tag:blogger.com,1999:blog-19937139162809800842024-03-14T00:13:13.182-07:00ClassicalMusicConnectionClassicalMusicConnection is the official blog of the premier classical music resource website ClassicalMusicCity.com. Please join us here and read the latest music news and professional buzz.ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-1993713916280980084.post-86562637496011617112013-01-07T07:03:00.004-08:002013-01-07T07:07:20.055-08:00Social Media and the Classical Musician<div dir="ltr" style="text-align: left;" trbidi="on">
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:115%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<br />
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Your Web
Presence</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I just
finished reading a blog by <span class="setting">Gerald Klickstein, author of the
Musician's Way, regarding the importance of musician's building websites to
promote and sustain their career.<span style="mso-spacerun: yes;"> </span>In the
blog "Build a Website," Mr. Klickstein states<span style="mso-spacerun: yes;"> </span>"</span>All musicians need websites to
present their work to the world and build relationships with fans."<span style="mso-spacerun: yes;"> </span>While it is true that building a website can
be helpful, I don't believe it is of paramount importance in today's
market.<span style="mso-spacerun: yes;"> </span>Building a presence via social
media is much more important.<span style="mso-spacerun: yes;"> </span>Let me explain.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">You can
build a gorgeous website with all the bells and whistles that Mr. Klickstein
suggests and it can flounder in obscurity forever.<span style="mso-spacerun: yes;"> </span>Unless you understand SEO (search engine
optimization), SEM (search engine marketing), keywords, meta tags, meta
descriptions, site maps and a multitude of other web specific technologies,
your website will just be one of millions and millions of websites in the
internet universe and every few people will ever see what you have
created.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Don't get me
wrong, websites can be extremely useful, but only for connecting to people you
have met personally. You have to hand your business card to an individual
directly and give a sales pitch to get them to follow up and take a look at
what you have to offer on a web site. (Suggestion: Add a QR code to
your card to allow them immediate access to your site via mobile device.)
If you already have performances lined up and are meeting lots of people face
to face in the industry, then your website could be very useful. (But you could
achieve the same results with a good social media profile page.) However,
if you think that lots of people you don't know will somehow magically visit
your website, you are very mistaken. Here is why....</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">Remember
that thing called "SEO?"<span style="mso-spacerun: yes;"> </span>Without
SEO, the giant search engines, like Google, will never know you exist.<span style="mso-spacerun: yes;"> </span>For example, type in the words
"classical music" into google.<span style="mso-spacerun: yes;">
</span>The first couple of items that show up are "paid" links that
companies have paid google to place at the top of the list.<span style="mso-spacerun: yes;"> </span>(For a term like "classical music"
those links are quite pricey, by the way.)<span style="mso-spacerun: yes;">
</span>After that you will have 262,000,000</span><span style="font-size: small;"> links that are somehow
related to the search term "classical music." After the paid links, the rest of the links
appear in order of relevance. This
relevance is determined by the meta tags, keywords, etc. that Google has found
on your website. And by the way, if you
have not submitted a "site map" to Google, then good luck with them
finding your site relevant. SEO is so
complex that there are companies who will manage this for you, but the fees
will be hefty.* You could manage your
own SEO. There are lots of great articles
on the web about keywords, meta tags, etc.
But remember, if it was easy, there would not be big companies making
millions of dollars a year out there offering to do it for you. </span></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Now, let me
make the case for using social media to build your career and web presence.<span style="mso-spacerun: yes;"> </span>Social media allows you to connect to both
people who already know you and reach out to a new audience and build a
following among people you have not yet met.<span style="mso-spacerun: yes;">
</span>It requires very little understanding of technology and you don't have
to worry about SEO, SEM, etc.<span style="mso-spacerun: yes;"> </span>It is
important, however, <span style="mso-spacerun: yes;"> </span>to employ a
"multi-level" marketing approach to achieve maximum success.<span style="mso-spacerun: yes;"> </span>You have to establish your presence on the
social media giants like Facebook, Twitter and Linkedin, but you must also
create a presence in niche communities that are dedicated to music in general
and classical music specifically.<span style="mso-spacerun: yes;">
</span>Why?<span style="mso-spacerun: yes;"> </span>Just like your web page will
only be one of 260,000,000 in Google search results, you will only be one of
800,000,000 on Facebook.<span style="mso-spacerun: yes;"> </span>When you join
a niche community (hey since I built it, I recommend www.ClassicalMusicCity.com)
you become one of thousands instead of millions.<span style="mso-spacerun: yes;"> </span>If the profile page for the community is well
designed, <span style="mso-spacerun: yes;"> </span>visitors can find a
"clarinet player/teacher with a Master's degree in Music who lives in
Colorado" with the click of a mouse.<span style="mso-spacerun: yes;">
</span>In other words, your visibility goes way up in a niche community because
the search is greatly narrowed to a very specific group of people with a common
professional emphasis.<span style="mso-spacerun: yes;"> </span>Of course, as the
CEO of ClassicalMusicCity.com, I think our niche community is the best because
we understand the classical music community and created a site to meet our
specific needs.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Also, I
can't emphasize enough the word "professional" when it comes to your
social media presence on the web.<span style="mso-spacerun: yes;"> </span>For
most people, their Facebook profile is full of friends and family.<span style="mso-spacerun: yes;"> </span>Do not mix business with personal in social
media.<span style="mso-spacerun: yes;"> </span>Make sure you create a separate
page for your business life on Facebook.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>The same with Twitter and Linkedin.<span style="mso-spacerun: yes;"> </span>A <i style="mso-bidi-font-style: normal;">professional
</i>social media campaign will not contain pictures or references to your kids,
dogs, cats, vacations, etc.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It is also
extremely important to continuously work your social media outlets.<span style="mso-spacerun: yes;"> </span>Again, the good news is that this takes no
special technical expertise.<span style="mso-spacerun: yes;"> </span>Just talk
about your upcoming concerts, share your thoughts about your professional life
and ask questions.<span style="mso-spacerun: yes;"> </span>Do this on a weekly
basis for best results.<span style="mso-spacerun: yes;"> </span>Just one hour a
week can make a big difference.<span style="mso-spacerun: yes;"> </span>If you
just create a profile and then never participate, your success will be
extremely limited.<span style="mso-spacerun: yes;"> </span>We made this a bit
less time consuming <span style="mso-spacerun: yes;"> </span>for you on
ClassicalMusicCity.com because you can automatically link your Facebook page
and your Twitter accounts.<span style="mso-spacerun: yes;"> </span>Post your
content on your ClassicalMusicCity.com page and it will simultaneously post on
those accounts too.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Finally,
there is the issue of balancing the needs of self-promotion via the internet
and social media vs. going to rehearsals and spending time in the practice
room.<span style="mso-spacerun: yes;"> </span>Classical music organizations like
schools, orchestras, etc. can also feel the sense of being overwhelmed by
fulfilling their mission and now feeling the compelling need to stay on top of
social media.<span style="mso-spacerun: yes;"> </span>ClassicalMusicCity.com is
responding to this dilemma by offering social media management for classical
musicians and organizations.<span style="mso-spacerun: yes;"> </span>You can
outsource your social media management to CMC and continue to keep your focus
on what you do best.<span style="mso-spacerun: yes;"> </span>For more
information on this service, contact us at
advertise@classicalmusiccity.com<span style="mso-spacerun: yes;"> </span>To
join our niche classical music community, go to
http://mycity.classicalmusiccity.com.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://mycity.classicalmusiccity.com/profile/cmc" target="_blank"><img border="0" height="80" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7Z3VMjSWGbjcqeIWQQd-CaAPcFrY0j8wJJzLceFhOHwBt4baWfupeKtmSoC6UeBdl_uL82Sii-oSiylF-MkeVJB746uQbWdDu4ztpy1JMkIXX7_yUBuawPECzjb_goBF0rWBr2Qqft9Y/s640/new+social+header.jpg" width="640" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 10.0pt; line-height: 115%;">(Caution:<span style="mso-spacerun: yes;"> </span>there are two brands of SEO.<span style="mso-spacerun: yes;"> </span>One is called "white hat" which
represents the "good guys."<span style="mso-spacerun: yes;">
</span>The other is called "black hat," which of course represents
the "bad guys."<span style="mso-spacerun: yes;"> </span>You can find
"black hat" SEO very cheaply, in fact check your spam box and you
will find lots of proposals.<span style="mso-spacerun: yes;"> </span>However,
once Google catches you trying to game using "black hat SEO" the system,
your site will be blacklisted and your life on the web will be over.)<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
</div>
ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-464319042674322962013-01-04T05:13:00.002-08:002013-01-04T05:13:27.128-08:00For Young Violinists: Suggestions for your iTunes Gift Cards<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
I am often asked by
parents "What recordings should my child be listening to?" Here is my
list for a "starter set" of recordings that I think every young
violinist should be listening to by the age of 15. This list is by no
mean comprehensive, there are many fabulous artists and recordings that
are not listed. I tried to create a list that had a variety of
violinists, both historical and contemporary. Some selections are
"mainstream" repertoire that students are most likely to learn in their
high school years, other selections are more for inspiration.<br />
Click on either the link or the image and you will be taken to a page
where you can purchase these recordings in either CD or MP3 format from
Amazon or iTunes.<br />
<hr />
<h3>
<a href="http://www.classicalmusiccity.com/classifieds/ad_details-2113/Audio/MP3/Recordings/Hilary-Hahn.html" target="_blank"><b style="mso-bidi-font-weight: normal;">Hilary Hahn:<span style="mso-spacerun: yes;"> </span>Bach Partitas for solo violin</b></a></h3>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><a href="http://www.classicalmusiccity.com/classifieds/ad_details-2113/Audio/MP3/Recordings/Hilary-Hahn.html" target="_blank"><img alt="Hilary Hahn Bach" height="150" src="http://a4.mzstatic.com/us/r1000/033/Music/c1/7e/a4/mzi.ozbggyzu.170x170-75.jpg" width="150" /></a></b></div>
<div class="MsoNormal">
<span style="mso-no-proof: yes;"> </span></div>
<div class="MsoNormal">
A serious must have for every young violinist. One
of the most well thought out interpretations and performances of this
core violin repertoire ever recorded. I'm not a big fan of the tempo of
the Allemande from the Partita in d minor, but the remainder of the
album is exquisite, expecially the formidable Chaconne. For variety and
another wonderful take on Bach, I also recommend the Bach Partitas by <a href="http://www.classicalmusiccity.com/classifieds/music-products-424/Recordings-CD/MP3/By-Solo-Artist/Arthur-Grumiaux.html" target="_blank">Arthur Grumiaux</a>.</div>
<div class="MsoNormal">
<span style="font-family: Arial;">Honestly, many
middle school students might not find recordings of Bach exhilarating,
but the importance of this repertoire in their development cannot be
overstated. I recommend introducting students to this repertoire via
"background" music. Play it in the car or in the house so that they
pick it up by osmosis.</span></div>
<hr />
<h3>
<b style="mso-bidi-font-weight: normal;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1298" target="_blank">Hilary Hahn: Bach Violin Concerti</a></b></h3>
<b style="mso-bidi-font-weight: normal;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1298" target="_blank"><img alt="Hilary Hahn" height="149" src="http://a5.mzstatic.com/us/r1000/005/Features/5e/0e/f2/dj.mkzwbnmb.170x170-75.jpg" width="150" /></a></b><br />
<div class="MsoNormal">
<span style="mso-no-proof: yes;"> </span></div>
Every violin student will eventually learn one of the Bach violin
concerti. Hilary Hahn performs with her usual clarity and precision.
For another option, try <a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1979" target="_blank">Anne Akiko-Myers</a> latest album which also contains the concerto for 2 violins by Bach.<br />
<div class="MsoNormal">
F<span style="font-family: Arial;">or other recordings by Hilary Hahn </span><a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=hilary+hahn&search_type=classifieds&search_kind=phrase&imageField.x=18&imageField.y=13" target="_blank"><span style="font-family: Arial;">click here.</span></a><span style="font-family: Arial;"><br />
</span></div>
<hr />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 1;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2114" target="_blank"><b><span style="font-size: 12.0pt;">Vivaldi: The </span></b><b><span style="font-size: 12.0pt;">Four Seasons</span></b><b><span style="font-size: 12.0pt;"> (Expanded Edition)</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 1;">
<b><span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2114" target="_blank"><img alt="Vivaldi Seasons" height="148" src="http://a3.mzstatic.com/us/r1000/049/Features/ba/a1/ce/dj.dldaxifg.170x170-75.jpg" width="150" /></a></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="font-size: 12.0pt;">Andrea Marcon, Giuliano Carmignola & Venice Baroque Orchestra</span><span style="font-size: 12.0pt;"> </span></div>
This the most recorded piece of violin
repertoire in the world. Every major artist has a recording of the
Seasons. I selected this particular recording because of the
authenticity of the performance. The Venice Baroque Orchestra obviously
specializes in this kind of repertoire. The strings are light and
bouyant and this probably comes very close to how Vivaldi would have
performed it himself.<br />
<br />
<hr />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<b><span style="font-size: 12.0pt;"><br />
</span></b><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1250" target="_blank"><b><span style="font-size: 12.0pt;">Isaac Stern:<span style="mso-spacerun: yes;"> </span>A Life in Music, vol. 8</span></b></a><span style="font-size: x-small;"><br />
</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1250" target="_blank"><img alt="Isaac Stern" height="150" src="http://ecx.images-amazon.com/images/I/61xO3+fTGyL._SL110_.jpg" width="150" /></a></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;">Lalo: Symphonie Espagnole and Saint-Saëns: Violin Concerto No. 3, Zigeunerweisen, Op. 20 . </span>
<span style="font-size: small;">(Note the $24.95 iTunes recording offers many additional concerti, while the Amazon version offers showpieces like Tzigane.)</span></div>
<span style="font-size: small;">
</span>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;">No starter collection is complete without <a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=isaac+stern&search_type=google&search_kind=phrase&imageField.x=35&imageField.y=8" target="_blank">Isaac Stern.</a>
Stern's phrasing is sublime and his technique is spot on. Students also
get to hear the great Philadelphia Orchestra under the baton of Eugene
Ormandy. This is volume 8 from a series called a "Life in Music" that
is a compilation of over 200 CD's of Stern's lifetime of recording.</span></div>
<hr />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1251" target="_blank"><span style="font-size: 12.0pt;"> </span><b><span style="font-size: 12.0pt;">Joshua Bell:<span style="mso-spacerun: yes;"> </span>Barber Violin Concerto and Bloch's Nigun</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<b><span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1251" target="_blank"><img alt="Joshua Bell" height="149" src="http://a3.mzstatic.com/us/r1000/073/Features/74/ed/1b/dj.oxnxgrdz.170x170-75.jpg" width="150" /></a></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: small;">The
Barber violin concerto has to be one of the most beautiful pieces ever
written for violin and the last movement certainly qualifies as one of
the most challenging and thrilling. This is a piece they will want to
listen to over and over. Nigun is one they will want to play in coming
years and is considered "core" repertoire by many teachers. It is, in
fact, the required piece for the 2012 ASTA Competition.</span><span style="font-size: 12.0pt;"><span style="font-size: small;"> <a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=Joshua+Bell&search_type=google&search_kind=phrase&imageField.x=25&imageField.y=13" target="_blank">Joshua Bell</a> is accompanied on this album by David Zinman and the Baltimore Symphony Orchestra.</span><br />
</span></div>
<hr />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=660" target="_blank"><b><span style="font-size: 12.0pt;">Itzhak Perlman, Concertos from my Childhood</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 2;">
<b><span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=660" target="_blank"><img alt="Perlman" height="150" src="http://a3.mzstatic.com/us/r1000/008/Music/8f/0c/7b/mzi.suymjozg.170x170-75.jpg" width="150" /></a></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;">Young
violinists everywhere owe Mr. Perlman a debt of gratitude for this
recording. It contains many of the pieces that young violinists perform
during their middle school years and who could provide a better example
than the legendary Itzhak Perlman? <br />
</span></div>
<span style="font-size: small;">
</span>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;">Contains:<br />
</span></div>
<span style="font-size: small;">
</span>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: small;"><span class="track-name" id="yui_3_7_3_1_1355840262633_1751">Violin concerto in B minor, Op.35 by Oscar Reiding</span><br />
<span class="track-name" id="yui_3_7_3_1_1355840262633_1792">Violin Concerto No.1 in A minor by Jean-Baptiste Accolay</span><br />
<span class="track-name" id="yui_3_7_3_1_1355840262633_1799">Scène de ballet for violin & piano (or orchestra), Op 100 by de Beriot</span><br />
<span class="track-name" id="yui_3_7_3_1_1355840262633_1796">Student Concerto for violin & orchestra No. 2 in G major, Op. 13 by Seitz</span> <br />
</span></div>
<span style="font-size: small;">
</span>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: small;"><span class="track-name" id="yui_3_7_3_1_1355840262633_1810">Concerto for violin & orchestra No. 22 in A minor by </span>Giovanni Battista Viotti </span><span style="font-size: 12.0pt;"><br />
</span><b><span style="font-size: 12.0pt;"><br />
</span></b></div>
<hr />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1572" target="_blank"><b><span style="font-size: 12.0pt;">Jascha Heifetz:<span style="mso-spacerun: yes;"> </span>Artist of the Century</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1572" target="_blank"><img alt="Jascha Heifetz" height="148" src="http://a2.mzstatic.com/us/r1000/017/Music/64/fc/e2/mzi.yblczpyx.170x170-75.jpg" width="150" /></a></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;">Includes: Scottish Fantasy, Bach Chaconne, Tchaikovsky, Brahms, Glazunov and Sibelius violin Concerto </span></div>
<span style="font-size: small;">
</span>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"> </span></div>
<span style="font-size: small;">
</span>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"><span style="font-size: small;">I recommend this recording because, well it is <a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=Heifetz&search_type=google&search_kind=phrase&imageField.x=27&imageField.y=8" target="_blank">Heifetz</a>
and because it contains the "other" Bruch violin concerto, Scottish
Fantasy an under appreciated piece of violin repertoire, in my opinion.
