to play or sing because at some institutions, doing so is not a mandated part of the curriculum.

If this is important to you, ask to see the advising sheet for your major, and ask about the school’s stance on performing opportunities for non-performance majors.

Research resources

A graduate-level education, no matter the major, requires scholarly research. Talk to a current graduate student at an institution you’re considering. It can help you get a feel for the environment, a sense of how things work, and is especially helpful for getting a handle on the research resources at the institution.

You will want to find out what kinds of materials exist on campus, if the institution has access to relevant online journals and databases, and what (if any) means they have of getting you off-campus materials.

Find out if the school has a dedicated music librarian. These invaluable and knowledgeable human resources shepherd many first-time researchers through the stacks to successful papers.

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Amy Mertz is a freelance writer who worked in admissions and community programs at��the Syracuse University Setnor School of Music. She guided both undergraduate and graduate applicants through the admissions process, and also directed the Setnor Community Music Division.

Photo Credit: Syracuse University Setnor School of Music

In many ways, now is the best time to be a musician. Thanks to social media and the internet, you have access to an audience that artists only dreamed of a mere 5 years ago; you have the same��distribution channels as the megastars; and you’re not dependent on major media outlets for validation… you can leverage your own social media!

But this can be daunting. While there’s a potential audience of billions, it might start with only 3 followers on Twitter. Don’t worry; here are 5 quick tips to get you going on the path to being the next internet phenomenon.

1. Be Consistent

Be mindful of your handles and try to keep them��consistent.��For example: if your band is called��Dude Canoe, use the same naming convention for your Twitter handle and your Facebook and Vine accounts (e.g., @dudecanoe, facebook.com/dudecanoe).��There are tools you can use such as Namechk (namechk.com) to see what’s available on the web before committing. Consistency is helpful when building your identity, and as your fan base grows you’ll want them to be able to find you quickly and intuitively.

2. Create A Hub

Set up a URL that can function as a central hub for key content and drive traffic to this destination.��It could be a simple blog that maps to a custom��domain. I recommend Square Space (http://squarespace.com) — it’s clean and easy to use.��In the case of��Dude Canoe,��a hypothetical URL might be dudecanoe.com. Such an “umbrella” URL allows��you to drive online traffic toward your landing page, so if someone visits you via Youtube, they’ll always be directed back to your home page where you can deliver key messages such as how to buy tickets for an upcoming tour or download new music.

3. Know Your Audience

Social media offers a chance to directly connect with an audience of people who want to support your music, but to connect you need to develop an editorial voice. Who are you speaking to?��How do you want to position yourself online?��It’s important to remember that anything you say or do in a social space is perceived as part of your identity, part of your messaging. Don’t make��little insider quips to your friends or stumble around with your words. When you communicate, do so loudly and in a voice that connects with your intended audience.��Be confident. Be strategic. Be funny. Be��timely. Be charming. Be real.

4. Connect

Songwriter��Sara Bareilles (@SaraBareilles)��is great at this.��I’m not a fan of her music, but I follow her because she’s funny and engaging.��I get the sense that she’s speaking to me and she’s being herself.��Nothing is more off-putting than the constant spam of self-involvement most musicians exhibit.��Sara seems to connect with, and thrive on, genuine fan interaction.��The��same thing can happen when you are just starting out.��Follow the people who inspire you. Jump into the conversation. You’ll be surprised by how many people will write back or��connect with you out of shared interests or agendas.��You’re building a social community; curate it accordingly.

5. Follow Through

Social media needs to connect in a very human way��in order for it to be useful.��It might take you a while to build up to a few hundred followers on Twitter, or gain a bunch of “likes” on Facebook, but don’t worry.��If you can connect with just a��handful of people who truly admire you and your work, then you’re well on your way.��It’s okay to start small and it’s important to stay focused.��There are no short cuts to building an online community. You simply need to take the time to have meaningful and real conversations. If you do, you’ll give your fans a reason to come back for more.

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David Lewis is��senior manager of Marketing & Brand at Aalto University in Helsinki, Finland.��

A young singer exploring college voice degrees will find a veritable alphabet soup of degree options including BM, BA, BME, BFA, and BMT. Knowing the differences ��can help a high school singer choose the right degree for his or her career path.

by Cynthia Vaughn

BM (Bachelor of Music) in Vocal Performance

This is typically a degree in classical vocal performance with an emphasis on opera, oratorio, and art song. Several schools offer BM degrees in Vocal Jazz Studies and a few schools are now offering a BM in Popular Music (rock, pop, R&B, country) or Contemporary Commercial Music.

