By Barbra Weidlein

Newer middle- and high-school female band directors typically find they’ve entered a historically male-dominated career field. To help them prepare for their next steps, we asked more established female band directors for guidance. They identify common challenges and share suggestions to help future band directors and those still new to this profession move forward.

Preparing to be a marching band director

An earlier article on MajoringInMusic.com, “Want to Become a Marching Band Director?”, outlines the skills needed to pursue a career as a band director.  A background in marching coupled with experience in leadership positions (such as drum major, participation in Drum Corps International, assisting with summer band programs) provide a great way to get started. 

Getting a degree in music education with music teaching certification is the most direct path toward teaching K-12 Music in U.S. public schools (private school requirements may differ). Strong proficiency on one or more instruments combined with training and skills in conducting, arranging, and composing are vital for getting hired as a band director. The ability to run solid rehearsals as well make artistic decisions is also important. Since band directing is such a competitive field, most band directors find that graduate-level training beyond the undergraduate degree provides the skills needed to meet these job requirements.

Challenges women band directors may face

Dr. Amy Bovin is a 4X-degreed musician with a background in band directing. Her research between 2020-23 indicated that between 60-80% of the hundreds of high school female band directors she surveyed:

• Felt they can successfully advocate for themselves

• Believed their work is valued by others

• Had support for their work and professional endeavors

• Felt their position was secure if there were to be a budget cut

But she also found a high percentage of band directors who reported sexism, agism, and mental or emotional harassment. Respondents who identified as LGBTQ+ experienced an even higher level of discrimination. 

The female band directors Bovin interviewed often believed their early years in the profession were more challenging than they would’ve been for male colleagues. They felt they had to continue to prove themselves because of their gender. According to one of those interviewed, using the same tone of voice as her male counterparts resulted in “complaints from parents about being too harsh…What students see as strength from their male band directors can sometimes (often) be seen as mean or harsh from their female band directors.”

Elizabeth Hering, Director of Bands at McNary High School in Keizer, Oregon, shares: “During my first year in my new state, I programmed a contemporary piece of literature and on one of my adjudicator comment tapes one retired male judge said, ‘I sure hope you know what you are doing’ as we started the piece. He later gave us our highest score of the season, so I think that he discovered that I at least knew a little bit about what I was doing. However, that comment stunned me. I felt like I had gone back in time 40 years.”

Rachel Maxwell, Band Director at Traughber Junior High School in Oswego, Illinois, says that “When women pursue roles in spaces traditionally dominated by men, such as band leadership particularly at the high school and collegiate levels, they often must do more than match the qualifications of their male peers. They must actively establish their presence and build networks of influence within those spaces.”

Motherhood and band directing

Juggling their work with motherhood is a prime example of a hurdle female band directors may face as compared with their male colleagues . 

Elizabeth Hering says, “The biggest challenge I have personally experienced is balancing new motherhood with my role as a high school band director. I have three (now teenaged) children and there are about 8 years of my life that are a blur from their younger years. For certain, men also experience challenges balancing their careers with new fatherhood — but as a woman, I was the one who had to take extended leaves of absence even just to physically recover from childbirth. I was the one who was trying to find a way to pump at school every two hours for months after my return.” 

Some women cannot juggle both motherhood and directing bands and end up leaving their jobs. Amy Bovin interviewed a band director, a mother with young children, who spoke of the complications presented by the “many outside of the school day commitments.” But according to Bovin, “Women who are currently mothers say it is very possible to be pregnant and/or have children and be a band director. You just need a good support system. So to those females who want to be in the field and want to be a mother…don’t let stereotypes deter you from getting or keeping a position. Other women have shown it is possible, especially with full support from as many people as you need (partner, colleagues, administrators, friends, students to babysit, etc).”

How to meet the challenges

Connecting with and supporting other band directors is indispensable for meeting the challenges of working as a female band director. 

Lauren Staniszewski, Band Director at Stoney Creek High School in Rochester, Michigan, shares, “Once I got into the field, I realized just how important it was to find people, other band directors, you can connect with to build a network of support for yourself. Being a young teacher is hard enough and puts you in survival mode quickly—but it is so important to find other band directors with whom you can connect and talk with for support.” 

According to Rachel Maxwell, “Cultivating strong relationships with mentors, both male and female, who can provide guidance and open doors for opportunities” is also vital. She adds, “While the responsibility to fix inequity should not fall solely on those affected by it, the reality is that systemic change often begins with individuals who choose to step into those spaces with purpose, consistency, and excellence..being highly visible, taking on leadership opportunities, participating in professional organizations, serving on adjudication panels, and conducting symposia” are also necessary. 

Elizabeth Hering urges prospective and newer female band directors to “Have a vision of the life you want to live and chase that. Try to be the best you can be, find others to learn from, never stop chasing excellence, and always look for ways to be better at your craft. This is how you will find a tribe that is positive and encouraging. Also, make an effort to be encouraging to other women in the field — we need to look out for each other!”

She adds, “I love my job and find purpose and fulfillment through my chosen career and professional community. I have amazing kids, colleagues, and band families and I genuinely love my life. That keeps me going.”

Resources

Women Band Directors International(WBDI)  

Barbra Weidlein is co-founder and director of MajoringInMusic.com

Photo: Elizabeth Hering, Director of Bands at McNary High School, with students

Photo Credit: Steve Sciatto

By Haley Zaremba

More than 100 years after the birth of jazz, women still remain underrepresented in jazz performance and jazz education programs.

This is not because of a lack of female talent. As long as there has been a jazz scene, there have been women trailblazers helping to set the standard for great jazz musicianship. 

A long legacy of pioneering female jazz talent has proven that women belong in jazz. Now, a new generation of jazz instructors and students are working hard to make jazz an equal opportunity art form – and they’re gaining ground. 

For this article, we spoke with five exemplary women who have achieved success in their careers as jazz musicians, and who are working hard to inspire, encourage and empower the next generation of girls in jazz. They share thoughts on barriers women still face in the jazz world, as well as some of the ways these barriers can be overcome to create a safer, more inclusive, and more creative jazz scene. 