Also, it contains the Glazunov violin concerto, another underprogrammed
concerto that is overshadowed by its cousin theTchaikovsky concerto. I
remember falling in love the the Glazunov concerto as a teen. With 6
pillars of violin repertoire represented, this is a great buy.</span><br />
</span><span style="font-size: 12.0pt;"><br />
</span></div>
<hr />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2115" target="_blank"><b><span style="font-size: 12.0pt;">Simply Sarah, Violin Encores by Sarah Chang</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2115" target="_blank"><img alt="Sarah Chang" height="150" src="http://a5.mzstatic.com/us/r1000/034/Music/a6/82/78/mzi.quwxqhyg.170x170-75.jpg" width="150" /></a></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;">This
album contains so many pieces that young teens are sure to love. They
will want to return to this recording again and again. Pieces like
Bazzini's Dance of the Goblins, Dinicu's Hora Staccato and Kroll's Banjo
and Fiddle. It also contains a staple of many a young violinists repertoire, the Gluck Melodie.<br />
</span></div>
<span style="font-size: small;">
</span>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;">If you want the more passionate, moody, brooding side of classical music encores, then try <a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1249" target="_blank">Sarah Chang's "Sweet Sorrow"</a> which contains the famous Vitali Chaconne.</span></div>
<hr />
<h2>
<b><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=342" target="_blank">Violin Favourites and Virtuoso Showpieces</a></b></h2>
<b><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=342" target="_blank"><img alt="Joshua Bell" height="135" src="http://a2.mzstatic.com/us/r1000/013/Features/b0/97/b9/dj.pahhhedi.170x170-75.jpg" width="150" /></a></b><br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"><span style="font-size: small;">We return
again to a Joshua Bell recording, this time with the showpiece genre.
This recording contains all the selections from his "Kreisler Album"
like Praeludium and Allegro plus other hits like Carmen Fantasy and
Scherzo-Tarentelle.</span><br />
</span></div>
<hr />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2117" target="_blank"><b><span style="font-size: 12.0pt;">Favorite Violin Concertos by Arthur Grumiaux</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<b><span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2117" target="_blank"><img alt="Grumiaux" height="149" src="http://a2.mzstatic.com/us/r1000/051/Music/y2004/m06/d08/h06/s06.nfwlbays.170x170-75.jpg" width="150" /></a></span></b></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: small;">I picked this recording especially for the Mendelssohn violin concerto. <a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=Grumiaux&search_type=marketplace&search_kind=phrase&imageField.x=26&imageField.y=13" target="_blank">Arthur Grumiaux </a>is
the epitomy of elegance and grace. His sound is silky smooth and
uniquely suited to this particular concerto. I am a big Grumiaux fan and
often also recommend that my students listen to his </span><span style="font-size: small;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1300" target="_blank">Bach</a> and <a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=203" target="_blank">Mozart</a> recordings too.</span><br />
</div>
<hr />
<h3>
<span style="font-size: x-small;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1647" target="_blank"><span style="font-size: larger;">Pamela Frank: Mozart Violin Concerti</span></a></span></h3>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1647" target="_blank"><img alt="Pam Frank" height="150" src="http://ecx.images-amazon.com/images/I/51O12XnLAgL._SL110_.jpg" width="150" /></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
My favorite all time recordings of the Mozart Violin Concerti. Unfortunately many young violinists are not familiar with <a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=pam+frank&search_type=google&search_kind=phrase&imageField.x=20&imageField.y=13" target="_blank">Pam Frank</a>.
Truly one of the great violinists of this generation whose performance
career was cut short by a hand injury. Luckily she has proven to be as
great a teacher as she was a performer, so her voice is living on
through her students. This is the most operatic of all the Mozart
recordings. The phrasing and warmth of her tone is second to none.
Plus, there are great cadenzas written by David Zinman, which I wish he
would publish!</div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<br /></div>
<hr />
<h3>
<a href="http://www.classicalmusiccity.com/classifieds/ad_details-2121/Audio/MP3/Recordings/Vengerov-Bruch-Violin-Concerto.html" target="_blank"><span style="font-size: larger;">Vengerov: Bruch and Mendelssohn Violin Concerti</span></a></h3>
<a href="http://www.classicalmusiccity.com/classifieds/ad_details-2121/Audio/MP3/Recordings/Vengerov-Bruch-Violin-Concerto.html" target="_blank"><img alt="" height="150" src="http://a5.mzstatic.com/us/r1000/010/Music/20/9a/49/mzi.ewdlxdtr.170x170-75.jpg" width="150" /></a><br />
This is the last of my "serious" picks for young teens and this is
the only album that I recommend that you only buy selected tracks.
Vengerov's Bruch concerto interpretation is fiery and sizzling. I know
this will be a bit of a controversial pick because his vibrato is almost
over the top, but I think teens find this approach very compelling.
Also, the <span style="font-weight: normal;">Gewandhausorchester Leipzig
with Kurt Masur does a fantastic job on this recording. However, for
the very reason I support the Bruch, I say "oh, no" to the Mendelssohn. <a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=+Vengerov&search_type=google&search_kind=phrase&imageField.x=22&imageField.y=12" target="_blank"> Vengerov</a>'s style and approach is just too much for the much more delicate Mendelssohn. Stick to Grumiaux where this is concerned.</span><br />
<hr />
<hr />
<span style="font-weight: normal;">I know I have left of many stellar
violinists and great recordings, but this list is just a way to get a
basic start. Students should absolutely also listen to any of the
recordings of the artists on this list plus the other greats like </span><a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=David+Oistrakh&search_type=google&search_kind=phrase&imageField.x=28&imageField.y=15" target="_blank">David Oistrakh</a>,
Anne Sophie-Mutter, Yehudi Menuhin, Ivry Gitlis, Ida Haendel, Mischa
Elman, Leonid Kogan, Nathan Milstein, Nadja Salerno-Sonnenberg, Jaime
Laredo and so many others.<br />
I also encourage students to BUY these recordings. Yes, I know you
can watch many of these performances for free on YouTube, but if we
don't support these artists by continuing to purchase their works, then
these great artists will cease to have contracts with record companies,
etc.........<br />
<hr />
<hr />
<b>Ok, after the teens have had a good education on the best of
the mainstream, traditional offerings of classical violin repertoire,
here is a list of some of the off the beaten path pieces. So,</b><br />
<span style="font-size: 12.0pt;">Just for fun....</span><br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2110" target="_blank"><b><span style="font-size: 12.0pt;">Vivaldi, Four Seasons, Recomposed by Max Richter</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2110" target="_blank"><img alt="Max Richter" src="http://a3.mzstatic.com/us/r1000/101/Music/v4/91/ff/67/91ff67de-7268-e17f-5b92-3b537df17021/UMG_cvrart_00028947650799_01_RGB72_1200x1200_12UMGIM32163.170x170-75.jpg" /></a></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: small;">This
is a 2012 release. Please listen to more mainstream Vivaldi Seasons
recordings BEFORE listening to this one. It helps you appreciate the
deviations from the norm that were taken. I like to describe this as
what Vivaldi would sound like if he had been a New Age, Minimalist
composer.</span><span style="font-size: 12.0pt;"><br />
</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2118" target="_blank"><b><span style="font-size: 12.0pt;">Nuttin But Stringz,<span style="mso-spacerun: yes;"> </span>Struggling from the Subway to the Charts</span></b></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2118" target="_blank"><img alt="Nuttin But Stringz" height="150" src="http://a4.mzstatic.com/us/r1000/006/Music/c6/3a/35/mzi.zikekhgd.170x170-75.jpg" width="150" /></a></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;">The Escobar brothers combine the classical sound of the violin with Pop, R&B and Hip-hop.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<br /></div>
<h3>
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2122" target="_blank"><span style="font-size: larger;">Time for Three, We Just Burned This For You!</span></a></h3>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2122" target="_blank"><img alt="Time for Three" height="150" src="http://ecx.images-amazon.com/images/I/41DW3eWvV7L._SL500_AA300_.jpg" width="150" /></a></div>
<div class="MsoNormal" style="line-height: normal; text-align: left;">
<span style="font-size: 12.0pt;"><span style="font-size: small;">The first of the releases from <a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=time+for+three&search_type=google&search_kind=and&imageField.x=44&imageField.y=8" target="_blank">Time For Three</a>,
this album contains decidedly non-classical interpretations of
classical hits that students frequently learn, like the first movement
of the Concerto for 2 Violins in d minor by Bach, Csardas by Monti and
Brahms' Hungarian Dance No. 5. Also, contains Ashokan Farewell,
Blackbird and Orange Blossom Special.</span><br />
</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<br /></div>
<h3>
<span style="font-size: larger;"><b style="mso-bidi-font-weight: normal;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1247" target="_blank">Mark O'Connor, The Fiddle Concerto</a></b></span></h3>
<b style="mso-bidi-font-weight: normal;"><a href="http://www.classicalmusiccity.com/index.php?mode=search_v3&action=ads_advanced&phrase=mark+oconnor&search_type=google&search_kind=phrase&imageField.x=23&imageField.y=12" target="_blank"><img alt="Mark O'Connor" height="150" src="http://ecx.images-amazon.com/images/I/51LcbeusquL._SL110_.jpg" width="150" /></a></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-size: x-small;">This </span></b>recording
was done with the Concordia Orchestra conducted by Marin Alsop.
Unfortunately, this does not seem to be available on iTunes, but is
available in both CD and MP3 format on Amazon. Mark O'Connor blends old
world classical traditions with a uniquely American style.<br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"><br />
</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2120" target="_blank"><b><span style="font-size: larger;">Barrage: Scrapbook</span></b><span style="font-size: 12.0pt;"><br />
</span></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=2120" target="_blank"><img alt="Barrage" height="150" src="http://a1.mzstatic.com/us/r30/Music/v4/a7/81/ce/a781ceae-88df-7529-c5a8-e411d0f26eeb/859708667509_cover.170x170-75.jpg" width="150" /></a></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;">Another
group where American fiddle meets rock meets classical. Enjoy pieces
like Mountain Spring, Old Joe Clark and Calypso Jam. Barrage has
published all these pieces so young violinists can learn to play these
too. To fully appreciate Barrage, one has to see them live in concert. </span></div>
<hr />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: x-small;">About the author:</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://mycity.classicalmusiccity.com/profile/Freeman" target="_blank"><img alt="Phyllis Freeman" height="150" src="http://api.ning.com/files/t0pBuiZFCvPAsP0ioJaXNjWNeQsdUnowaXZidZHWIn6jG2G6cfLPRq6kwRFC1*f1H2T*JmktVb7jzdq67EVwSk1-VpgSMSMP/781198098.jpeg?xgip=353%3A0%3A2542%3A2542%3B%3B&width=184&height=184&crop=1%3A1" width="150" />Phyllis Freeman</a>
has been teaching pre-college violin and viola students for 30 years.
She is currently the director of the Maryland Talent Education Center
and principal viola of the Maryland Symphony Orchestra and a section
member of the National Philharmonic. Ms. Freeman is the founder and
creator of www.ClassicalMusicCity.com. </div>
<hr />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<a href="http://www.pottersviolins.com/" target="_blank">The Potter Violin Company,</a>
premier retailer of exceptional violins, violas, cellos and basses.
Also, featuring a great selection of Mark Wood electric string
instruments.</div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 2;">
<span style="font-size: 12.0pt;"> </span></div>
<div class="MsoNormal" style="line-height: normal; text-align: center;">
<a href="http://www.pottersviolins.com/" target="_blank"><img alt="Potter Violin Company" src="http://www.pottersviolins.com/images/best-of-bethesda-2012.jpg" /></a></div>
</div>
ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-29676018457286751642013-01-04T05:09:00.002-08:002013-01-04T05:09:19.223-08:00Christmas Without Music?<div dir="ltr" style="text-align: left;" trbidi="on">
Are you enjoying live music this Christmas? Does a string quartet
play in your church at midnight on Christmas Eve or have you attended a
Messiah or Nutcracker performance? If so, consider thanking your local
performing arts organizations with a financial contribution.<br />
<a href="http://api.ning.com/files/VthhEJwmhSdnda2QXPbTiq84UCrVLvlSMc-J8DZFYnSelfoENdndklr3peR76vIQa9T-AYuRnmb6nEBiokxvOdPVXy98fDEQ/Holiday12114b.jpg" target="_self"><img class="align-center" src="http://api.ning.com:80/files/VthhEJwmhSdnda2QXPbTiq84UCrVLvlSMc-J8DZFYnSelfoENdndklr3peR76vIQa9T-AYuRnmb6nEBiokxvOdPVXy98fDEQ/Holiday12114b.jpg?width=200" width="200" /></a><br />
Let me explain why. Many people in the United States only experience
live music performed by highly trained classical musicians during the
holiday season. Many never set foot in a concert hall during the rest
of the year, if at all. I suspect that many take for granted that the
music they love and the musical traditions they share their family will
be available year after year. What would the season be like without
performances of the Messiah, Nutcracker and Christmas carols at
Christmas Eve services in churches? Does the average American realize
that without the local symphonies, music schools and other performing
arts institutions, none of this holiday music would exist?<br />
Let me explain. Professional musicians could not possibly exist on
the income they make from performing just for Christmas events.