BA (Bachelor of Arts) in Music

With an emphasis in voice, the BA in music may offer liberal arts majors a secondary emphasis such as business, theater, or foreign language. The secondary track is more than a minor and less than a double major. In some states, such as California, a BA performance degree may be equivalent to a BM at other schools.

BME (Bachelor of Music Education)

This is a music degree for elementary or secondary vocal music teachers and choir directors.

BFA (Bachelor of Fine Arts)

This is a degree offered in Music Theater and is usually housed in either the music or the theater department.

BMT (Bachelor of Music Therapy)

Voice majors in this degree often have music skills and an interest in the science and medicine. Future vocal music majors are often the top singers in their high schools. It is not unusual for talented teens to sing a variety of vocal styles ��in high school. They sing in select school choirs, All State Choir, jazz ��choirs, glee clubs and show choir. They play leading roles in school musicals; take private voice and piano lessons; compete in and win NATS (National Association of Teachers of Singing) Student Auditions and local talent competitions. Many top high school singers are also excellent pianists, actors, and dancers, and may be in the school band and choirs. At the college level, however, undergraduate BM, BA, and BME vocal majors will most often study and perform classical and choral music. Smaller schools and liberal arts colleges may offer more opportunities for students to participate in a variety of vocal ensembles and vocal styles.

Some Questions to Ask As You Explore University Vocal Degree Programs:

• What kind of music will I study and perform?��Can I sing classical and contemporary styles? Are freshmen allowed to audition for select choirs and stage shows?
• Who will be my voice teacher?��Will I study with voice faculty or with a graduate student? Will I have 30-minute or hour lessons? Do I get to choose my voice teacher? (Usually not! Freshman are usually assigned to faculty.) In some large music schools, music education voice students are not considered voice “majors”, but rather voice emphasis.
• How large is the graduate program?��The larger the graduate program, the fewer opportunities there may be for underclassmen to perform in the top ensembles or play leading roles in operas and musicals.
• How important are piano skills?��Very!��The smartest thing a potential voice major can do to ensure success as a music major is to take piano lessons and learn the basics of music theory. ��Dance and acting skills are also critical for BFA music theater majors.
• What are the solo recital requirements for undergraduates?��BM performance majors may be expected to prepare and perform a junior and senior recital or just a senior recital. Music Education majors may perform a solo senior recital, or no recital. BA majors may have an option of performing a recital or preparing a paper or presentation. Music Therapy majors may have vocal assessments as part of their practicum, but may not be required to perform a solo recital. At some schools BME , BMT, or BFA students have an option to pursue a concurrent Performers Certificate, which implies a level of classical vocal achievement expected of BM Vocal Performance majors.
• How long will it take to earn my degree?��Many vocal performance and music education degrees require so many credits that it is nearly impossible to complete in four years without taking summer courses.
• What kind of job can I get with a voice degree?��BME graduates are prepared to go right into classroom music teaching and secondary choral conducting. Jazz and contemporary music grads ��can become free-lance performers and recording artists. Classical BM voice majors often go directly to graduate vocal performance degrees to build skills and allow their voices to mature for the opera stage. BFA Music Theater voice majors start auditioning as soon as they graduate and may be hired by regional theater companies, touring companies, cruise ships, theme parks, ��and perhaps Broadway and Off-Broadway. Upon graduating, BMT voice majors often apply for internships at medical clinics and residential facilities. Music may not end up being your day job. Businesses of all types, including high tech firms, are increasingly hiring “creatives” with fine arts and liberal arts degrees. Music majors have the creativity, leadership, communication and people skills to excel in many outside fields.

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Cynthia Vaughn��(BA and MA in Music Vocal Performance) co-authored with Meribeth Dayme, PhD,��THE SINGING BOOK,��a leading college voice textbook and song anthology (3rd edition 2014, W.W. Norton). She taught voice at the university level for ten years (Colorado State University, Cedarville University) and prepares many young singers for college auditions. Vaughn is an active NATS����member who has performed across the country in professional classical and music theater productions, and studio recording. She is a frequent adjudicator for vocal competitions, teaches masterclasses, and is founder and director of Magnolia Music Studio in Fort Collins, Colorado.

There are three common reasons why students feel apprehensive about learning music theory. They are either intimidated by it, they think it will somehow stifle their creativity, or the study of music theory bores them to death.

By Dr. Joel Clifft

Since music theory is required of all music majors, how can music educators and music majors get beyond these concerns?