Obstacles faced

Gender stereotypes that classify jazz as a masculine genre along with a lack of female representation can make jazz uninviting and intimidating for young women.

And for those who are brave enough to enter this male-dominated musical genre, the challenges may not stop once they’re through the door. Unwanted attention or being expected to prove oneself in a way that male-identified jazz performers aren’t expected to are not uncommon.

Many women jazz artists report being reduced to their gender rather than treated as individual artists. “It is sometimes exhausting wondering how one’s playing would be assessed if folks weren’t noticing the ‘female’ aspect of it,” describes jazz drummer and educator Clare Church. “Are they looking at me like a novelty act? Are they actually being easier on me? Are they even really listening to the playing outside of the fact that it’s coming out of a woman, and in my case, an older woman, especially one who is (gasp!) playing the drums?” 

At the same time, a gender-blind approach to jazz has its own trade-offs. It is important to recognize that women face gender-specific barriers and challenges. Naming these challenges is the first step to fixing them. 

As an example, women performers have to think about safety concerns that their male counterparts may not worry about, says Olivia Hughart, saxophonist, woodwindist and composer. “Before taking a gig, you might have to spend more time thinking about whether the people on the gig are cool to be around or if you have found a safe way to get to the gig that won’t leave you on a train alone late at night,” she says. “Women also have to think about going to jam sessions alone or finding somebody to go with, just in case others at the hang have other motives besides playing the music.”

Creating a more welcoming space

When asked about how to inspire young women to become involved in jazz, the musicians we interviewed talked about the importance of seeing and working with other women in jazz. 

Entering into a male-dominated space can be daunting, but with the guidance and support of women role models and peers, it can be a whole lot easier. 

Turning to females of your own age group can be one empowering approach. Hughart noticed that girls were few and far between in her middle school jazz program. With the help of her teacher, she created Key of She Jazz for girls in her school district to support girls in jazz, from middle school through college and beyond. 

“I found that facilitating a space like this creates more enthusiasm and encouragement between girls trying to pursue jazz,” she says. 

Role models are essential

A lack of confidence can be a major barrier for girls who want to get started in jazz. They may worry they don’t belong or don’t have what it takes to succeed in a system that isn’t built for them. This is especially true if girls have seen few women jazz performers out in the world. 

“Girls need to see other girls succeed in order to envision themselves doing what they want to do,” says Hughart. 

Representation, community, and mentorship are key to providing girls with the support and confidence they need to succeed. “In jazz, taking improvised solos can feel like taking a leap of faith, and if girls do not feel supported or encouraged, we may not see as many girls out in front of the band soloing,” Hughart shares. 

Jazz pianist/composer and educator Annie Booth echoes this sentiment, stressing the importance of representation. “Having role models both in proximity to and from afar can make an immense difference in the self-esteem of young women learning such a heavily male-dominated art form,” she says.  

The importance of mentors

Booth urges young women in jazz to seek out female mentors. She created the SheBop Young Women in Jazz Workshop through the Colorado Conservatory for the Jazz Arts specifically to bring female and non-binary young women together to play jazz in a safe and welcoming environment. Now as co-owner and co-founder of Brava Jazz Publishing, Booth offers a platform to publish and distribute the music of women composers and arrangers in big band jazz. 

“Mentorship is super important, especially when starting out,” says Hughart. “When I was able to meet other women who were making it on the scene and playing jazz professionally, I felt more inspired and was able to see myself pursuing a career similar to the ones that my role models and mentors had made for themselves.”

The value of college for pursuing jazz performance

College-level music school is helpful for meeting other women jazz musicians and mentors. This can facilitate professional connections and build a support network of like-minded, talented women who can advocate for each other and provide moral support, solidarity, and professional opportunities. 

These programs can:

• Break down some of the key barriers described above
• Build skills in an academic setting to foster confidence
• Facilitate taking creative risks in a male-dominated world
• Teach professionalism
• Refine talent
• Hone musical skills
• Provide ways to stay a step ahead of the talent pool and stand out from the crowd, which many women jazz musicians will tell you is especially important when outnumbered gender-wise

Finding the right program

There are still lots of programs that are heavily male dominated in terms of both students and faculty, and it’s good to be mentally prepared for this reality. You may want to take these factors into account while searching for the best fit college for studying jazz.

1. Check the gender makeup of the faculty and previous cohorts. This can tell you a lot about the program.

2. Reach out to former women students for important insights into how they fit with the program’s culture.

“I found that when I was applying to colleges, I had to think about other things that my peers did not,” says Hughart. “I had to think about whether the program was going to be ‘bro-y’ or if it was going to be a safe and comfortable environment to learn in.”

3. Look into existing gender initiatives at schools you consider. Otherwise, there’s a significant chance you’ll be one of very few women in your program.

Parting thoughts

It’s clear that jazz still has a lot of evolving to do in order to become a safe and welcoming space for anyone with passion and talent. But things are slowly changing for the better thanks to talented women jazz musicians who continue to push boundaries.

Believing in yourself, as well as advocating for yourself and others, can help women and girls stay on the path despite the challenges they still face.

“So many jazz greats have said to me over the years, ‘Just keep doing it,’ which sounds so simplistic, but really is true,” says Clare Church. “If you don’t give up and consistently have a growth mindset, are open-minded about all kinds of music, and keep your eyes and ears open for opportunities, you’ll continue to grow as a musician your entire life.”

Annie Booth adds, “My biggest advice is to be yourself and stay curious about the music! I can see now that early on in my career I had an image of what I thought I should be doing and as I’ve gotten older, I’ve begun leaning into what makes my musical voice special. Everyone has something special to contribute and it’s all about working on your skills so that they can be tools in strengthening and adding clarity to your unique musical voice! There’s room for everyone in this art form.”

“Focus on your goals and celebrate your successes,” says  Jenny Neff, conductor, horn player and Lead Advisor for Key of She Jazz. “Don’t be afraid to have those difficult conversations (in a respectful way) that help teach others how everyone should be accepted and treated.”

Composer/arranger and jazz drummer Sherrie Maricle emphasizes, “Be aware of gender bias and misogyny and work hard to rise above it, confront it, and help fix it, whether it’s coming from a teacher, band director, friend or peer. Practice hard and be great at your instrument. Music has no gender. As my mentor Stanley Kay said ‘If you can play, you can play.’” 