Musicians have families, mortgages and other financial obligations just
like everyone. (And their training cost a fortune.*) If they could not
sustain themselves as musicians year round, then they would be forced to
seek employment in other fields. Being a professional musician is very
much like being a professional athlete. A musician must stay in shape
in order to maintain their level of expertise and skill. I can't
imagine many musicians would maintain a regular practice schedule on top
of a full time job in an outside field, for the little bit of money
that could be made during the Christmas season. Serious financial
stability comes from the year round work musicians have with symphonies
and as music teachers.<br />
So this season, as you enjoy a midnight church service, a Nutcracker,
a Messiah, please give consideration to making a financial contribution
to your local music institutions so that musicians can maintain year
round employment and will be able to remain in the profession.
Otherwise, Christmas Eve may truly become "the day the music died."<br />
<br />
<br />
P.S. Just a note on what it takes to become a highly skilled
professional classical musician. Take your average violinist. They
started lessons at the age of 5 or 6. By the time they are 18 years
old, on average, a parent has invested at least $60,000 to $100,000
(private lessons, instrument, summer camps, orchestra, accompanists,
etc.) in their child's musical training. And that figure is just a
minimum for a student who has even a glimmer of hope of being accepted
into a major university of conservatory in order to earn a Bachelor of
Music degree. (Note: most musicians do not stop with a Bachelor's
degree, most have Master's and many have Doctorates.) Add in at least 6
years of college level training, and literally 30,000-40,000 hours of
practicing by the age of 20. So what you see on Christmas Eve is a
result of an enormous amount of "backend" work and expense.<br />
<strong>About the author: <a href="http://api.ning.com/files/DQDY9*4GF*yiXp4S5M4rQrF9Ui1weOiCxdehuKgvJfVTd2adFABzMUK5uSFUM9SYsjBd37kpoAa3yZDByDepyn6qRjVaV*wb/0_ha.jpg" target="_self"><img class="align-left" src="http://api.ning.com:80/files/DQDY9*4GF*yiXp4S5M4rQrF9Ui1weOiCxdehuKgvJfVTd2adFABzMUK5uSFUM9SYsjBd37kpoAa3yZDByDepyn6qRjVaV*wb/0_ha.jpg?width=100" width="100" /></a>
Phyllis Freeman is the principal viola of the Maryland Symphony
Orchestra and a section viola with the National Philharmonic. She is
also the director of the Maryland Talent Education Center and the CEO of
ClassicalMusicCity.com Visit her profile at</strong> <a href="http://mycity.classicalmusiccity.com/profile/freeman" target="_self">http://mycity.classicalmusiccity.com/profile/freeman</a><br />
<br /></div>
ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-19155716737548237272011-12-16T06:29:00.001-08:002011-12-16T06:29:45.617-08:00Great Gifts for Classical Musicians<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: center;"><a href="" name="Musician_Holiday_Gifts"><span style="font-size: large;"><strong>Great Holiday Gifts for Musicians!</strong></span></a></div><div style="text-align: center;"><span style="font-size: small;"><strong>Click on links or images to purchase.</strong></span></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B004Q2TWR0/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWR0&adid=0YCMPDJ3G2YKB7386VCT" href="http://www.amazon.com/dp/B004Q2TWR0/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWR0&adid=0YCMPDJ3G2YKB7386VCT"><span id="btAsinTitle"><strong><span style="font-size: small;">Verdi: La Traviata (2011) DVD</span></strong></span></a></div><div style="text-align: center;"><span>Nominated for 2012 Grammy for Best Opera Recording</span></div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B004Q2TWR0/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWR0&adid=0YCMPDJ3G2YKB7386VCT" href="http://www.amazon.com/dp/B004Q2TWR0/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWR0&adid=0YCMPDJ3G2YKB7386VCT"><span style="font-size: small;"><strong><img _fcksavedurl="http://ecx.images-amazon.com/images/I/51vxiFEq33L._SL500_AA300_.jpg" alt="" height="140" src="http://ecx.images-amazon.com/images/I/51vxiFEq33L._SL500_AA300_.jpg" width="140" /></strong></span></a></div><div style="text-align: center;"> <a _fcksavedurl="http://www.amazon.com/dp/B004Q2TWR0/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWR0&adid=0YCMPDJ3G2YKB7386VCT" href="http://www.amazon.com/dp/B004Q2TWR0/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWR0&adid=0YCMPDJ3G2YKB7386VCT">DVD format</a> for $22.49</div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B004Q2TWPW/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWPW&adid=1YPG71STEXEPFWVWGACW" href="http://www.amazon.com/dp/B004Q2TWPW/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004Q2TWPW&adid=1YPG71STEXEPFWVWGACW">Blu-Ray format for $26.99</a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a _fcksavedurl="http://www.classicalmusiccity.com/classifieds/classified.php?n=1689/Baroque-Bling-String-Mutes.html" href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1689/Baroque-Bling-String-Mutes.html"><span style="font-size: medium;"><strong>Baroque Bling Mutes for violin, viola, cello</strong></span></a></div><div style="text-align: center;">These tourte-style string mutes are handcrafted with authentic Swarovski crystals.</div><div style="text-align: center;"><a _fcksavedurl="http://www.classicalmusiccity.com/classifieds/classified.php?n=1689/Baroque-Bling-String-Mutes.html" href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1689/Baroque-Bling-String-Mutes.html"><img _fcksavedurl="http://store.pottersviolins.com/media/catalog/product/cache/1/image/9df78eab33525d08d6e5fb8d27136e95/b/a/baroque-bling-color-crystal-mutes_1.jpg" alt="" height="118" src="http://store.pottersviolins.com/media/catalog/product/cache/1/image/9df78eab33525d08d6e5fb8d27136e95/b/a/baroque-bling-color-crystal-mutes_1.jpg" width="150" /></a></div><div style="text-align: center;">$25 for violin/viola or $40 for cello</div><div style="text-align: center;">Mutes come in Water (Palette of Blues), Fire (Palette of Reds), and Night Sky (Diamond & Black Diamond).</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a _fcksavedurl="http://www.classicalmusiccity.com/classifieds/classified.php?n=1781/Monster-InEar-Headphones" href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1781/Monster-InEar-Headphones"><strong><span style="font-size: 14pt;">Miles Davis Trumpet High Performance Ear Phones</span></strong></a><br />
<span style="font-size: small;">Monster markets the Trumpets as “musicians’ headphones.”</span></div><div style="text-align: center;"><a _fcksavedurl="http://www.classicalmusiccity.com/classifieds/classified.php?n=1781/Monster-InEar-Headphones" href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1781/Monster-InEar-Headphones"><img _fcksavedurl="https://71ad590f14-custmedia.vresp.com/cb9e8b8ffb/img_4525.jpg" alt="" src="https://71ad590f14-custmedia.vresp.com/cb9e8b8ffb/img_4525.jpg" /></a></div><div style="text-align: center;">$269.00</div><div style="text-align: center;"><br />
</div><h1 id="yui_3_3_0_1_13240401790743294" itemprop="name" style="text-align: center;"><a _fcksavedurl="http://www.classicalmusiccity.com/classifieds/classified.php?n=1780/Why-Mahler.html" href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1780/Why-Mahler.html"><span style="font-size: small;">Why Mahler?: How One Man and Ten Symphonies Changed Our World </span></a></h1><div style="text-align: center;"><span style="font-size: small;">Newest book from Norman Lebrecht</span></div><div style="text-align: center;"><img _fcksavedurl="http://img2.imagesbn.com/images/128140000/128143455.JPG" alt="" height="232" src="http://img2.imagesbn.com/images/128140000/128143455.JPG" width="150" /></div><div style="text-align: center;">$11.99 for Nook or Kindle Editions</div><div style="text-align: center;"><br />
</div><h2 style="text-align: center;"><span style="font-size: large;"><u> <strong>Recordings</strong></u></span></h2><div style="text-align: center;"><span style="font-size: large;"><span style="font-size: small;">Choose from this selection of 2012 Grammy nominated albums!</span></span></div><div style="text-align: center;">Click on images or links to purchase.</div><div style="text-align: center;"><br />
</div><h1 class="parseasinTitle" style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B005KD4VLQ/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005KD4VLQ&adid=1NVX2K1HD3MZM3YE6JQB" href="http://www.amazon.com/dp/B005KD4VLQ/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005KD4VLQ&adid=1NVX2K1HD3MZM3YE6JQB"><strong><span style="font-size: small;"><span id="btAsinTitle">CSO Resound - Chicago Symphony Orchestra Brass Live</span></span></strong></a></h1><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B005KD4VLQ/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005KD4VLQ&adid=1Z86S55H1SDP1ZQD5EMR" href="http://www.amazon.com/dp/B005KD4VLQ/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005KD4VLQ&adid=1Z86S55H1SDP1ZQD5EMR"><span style="font-size: large;"><span style="font-size: small;"><img _fcksavedurl="http://ecx.images-amazon.com/images/I/51fznDzR1NL._SL500_AA280_.jpg" alt="" height="200" src="http://ecx.images-amazon.com/images/I/51fznDzR1NL._SL500_AA280_.jpg" width="200" /></span></span></a> </div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B005KD4VLQ/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005KD4VLQ&adid=1Z86S55H1SDP1ZQD5EMR" href="http://www.amazon.com/dp/B005KD4VLQ/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005KD4VLQ&adid=1Z86S55H1SDP1ZQD5EMR"><span style="font-size: x-small;"><span id="btAsinTitle">MP3 for $8.99</span></span></a> or <a _fcksavedurl="http://www.amazon.com/dp/B005GL89M4/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005GL89M4&adid=1HJWR43G73Y1NXEC9XNV" href="http://www.amazon.com/dp/B005GL89M4/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B005GL89M4&adid=1HJWR43G73Y1NXEC9XNV"><strong><span style="font-size: x-small;">CD for $17.39</span></strong></a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B0052MKRM2/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B0052MKRM2&adid=1B1B3C20Q42GZ5AFSM5A" href="http://www.amazon.com/dp/B0052MKRM2/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B0052MKRM2&adid=1B1B3C20Q42GZ5AFSM5A"><span id="btAsinTitle"><strong><span style="font-size: small;">Haydn: Symphonies Nos. 104, 88, 101</span></strong></span></a></div><div style="text-align: center;"><span>Philharmonia Baroque Orchestra, Nicholas McGegan</span><span class="byLinePipe"> <br />
</span></div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B0052MKRM2/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B0052MKRM2&adid=1B1B3C20Q42GZ5AFSM5A" href="http://www.amazon.com/dp/B0052MKRM2/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B0052MKRM2&adid=1B1B3C20Q42GZ5AFSM5A"><strong><span style="font-size: x-small;"><img _fcksavedurl="http://ecx.images-amazon.com/images/I/61LByyPMp-L._SL500_AA280_.jpg" alt="" height="200" src="http://ecx.images-amazon.com/images/I/61LByyPMp-L._SL500_AA280_.jpg" width="200" /></span></strong></a></div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B0052MKRM2/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B0052MKRM2&adid=1B1B3C20Q42GZ5AFSM5A" href="http://www.amazon.com/dp/B0052MKRM2/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B0052MKRM2&adid=1B1B3C20Q42GZ5AFSM5A"> MP3 for $8.99</a> or <a _fcksavedurl="http://www.amazon.com/dp/B004YF8Y9G/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004YF8Y9G&adid=0H183F3Y33JDRBRREKCK" href="http://www.amazon.com/dp/B004YF8Y9G/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004YF8Y9G&adid=0H183F3Y33JDRBRREKCK">CD for $19.61</a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B004P7WS5Y/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004P7WS5Y&adid=00QK0K7EAYDYWKYP5MZF" href="http://www.amazon.com/dp/B004P7WS5Y/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004P7WS5Y&adid=00QK0K7EAYDYWKYP5MZF"><span style="font-size: small;"><strong>Yuja Wang conducted by Claudio Abaddo performs</strong></span></a></div><div style="text-align: center;"><strong>Piano Concerto No. 2 In C Minor, Op. 18</strong></div><h4 class="nominee-title" style="text-align: center;">Rhapsody On A Theme Of Paganini</h4><div style="text-align: center;"> <a _fcksavedurl="http://www.amazon.com/dp/B004P7WS5Y/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004P7WS5Y&adid=00QK0K7EAYDYWKYP5MZF" href="http://www.amazon.com/dp/B004P7WS5Y/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004P7WS5Y&adid=00QK0K7EAYDYWKYP5MZF"><img _fcksavedurl="http://ecx.images-amazon.com/images/I/51N4BpwTLzL._SL500_AA300_.jpg" alt="" height="200" src="http://ecx.images-amazon.com/images/I/51N4BpwTLzL._SL500_AA300_.jpg" width="200" /></a></div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B004P7WS5Y/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004P7WS5Y&adid=00QK0K7EAYDYWKYP5MZF" href="http://www.amazon.com/dp/B004P7WS5Y/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004P7WS5Y&adid=00QK0K7EAYDYWKYP5MZF">MP3 for $9.29</a> or <a _fcksavedurl="http://www.amazon.com/dp/B004KD5TPY/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004KD5TPY&adid=0R8NA36M39RQTTX586FM" href="http://www.amazon.com/dp/B004KD5TPY/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004KD5TPY&adid=0R8NA36M39RQTTX586FM">CD for $16.24</a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B004J48G6I/ref=as_li_tf_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as1&creativeASIN=B004J48G6I&adid=19JV7RFQN2XGNKW84977" href="http://www.amazon.com/dp/B004J48G6I/ref=as_li_tf_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as1&creativeASIN=B004J48G6I&adid=19JV7RFQN2XGNKW84977"><span id="btAsinTitle"><strong><span style="font-size: small;">Handel : Cleopatra - Giulio Cesare Opera Arias</span></strong></span></a></div><div style="text-align: center;"><span>Natalie Dessay with the Le Concert D`Astrée</span></div><div style="text-align: center;"> <a _fcksavedurl="http://www.amazon.com/dp/B004J48G6I/ref=as_li_tf_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as1&creativeASIN=B004J48G6I&adid=19JV7RFQN2XGNKW84977" href="http://www.amazon.com/dp/B004J48G6I/ref=as_li_tf_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as1&creativeASIN=B004J48G6I&adid=19JV7RFQN2XGNKW84977"><img _fcksavedurl="http://ecx.images-amazon.com/images/I/51CDRZLDMjL._SL500_AA280_.jpg" alt="" height="200" src="http://ecx.images-amazon.com/images/I/51CDRZLDMjL._SL500_AA280_.jpg" width="200" /></a></div><div style="text-align: center;"><a _fcksavedurl="http://www.amazon.com/dp/B004J48G6I/ref=as_li_tf_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as1&creativeASIN=B004J48G6I&adid=19JV7RFQN2XGNKW84977" href="http://www.amazon.com/dp/B004J48G6I/ref=as_li_tf_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as1&creativeASIN=B004J48G6I&adid=19JV7RFQN2XGNKW84977">MP3 format for $9.49</a> or <a _fcksavedurl="http://www.amazon.com/dp/B004CHURRS/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004CHURRS&adid=0180NS97VR7SR7QCF3YG" href="http://www.amazon.com/dp/B004CHURRS/ref=as_li_ss_til?tag=classiccom0d-20&camp=0&creative=0&linkCode=as4&creativeASIN=B004CHURRS&adid=0180NS97VR7SR7QCF3YG">CD format for $14.91</a></div><div style="text-align: center;"><br />
</div><div style="text-align: center;">For a complete list of all 2012 Classical Grammy Nominees, <a _fcksavedurl="http://www.classicalmusiccity.com/search/new.php?vars=718/Classical-Grammy-Nominations-2012.html" href="http://www.classicalmusiccity.com/search/new.php?vars=718/Classical-Grammy-Nominations-2012.html">click here.</a></div></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-82598087233509878832011-03-29T05:26:00.000-07:002011-03-29T05:26:15.591-07:00Students who feel "Entitled"<div dir="ltr" style="text-align: left;" trbidi="on">I just read a great commentary in the Chronicle of Higher Education by Elayne Clift called <a href="http://chronicle.com/article/Students-Should-Check-Their/126890/">"From Students, a Misplaced Sense of Entitlement."</a> In this op ed piece she bemoans "<i>The sad thing is, I'm not alone. Every college teacher I know is bemoaning the same kind of thing. Whether it's rude behavior, lack of intellectual rigor, or both, we are all struggling with the same frightening decline in student performance and academic standards at institutions of higher learning. A sense of entitlement now pervades the academy, excellence be damned.</i>"<br />
<br />