Reducing Anxiety

Some people like to compare music theory to math. When I was a kid I was intimidated by multiplication tables. The only way to really learn them is to drill them over and over until they become automatic. The trouble really comes if you move forward without learning your multiplication tables. It’s difficult to do exponents without a solid grasp of them.

In the same way, it is almost impossible to build scales without a firm grasp on key signatures.�� If you run into trouble, it’s likely that you haven’t yet mastered an earlier skill.�� Music theory is also likened to athletics in the sense that speed and accuracy are very important, so, as I see it, the best solution is a step-by-step curriculum that includes LOTS of drills for the basics.

Encouraging creativity

I have debated several times, both online and in-person, with people who are afraid that the study of music theory will stifle their creativity. I would concede that if you are using music theory as the primary driving force behind your compositions, they are going to be quite unoriginal (to put it nicely).

However, your ability to read, spell and understand grammar does not impede your ability to speak, does it? The understanding of the structure of music, like the structure of language, only enhances your ability to use it.

A deep and fluent understanding of music theory will only expand the possibilities at your fingertips and in your ears. In order to speak the language of music fluently, one must master the basics to the point that they become automatic and don’t impede the composer or improvisor.�� Music theory helps us to understand the structure of music, but our ears should always lead our minds in the creative process.

Overcoming boredom

Traditionally, music theory is taught in a lecture format similar to a math classroom. There is often little interaction between and among teacher and students.

In addition, the repertoire most commonly used for examples, while quality music, does not appeal to the majority of students. This adds to the feeling that at best, music theory is a useful subject only for classical music. And at worst, it is only for old, stuffy snobs. Both are so far from the truth!

Music theory provides a powerful tool to understand, create, analyze, and even perform music at the highest level possible. This tool transcends any style or era and is essential for anyone who has a serious desire to pursue music.

But music theory needs to be made more exciting and accessible. We are so accustomed to having information available 24/7 at our fingertips that attention spans are now shorter. Education methods must take this into consideration and include mobile apps and online tools to engage students.

In conclusion, in order to overcome the apprehension that many younger music theory students face, I recommend the following:

1. Learn music theory methodically. Make sure each building block is solid before moving on. Drill!

2. Master the basics. In order to be fluent you must be both fast and accurate. Drill!

3. Have fun! Learn with a wide variety of music, including classical, rock, pop, jazz, metal, punk, R&B, etc.

4. Use technology. (Because who reads books anymore?)

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Dr. Joel Clifft��directs Keyboard Studies at��Azusa Pacific University,��where he teaches piano, music theory, accompanying, and ear training. He’s also an adjunct professor at��. He created��Music Theory Pro, an iPhone app also available for Mac computers and iPads. Music Theory Pro teaches music theory and ear training using cutting-edge technology.

by Daniel Weidlein –

Every musician has to learn the art of practicing. Nobody will deny that it can feel like a chore sometimes, perhaps even more often than not, but to become a successful musician you have to learn how to love it. To practice successfully, you need direction. That sounds simple enough, but every musician I talk to agrees that maintaining a precise and focused practice plan is the hardest and yet most essential element of conquering the practice room.

I once had a conversation about practice with Carl Allen, Artistic Director of Jazz Studies at Juilliard and a stickler for long practice sessions. He offered an interesting take on practicing. He asked me how much I practiced every day. I asked him in return if that included various rehearsals with different groups and so forth, in which case I could have told him easily twelve hours a day. He told me that absolutely in no way should I consider a rehearsal or other group playing situation a part of my practice. Sure it’s all valuable experience, he said, but playing with other people is not practicing—you need both. He then suggested that if I practiced for those twelve hours a day on top of everything else, just think how much better I would be…

Many of my favorite jazz musicians, including John Coltrane, became great after a period of time where they did nothing but eat, sleep (occasionally), and practice. Unfortunately the college lifestyle doesn’t quite allow for that. You have classes, you have rehearsals, you have to eat…it all adds up and sometimes it’s surprisingly hard to find the time to practice. You want to do all these things—they give your experience as a musician much more breadth. But in order to be successful and continually improve, you need to maximize your productivity in the time you DO have to practice.