Haley Zaremba is a writer and researcher with an MFA in Food Studies from American University of Rome and a BA in Media Studies from University of San Francisco. Her writing ranges from music and culture to energy and the environment.

Photo: Olivia Hughart of Key of She Jazz/ Photo credit: Manasa Gudavalli

Check out these excellent resources:

Brava Jazz  

Colorado Conservatory for the Jazz Arts 

Jazz Education Network – Sisters in Jazz

Key of She Jazz

Special thanks to these extraordinarily-talented mentors and leaders for contributing to this article:

Annie Booth, jazz pianist and composer, faculty at University of Denver Lamont School of Music and co-founder of Brava Jazz Publishing.

Clare Church, jazz drummer, faculty at University of Colorado Boulder College of Music and co-founder of Muse Performance Space.

Olivia Hughart, jazz saxophonist/woodwind doubler, composer, and founder of Key of She Jazz.

Sherrie Maricle, jazz drummer/composer/arranger and leader of DIVA Jazz Orchestra

Jenny Neff, Program Director and Professor of Music Education at University of the Arts 

by Haley Zaremba

Working in sacred music offers a spiritually-fulfilling path for musicians in churches, synagogues, mosques and more. Available jobs span a huge range of talents and skills, from piano and organ accompaniment, to choral direction and composition, to contemporary rock performance. Working in sacred music can be as diverse as religion itself. 

Music and choir direction 

Some of the most sought-after areas of expertise by those looking to hire are in music and choir direction. 

The director of music at a house of worship can be responsible for overseeing the entire music program. They can also be charged with choral conducting; co-planning and selecting the music for worship services; planning for community outreach and engagement; and overseeing all other members of the music program, including children’s and youth choir directors, accompanists, organists, and section leaders. 

These positions often involve a broad and dynamic range of tasks, as worship centers’ budgets may require staff members to cover many bases. “In general, there is a shortage of skilled and experienced church musicians and worship leaders,” says Thomas Carsecka, Director of Music Enrollment and Community Programs at Duquesne University’s Mary Pappert School of Music in Pittsburgh, Pennsylvania. The demand for these skills prompted Duquesne to develop a Bachelor of Music in Music Ministry, which prepares students for directing music programs and all of the various responsibilities that come along with them.

For those interested in working with young people, there are many opportunities for directing children and youth choirs and classes. These positions often have a large teaching emphasis and are perfect for those who want to enrich children’s hearts as well as their minds. Children’s and youth choir directors often work directly with religious educators to develop curricula to reinforce age-appropriate spiritual and religious learnings for various stages of development. While working with children is not a must for every position in sacred music and music ministry, enthusiasm and skills for working with all ages can be a major plus for job seekers.

Accompanists 

Playing music during worship services is often the focus of accompanists’ work. Performance skills are also needed for special services throughout the year, including weddings and funerals. For those interested in vocal performance, both churches and synagogues have a need for cantors to sing liturgical music. At synagogues, they may also lead prayer. 

Prerequisites needed for working in sacred music

For part-time positions, particularly in small congregations, candidates may not need formal education in sacred music or a more general music degree. Depending on the context, experience and passion may be enough to make you the right fit for a congregation’s needs. In larger congregations with established music programs, however, an undergraduate or graduate degree in music and/or theology or divinity may be required or preferred, and a degree in sacred music may be a huge advantage. A specialized degree can also help prospective sacred music program directors negotiate a competitive salary. 

Knowledge of music technology and general digital literacy provide a competitive edge to prospective candidates looking for director positions. Victoria Vazquez, a cantor and a Westminster Choir College at Rider University alumnus with a BM in Sacred Music, says that piano skills are essential. “You need to accompany, teach parts, run warmups, etc,” she says. “Piano skills are an absolute must; I am glad my professors insisted on this.” She also stresses that organ skills are hugely in demand in her field, and skilled organists are presently in short supply. 

In addition to educational and formal training, volunteering and being an active community member can be important ways to get a foot in the door of the institution you want to work for. “Volunteer work, singing in choir, accompanying, leading kids’ summer music programs, or any volunteerism in the music library is good,” says  Alyssa Huber, Marketing Specialist for the Arts at Wheaton College Conservatory of Music in Illinois. “Another great way to gain experience is to serve worship in senior centers or even jails; many times this will be a volunteer ministry, but more established para-church ministries may have paid positions or honorariums for your service.”

Making connections

In the world of sacred music and music ministry, knowledge of and comfort with various religious denominations is important, and experience and affiliation with a specific denomination may be necessary. Dedication to a particular denomination or community can show loyalty and “theological resonance,” according to Huber. 

If you are considering a career in sacred music, it may help if you first engage with a specific religious community you want to work for. Having a connection to a certain church, synagogue, etc. may give you a leg up when openings in directing and/or performance become available. However, be prepared for open positions to show up in congregations where you’re not currently a member.

“Once you are offered the job and become a part of the church community, being an active member is an important aspect,” says Tom Shelton, Associate Professor of Sacred Music at Westminster Choir College. “Being a part of the ‘community of worship’ is essential to the effectiveness of leadership and program building within the community.” 

Generally, religious communities are looking for more than a solid résumé and educational background. They want to see well-rounded, passionate and responsible applicants. “Work on social skills and time management,” suggests B.E. Boykin, another Westminster Choir College alumnus and Assistant Professor of Music at the Georgia Institute of Technology. “Church communities want to feel like you are approachable and organized, in addition to knowing that you are musically talented.” 

Life as a part-time accompanist or director 

Positions in sacred music are often part-time. Many professional accompanists and music directors supplement their income with other work based on their skills and specializations. Common pairings include conducting community choirs outside of the congregation, opening private teaching studios, teaching part-time (especially in religious schools), offering private lessons at music schools, and hosting after-school programs. 

Victoria Vazquez describes her career balancing her part-time cantorial work with other musical pursuits as difficult but extremely rewarding. “On average, I sing 4-7 masses per week,” she says. “I also sing at weddings, funerals, and other sacred services. I occasionally play the piano for mass as well. This (her cantorial work) is a part-time position which picks up considerably during the summer months.” 