I have to say I found this article very enlightening because as a violin teacher, I really never encounter this attitude from students. I started wondering why I (and to the best of my knowledge, my colleagues) am not dealing with this issue as a teacher. Could it be that there is something inherent in the training that musicians receive that nips this problem in the bud? In fact, it has been my experience over the past 25 years, that students want us to raise expectations and be even more demanding. <br />
<br />
Isn't it ironic that at a time when funding for the performing arts is being slashed that the values that mainstream professors find lacking in their students are so prevalent in the arts community? Could it be that the performing arts has more to offer than just "entertainment?" Could it be that the virtues of humility, compassion, discipline are the philosophical foundations of the arts? Here is an interesting vignette.... A parent of one of my students once remarked that the only thing that came close to the rigors and demands of the training her daughter was receiving to become a top notch violinist, was the 4 years she herself spent as a midshipman at the Naval Academy in Annapolis in the 1980's. <br />
<br />
So maybe, if we want to stop raising a generation of wimpy, entitled brats, we should make every child learn to play an instrument at a proficient level. <br />
<br />
<br />
<br />
</div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-68031285334664560862011-03-16T06:11:00.000-07:002011-03-16T06:19:44.200-07:00El Sistema in the US<div dir="ltr" style="text-align: left;" trbidi="on">In a recent <a href="http://www.npr.org/2011/03/15/134567922/the-road-to-an-american-el-sistema?sc=tw&cc=share">NPR interview</a>, Richard Kessler (executive directory of New York City's Center for Arts Education) stated the following: <br />
<br />
<i>"El Sistema as it is in Venezuela will never happen in the United States. It's not possible for the program to be embraced by the social service and child welfare agencies, and be connected to a national health care system that we don't have. Our government does not fund the arts on that kind of level, on that sort of basis. So what happens is El Sistema has to be translated into something that's American and I think in the translation, generally speaking, it doesn't look very different than many very good youth orchestra programs."</i><br />
<br />
<br />
As a teacher who is primarily working with pre-college string students, I have been asking a question about "El Sistema" for several years and I have not received a satisfactory answer. Can someone tell me if El Sistema is anything more than just the idea of taking at risk kids and giving them music instruction for free on a daily basis? Is there a "method" to the teaching? Are there materials, like in the Suzuki method? Is there a philosophical foundation? Is there a training system for teachers? <br />
<i> </i><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRKV446P4opNGSh3HD6xu0VxF_fcWwhZfJLV2xTQ96-rJTV8G_5K1Sl7GvQKhu9ZnSY0zz3XZhW64R8UVkGFsZKsJ-ux0dE24X-IjTkzVV91H1cRcg-sLoUTh2wfBM9DAzfApKW6hyphenhyphenMnis/s1600/1970ish_DCYO_at_White_House%252C_photo_by_Louise_Bucknell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div>I have to agree with Richard Kessler. As far as I can tell, "El Sistema", which as far as I can tell, means "give kids consistent, free music instruction", has been alive and well for decades in the US, long before it was ever conceived of in Venezuela. Just look to the <a href="http://www.dcyop.org/about.jsp?pageId=2082100500441239737105603">D.C. Youth Orchestra program</a>, which was founded in 1960, as a model.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRKV446P4opNGSh3HD6xu0VxF_fcWwhZfJLV2xTQ96-rJTV8G_5K1Sl7GvQKhu9ZnSY0zz3XZhW64R8UVkGFsZKsJ-ux0dE24X-IjTkzVV91H1cRcg-sLoUTh2wfBM9DAzfApKW6hyphenhyphenMnis/s1600/1970ish_DCYO_at_White_House%252C_photo_by_Louise_Bucknell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRKV446P4opNGSh3HD6xu0VxF_fcWwhZfJLV2xTQ96-rJTV8G_5K1Sl7GvQKhu9ZnSY0zz3XZhW64R8UVkGFsZKsJ-ux0dE24X-IjTkzVV91H1cRcg-sLoUTh2wfBM9DAzfApKW6hyphenhyphenMnis/s1600/1970ish_DCYO_at_White_House%252C_photo_by_Louise_Bucknell.jpg" /></a></div> <span style="font-size: xx-small;"> D.C Youth Orchestra performing at the White House in the 1970's</span><br />
<span style="font-size: xx-small;"><br />
</span><br />
It worked because the D.C. public schools worked in partnership with the founder, Lyn McLain, and provided a facility and financial support. The major obstacle to providing comprehensive music instruction to millions of US children is a lack of cooperation and support from the American public school system. We don't need to rely on "national health care systems." We need facilities in which to provide instruction. Such facilities already exist in the form of public schools which are paid for with taxpayer money. Removing the cost of paying for use of a building goes a long way to eliminating much of the cost of providing "universal" music education. Break the monopoly that public schools have on the buildings that should be seen as "community centers" and open up the buildings to after school educational programs, both in the "for-profit" and "non-profit" domains. Remove the barriers to local private studio teachers having access to public facilities. Let's go a step further and remove the monopoly "education majors" have on public school teaching jobs. Open up the public schools to music performance majors and allow the buildings to be utilized by non-public school entities and you will go a long way towards providing a high quality, affordable music education to many more American children. (see <a href="http://www.bsomusic.org/main.taf?p=10">Orchkids Program</a> too)<br />
<br />
Anyway, I welcome responses regarding the questions I posed about the nature of "El Sistema." I'm still wondering what it is. Method, Philosphy, Idea?</div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-34528720095554145162011-03-03T07:42:00.000-08:002011-03-03T07:45:11.520-08:00Tiger Mother<div dir="ltr" style="text-align: left;" trbidi="on">I just finished the book "Battle Hymn of a Tiger Mother" and wanted to recommend that parents read it. Amy Chua spends much of the book discussing her relationship with her younger daughter and her violin lessons. While her parenting style is definitely harsh by Western Standards, she does bring up an interesting philosophical question about happiness. Should we be concerned about how "happy" a child is while practicing the violin or focus on future state of happiness that is attained through a successful outcome as the result of the practicing?<br />
<br />
<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=classiccom0d-20&o=1&p=8&l=bpl&asins=1594202842&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-23846193126748860152011-01-11T07:40:00.000-08:002011-01-11T07:40:30.788-08:00Detroit Strike, What are they thinking?Ok, I was going to leave this alone, but I can't resist now that the DSO members have reached an even higher level of insanity. An article in the Detroit News states that the musicians are handing out fliers at the North American International Auto Show requesting that Ford withdraw its support of the symphony.<br />
<br />
In my previous blog, I tried to make some suggestions regarding possible solutions. Biting the hand that feeds you, was not among the mix. What possible good can it do to further injure the DSO financially? Do the musicians want to have an orchestra to return to or are they just trying to accelerate its demise? The orchestra still has ongoing expenses even when they are not having to make a payroll. If the DSO gets to the point that it can't afford to keep the administration and staff, then the orchestra goes under.<br />
<br />
I think a more useful tactic might have been to beg Ford to help broker a solution and to request that they <b>increase </b>their level of giving. <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbt8FKCIbJGkrkS1AVIU-jxjke_hyPTcLP03iCGqXjXYtep0JBpJ5fp5oM4rs-2fpBZJX5YqTKoVz1s5UL5vacKFEpX-kYx0FEgcyPbx38YLDoURQosXq_dDBXsvO_5gKJwVev13Gh9u1E/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbt8FKCIbJGkrkS1AVIU-jxjke_hyPTcLP03iCGqXjXYtep0JBpJ5fp5oM4rs-2fpBZJX5YqTKoVz1s5UL5vacKFEpX-kYx0FEgcyPbx38YLDoURQosXq_dDBXsvO_5gKJwVev13Gh9u1E/s1600/images.jpg" /></a></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-85679526447310809912010-11-25T07:07:00.000-08:002010-11-25T07:25:27.111-08:00Detroit, think outside the box!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5LlJnfHdYcZwdq6iIWNjkCHbcLUyuHjC2o2mLC9Ehkra2cjA2dy3ZwjPncPCsUvcv0slCpa8vftBogxsalhtGWUX7b5zIItupJ-CkIguXC00Yd36ldMuWJQqsnoNeH0-d6cQ3UcDWD3v8/s1600/photo_orchestra_hall_07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5LlJnfHdYcZwdq6iIWNjkCHbcLUyuHjC2o2mLC9Ehkra2cjA2dy3ZwjPncPCsUvcv0slCpa8vftBogxsalhtGWUX7b5zIItupJ-CkIguXC00Yd36ldMuWJQqsnoNeH0-d6cQ3UcDWD3v8/s1600/photo_orchestra_hall_07.jpg" /></a></div><br />
<br />
Ok, I have spent the last two blogs questioning the wisdom of musicians going on strike. Now I would like to be a bit more productive and offer some possible solutions. I agree that orchestras around the country are looking to see the outcome of the Detroit strike, but not for the reasons you might think. I am going to take an optimistic view and assume that they are watching what happens to see if Detroit can come up with any brilliant ideas that will help them solve their economic woes too.<br />
<br />
<b>First, let's stop the ongoing "negotiations" over salary with all symphony orchestras in the country</b>. I have never been able to figure out why all non-profits in the country haven't done what US federal government workers have worked out with their employer. In other words, just tie all raises (federal gov. workers never take pay cuts) to the same cost of living index that the federal government uses for their employees. If federal government workers deserve a 2% raise, then so does everyone else in the non-profit sector. Hey, it might even have a side benefit of making everyone in the country pay more attention to the expanding federal payroll. In order to accommodate regional economic disparities, just use a comparison to public school teacher's salaries in any local jurisdiction. If a public school teacher in Michigan makes 20% less than teachers in Maryland, then adjust symphony salaries accordingly.<br />
<br />
<b>Second, look at operating budgets based on percentages</b>. The American Symphony Orchestra League has detailed charts and graphs that show averages of how much is spent on administrative staff, operating costs, personnel, advertising/marketing, etc. They do this for orchestras in every economic niche so that orchestras could compare apples to apples. For example, an orchestra that operates on a $1.5 million can compare their percentages to other orchestras in the same tier. If an orchestra is way out of line in comparison to other similar orchestras then figure out who is at fault and fire them.<br />
<br />
<b>Now, stop thinking in cash only terms</b>. Here are some examples. All musicians need reliable cars to do their job. We tend towards Toyota and Honda because of the longevity and reliability of the vehicles. What if, instead of going to GM and Chrysler and asking for cash they don't have, the Detroit Symphony instead asked them for a car for every musician? This is a win/win. What a great advertising opportunity for car manufactures. (I would photograph the Detroit musicians parking lot and paste it in every classical music related publication possible.) GM and Chrysler could promote their products into a market that has abandoned them and Detroit musicians could ditch a car payment. ($200-500/month)<br />
<br />
Repeat this concept for everything from dry cleaning to cell phones. Give Detroit symphony musicians special discount cards for participating merchants. Businesses may be cash poor right now, but they might be willing to give a 15% discount to musicians. Again, a win/win on both sides. Struggling businesses gain a new customer base, customer loyalty and help their community while musicians cut their expenses.<br />
<br />
<br />
As a final added incentive, the citizens of Detroit (and all of Michigan) need to really consider what is lost if the symphony cannot retain these extraordinary musicians. It is not just the economic contributions that a symphony makes to a region. Remember, most of these musicians are also probably working as private studio teachers, helping another generation reap the many benefits of classical music training. Most of them are also married, so not only do you lose the musician, you lose the spouse's job and economic contribution to the city. Now add their children into the mix, as well as relatives who visit for holidays, etc. and you can see the economic impact in ever widening circles.<br />
<br />
Why not give it a try? Detroit has everything to gain by keeping this workforce in Detroit. This is your last chance. If the cultural institutions go under, then Detroit might as well resign itself to becoming a ghost town of America's industrial past.<br />
<div class="MsoNormal"><br />
</div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-57260383915720175302010-11-24T11:09:00.000-08:002010-11-24T11:13:43.880-08:00Best Christmas Sheet Music for String StudentsParents and Teachers,<br />
Performing holiday music for friends, relatives and in church services is a wonderful way to motivate your child to practice and help them build a sense of pride in their accomplishments. Playing holiday tunes is also a wonderful way for students to develop better reading skills. Here are our suggestions for the best Christmas sheet music with links to purchase.<br />
<br />
<br />
<h2><b><u>Suzuki Late book 1 students</u></b></h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkZYI6ohwDJ3jSt9rfVnb3dPvHGoGq42Jxhx35j87Ioe4VTdku4_jLt3fD_DT3yVDuawBV2KsbINXtXSX1wrWW3C2HLWXDzk24_LXiyifDmGhLWelqv4b5esMpz_B3y9uOY-5f6POt2oT/s1600/87-1-1259688759.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirkZYI6ohwDJ3jSt9rfVnb3dPvHGoGq42Jxhx35j87Ioe4VTdku4_jLt3fD_DT3yVDuawBV2KsbINXtXSX1wrWW3C2HLWXDzk24_LXiyifDmGhLWelqv4b5esMpz_B3y9uOY-5f6POt2oT/s1600/87-1-1259688759.png" /></a></div><div style="margin: 0in 0in 0.0001pt;"><b>Christmas and Chanukah Ensembles.</b> This collection of 23 holiday favorites will not only motivate beginning string students in the classroom, but will also encourage home chamber music sessions. The flexible format allows the book to be used with any combination of instruments, from a solo player with piano accompaniment to a full string ensemble. Correlated with specific pages in the Strictly Strings method. $6.95</div><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-and-Chanukah-Ensembles/3547395" target="_blank">Christmas and Chanukah Ensembles for violin</a><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-and-Chanukah-Ensembles/3520031" target="_blank">Christmas and Chanukah Ensembles for viola</a><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-and-Chanukah-Ensembles/3520046" target="_blank">Christmas and Chanukah Ensembles for cello</a><br />
<h2><br />
<b><u>Suzuki book 2/3 students</u></b></h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTxtGs5N9krvQZnK8s2TN-W91uVsBIFTD9v82aXpQOb6q3661oxwEP230J8SFoTUTR3nB169hkv3MNsDR-AmwoNRbcV4hyphenhypheny4nQrMhn3V7uCK6YMNvkHKub-P8zHHWYDIykJdFVxNqUA5cl/s1600/274174.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTxtGs5N9krvQZnK8s2TN-W91uVsBIFTD9v82aXpQOb6q3661oxwEP230J8SFoTUTR3nB169hkv3MNsDR-AmwoNRbcV4hyphenhypheny4nQrMhn3V7uCK6YMNvkHKub-P8zHHWYDIykJdFVxNqUA5cl/s1600/274174.gif" /></a></div>Christmas Kaleidoscope, vol. 1 by Robert Frost. Orchestral Collection or Ensemble. This collection is in friendly keys and is written in score form for 3 violins (or 3 celli or violas) The score format can be a bit of a problem for new readers but the font size is large and usually children can easily adjust. The great thing about this collection is that it can be played as a solo, duet, trio or with a single instrument and piano. (you must purchase the piano accomp. part) The parts are interchangeable, so the cello parts can combine with violin or viola parts. $3.95<br />
<div style="margin: 0in 0in 0.0001pt;"><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Violin/274174" target="_blank">Christmas Kaleidoscope, vol. 1 for violin</a><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Viola/274167" target="_blank">Christmas Kaleidoscope, vol. 1 for viola</a><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Cello/274127" target="_blank">Christmas Kaleidoscope, vol. 1 for cello</a></div><div style="margin: 0in 0in 0.0001pt;"><a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Piano/274145" target="_blank">Christmas Kaleidoscope, vol. 1 piano accomp.</a></div><h2><br />