To improve, you need to set goals. It’s easy to set large goals: “I want to play in the top orchestra at my school,” “I want to nail my audition for Celine Dion’s show in Vegas,” “I want to learn all 32 million choruses of John Coltrane’s solo on Giant Steps.” All of these are great goals. But you need to set smaller goals, too. “I’m going to play long tones for ten minutes every day to start my practice session.” Or, “I will learn this one digital pattern today. Tomorrow I will play it in three other keys. Next week I’ll play it in all twelve keys.” The key to successful practice is breaking your goals down into simpler parts. In the latter example, I didn’t put the cart before the horse by saying “I’m going to learn this pattern in all twelve keys.” Though a relatively small goal, it’s still too large. If you set such a goal, you’re bound to start learning the pattern in other keys before you’ve really mastered it in the first key. But if you perfect it in one key, then move on to the next, you should be flying through all twelve keys by the third or fourth key because it’s become so ingrained in your muscle memory. Combine a set of smaller goals to build toward one larger goal and you’ll be surprised at how quickly you can move toward those larger goals.

Good practice requires unbelievable patience and diligence, but nobody ever said this musician thing was easy, right? Keep practicing and it’s bound to pay off.

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Daniel Weidlein graduated in 2012 with a BM in Jazz Saxophone Performance with a minor in Recording from the where he studied with Bob Mintzer, Bob Sheppard, and Alan Pasqua.��He performs and records as a saxophonist,��runs the Beat Cave, a recording studio in Los Angeles, and also works as a composer, producer, engineer and member of various jazz groups including the Vintage Modernists. Visit his website at .

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Robert Rickover, Alexander Technique teacher, working with a musician.

Maybe you’ve heard of the Alexander Technique somewhere along your musical journey. If so, you’re probably aware that it has something to do with helping relieve excess tension. Perhaps you’ve seen people lying down on the floor with books behind their heads, or an Alexander teacher working with a student, and you’ve wondered what they were doing. Most importantly, you may have asked, “Can these ultra-subtle-looking activities help me play my instrument or sing better?” Yes, definitely!

by Diana Rumrill

Whether you’re having some kind of pain with playing, tension that you know isn’t working for you, or are just interested in playing with more freedom and ease, the Alexander Technique can help. For me, it forever changed the way I approached playing violin –– as well as singing, walking, sitting, and breathing, for that matter.

Origin of the Alexander Technique

Around the turn of the last century, F.M. Alexander, an Australian actor, suffered from chronic hoarseness whenever he performed. Through very careful self-observation, he discovered that he slipped into a pattern of unhelpful whole-body tension, similar to a tiny version of a baby’s startle response, even before he started to recite his Shakespearean monologues.

Alexander noticed that this tension began with his thoughts about performing. He also noticed that he had to first stop his pattern of tension before trying replace it with a more useful behavior. He found that his head and neck were crucial to controlling this whole-body pattern. When he stopped or “inhibited” the downwards and backwards tension of his head on his neck, it helped to unlock this overall body pattern of tension.

Then, he found a helpful way to use his mind: he thought of his body as having inner directions. These can be summed up as, “I will allow my neck to be free, and my back to lengthen and widen, so that my arms and legs can come away from my body, my knees can come away from each other, and my heels can go back and down.” He found that he could use these internal thoughts in any activity he was doing. This meant that he could have just the right amount of muscular tension in any position.

Music Majors Learn to Use the Entire Body

Often, we can get caught in thinking there is one magic posture for each activity that we just need to tighten ourselves into and then we will be “right.” No matter what it is that we do, though, a single posture doesn’t work past bowing the first downbow, singing the first note, breathing after the first phrase, conducting the first downbeat, or typing the first five minutes of your homework.

In the Alexander Technique, there is no one cure-all posture into which you can sit or stand up straight. Instead, you learn how to use your senses to stop subtly distorting your body with tension, and to allow your body to use its own inner support structure. Learning to include the entire body along with your breathing saves a lot of time in correcting many problems at once.

It’s especially important as a student to learn how to improve your body’s use because when you’re not in the practice room, you’re at the computer or typing on your phone. This can be a prime recipe for pain and discomfort if you’re not prepared!

Learning the basics of Alexander Technique now, at the beginning of your musical career, will save you years of undoing bad habits later as well as prevent injury over your lifetime. Most importantly, it will help you make breakthroughs in your music learning while feeling your best. Many schools offer group classes as a part of their coursework. If this is true for your school, take advantage of it!

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Diana Rumrill��is a physical therapist; soon-to-be certified Alexander Technique teacher; violinist; and singer in Washington, DC. She attended the University of Connecticut for physical therapy, the for voice, and the Philadelphia School for the Alexander Technique.

Maria Schneider shares insights on how to start a band with equally committed band members. Most of her big band members have been with Maria since 1993.

This is the third of a five part exclusive series from �ƹ�app with Grammy Award-winning jazz composer and conductor Maria Schneider.