During the school year, Vazquez also teaches music and English to middle schoolers at a private Christian academy. She is also a part-time campus staff minister with InterVarsity Christian Fellowship. Balancing her passions with the realities of time management has been a struggle. “I LOVE my ministry work,” Vazquez says, “but will not continue next academic year, as three jobs have been incredibly difficult to juggle this year (although incredibly rewarding to share the gospel with so many students!).” 

Finding the right fit

There is no shortage of jobs available in religious music – it’s just a matter of finding one that speaks to your talents, passions and faith. While striking a balance between making a living and following your dream can be difficult, careers in sacred music can offer both full-time and mix-and-match approaches to building a life rich in both music and community. 

According to current job site postings, job openings in sacred music range from hourly part-time work ($25 – $75/hour for accompanists) to full-salaried directorial positions ($45,000-$75,000/year with considerable job security). 

Working in sacred music “is a vocation or calling – rather than a ‘job’,” says Shelton. “All of the experiences you acquire during your lifetime will direct you to this calling. Reflect on your passion within sacred music, and look for positions that align with this passion.” 

Haley Zaremba is a writer and researcher with an MFA in Food Studies from American University of Rome and a BA in Media Studies from University of San Francisco. Her writing ranges from music and culture to energy and the environment.

Photo Credit: Pete Borg for Westminster Choir College at Rider University

Also see:

Career Paths in Sacred Music

Jewish Music WebCenter

By Barbra Weidlein

The impact of Covid-19 on teaching music continues to shed light on critical skills college music education majors need for their future careers. Many schools of music are reimagining their curricula to prepare students for a different teaching environment than the one that existed before the pandemic hit.

While this continues to be an ever-changing landscape, we asked a number of college-level music education professors and other music educators to offer insights on what prospective and current music education majors might expect.

New skills in the curriculum

Technology was already a key component of college music education programs prior to schools being shuttered by Covid-19. As the pandemic continues to challenge the educational process, music ed majors will need to continue to acquire additional tools being created for online teaching. 

Music ed majors not previously familiar with online digital audio workstations (DAWS) such as Soundtrap and Bandlab have been introduced to them as valuable tools for teaching K-12 students, says Bryan Powell, assistant professor of Music Technology/Education at Montclair State University and strategist of Higher Education Initiatives at Little Kids Rock. 

“By integrating pedagogical frameworks such as Technological Pedagogical and Content Knowledge (TPACK),” offers former high school band director and bassist Steve Holley, “all music educators – preservice and inservice – can better understand how to blend their deep knowledge of content and pedagogy with how to deliver this through the appropriate technological route.” Holley, now a PhD student in Music Learning and Teaching at Arizona State University, adds, “This is not tech for tech’s sake. It’s using 21st century tools to teach 21st century students.”

“Many programs incorporate technology, online resources, sound production elements and the use of advancing technologies,” says Darrin Thornton, Music Education professor and Interim Associate Dean for Academic Affairs and Outreach at Penn State School of Music. “I anticipate an added focus on the social context in which music is made in our culture and beyond our culture. This will add agency to music educators to address, through music, the social concerns of their current time and the role music has played in expressing concerns of past times.”

Music educator, author and consultant Lori Schwartz Reichl urges music education majors to be sure to become well versed in using learning management systems (LMS) for a multitude of purposes including viewing and sharing content, tracking student work, planning, and implementing and assessing specific learning processes. She specifically points to Canvas, Moodle, and Schoology as useful LMS. “Music education majors should be able to maneuver through these systems and feel comfortable using them to manage and organize online educational materials in addition to being confident conducting online courses with them,” she says.

In addition to technology, Reichl urges education majors “ to take an introduction to administration course. The ability to comprehend the numerous responsibilities and best practices a school-based administrator, such as a principal, must complete on a daily basis is crucial for effective communication and collaboration.”

Social and emotional challenges

The pandemic’s effect on schools and so many other aspects of daily life has magnified things that work and don’t work, reflects Jenny Neff, former department chair of Music Education at University of the Arts. Social and emotional challenges have hit students really hard. Teachers have already been experiencing the impact on their students. They have already needed new skills for dealing with these challenges in remote and hybrid teaching – and certainly in anticipation of students returning fully to in-person learning. 

CASEL, the Collaborative for Academic, Social and Emotional Learning, defines Social Emotional Learning or SEL as “the process through which all young people and adults acquire and apply the knowledge, skills, and attitudes to develop healthy identities, manage emotions and achieve personal and collective goals, feel and show empathy for others, establish and maintain supportive relationships, and make responsible and caring decisions.”

According to Scott Edgar, chair of the Department of Music at Lake Forest College who has made SEL a major focus in his teaching and writing, SEL skills are geared toward providing students with the tools needed for confronting challenges. Self-awareness, social-awareness, and responsible decision-making are key elements. Music teachers can integrate SEL into the curriculum – “MSEL” – to create a more powerful learning experience for students.

Changes in the job market and hiring practices

No one can accurately predict the impact of the pandemic on the future of music education jobs. For the past several years, many schools of music education touted their 100% employment rates for new graduates. How this will change is anyone’s guess. And it will vary school district by school district.  

“Some will actually need more teachers to support smaller groupings and/or online parallel offerings, and will likely replace any vacancies. But for most I think hiring may freeze as they repurpose music positions for other teaching professionals that are needed to deliver multiple modes of instruction,” says Penn State’s Darrin Thornton.

All of the music educators and professors interviewed for this article agree that there are some key things music education majors can do to improve their chances for landing a job.

• Become as versatile as possible – The more skills you have, and the more flexible you are especially about the location of where you may teach, the greater your chances of finding a job. There may be more demands of music teachers along with more responsibilities to take on, so be sure to find out how you’ll need to prepare before it’s time to start applying.

• Go beyond what’s expected – “The student who does more than the minimum is going to be better prepared and therefore more competitive in any job marketplace, no matter what that marketplace ends up looking like,” says David Rickels, chair of Music Education at University of Colorado Boulder College of Music. “Look for the extra opportunities to gain experience, whether through volunteering in a school or program, signing up for a leadership role in student groups, or even just asking questions and being an active participant in classes instead of passively waiting for information to come to you.”