<b><u>Suzuki book 3 students</u></b></h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDZsDnRqb487mMymKJTNmorXtXZslp6CJ4xF9KhZoOTkI7r4PmP5rzw3HIxGx36HkNLSQgy2aZqnPBt4RSYMudHrqs4SyTywOtUUicT3cmpeyJ3p4lGdZTDDuLnaquqYLQQCAD54T9WcD/s1600/274785.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDZsDnRqb487mMymKJTNmorXtXZslp6CJ4xF9KhZoOTkI7r4PmP5rzw3HIxGx36HkNLSQgy2aZqnPBt4RSYMudHrqs4SyTywOtUUicT3cmpeyJ3p4lGdZTDDuLnaquqYLQQCAD54T9WcD/s1600/274785.gif" /></a></div><div style="margin: 0in 0in 0.0001pt;"><b><u><span style="text-decoration: none;"></span></u></b>Christmas Kaleidoscope, vol. 2 by Robert Frost. Orchestral Collection or Ensemble. See description for volume 1. Keys become a bit more challenging for strings (flats) and more complex rhythms and meters. $3.95</div><div style="margin: 0in 0in 0.0001pt;"><b><u><br />
</u></b><a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Book-2-Violin/274813" target="_blank">Christmas Kaleidoscope, vol. 2, for violin</a><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Book-2-Viola/274805" target="_blank">Christmas Kaleidoscope, vol. 2 for viola</a><br />
<a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Book-2-Cello/274760" target="_blank">Christmas Kaleidoscope, vol. 2 for cello</a></div><div style="margin: 0in 0in 0.0001pt;"><a href="http://www.sheetmusicplus.com/title/Christmas-Kaleidoscope-Book-2-Piano/274785" target="_blank">Christmas Kaleidoscope, vol. 2, piano accomp.</a></div><div style="margin: 0in 0in 0.0001pt;"><br />
</div><div style="margin: 0in 0in 0.0001pt;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpSPxhxXPFjLdM_Eco1ZswIB51eEpjfToIe1dau4ix8v1HXTQIOdaznSm8sbaOFz01IJJxDHI3JpmilO5oZxSwEfUztWvzMpJJJNNg3gmnSSQrvVEXQjJb1QaxOQrVQPfR_5XWRk_pT91L/s1600/70-1-1259348325.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpSPxhxXPFjLdM_Eco1ZswIB51eEpjfToIe1dau4ix8v1HXTQIOdaznSm8sbaOFz01IJJxDHI3JpmilO5oZxSwEfUztWvzMpJJJNNg3gmnSSQrvVEXQjJb1QaxOQrVQPfR_5XWRk_pT91L/s1600/70-1-1259348325.png" /></a></div><div style="margin: 0in 0in 0.0001pt;"><br />
</div> My Very Best Christmas (17 Violin Solos, Duets and a Play-Along CD on Christmas favorites) Arranged by Karen Khanagov. Violin songbook and accompaniment CD for violin solo (or duet) and piano accompaniment. Beginning. 82 pages. Published by Mel Bay Publications Inc. $15.96 includes piano part and CD acccomp.<br />
<div style="margin: 0in 0in 0.0001pt;"><a href="http://www.sheetmusicplus.com/title/My-Very-Best-Christmas-Violin-Edition/4062858" target="_blank">My Very Best Christmas, violin</a> (piano part and CD included)</div><div style="margin: 0in 0in 0.0001pt;"><a href="http://www.sheetmusicplus.com/title/My-Very-Best-Christmas-Viola-Edition-Book-CD-Set/4064282" target="_blank">My Very Best Christmas, viola</a> (piano part and CD included)</div><div style="margin: 0in 0in 0.0001pt;"><a href="http://www.sheetmusicplus.com/title/My-Very-Best-Christmas-Cello-Edition-Book-CD-Set/4064290" target="_blank">My Very Best Christmas, cello </a>(piano part and CD included)</div><h2><br />
<br />
<b><u>Suzuki book 4 and up</u></b></h2><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHAYcbOk5XCi2KhlBLi8GH0123Zk-5RCNoIIoYBEPuScuFhxsKHJNHVP6QkL5kPXwy4DzRVwQ2mwM_xi4cMR9FOkgZvYBQEz2xqctdVdC8lAo4rrnP6bIjPeOK_kPaNU95n5d_8l9qxOil/s1600/1535593.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHAYcbOk5XCi2KhlBLi8GH0123Zk-5RCNoIIoYBEPuScuFhxsKHJNHVP6QkL5kPXwy4DzRVwQ2mwM_xi4cMR9FOkgZvYBQEz2xqctdVdC8lAo4rrnP6bIjPeOK_kPaNU95n5d_8l9qxOil/s1600/1535593.gif" /></a></div><br />
Festive Strings for Ensemble arranged by Joanne Martin. Published by Alfred Music Publishing $6.95<br />
Festive Strings is a collection of well-known Christmas and Chanukah melodies arranged to meet the needs of individuals, groups and orchestras. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are compatible with each other. Accessible keys have been used and shifting is kept to a minimum. Titles are: Jingle Bells in D Major * Joy to the World * Chanukah * Away in a Manger * Jolly Old Saint Nicholas * God Rest Ye Merry, Gentlemen * S'Vivon * Jingle Bells in A Major * Lo, How a Rose * O Christmas Tree.<br />
<div style="margin: 0in 0in 0.0001pt;"><br />
<a href="http://www.sheetmusicplus.com/title/Festive-Strings-for-Ensemble/1535358" target="_blank">Festive Strings for violin ensemble</a><br />
<a href="http://www.sheetmusicplus.com/title/Festive-Strings-for-Ensemble/1535368" target="_blank">Festive Strings for viola ensemble</a><br />
<a href="http://www.sheetmusicplus.com/title/Festive-Strings-for-Ensemble/1535373" target="_blank">Festive Strings for cello ensemble</a></div><div style="margin: 0in 0in 0.0001pt;"><a href="http://www.sheetmusicplus.com/title/Festive-Strings/1535526" target="_blank">Festive Strings, piano accomp.</a><br />
<br />
<br />
More Festive Strings is a collection of well-known Christmas and Chanukah melodies arranged to meet the needs of individuals, groups and orchestras. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are compatible with each other. Accessible keys have been used and shifting is kept to a minimum. Titles are: O Chanukah * Angels We Have Heard on High * We Three Kings * Silent Night in D Major * We Wish You a Merry Christmas * O Come All Ye Faithful * Dreydl * Silent Night in G Major * Good King Wenceslas * What Child Is This (Greensleeves). </div><div style="margin: 0in 0in 0.0001pt;"><br />
<a href="http://www.sheetmusicplus.com/title/More-Festive-Strings-for-Ensemble/1535583" target="_blank">More Festive Strings for violin ensemble</a><br />
<a href="http://www.sheetmusicplus.com/title/More-Festive-Strings-for-Ensemble/1535593" target="_blank">More Festive Strings for viola ensemble</a><br />
<a href="http://www.sheetmusicplus.com/title/More-Festive-Strings-for-Ensemble/1535609" target="_blank">More Festive Strings for cello ensemble</a></div><div style="margin: 0in 0in 0.0001pt;"><a href="http://www.sheetmusicplus.com/title/More-Festive-Strings/1535642" target="_blank">More Festive Strings, piano accomp.</a></div><div style="margin-bottom: 0.0001pt;"><br />
</div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-63113765431797316792010-11-22T06:21:00.000-08:002010-11-22T06:29:55.991-08:00Reason #45,692 that Classical Music is important<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEIgyoO9hMr4VQDBOkAelvEblM1OYLCNJRlqkNiV3YF3f75NmZ-v4oLl4lfvLsVCgb88-1k4iq5DD16LB8Mu2_pUNsaR7K6xViRzyoslWwUtHdUfzGOZ2v1_2EfGsMYwf87A3Y9N4cT3IE/s1600/albert-einstein5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEIgyoO9hMr4VQDBOkAelvEblM1OYLCNJRlqkNiV3YF3f75NmZ-v4oLl4lfvLsVCgb88-1k4iq5DD16LB8Mu2_pUNsaR7K6xViRzyoslWwUtHdUfzGOZ2v1_2EfGsMYwf87A3Y9N4cT3IE/s1600/albert-einstein5.jpg" /></a></div><br />
<br />
I just finished reading Robert Sternberg's op ed article in the Washington Post called<a href="http://www.washingtonpost.com/wp-dyn/content/article/2010/11/19/AR2010111902997.html"> "College Admissions, beyond the No. 2 Pencil."</a> In it, he discusses how colleges could improve their selection process by looking beyond SAT's and high school grades. As a professional musician and music teacher, I was thrilled to see that he was advocating that schools look for qualities that musical training nurtures in children.<br />
<br />
As a bit of background info., in 1997, Dr. Steinberg proposed a theory of "<i>successful intelligence, based on the idea that people are meaningfully intelligent only to the extent that they can formulate and achieve their goals by synthesizing their creative, analytical and practical skills and their wisdom. People need creative skills to generate new ideas, analytical skills to determine if they are good ideas, practical skills to implement their ideas and wisdom to ensure that their ideas help achieve a common good.</i>" During his tenure as dean of the college of Arts and Sciences at Tufts Univ., he added optional questions to admissions applications that "were designed to assess creative, analytical and practical skills and general wisdom." Using well trained adjudicators and "well-developed scoring rubrics," he has found that these types of questions (like "What if the Nazi's had won WW2?) <i>"helped forcast which students would shine as active citizens and leaders on campus and virtually eliminated the admissions edge enjoyed by some ethnic groups.</i>"<br />
<br />
Even though I always assert that the primary reason for a strong arts education has to do with esoteric notions like "enhancing the quality and meaning and life", I still will speak out on the intellectual benefits, if it helps people eventually arrive at a higher level of consciousness regarding the need for classical music in the lives of children. (As an interesting side note, I just want to say that I have never seen any professional classical musician or music teacher reading or even discussing Rick Warren's "The Purpose Driven Life." We would be more likely to read something called "My Life is so filled with Purpose, I need 40 hour days.")<br />
<br />
I ask you, what could be better than the consistent study of music during the course of childhood to develop the "beyond the grades and test scores" qualities that our society needs? <span style="font-size: small;">Science has <span style="font-family: inherit;"></span><span class="text" style="font-family: inherit;"><span style="line-height: 15px;"> proven that the corpus <span style="font-family: inherit;">callosum is actually 15 percent larger in adults who started music lessons before the age of eight than in those who started later. In other words, in the brains of these children the right side of the brain (creative) has better communication with the left side (analytical) and vice versa. For a great book that goes into much more detail, but is still comprehensible to the non-scientist, try Robert Jourdain's "</span><a href="http://www.amazon.com/dp/0688142362?tag=classiccom0d-20&camp=14573&creative=327641&linkCode=as1&creativeASIN=0688142362&adid=09B4J097KTWZJJW6RZ7A&">Music, the Brain and Ecstacy.</a><span style="font-family: inherit;">"</span></span></span></span><br />
<br />
<span style="font-size: small;"><span class="text" style="font-family: inherit;"><span style="line-height: 15px;"><span style="font-family: inherit;">Musicians must constantly utilize <b>creative thinking</b>, (how should I shape the phrase, what is the feeling of this music), <b>analytical thinking</b> (what key is this piece in, how many quarter notes are in a whole note), <b>practical skills</b> (tuning the instrument, moving fingers or breathing correctly), and <b>general wisdom</b> (Bach was born in 1685 and wrote during the Baroque era). Better yet, musicians are using these aspects of the mind simultaneously and interdependently. </span></span></span></span><br />
<br />
<span style="font-size: small;"><span class="text" style="font-family: inherit;"><span style="line-height: 15px;"><span style="font-family: inherit;">If you have any doubt that music builds the mind and can change the world, please read Shinichi Suzuki's autobiography called "<a href="http://www.amazon.com/gp/product/0874875846?ie=UTF8&tag=classiccom0d-20&linkCode=xm2&camp=1789&creativeASIN=0874875846">Nurtured by Love</a>" In this book, Suzuki tells the story of a dinner party he attended in Germany where he had a conversation with Albert Einstein. Einstein told Dr. Suzuki, that he believed that his study of the violin trained his mind in a way that allowed him to discover the theory of relativity. </span></span></span></span><br />
<br />
<span style="font-size: small;"><span class="text" style="font-family: inherit;"><span style="line-height: 15px;"><span style="font-family: inherit;">Meanwhile, college bound high school students, be sure to highlight your musical training on your college applications. </span></span></span></span>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-59993870086896673902010-10-25T06:55:00.000-07:002010-10-25T13:16:29.298-07:00Detroit Symphony Strike, part 2<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHPS_1Etzaph57bzuen6046hdiozXUZhdD_MBI7Ld1ac5hHnlITOHfNLyr861dO4u3PHepCBcT5mTPR-DSIC5kvytaH9_IANyWxfiTjrmt6pjxDPCq5wYRgYol3-rchdGcgnlYLiuGsmq_/s1600/detroit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHPS_1Etzaph57bzuen6046hdiozXUZhdD_MBI7Ld1ac5hHnlITOHfNLyr861dO4u3PHepCBcT5mTPR-DSIC5kvytaH9_IANyWxfiTjrmt6pjxDPCq5wYRgYol3-rchdGcgnlYLiuGsmq_/s320/detroit.jpg" width="320" /></a></div>What about "Detroit's Economic Crisis" is difficult for musicians to understand? I'm not clear as to why the Detroit Symphony musicians think that Detroit can continue to sustain a world class orchestra. There is an excellent <a href="http://www.race-talk.org/?p=5468">blog</a> written on Sept. 1, 2010 by Austin McCoy called "Detroit: the forgotten center of crisis and hope." In it Mr. Austin relates the following statistics. <br />
<br />
<i>Detroit has gone from being known as the “arsenal of democracy” to the poster child for government disinvestment, deindustrialization, and capital/white flight. All of these factors contributed to the city’s inability to adjust to broader economic restructuring.<a href="http://www.race-talk.org/?p=5468#_edn4">[iv]</a> Detroit has lost almost half of its population between 1950 and 2002.<a href="http://www.race-talk.org/?p=5468#_edn5">[v]</a> According to sociologist William Julius Wilson, the city shed 51 percent of its manufacturing jobs between 1967 and 1987.<a href="http://www.race-talk.org/?p=5468#_edn6">[vi]</a> </i><br />
<i><br />
</i><br />
<i>..less than 20 percent of the jobs are now located within three miles of the city center.”<a href="http://www.race-talk.org/?p=5468#_edn7">[vii]</a> This explains why one notices that the central business district resembles a virtual ghost town after business hours.....Detroit has also closed almost half of its schools since 2005....</i> <br />
<br />
Now, couple this bleak data with the recent bailout of GM and Chrysler and I'm not sure how the Detroit Symphony musicians can justify or even imagine maintaining their $100,000/year plus salaries. I'm sure the auto industry in Detroit has been a generous benefactor of the symphony in years past, but I can't imagine the public relations nightmare that would ensue if they continued this tradition after the recent federal bailout. Explaining how they can give money away after a federal bailout would be cause for another tough round of testifying before a Senate committee in Washington. <br />
<br />
Let me be clear, musicians in world class orchestras should be paid a minimum of $100,000/year. Becoming a professional musician is a long, arduous and very expensive process. However, world class orchestras reside in world class cities, a title that Detroit can no longer lay a claim to holding.ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com5tag:blogger.com,1999:blog-1993713916280980084.post-77165267137214935902010-10-16T11:34:00.000-07:002010-10-25T13:17:10.636-07:00Economic Reality Check for Musicians<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WneC5ziCYYEnrLgNE6LKx-b0ZEgFE-KG3GTB0Za45wpg0tniBx7rKX_fvI0vFb_XvttU5J9RfR57Dj3kBjzOaDv0xsa4opRg7bWD3oaDaxwEUGDY8IcqFkyOmKqv0A_PKOqyWTEsPOZe/s1600/digital+head+shot+cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WneC5ziCYYEnrLgNE6LKx-b0ZEgFE-KG3GTB0Za45wpg0tniBx7rKX_fvI0vFb_XvttU5J9RfR57Dj3kBjzOaDv0xsa4opRg7bWD3oaDaxwEUGDY8IcqFkyOmKqv0A_PKOqyWTEsPOZe/s320/digital+head+shot+cropped.jpg" width="320" /></a></div>The recent strike held by Detroit Symphony musicians brings a flood of thoughts to my mind. I share these ideas constantly with my colleagues, but now I think it is time to go beyond the circle of friends who have been traditionally subjected to my "musings." <br />
<br />
Before I begin, let me preface these thoughts with a notification that I am a professional musician in the Washington DC area. I am a union member (but not by choice) and I am currently exhausted from a run-out concert that had me out until 1am last night and I am pumping myself up with caffeine in an effort to pull myself together for another performance tonight. In short, I am in the trenches too and not delivering this sermon from some lofty podium or living some elite life that is untouched by the economic realities of life as a classical musician.<br />
<br />
Ok, here it goes.....I have never been able to wrap my mind around the concept of musicians having a "strike." To me it is the most self-destructive action any musician can ever undertake. I was going to school in Baltimore while the Baltimore Symphony strike was occurring in 1989-1990 and to this day I believe that they have never fully recovered from the damage that was done to the orchestra during that strike. <br />
<br />
Let's just start with "economics 101." <br />
<br />