• Deepen your knowledge and understanding of diversity, equity and inclusion in music education – In response to the protests that have taken place since the pandemic hit, “Applicants will likely need to express their stance, views, or philosophies on diversity, equity, inclusion and access much like the teaching philosophy question currently functions in common interview protocols,” says Thornton. “At the very least, applicants should consider the ways standard practices inhibit access and how they might mitigate those obstacles from within their own sphere of influence.”

• Stay current – on new technology, blended learning, trends around safe rehearsing, antiracist education. As a student of music education and as a future music educator, you can’t wait for information to come to you – you must actively seek it.

• Join professional music education organizations – Consider joining student chapters of NAfME (National Association for Music Education), ACDA (American Choral Directors Association), ASTA (American String Teachers Association), and NATS (National Association of Teachers of Singing). Tucker Biddlecombe, Director of Choral Studies and Program Director for Music Teacher Education at Vanderbilt University’s Blair School of Music, adds to the list ChorAmor, a new organization which he says “has been instrumental in preparing teachers for this new virtual environment. Being a part of their relevant professional organization – and taking a student-driven leadership role if possible – will be paramount to prepare for the post-COVID job market.”

Music advocacy

Advocacy is more critical than ever in the world of music education. It will be vital even after Covid-19 is contained. Music education majors must learn to be active players in their profession, because their voices will be instrumental in keeping music alive in the schools. “As music educators, advocacy is used to demonstrate the importance of music education in every child’s life and specifically in its inclusion in each student’s academic schedule,” says Lori Schwartz Reichl. “Advocacy begins with how music educators perceive their craft and communicate its significance to all stakeholders.”

National organizations like NAfME offer training in advocacy skills for music education majors. NAfME’s work in securing increased federal funding and support for education in the U.S. provides a template for future music educators who will be facing tighter budgets and greater needs. Learning to interact and communicate with elected officials and governing bodies will serve college music majors throughout their careers.

“We have to educate students studying music in not just the musical and pedagogical skills they need,” says Rickels, “but in how to think deeply about what music means and why music needs to be in the schools…so that the learning continues to enable people to have the tools of expression that are sorely needed in these times.”

Silver linings

We asked those interviewed for this article whether there are any silver linings to the massive disruption in education and training as a result of the pandemic, particularly for anyone considering a music ed major. While we know answers to this question will continue to unfold, we found some of the responses particularly insightful.

Steve Holley: Music education has been undergoing a paradigm shift for quite some time, and the pandemic quite literally forced us to reevaluate everything we do! Right now, we’re trying to figure out how to fit our square peg idea of music education into the round hole of online learning, and it’s just not working out well for some folks. We can’t alter physics to remove internet latency, we can’t wish away an infectious pandemic to get back to our ‘normal’ rehearsal regimen, and we can’t modify the round hole we’ve been given if it’s detrimental to the safety of our students – and us! We have transform our square peg and reimagine what music education could look like.

Darrin Thornton: I see feedback, connection, and access as silver linings to remote teaching. Coming out of this time, I believe people will realize just how connected we are to one another…Music is well positioned to do this work of connectivity.  This has always been true but now the need for connections is much more pronounced. This provides a fantastic opportunity for music educators to build that into their purpose (if it’s not already there).  

Bryan Powell: One thing remote teaching has reinforced is the importance of engaging students in music creation through music technology…There has been an increased focus on using music technology to create music and a lot of that music has taken the form of popular music through beat-making, cover song projects, and original songwriting.

David Rickels: The whole experience of learning online (in synchronous and asynchronous formats) is certainly also giving music education majors the opportunity to learn new tools that they can use if and when they are called upon to teach online in the future.

Barbra Weidlein is director and co-founder of MajoringInMusic.com

Top Photo: Bassist Steve Holley teaching online. Credit: Nate Holley

Second Photo: Penn State Music student music teacher Cate Stoler teaching shielded and distanced. Credit: Debbie Estright

Resources

• Social Emotional Learning and Music Education: Now More Than Ever

• CASEL: What is SEL 

• NAfME Academy – online learning platform for music educators

• ATLAS – library of videos of actual classroom teaching

Music Organizations to Consider Joining:

• ACDA

• ASTA

• ChorAmor

• NAfME

• NAMM Foundation

• NATS

A symphony orchestra career can be an exciting experience that fulfills a lifelong dream. But it’s not easy to gain. It requires a huge amount of dedication and work – with no guaranteed outcome.

by Barbra Weidlein

If you’re passionate about this career field, it’s wise to be as informed as possible, and as soon as possible. “Getting hired by a symphony is incredibly difficult,” says Janet Gamber, a violinist with the Reading Symphony Orchestra in Pennsylvania. “I freelanced for just over 5 years in Philadelphia with many fine musicians, and I can count on one hand how many of my friends have won jobs with full-time orchestras.” 

We spoke with Gamber and several other musicians who perform in large and small symphonies mostly in the U.S. We asked them about the trajectory that took them from high school to where they are now. 

We also wanted their input on the economic realities of performing in a symphony orchestra in the 21st century, when classical music and the health of symphonies all over the world often appear in jeopardy. 

Mostly, we want to share best tips for anyone who wants to pursue a career performing in a symphony orchestra – what musicians wish they’d known when they were still in high school or college, and what they’ve learned since then that may support you on your musical journey.

Preparation Before College

Symphony orchestra players start their careers by diving into music long before they’re ready to job search. By high school, they’re typically fairly proficient on their primary instrument, not so much because they are prodigies but because they work hard and they do most if not all of the following:

• take private lessons

• maintain a strong daily practice schedule

• participate in school and youth orchestras

• become a section leader

• audition for and win a spot in All-State orchestras

• attend summer music programs

• apply to competitions

• stay flexible

• jump at opportunities that arise

By junior year, students who dream of a career in a symphony find teachers and mentors who will assist them in preparing for college auditions at music schools that will meet their current and future needs. 

Paul Trapkus (BM, Music Education and Violin Performance, University of Michigan) is a violinist with the Boulder Philharmonic and Boulder Chamber Orchestras and the orchestra director at Silver Creek High School in Longmont, Colorado. He encourages high school students who hope for a symphony career to “participate in as many musical opportunities as you can manage. 

“Playing in summer music camps,” he continues, “is also extremely beneficial – the difference between a summer without much playing and a summer with lots of playing with excellent conductors and colleagues is huge. Ideally, you can also establish through these things a group of music friends that inspire each other to improve and take part in different ensembles. 

“I also recommend attending as many concerts as you can,” urges Trapkus.  “Watching outstanding orchestras can be very eye-opening and motivating.”

Adam Sadberry (BM Flute Performance, Performer’s Certificate, Eastman School of Music), acting principal flutist with the Memphis Symphony Orchestra, says, “ It wasn’t until the summer before my junior year of high school that I really started to catch the ‘music major’ bug. I attended my first flute masterclass with big-name teachers, found a fantastic private lesson teacher (Jennifer Keeney), joined the Houston Youth Symphony, entered some local competitions. I was fortunate enough to earn a few wins, and that motivated me to work harder and harder. Over the next two summers, I attended the Interlochen Arts Camp and the Greenwood Music Camp.” Sadberry went on to study flute at Eastman School of Music.

Preparation During College

Cordula Merks, violinist and concertmaster with the San Francisco Ballet Orchestra and violin performance professor at San Francisco Conservatory of Music, suggests the following:

1. Find a teacher who really meets your needs and who you can work well with.

2. Find a college program with a strong orchestral program and a strong orchestral excerpt class – where you study repertoire that’s likely to be in orchestral auditions. 

3. Study in a geographical area where you can get a lot of exposure to the symphony along with opportunities to study with symphony members and maybe even get a chance to sub.

4. When you’re ready to audition, be comfortable and fully fluent with at least one Mozart concerto and at least one Romantic concerto plus standard excerpts from orchestral repertoire that tend to show up in most auditions.

Dana Johnson (MM, University of Michigan, BM Oberlin Conservatory of Music), principal second violin with the Arctic Philharmonic in Norway, held leadership roles in orchestras in undergrad and grad school. When in school, she also participated in summer music festivals and subbed with several regional orchestras. She credits all of this experience for “preparing me well for my current job.” 

Johnson adds: “Start learning standard orchestral excerpts early and do take them seriously. The more internalized that music is, the more comfortable you will be in a high-pressure audition scenario. 

“And do tons of mock auditions. Anything to make yourself as comfortable in an audition setting as you can. All of these auditions are so subjective.  There are so many factors in play and at a certain level, it really just comes down to fit.”

Is Grad School Necessary?

The answer depends on who you ask. Not everyone interviewed for this article attended graduate school. But most did, because it provided training beyond what an undergraduate education offers.

“Attending the Cleveland Institute of Music (CIM) was instrumental in my success to winning a symphony seat with the Hawaii Symphony Orchestra (HSO),” says percussionist Christopher Cabrera (MM, Cleveland Institute of Music; BM Oberlin Conservatory of Music). A fellow CIM alum was in charge of recruitment at HSO, and Cabrera was hired to fill an opening there. 

Ani Bukujian, violinist with the San Francisco Ballet Orchestra, did her master’s degree at Juillard. She found graduate school “very necessary” for winning her seat with the Orchestra. She also credits the Professional Studies Diploma program at San Francisco Conservatory of Music with providing the additional skills and training needed to prepare for her orchestral audition.

Chris Cabrera sees summer music festivals as an entry point for some symphony seat seekers. He encourages musicians to “foster relationships with people in the field. It might give you the leg up needed to win a job. Also, if you aren’t practicing 4+ hours a day then it probably won’t work out.”

Symphony Orchestra Auditions

While some individuals wow the selection panel at their first audition and win a symphony seat straight out of college, most find that it takes more hard work and experience performing.

Those fortunate enough to win a spot in a training orchestra like the New World Symphony in Miami will be provided housing and a stipend to support them for a year or more and throughout the audition period. Many end up getting a job before ever finishing a training orchestra program.

Adam Sadberry, the flutist with the Memphis Symphony Orchestra, says that he “auditioned for grad schools and a couple of training orchestra programs” before “winning and accepting the Detroit Symphony Orchestra’s African-American Orchestra Fellowship.

“I spent one year in the program playing 18 weeks of the DSO’s season,” he shares, “and during that period, I played every role in the flute section including principal. I also did a ton of mock auditions for DSO members and took several auditions around the country. Along the way, I was invited to perform with the Memphis Symphony Orchestra as guest principal flute for a few weeks, and I was extremely fortunate to be appointed as the acting principal flutist of the orchestra.”

Janet Gamber, the Reading Symphony Orchestra violinist, talks about the financial challenges of taking auditions. Musicians are responsible for their own transportation, lodging, food and the cost of missed work. “The whole process was an emotional roller coaster,” she remembers. “In order to get in the mindset to take an audition, you have to believe you can win. You prepare all the music and convince yourself you’re going to win, and then you’re asked to leave after just a minute or two.”

Isaac Trapkus, bassist with the New York Philharmonic, first played with the Detroit Symphony Orchestra and before that the New Haven Symphony.  

“I definitely worked much harder after winning the Detroit job to make sure I was prepared enough to win the NY Phil spot when it was announced,” he admits. “The audition was announced about three months before the actual audition date and the audition repertoire list of solos and orchestra excerpts was sent to applicants shortly after. I knew there would be other people more talented than me taking the audition so I knew I would have to outwork everyone to have a realistic shot.  

“I can say confidently that nobody prepared more for that audition than I did. Of course you never really know, but unless you’re the magic person who wins a job right out of school you have to have that approach and attitude in order to win an audition – because if you don’t, someone like me is out there who will out-prepare, out-work and out-perform you.

“I have colleagues who had a much easier time winning their audition and did not have to put in all the work I did but they are surely the exception. Far too often I see other people preparing for auditions as if they too will have the easy path to winning and then seem surprised when they never advance.”

Tim Jones, violinist and associate concert master with the Wichita Symphony, had his share of auditions after getting his doctorate: “Ultimately I think one of the most important things when taking orchestral auditions is not getting too attached to the idea of the job too soon – even on the day of the audition as you successfully advance through the rounds.