Let's say a musician in an orchestra is making $100,000/year from their orchestra salary. If they go on strike for 6 months, they loose $50,000 worth of income. (Note, I understand they get union subsidies during this strike, but that is the same as receiving an insurance payout. Basically, you are just getting back what you have paid in over the years, so it is a break even proposition at best.) If the strike is not advocating a raise, but just a maintenance of salary, it will take 10 years for an individual musician to recoup the income that was lost over 6 months, if indeed it is ever recovered.<br />
<br />
Meanwhile, the strike has also cost the orchestra dearly in terms of public relations, fund raising opportunities, corporate support, not to mention the rancor and ill will that is generated behind the scenes between board members, the administration and even within the ranks of the musicians themselves. In short, the strike just made it astronomically more difficult to achieve the very thing the musicians were demanding in the first place, namely long term economic security. <br />
<br />
I've also never understood the attitude from musicians that generates the statement "They" won't give us more money (or whatever is being negotiated). Who is "they?" Could they be talking about the board members who have volunteered and usually pay a fee for the <span class="med">privilege of trying to support an important community institution? Remember that orchestras are not-for-profit endeavors. In other words, when the workers are denied a raise, the "extra" money that is left over, does not go into the pockets of stockholders. No one derives a benefit from not giving the musicians more money. I cannot believe that any board member wants to have their name associated with economic or artistic failure of the organization they are supporting. They are usually on the board because they are leaders in some segment of the for-profit world and understand the benefit of the institution to the community. These are people who are unfamiliar with failure and do not like that word associated with their name and reputation.</span><br />
<span class="med"><br />
</span><br />
<span class="med">I don't think the "they" is the administration either. In the organizations that I work for, the administrative staff usually takes the first hit and suffers much earlier than the musicians. They lose jobs, take pay cuts, etc. before the musicians are ever asked to sacrifice. Since they are the first to go and the first to suffer, they have a vested interest in keeping the organization economically healthy. That is not to say that there is not sometimes incompetency in administration, but hopefully the board is vigilant and will address that issue. </span><br />
<span class="med"><br />
</span><br />
<span class="med">I have much more to say on this subject and will continue to do so in the coming days, but since this is a blog and not a dissertation, I will stop here for now. I welcome feedback and dialogue on this topic as long as it doesn't result in name calling and personal insults. Let's keep it civil and useful. </span>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com5tag:blogger.com,1999:blog-1993713916280980084.post-17522515824987853512010-10-04T05:59:00.000-07:002010-10-04T07:34:09.922-07:00Classical Music Identity Crisis<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA9a9CjoNRQSPI4hEDRI0bCJxBEad1iIunstfodap1Revo-Nh7aOGHEbiK7TEVnrUNd-cQR7Yezir8UTwyBkkaVHljxVenMzsKL5G2ZKYBPBc4wef98UAirTtP0No7W7c_xiI6KozR6L_9/s1600/digital+head+shot+cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA9a9CjoNRQSPI4hEDRI0bCJxBEad1iIunstfodap1Revo-Nh7aOGHEbiK7TEVnrUNd-cQR7Yezir8UTwyBkkaVHljxVenMzsKL5G2ZKYBPBc4wef98UAirTtP0No7W7c_xiI6KozR6L_9/s320/digital+head+shot+cropped.jpg" width="320" /></a></div><br />
Just read Anne Midgette's article about "<a href="http://www.classicalmusiccity.com/search/article.php?vars=291/Classical-Crossover.html">Classical Crossover</a>" and it speaks to an issue that most classical musicians and the people who love classical music are struggling with for the past decade. Namely, how do we now define classical music? For years, recording labels have padded classical music sales figures by mixing in the sales from Broadway showtune albums, but I doubt there are many of us within the classical music industry who would really consider the theme from "Cats" as part of our genre. <br />
Now comes Renee Fleming with her new album "<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1573">Dark Horse</a>" and Sting with "<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1574">Symphonicities</a>." Do we invite them in? My mind immediately says "yes" to Renee Fleming, because, well, she is Renee Fleming and she is "one of us," so therefore it has to be "classical." The same goes for Yo Yo Ma. I'm not so sure about Sting, however. Andrea Bocelli gets a "maybe" in my book. Yes, he does sing opera, but I never thought he was actually that good at it. I think his success grew out of his appeal to the non-classical music audience, so I am left feeling skeptical.<br />
<br />
<a href="http://mycity.classicalmusiccity.com/MarkOConnor">Mark O'Connor</a> is another artist who leaves me confused. I have always felt a little naughty and guilty for my attraction to his music. Two things tend to help me justify him as an genuine "classical music" artist. First, he composes works for full symphony orchestras. (This tends to justify my inclusion of Sting into our club, too). Writing a composition for a symphony that includes multiple movements which are tied together in some meaningful manner is no small feat. Mark O'Connor's album "<a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1609">Midnight on the Water</a>" also helped me welcome him into the pantheon of classical music composers. While it still has pieces like "River Out Back", it also has lots of Caprices. The word "Caprice" is derived from the Italian word "Cappricio" which was first used in 1665, according to Webster's dictionary. Any music that has it's roots in the year 1665 has to be classical.<br />
<br />
Then there are classical musicians like Nigel Kennedy and Nick Kendall (<a href="http://www.classicalmusiccity.com/search/video.php?vars=557/Bach-Double-Time-for-Three.html">Time for Three</a>) who can take hard core classical music (Vivaldi's Seasons and Bach's Concerto for Two Violins in d minor, respectively) and somehow make them seem like pop music. Talk about total genre identification confusion.....<br />
<br />
So, I have come up my own personal criteria for how to define what is classical music.<br />
1) Who is performing it? Did they spend their first 10 years of their career on stage at Carnegie Hall or in nightclubs?<br />
2) Have they undergone the rigorous, grueling, intense, often demoralizing, formal training at a highly recognized school of music? (Hey I put in my years in music boot camp, and I'm not letting anyone else in unless they have suffered as I have.)<br />
3) Question #2 among classical musicians, invevitably leads to Question #3, which is "who is your teacher?" If you don't understand this question, then you are not a classical musician and neither is your music.<br />
4) Does the music make money? If the answer is "yes", then questions 1, 2 and 3 are now irrelevant and you are welcome into the classical music genre.<br />
<br />
If you have comments, please share!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-37394592904783496502010-09-30T15:07:00.000-07:002010-09-30T15:13:41.101-07:00Too Good to Be True? Rockville Restaurant Week: October 4th - 10th!<div class="separator" style="clear: both; text-align: center;"><a href="http://www.rockvillerestaurantweek.com/"><img border="0" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZXNyxKT1kKhOur9hgeov4DX4hLtFtGD6yM45QzDMO7i93t6PWz5ib0lFfj0g91Afv_mhyphenhyphenmByoAfnhxqfN4DZL3Ow_c1-wC4CQ6Jf1PPPmUOunuMnAN3TtJaGMaE7Y_OZeiMkJEBnNSlt0/s320/Screen+shot+2010-09-30+at+6.05.36+PM.png" width="320" /></a></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><br />
</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;"><br />
</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">During the <a href="http://www.nationalphilharmonic.org/"><span style="text-decoration: underline;">National Philharmonic Orchestra</span></a>’s busy winter season starting in early October at <a href="http://www.strathmore.org/"><span style="text-decoration: underline;">Strathmore Hall</span></a>, 100 or so musicians begin foraging for fine grub in the brief couple of hours between the end of early evening rehearsals and that night’s performances (you know who we, er, you are). </span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">And the logics of geography bring us to one of Maryland’s finest culinary centers -- Rockville! We have enjoyed many a meal at exciting restaurants like <a href="http://aminathai.com/"><span style="text-decoration: underline;">Amina Thai</span></a> and Pho, and now it seems like the Chamber of Commerce gods are smiling on we humble classical musicians in the coming weeks.</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span></div><div style="color: #333233; font: 12.0px Tahoma; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="font: normal normal normal 12px/normal Helvetica;">From October 4 through October 10, the <a href="http://rockvillechamber.org/"><span style="text-decoration: underline;">Rockville Chamber of Commerce</span></a> is presenting <b><i>Rockville Restaurant Week</i></b> with “</span><span style="letter-spacing: 0px;">special prix-fixe menus, priced at either $8 lunch/$15 for dinner or $10 lunch/$25 dinner, and 31 restaurants to choose from.” Yum. </span></div><div style="color: #333233; font: 12.0px Tahoma; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span></div><div style="color: #333233; font: 12.0px Tahoma; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">Their special Restaurant Week website is at <a href="http://www.rockvillerestaurantweek.com/"><span style="font: normal normal normal 12px/normal Tahoma; text-decoration: underline;">www.rockvillerestaurantweek.com</span></a>. </span></div><div style="color: #333233; font: 12.0px Tahoma; margin: 0.0px 0.0px 0.0px 0.0px; min-height: 14.0px;"><span style="letter-spacing: 0px;"></span></div><div style="color: #333233; font: 12.0px Tahoma; margin: 0.0px 0.0px 0.0px 0.0px;"><span style="letter-spacing: 0px;">See you there! </span></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-50858690863176770112010-09-17T12:12:00.000-07:002010-09-17T12:16:09.726-07:00Always Room 4 Cello<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5BBHY6KZK_JnlsD8NRdasGVeU3bcHh-k_VrsvM-SLb5NsQXuRuEGhAV8KLKNdDcMBGi8SvntQCPR-YLRMcRQI9BJN1EnhvHlQlx29ZSweBBPI-4t-elA5lgRU8LLgUEf391n8vpIMznvM/s1600/cello+rap.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5BBHY6KZK_JnlsD8NRdasGVeU3bcHh-k_VrsvM-SLb5NsQXuRuEGhAV8KLKNdDcMBGi8SvntQCPR-YLRMcRQI9BJN1EnhvHlQlx29ZSweBBPI-4t-elA5lgRU8LLgUEf391n8vpIMznvM/s200/cello+rap.jpg" width="200" /></a></div>At ClassicalMusicCity.com we search the internet for the best in classical music video, so you won't have to! Our goal is to create a safe haven where students, parents, teachers, classical music fans can wander and discover fun, as well as, useful video of classical music performances, masterclasses, lessons and even comedy. The video <a href="http://www.classicalmusiccity.com/search/video.php?vars=913/Always-Room-4-Cello.html">"Always Room 4 Cello</a>" is an excellent example of what we want visitors to experience in The City. This highly creative and entertaining video contains all the things that cello teachers constantly tell students to remember, but in a rap style. As parent (and teacher) this one made me laugh out loud. Very motivating for cellists of all ages and the messages might even stick with young students who give it a listen.<br />
<br />
To see the latest video that has been added to the site just go to <a href="http://www.classicalmusiccity.com/">www.ClassicalMusicCity.com </a>, and scroll down the page. Or click on the "<a href="http://www.classicalmusiccity.com/search/category.php?vars=Movie-Theater/index.html">Movie Theater</a>" icon in the colorful city map and then choose from dozens of "Theaters." Only the best, highest quality video is allowed to take up residence in the city. Any concert footage you see, represents the best of the genre. No sloppy camera work or poor sound quality. We also offer lots of exclusive video that can only be found in ClassicalMusicCity.com For a taste of some of this exclusive footage visit the page for the <a href="http://mycity.classicalmusiccity.com/nationalphilharmonic">National Philharmonic</a> and watch masterclass footage and interviews of great artists like Soovin Kim and Nic Kendall.<br />
<br />
If you have a video that you think meets our standards and should be showing in the ClassicalMusicCity.com theaters, let us know by clicking <a href="http://www.classicalmusiccity.com/search/video_create.php">here</a>. <br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxUkHcOvvPZr2zSi41B012ZJBPAdDDaPUGT8sRp-kYyMAG1hNub0a_qVbg4K6z4uSoYPgIvg2XCS5jYBdkR' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-75141382978097636642010-09-15T05:07:00.000-07:002010-09-15T05:07:19.693-07:00To our visitors<div><i>Dear <a href="http://classicalmusiccity.com/" target="_blank">ClassicalMusicCity.com</a> Readers:</i></div><div><i><br />
</i></div><div><i>I wanted to take a moment to say how much we here at <a href="http://classicalmusiccity.com/" target="_blank">ClassicalMusicCity.com</a> appreciate the interest and loyalty you have demonstrated with respect to our project. </i></div><div><i><br />
</i></div><div><i>When we started this 3 years ago, we had no idea what to expect and what sort of impact we might make within the classical music community. What was then the basis for our "master plan," has since evolved in ways no one could have anticipated. We knew we wanted to be a resource of valuable information, but we also wanted to try to bring musicians together and connect with each other to keep abreast of personal and professional developments, needs and activities. Your emails, calls and even stopping me after a performance or on the street to mention CMC has been very gratifying. </i></div><div><i><br />
</i></div><div><i>I also wanted to let the music-related businesses know that we have just successfully developed and uploaded the information many of you have requested regarding sponsorship opportunities on the website. We gave this issue a great deal of thought, and as with any online publication or community, such sponsorships are the most viable way to keep <a href="http://classicalmusiccity.com/" target="_blank">ClassicalMusicCity.com</a> operating. Please know, however -- to you potential business and organization sponsors and musician and music fan readers -- that we intend to keep a pretty tight reign on what is allowed on the site. If it does not directly impact or provide goods and services of interest to the classical music community, we will likely recommend other websites for you to consider. CMC is run by classical musicians for classical musicians and those interested in classical music, and blinking sponsorship spots for the Ronco Pocket Fisherman, as fine a product as I'm sure it is, will not be seen here. (Although we have done a great deal of research, and through my own industry knowledge, decided we would be remiss if we did not permit the inclusion of the cars we drive, the OTC pain relievers we take for our tortured fingers and joints and the CPA, travel, insurance and other services we need. So, businesses and organizations, I encourage you to contact us if you would like to reach this highly specialized and important group. And musicians and other readers, I encourage you to consider working with and patronizing our sponsors. This is your community.)</i></div><div><i><br />
</i></div><div><i>And finally, I just wanted to add that one of the accomplishments of which we are the most proud is our commitment to and zero tolerance policy of anything that is not children and family friendly. Please know that we are vigilant about protecting the integrity and content of <a href="http://classicalmusiccity.com/" target="_blank">ClassicalMusicCity.com</a>. If you see something that may be inappropriate, contact me immediately at <a href="mailto:freeman@ClassicalMusicCity.com" target="_blank">freeman@ClassicalMusicCity.com</a>. It will be removed and permanently resolved immediately. </i></div><div><i><br />
</i></div><div><i>Thank you again, everyone. Please look for continued growth, greater ease of use and increased interesting and relevant content and resource information. </i></div><div><i><br />