“If you are heading into an audition with the feeling that your whole career depends upon winning or that your entire life has naturally led up to that particular job,” he adds, “the extra stress you’ve put upon yourself may well be enough to keep you from showing your true best. This may not be the case for everyone, but on a couple of occasions I found myself feeling that the stars were aligning when I reached the final round; the ultimate effect, however, was not that I relaxed and played more confidently, but that I became more anxious and distracted.”

Economic Realities

According to the League of American Orchestras, there are over 1200 non-profit orchestras in the U.S. alone. Salaries for orchestra members fluctuate based on the size of the orchestra, from six figures in a few of the largest symphonies to hourly wages in others.

The symphony orchestra players interviewed for this article had diverse needs and views around working outside of their symphony jobs. Some earn a viable income through their orchestra jobs alone. Others teach, gig, and work at non-musical jobs. 

When Chris Cabrera first started working with the Hawaii Symphony Orchestra, the cost of living in Oahu led him to work as a barista in his first season there. He now plays area gigs, and teaches and subs with the Royal Hawaiian Band when not performing with the Symphony.

Janet Gamber was freelancing to gain experience performing with orchestras and while auditioning for an orchestra seat. But freelancing became unsatisfying and economically challenging. With the help of a career adviser and the skills she gained in college and grad school in science, technology and recording engineering, Gamber found a full-time job working in cloud-based software in Colorado. She now works remotely most of the time, so traveling 2,000 miles to perform with the Reading Symphony Orchestra outside of Philadelphia works well with her schedule.

Jason Shafer, principal clarinetist with the Colorado Symphony, is also an instructor of clarinet at the University of Northern Colorado. While he appreciates the additional source of income that teaching provides, Shafer believes that income should never be the reason for teaching. He warns: “If you don’t love teaching, don’t do it! But if you do love it, we are so lucky as musicians to have the chance to make a real difference in the lives of our students, both in their development as musicians and in their personal growth. Personally, I can’t imagine my career without teaching!”

Great Tips from Symphony Orchestra Members

“Find a private teacher that you love, and take lessons! Take the inspiration that you get from those lessons and let it bloom and grow in every way that you can think of: go to great concerts, listen to 10 recordings of the same piece, discover new music, and practice thoughtfully.” 

– Jason Shafer, Principal Clarinet, Colorado Symphony
(BM, Eastman School of Music)

––––––

“I cannot stress enough how important ‘smart practicing’ is, especially when you have a lot going on around you. Go for quality, not quantity.

“There is lot of pressure when it comes to executing orchestral excerpts behind the screen and by the time we audition, we have to be physically and mentally prepared. 

“Most importantly, no matter the outcome, we have to be able to sustain a positive and winning attitude during the journey and embrace success and failure at the same time. We all become a better version of ourselves throughout the adventure!” 

– Ani Bukujian, Principal 2nd Violin, San Francisco Ballet Orchestra
(BM, MM Juilliard; Concertmaster Track, San Francisco Conservatory of Music)

––––––

“Pursue educated and smart practice rather than just long hours. I’ve found that if I do research about tempi and style and think about interpretation before I even touch my instrument I’m able to save a lot of time in the practice room and can use the time I have more efficiently.

“Studying scores, listening to recordings and watching videos of how a conductor might lead certain tricky passages are all great ways to prepare yourself mentally and to learn a piece better. This also helps prevent injury – and I would also add that taking breaks frequently is a great way to stay healthy. I sometimes set a timer to make sure that I don’t play for too long before taking a five or ten minute break. It’s really made a big difference for me.”

– Felicity James, Violin; Associate Concert Master, Minnesota Orchestra
(BM, Colburn Conservatory of Music)

––––––

“It is always an emotional experience to walk away after a lost audition, but in modern times musicians have to remember that not winning the job does not mean that one is not qualified. 

“I’ve come to believe that in most cases, between 25-50% of the musicians gathered for any particular audition ‘deserve’ the job, or at the least are capable of performing at the level required. While that might initially seem to be a depressing or discouraging assumption, in truth it’s the opposite. 

“The fact that many qualified individuals are rejected from every orchestral audition is potentially the greatest emotional buoy in the wake of lost auditions; being turned away doesn’t always mean that you weren’t appreciated, or that you didn’t sound beautiful, or that the jury thought you played poorly. It only means that someone else caught their attention in a specific way.”

– Timothy Jones, Violin; Associate Concert Master, Wichita Symphony; Visiting Asst. Professor of Violin, Wichita State University
(DMA, Federal University of Rio Grande do Sul; MM, Azusa Pacific University; BME/BM – Wichita State University)

––––––

“I would HIGHLY recommend people who are majoring in music performance also major in music education or something else they are passionate about so they have options later in life when the orchestra dream doesn’t pan out for 98% of them. I was in that 98% boat and it’s only by luck of meeting an amazing teacher 5 years after my masters degree that I was able to finally put it all together and win a job. I only had a performance degree and I was not prepared for a professional life outside orchestra playing. That was not smart but that is still the path I see most music performance majors on today.”

– Isaac Trapkus, Bassist; New York Philharmonic
(MM, Juilliard; BM, University of Michigan)

––––––

“Do not go into debt with a music degree, especially if you want to perform with an orchestra. You need the ability to keep practicing and will likely not make a lot of money while you’re preparing for and taking auditions. If you’re saddled with debt, you’re going to have to find a way to earn enough money to pay down the loans, and that will likely take away from your ability to spend time practicing and performing.”

– Janet Gamber, Violin; Reading Symphony Orchestra
(MM, University of Colorado Boulder College of Music; BA Bryn Mawr College)

Additional Resources

“What’s the Difference Between an Orchestra, a Symphony, and a Philharmonic?” by Lucas Reilly

League of American Orchestras

“Take Your Seat” by Jeremy Reynolds

Photo Credits

Top photo: Jason Shafer, Clarinetist, Colorado Symphony; photo by Brandon Marshall   

Second photo: Adam Sadberry, flute, Memphis Symphony Orchestra   –  

Third Photo: Dana Johnson, violin, Arctic Philharmonic in Norway;  photo by Annette Isabelle Photography

Are you interested in using the power of music to support comfort or healing?