</i></div><div><i><span style="font-style: normal;"><i><span style="white-space: pre-wrap;"> </span>"To talk well and eloquently is a very great art, but that an equally great one is to know the right moment to stop."</i></span></i></div><div><i><span style="font-style: normal;"><i><span style="white-space: pre-wrap;"> </span><span style="font-size: small;"><span style="font-size: 12px;">Wolfgang Amadeus Mozart</span></span></i></span></i></div><div><i><br />
</i></div><div><i>SIncerely,</i></div><div><i><br />
</i></div><div><i>Phyllis Freeman, Publisher</i></div><div><i><a href="http://classicalmusiccity.com/" target="_blank">ClassicalMusicCity.com</a></i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLWUYgWoJxnhg9cmq3WkuVhRVPXbFphhma4icJagaHVNc_VdoPRNa9y_N8MS-OyFjcmld8EJf8h3_RjUc8NzG8wFTHRjNdKgEfTKAAPWZZDJ3M7YnVgzs-1kRZG46mTwmvfUYYFn3N9sd2/s1600/digital+head+shot+cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLWUYgWoJxnhg9cmq3WkuVhRVPXbFphhma4icJagaHVNc_VdoPRNa9y_N8MS-OyFjcmld8EJf8h3_RjUc8NzG8wFTHRjNdKgEfTKAAPWZZDJ3M7YnVgzs-1kRZG46mTwmvfUYYFn3N9sd2/s320/digital+head+shot+cropped.jpg" /></a></div><div><i> </i></div><div><i><br />
</i></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-45258811215650606482010-09-01T06:17:00.000-07:002010-09-08T08:05:26.059-07:00Types of StringsHere is a very useful explanation of the different types of strings courtesy of <a href="http://www.sharmusic.com/">www.Sharmusic.com</a><br />
<br />
<br />
Most strings are offered in thin, medium, and thick gauges. A player may choose various gauges to enhance different types of playing, to create a certain instrument sound, or other possible reasons. Most players use medium gauge strings. Pirastro Eudoxa and Olive strings are available in very specific gauges that are measured in “Pirastro Measure” numbers. The gauge numbers indicate the thickness of the strings in millimeters multiplied by 20. The bigger the number, the thicker the string.<br />
<br />
<b> Thin: Dolce, Weich, Soft or Light</b><br />
Thin-gauged strings are generally used by players who are more concerned with a clear beautiful sound when the instrument is played softly. Thin strings are not necessarily softer in volume, they just facilitate soft playing. Adversely, they generally do not respond well when played very loudly.<br />
<br />
<b> Medium: Mittle </b><br />
Most players use a medium gauge string. Medium-gauge strings are generally sufficient on most instruments for any kind of playing style.<br />
<br />
<b> Thick: Forte, Stark, Orchestra, or Strong</b><br />
Thick gauged strings are preferred by players who use more weight in their bow strokes and who do a lot of playing where increased volume is needed. Thick strings are not necessarily louder in volume, but they do facilitate loud playing. They generally do not respond well when played softly.ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-89793578155829060682010-09-01T04:55:00.000-07:002010-09-01T06:18:00.657-07:00Suggestion for Parents of CellistsBesides my life as a teacher, performer, arts administrator and CEO of ClassicalMusicCity.com, I also am a parent to three children. My youngest one is a cellist who started middle school this year. My older two children played viola and violin and I used to just rent a second instrument for them to use at school, in order to avoid A) having to remember to take an instrument every other day and B) avoid taking a string instrument on the bus. Renting a cello, however, is about twice as expensive as renting a violin or viola and it turns out that the middle school has a fleet of 3/4 size cellos. I decided to take the chance and let my 11 year old spend 1 1/2 hours every other day playing what might be an instrument of questionable quality. I was worried about what it might do to her technical skills (which we are always working on) to play an instrument that might have too much string tension, poor strings, etc. I spoke to the orchestra teacher about my concerns and he assured me that even though the instruments were not great, they were okay. He did say that the cello bows were pretty bad, which gave me an idea. I decided to go ahead and purchase a 3/4 size carbon fiber Cadenza 301 cello bow for her to use at school. The bows are very even and stable and she will just keep it at school, so the durability of a carbon bow is a big plus for anything that is used in a middle school classroom.<br />
<br />
For anyone out there who is interested in doing the same, I recommend this 20% off sale from Prodigy Instruments. Shipping is free, so even with tax, I was able to purchase a 3/4 size Cadenza bow for at total of $122.96. I also figure that when she outgrows the 3/4 size bow, I can just donate it to the school and get a tax deduction, which further lowers the actual "cost" of the bow. Even better, the school now has a great cello bow for student to use for years to come.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="36" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcO_q-Iw7QUF5GGNCqYgsh4_bsvk_lcd7ndAAynREMK7mUP9H45JHGihXYfEw6z7cZ5VQwI6k2tSrocPm-Ni5DnWlC5p2FHim36s0F35UYjlLxVeVOqxAtJc1QkHPCsJhXkdXTQN-m78IM/s320/prodigy.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.prodigyinstruments.com/bows.asp?v=g23j">http://www.prodigyinstruments.com/bows.asp?v=g23j</a></td></tr>
</tbody></table>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-31801078024313227052010-08-30T17:42:00.000-07:002010-08-30T17:42:39.144-07:00Opera in the Outfield, Even Better than Baseball<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Fxye8ZbY_2kCD3e7x72A4ltBKUx8rKpnsD4zzWVDd6xvH-bmkJ4wA8TWTnBYxQ0a87gwDxvEFyegOuhj476h-rxreXrZdgULKuD81Fbwm1fxcELcE8vZmXOrg7sI_yiAdOoRgI71SZnO/s1600/opera+in+outfield.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Fxye8ZbY_2kCD3e7x72A4ltBKUx8rKpnsD4zzWVDd6xvH-bmkJ4wA8TWTnBYxQ0a87gwDxvEFyegOuhj476h-rxreXrZdgULKuD81Fbwm1fxcELcE8vZmXOrg7sI_yiAdOoRgI71SZnO/s400/opera+in+outfield.jpg" width="400" /></a></div><br />
The Washington National Opera will once again be providing thousands of people the opportunity to see great opera for free in a most unusual venue, Nationals Park. I have personally taken many teenage violin students to this annual event and they have come away big opera fans. If you have never been to an opera, this is a great way to start. It is relaxed, casual, FREE and you can eat hot dogs and drink beer while you watch the opera on the enormous screen. You can even spread a blanket in the outfield where children have room to wiggle. Personally, I find some comfort in the notion that the sound of opera is wafting out across DC courtesy of the PA system in Nationals Park. This year's opera is Verdi's "Masked Ball" which is simulcast live from the Kennedy Center. Best of all, this event is free thanks to Target and the M&M Mars Company.<br />
<br />
Usually the event has been held after dark on a Saturday evening, which makes the screen images bright and crisp. I'm wondering how the 2:00pm start time on Sunday afternoon (Sept. 19th) will affect the experience. The crowd size had increased dramatically last year, from previous years, so the advanced reservations are probably a good idea. A big thumbs up on this event!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fTovSS1xr1Fa34oR3aNkiWMQAg2xtubtPZgC0VxJLggjnTll35h28Z25C7hjBVN_gs3CawrREGyl6odmZTD1gG6VY4cx9gMBiipee1JpwRtKtGi2oZ3EA-t1jjp3uC8XO7dbRhkZoyy5/s1600/ring_200x300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8fTovSS1xr1Fa34oR3aNkiWMQAg2xtubtPZgC0VxJLggjnTll35h28Z25C7hjBVN_gs3CawrREGyl6odmZTD1gG6VY4cx9gMBiipee1JpwRtKtGi2oZ3EA-t1jjp3uC8XO7dbRhkZoyy5/s320/ring_200x300.jpg" /></a></div><br />
<br />
<strong>Starring:</strong><br />
<strong>Salvatore Licitra</strong> as King Gustavus III<br />
<strong>Luca Salsi</strong> as Count Anckarström, the King’s best friend and advisor<br />
<strong>Tamara Wilson</strong> as Amelia, Anckarström’s wife and Gustavus’ secret love<br />
<strong>Micaëla Oeste</strong> as Oscar, a page in Gustavus’ court<br />
<strong>Elena Manistina</strong> as Mam’zelle Arvidson, a fortune teller<br />
<strong>Kenneth Kellogg</strong> and <strong>John Marcus Bindel</strong> as Count Ribbing and Count Horn, conspirators against the crown<br />
Conductor………………………………Daniele Callegari*<br />
Director………………………………James Robinson*<br />
Set Design………………………………Allen Moyer<br />
Costume Design………………………………James Schuette*<br />
<br />
You can make reservations by clicking <a href="http://www.dc-opera.org/outreach/simulcast/register.asp">here</a>.ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-86746102107270217872010-08-12T18:05:00.001-07:002010-08-12T18:15:49.725-07:00ZING! Go the strings of my tot.<span xmlns=""></span><br />
<span xmlns="">Or<br />
</span><br />
<b><span xmlns="">How to find a good string instrument for your child.</span></b><br />
<span xmlns=""><br />
</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbcOLGNH9cgUYFMHzCIJ8owaShQ8O1QXr-62xQVp-xhFZa0FyEHnKtG1s7hglZl6QEVEfa08oHNsnmKq77sHPtDQmd756ADX3W8zTB4hhYXjNwXELg0gb5mqes1dqQXCpViWGyXJyFfIc/s1600/digital+head+shot+cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrbcOLGNH9cgUYFMHzCIJ8owaShQ8O1QXr-62xQVp-xhFZa0FyEHnKtG1s7hglZl6QEVEfa08oHNsnmKq77sHPtDQmd756ADX3W8zTB4hhYXjNwXELg0gb5mqes1dqQXCpViWGyXJyFfIc/s200/digital+head+shot+cropped.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This blog is by Phyllis Freeman</td></tr>
</tbody></table><span xmlns=""><br />
</span><br />
<span xmlns="">You (or your child) has decided that they could benefit from learning to play violin, viola, cello or string bass. Congratulations, and we welcome you to an exciting and rewarding world of music making. <br />
</span><br />
<span xmlns="">One of the first questions that may immediately come to mind as you begin this journey is "Where do I get a quality instrument?" Finding a first instrument that is responsive and has a beautiful sound is a critical first step when learning to play a string instrument. This is especially true when procuring an instrument for a child. Here are a couple of guidelines:</span><br />
<span xmlns=""><br />
</span><br />
<span xmlns="">1) <b>Find a reputable <i>string</i> instrument dealer</b>. If you walk in the door of the shop and see flutes, drums or trumpets, immediately turn and leave. String instruments are a specialty item and if a store offers a variety of instruments, that often means they are less likely to provide the string specialists that you will find in shops that exclusively deal in string instruments.<br />
</span><br />
<span xmlns="">2) If your child is first starting with a private teacher, <b>consult with the teacher</b> before making any commitment. Most string teachers have established relationships with string instrument dealers. These dealers know the teacher's preferences in terms of shoulder rests, strings and instrument brand. Since the teacher probably sends significant business to a particular shop, you are also more likely to get "priority" service. Every teacher has slightly different preferences when it comes to how an instrument 's tone quality and how it is "set up" (chin rest, shoulder rest, type of strings, etc.) A store that consistently deals with a teacher will have this information and can therefore provide an instrument to the particular teacher's exact specifications. It is important to remember that string instruments come in a variety of sizes and young children need to be "sized" for an instrument. It is very frustrating for a child to try to learn to play an instrument that is too large for them. Matching the size to the player is a determination best made by a string specialist. Ask the person with whom you are interacting at the string shop whether or not they are a professional string player themselves. (Based on their response, your common sense should kick in about what to do next.)<br />
</span><br />
<span xmlns="">If your child is beginning in a school program, ask the school's string teacher. Most string teachers will hand out a list of recommended shops. Keep in mind, however, that they are often obligated to give you the names of all shops, even those that might not provide the best service, instruments and experts. Instead, ask the teacher where they take their instrument when it needs to be worked on or from whom they purchased their instrument.<br />
</span><br />
<span xmlns="">3) <b>Stay off the Internet</b>. Yes, it is tempting when you see those rock bottom prices for violins from China, but unfortunately the quality is often very poor and many of the instruments virtually unplayable. I have actually seen instruments that could not even be tuned because the quality was so poor. You will also be stuck with the instrument for life, because few decent string shops will take these instruments in on trade. Also, shops like to deal in their own "brands" and usually won't take other brands in on trade. Don't let price be the determining factor when selecting an instrument. You will not have "saved" any money if the child is frustrated and quits because of trying to play an inferior instrument. As by way of analogy, consider the quality of and the money you spend on sports equipment <br />
</span><br />
<span xmlns="">4) Ask the following questions of the sales person before signing on the dotted line:<br />
</span><br />
<span xmlns=""><b>How much is the most expensive violin, viola, cello, bass in your store? </b>The higher the figure, the better. First, it likely gives a more accurate snapshot of the overall quality of the shop. It may indicate they take this business seriously, and are willing to invest and maintain an expensive, high end inventory are prepared to be around for the long run—for themselves and your child. Consider too, that with good instruction, your child might really get into this, and it is not uncommon for parents to pay $15,000 for a violin (even more for a cello) for an advanced teen. That may seem inconceivable now, but music can change children for the better. It opens doors in life that you have not even considered. Cross that bridge when you get to it, but know that there are options should that point in time come, and you would be making an investment in your child—and the instrument. So, plan to plan ahead a bit. Their involvement may lead to wonderful and creative things. It does every day.<br />
</span><br />
<span xmlns="">This leads to the next question:<br />
</span><br />
<span xmlns=""><b>What is your trade in policy? </b>Remember, most children are not starting on full sized instruments, so as they grow you are going to need to have instruments that grow with them. <br />
</span><br />
<span xmlns=""><b>Renting vs. Purchasing: </b> If you are with a good shop, then this question simply comes down to your personal cash flow. Many shops will credit your rental payments up to a certain amount and then apply it towards your eventual purchase.<br />
</span><br />
<span xmlns=""><b>Used vs. New: </b>Believe it or not, used is often better. Remember the great Italian instruments are hundreds of years old and therefore "used." As long as the instrument is in good condition (no cracks, open seams or disfiguration), old and used are fine.<br />
</span><br />
<span xmlns=""><b>Insurance: </b>Many shops will offer "instrument" insurance. You should check with your homeowners insurance agent and be absolutely certain that an instrument is covered under your policy. If there is any question, take the shop up on the instrument insurance offer, especially for cellos. A child who can leave his or her lunch on the bus can do the same with a musical instrument. There is also the risk of the instrument being damaged if it is dropped or bumped into. <br />
</span><br />
<span xmlns=""><b>Carbon Fiber vs. Wood Bows: </b> Strongly consider carbon bows for kids. The bows are less fragile and usually much more "stable" and "even" the than wood bows that can often cost twice as much. Plus, the kids love the colors of the carbon bows and may become much more engaged just because their bow is purple or red. Give the child some say on the color selection, it will give them a greater appreciation of their tools of the trade. <br />
</span><br />
<span xmlns="">This may become something of a hobby for your child or their life's avocation. Music has the power to change lives, and by investing in a quality instrument from the start, you send a message that this is an endeavor to be taken seriously.</span><br />
<span xmlns=""><b><br />
</b></span><br />
<span xmlns=""><b><br />
<iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=classiccom0d-20&o=1&p=8&l=bpl&asins=B000E9QFLK&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe> </b></span><br />
<span xmlns=""><b><iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=classiccom0d-20&o=1&p=8&l=bpl&asins=1890490997&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe></b></span><br />
<span xmlns=""><b><iframe align="left" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=classiccom0d-20&o=1&p=8&l=bpl&asins=0739048112&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"></iframe><br />
</b></span><br />
<span xmlns=""></span>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-11048274763272841842010-07-30T10:32:00.000-07:002010-07-30T10:32:03.002-07:00Violin Pedagogy Tip<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPgMYNp15nZRb4rtYp9Sn2EExuL8yvsQbCJTl6PJgz9vPh_BBl5uVfXd9i4CJXVLab1qovc1Iuyp4cSZQOclPTJIvLFcnjMdLgr3uwOVmYrt12V0ycbr9lIPO9ACINjAxsi3kw-0j9CT6O/s1600/147_thumb_1279061560.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPgMYNp15nZRb4rtYp9Sn2EExuL8yvsQbCJTl6PJgz9vPh_BBl5uVfXd9i4CJXVLab1qovc1Iuyp4cSZQOclPTJIvLFcnjMdLgr3uwOVmYrt12V0ycbr9lIPO9ACINjAxsi3kw-0j9CT6O/s320/147_thumb_1279061560.jpg" /></a></div><br />
After teaching a Violin Pedagogy class at Peabody last week, a comment from a Conservatory pedagogy student, whom I had taught during her high school years, struck me. After working on ways to help young students learn to balance the bow comfortably at the frog, she said “Oh, now I REALLY understand what you were doing with my bow arm all those years!” While it may seem like an insult to our teaching when a student doesn’t fully understand what we have been doing, I think it is a reminder, instead, that even when the motor memory takes over as we work on physical aspects of playing, it is often later that a string player fully understands the concepts behind the motions. Now that she is more mature and is revisiting her own playing from a teacher’s perspective, all those years of martelé strokes and “wobbling” at the frog are making sense on many levels and her own playing is falling beautifully into place with fuller understanding. What does this mean to younger students and parents? It means just keep doing those warm ups every day so you develop freedom and fluidity in your playing, and ask your teacher questions along the way.<br />
<br />
Rebecca Henry<br />
String Dept. Chair<br />
Peabody PreparatoryClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-18976951480315277262010-07-30T09:59:00.001-07:002010-07-30T10:05:41.262-07:0010,000 Hours of Practicing<div class="MsoNormal" style="line-height: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">The following is an excerpt from Malcolm Gladwell's latest book, "The Outliers, the story of success." This book will challenge your ideas regarding how an individual becomes "successful." This is from a chapter called "The 10,000 hour rule." All music students should read this excerpt and parents read the entire book. It will change the way you look at practicing!</span><br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><a href="http://www.classicalmusiccity.com/classifieds/classified.php?n=1445/Outliers-the-story-of-success">BUY THE BOOK</a></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><br />
</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></div><div class="MsoNormal" style="line-height: normal;"><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">……”achievement is talent plus preparation. The problem with this view is that the closer psychologists look at the careers of the gifted, the smaller the role innate talent seems to plan and the bigger the role preparation seems to play. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: normal;"><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> Exhibit A in the talent argument is a study done in the early 1990’s by psychologist K. Anders Ericsson and two colleagues at Berlin’s elite Academy of Music. With the help of the Academy’s professors, they divided the school’s violinists into three groups. In the first group were the stars, the students with the potential to become world-class soloists. In the second were those judged to be merely “good.” In the third were students who were unlikely to every play professionally and who intended to be music teachers in the public school system. All of the violinists were then asked the same question over the course of your entire career, ever since you first picked up the violin, how many hours have you practiced? </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: normal;"><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> Everyone from all three groups started playing at roughly the same age, around five years old. In those first few years, everyone practiced roughly the same amount, about two or three hours a week. But when the students were around the age of eight, real differences started to emerge. The students who would end up the best in their class began to practice more than everyone else: six hours a week by age nine, eight hours a week by age twelve, sixteen hours a week by age fourteen, and up and up, until by the age of twenty they were practicing- that is purposefully and single-mindedly playing their instruments with the intent to get better- well over thirty hours a week. In fact, by age twenty, the elite performers had each totaled ten thousand hours of practice. By contrast, the merely good students had totaled eight thousand hours, and the future music teachers had totaled just over four thousand hours. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: normal;"><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> Ericsson and his colleagues then compared amateur pianists with professional pianists. The same pattern emerged. The amateurs never practiced more than about three hours a week over the course of their childhood, and by the age of twenty they had totaled two thousand hours of practice. The professionals, on the other hand, steadily increased their practice time every year, until by the age of twenty they, like the violinists, had reached ten thousand hours. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: normal;"><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> The striking thing about Ericsson’s study is that he and his colleagues couldn’t find any “naturals,” musicians who floated effortlessly to the top while practicing a fraction of the time their peers did. Nor could they find any “grinds,” people who worked harder than everyone else, yet just didn’t have what it takes to break into the top ranks. Their research suggests that once a musician has enough ability to get into a top music school, the thing that distinguishes one performer from another is how hard he or she works. That’s it. And what’s more, the people at the very top don’t just work harder or even much harder than everyone else. They work much, much harder. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></i></div><div class="MsoNormal" style="line-height: normal;"><i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> The idea that excellence at performing a complex task requires a critical minimum level of practice surfaces again and again and again in studies of expertise. In fact, researchers have settled on what they believe is the magic number for true expertise: ten thousand hours. </span></i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p></o:p></span></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-36577895640823983582010-07-18T13:33:00.000-07:002010-07-22T08:05:52.577-07:00Welcome to ClassicalMusicConnection.com<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwFRlZFzdFSJa6MuD2JRNE9udlbiVWsoyNwy7B7ax18clOldPfNiEJj7v6JhK36b5-zHOVLSLyDr6mmp3dqpvy7tOlzWofDdFwSbl9SvJgWCTVXVvTgpW6OVOBoC7E-jfmQMehQNZEoedJ/s1600/CMC+-+brochure+image.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"></a><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5496722713877937138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwFRlZFzdFSJa6MuD2JRNE9udlbiVWsoyNwy7B7ax18clOldPfNiEJj7v6JhK36b5-zHOVLSLyDr6mmp3dqpvy7tOlzWofDdFwSbl9SvJgWCTVXVvTgpW6OVOBoC7E-jfmQMehQNZEoedJ/s320/CMC+-+brochure+image.jpg" style="cursor: pointer; float: left; height: 320px; margin-bottom: 10px; margin-left: 0px; margin-right: 10px; margin-top: 0px; width: 223px;" /></span><br />
<div><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline;"></span><span class="Apple-style-span" style="color: #0000ee;"><br />
</span><span class="Apple-style-span" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"></span><br />
<span class="Apple-style-span" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;"><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 506px;"><div style="text-align: center;"><div class="MsoTitle"><b><i><span class="Apple-style-span" style="font-size: large;">THE Social Network For Classical Musicians & Music Lovers</span></i></b></div><div class="MsoNormal" style="line-height: 14px; margin-bottom: 10pt; text-align: justify;"><span style="font-size: 11pt; line-height: 17px;">Are you classical music buff? Always hunting for news, video, information related to classical music? Your search ends here at <a href="http://www.classicalmusiccity.com/">ClassicalMusicCity.com</a>, a fun and entertaining web portal for classical music that includes a <b>socialnetwork for classical musicians, music teaching jobs</b>, events, news, videos, links, products and auditions.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 14px; margin-bottom: 10pt; text-align: justify;"><span style="font-size: 11pt; line-height: 17px;">Keep track of the classical music and artists you love. Whether it<b> </b>is <b>classical music teaching jobs</b>, <b>orchestra auditions</b>, concerts, exclusive video of<b>Classical Music Masterclasses</b>, or utilizing one of our 15 different directories, like our Musician or Teacher Directory, you will find it all here.ClassicalMusicCity.com has over 10,000 pages of content neatly organized and easily accessible. All our content goes through administrative approval, so you will only see the finest quality and user appropriate information on the web.<o:p></o:p></span></div><div class="MsoNormal" style="line-height: 14px; margin-bottom: 10pt; text-align: justify;"><span style="font-size: 11pt; line-height: 17px;">Though classical music appeals to many people, but sometimes the diversity, complexity and even the mystique of "Classical Music" can be rather intimidating. That is why ClassicalMusicCity.com is designed to meet the needs and interests from everyone from the casual listener to both amateur and professional musicians. All that is necessary is a desire to explore and discover new musical territory. The classical music genre is rich enough to provide a lifetime of wonder and surprises, and a nearly limitless potential for discovery makes the journey well worth the effort.</span></div></div></div></span></div>ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0tag:blogger.com,1999:blog-1993713916280980084.post-31274341689568487762010-07-18T13:28:00.000-07:002010-07-22T07:15:26.707-07:00If it's Good Enough for the NFL<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHKX9XOsbKl1J389dHhN3DITss_-JlER7cLhBHfmHTnZOrXDiLW7L0AigWPoUx3_cx39hdogN_SekPLjN_AAYhhJZRQwEWvxHUU15GJkNRklYFnzwR_J9BF2n7kuEe995ShYgr0ZWaQK_b/s1600/CMC+-+Football+Head.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 160px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHKX9XOsbKl1J389dHhN3DITss_-JlER7cLhBHfmHTnZOrXDiLW7L0AigWPoUx3_cx39hdogN_SekPLjN_AAYhhJZRQwEWvxHUU15GJkNRklYFnzwR_J9BF2n7kuEe995ShYgr0ZWaQK_b/s200/CMC+-+Football+Head.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5496733998005164114" /></a><br /><!--StartFragment--> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"><b><i>Video: A Critical Teaching Tool</i></b></span></span></p> <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> I would like to share with you how to use the medium of video quickly, easily and inexpensively to maximize results and shorten the learning curve of your students. I am on the faculty of Peabody Preparatory and I am the director of the Maryland Talent Education Center which offers violin, viola, cello and piano lessons. This center also runs a public school Suzuki string program which serves 90 students in 1</span></span><sup><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;">st</span></span></sup><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> through 8</span></span><sup><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;">th</span></span></sup><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> grades. Videotaping my students is a critical component and one of the most useful and important teaching tool I utilize in all these programs. </span></span></p> <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> As you may have noticed, this current generation of teens is obsessed with looking at themselves. Turn this obsession to your advantage. I have found that one picture is truly worth a thousand words. For example, sometimes, after years of reminding a student to keep their violin scroll higher, I finally show them a video of one of their concerts and they exclaim with amazement that “wow, my scroll really does drop.” (I think that they honestly believe that we make this stuff up!) Video is also a particularly effective teaching tool when it comes to helping students notice issues with intonation, dynamics, posture, stage presence and for string players, bow distribution.</span></span></p> <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> For my public school Suzuki program, we have “video days” where students will perform solo pieces or selections from their orchestra music. I then upload that video to a MY CITY page that I have created for each child in ClassicalMusicCity.com and write a couple of sentences in the “reviews” section. The parent can then reference the video to better understand the suggestions and comments. Parents and their children can watch the video together and discuss what the child is doing well and what would use some attention. This is critical in a program where parents are not present observing the lessons. Students work more consistently and diligently because they love making their videos.</span></span></p> <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> But I also film all the performances of students in the Maryland Talent Education Center and my students at Peabody. The parents in these programs are at the lessons, but I find that the children really benefit from seeing how they have performed in a live concert setting. It is fun, inspirational and educational to watch a child grow and improve over time. It is sometimes hard for a child to see their own progress on a weekly basis, but watching a video from a performance a few years ago, really shows what has been achieved and inspires both parent and child to continue practicing.</span></span></p> <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> In the past it has always been challenging to figure out how to share video with students and parents. There are privacy and quality issues with sites like YouTube. I have found ClassicalMusicCity.com to be the solution. This website was created and designed with teachers and students in mind. It has thousands of pages of video, links, articles, news, events about the classical music industry which can be discovered in the main city. Each of my student’s families has their own “MY CITY” page in the social network area of the site where their video is archived. The MY CITY pages can be set to private, contacts only or public which solves the issue of privacy and safety and the upload system they provide allows for video clips of more than just 10 minutes and the quality is excellent. (Remember, that some quality issues relate to your internet access speed) Just become a member of ClassicalMusicCity.com and there are instructions for uploading video at the top of the MY CITY page. It is simple and best of all, free.</span></span></p> <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;line-height: normal"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> Recently, I have discovered another very important use for each child’s video archives on their MY CITY page. Students have been using a link to their MY CITY page to fulfill the requirements for the Arts Supplement on the Common Application form for undergraduate admissions. Since there is plenty of archived video of live performances, there is no longer a mad rush and the anxiety of putting together audition tapes.</span></span></p> <span style="line-height: 115%; "><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:x-small;"> I encourage you to start using the power of video soon. I believe it is a great shortcut to better results with students. </span></span></span><!--EndFragment-->ClassicalMusicCity.comhttp://www.blogger.com/profile/11063907944029777695noreply@blogger.com0