Whether you’re looking for college-level training, want to incorporate music into your work, or wish to find a way to use your musical skills to enhance the quality of life for people experiencing health crises or other life challenges, you’ll want to know about these options.

by Barbra Weidlein

1. Bedside Harp
Bedside Harp’s mission is “to promote the therapeutic use of the harp in healthcare and wellness settings.” The Certified Harp Therapist (CHT) and Certified Master of Harp Therapy (CHMT) programs are “mindfulness-based programs designed to train adult harpists (those who play pedal harp) and harpers (those who pay folk or lever harp) to work as healthcare professionals in medical and wellness settings.” 

Most of the training is available online except for one module (“Working with the Depressed, the Seriously Ill and the Dying”) that must be taken live. For those who want to learn to play the harp, instructional harp programs are also offered.

2. Bread & Roses Presents

Bread & Roses, founded by singer/songwriter Joan Baez’s late sister, musician Mimi Farina, presents free live-performance shows at facilities throughout the San Francisco Bay Area. Professional and semi-professional musicians as well as dancers, clowns and magicians volunteer their time and talents “to people who are disadvantaged, marginalized, or otherwise isolated in diverse institutional settings in the San Francisco Bay Area.”  Volunteers with limited or no musical training can also volunteer to host shows.

3. MUSACOR (Musicians as a Community Resource)

MUSACOR provides information and training to musical groups that want to enrich the quality of life in their communities through music. The MUSACOR website offers ideas, resources and even scripts to assist musicians in their efforts. 

Penny Brill, a violist with the Pittsburgh Symphony Orchestra, created MUSACOR as well as the PSO’s Music and Wellness Program. 

4. Music Care Training

Music Care Training is one of several programs offered through the Room 217 Foundation to “change the culture of care” through music. Music Care Training is designed for healthcare professionals (RNs, recreation therapists, social workers, chaplains, etc.) who want to incorporate music in their work. Musicians as well as family and volunteer care providers can also participate. 

Strategies for using music as well as music skills strengthening are provided in 2-day courses. A longer program for learning to advocate for music in a caregiving setting is also available. Certification or other credentials are not offered for any of these programs. While headquartered in Canada, Music Care Training facilitators will travel to other workplaces to provide the training.

5. Music for Healing & Transition Program (MHTP)

Musicians take this five-level therapeutic music program in order to learn how to bring emotional, spiritual, mental and physiological comfort to patients through live acoustic music played at the patient’s bedside. The only goal is to provide a healing environment.

The training consists of live, experiential classes (some of which are offered via videoconference) plus a required 45-hour clinical practicum. Graduates receive the title of Certified Music Practitioner (CMP).  

6. Music Therapy

Music therapists have a bachelor’s degree or higher in music therapy from a school accredited by the American Music Therapy Association (AMTA). In addition to coursework in music, psychology, behavioral and social sciences, voice, guitar and keyboards, undergraduate requirements include 1200 hours of clinical training with a supervised internship. Certification exams are required at the end of training to gain the credentials necessary to practice as music therapists.  

According to the AMTA, “Highly trained and nationally certified music therapists build on inherent qualities of music, using music and music activities in a focused and concentrated manner for healing and change, influencing physical, emotional, cognitive, and social responses.” Music therapists may use live or recorded music in conjunction with a specific plan for each session.

For musicians who majored in an area of music other than music therapy, a music therapy equivalency program can be undertaken in approximately two years to provide the necessary training. 

Music therapy has been shown to be effective to support babies in neonatal intensive care as well as people with Alzheimer’s disease, depression, substance abuse, pain, autism spectrum concerns, dementia, and PTSD. The benefits of music therapy used with a broad range of people experiencing life challenges and trauma are described in these articles on MajoringInMusic.com. Several schools offering music therapy programs are listed and linked in each article.

7. Musicians On Call

Musicians On Call sends volunteers to perform at the bedsides of patients in healthcare facilities in major cities across the U.S. including Atlanta, Boston, Chicago, Dallas, Denver, Las Vegas, New Orleans, Memphis, Miami, Philadelphia Phoenix, San Francisco, San Jose, and Washington D.C/Baltimore area. The Virtual Bedside Performance Program broadcasts performances to homebound patients and those who cannot be at a live performance. 

Volunteers with limited or no musical training can also participate as “guides” who escort the musicians from room to room. 

8. Threshold Choir

Threshold Choirs are located all over the U.S. and beyond. Members are volunteers who bring ease and comfort by singing softly at the bedsides of people who are in a health crisis or who are actively dying. 

Some singers are professional musicians, but this is not required. Members must carry a tune, hold their own part while others sing in harmony, and blend their voices with the other singers. They rehearse together a repertoire of appropriate songs and then sing these upon request to those in need. 

Music therapy is an effective intervention for working with traumatized children and adults. It helps reduce anxiety, offers emotional relief, and facilitates life-affirming social interactions, to name just a few of its benefits. The purpose of this article is to shed light on how music therapy addresses trauma for anyone interested in a music career that truly changes lives.

by Barbra Weidlein

Trauma settings

Music therapists have been called upon to support the recovery of individuals and communities following horrific events as well as natural disasters. Settings have included New York City metropolitan area after the 9/11 terrorist attacks; New Orleans after Hurricane Katrina; Umpqua Community College after a mass shooting on campus; various war- and post-war zones; and other disaster recovery situations.

According to the American Music Therapy Association, music therapy addresses trauma by providing:

• Non-verbal outlets for emotions associated with traumatic experiences

• Anxiety and stress reduction

• Positive changes in mood and emotional states

• Active and positive participant involvement in treatment

• Enhanced feelings of control, confidence, and empowerment

• Positive physiological changes, such as lower blood pressure, reduced heart rate, and relaxed muscle tension

“With individuals who have experienced trauma,” says Jim Borling, director of Radford University’s Music Therapy program, “music becomes an outlet for expressing emotion. Music therapy has a way of letting people know that it is ok to feel what you are feeling. It is ok to acknowledge what has happened.”

Borling brought his skills as a music therapist to Newtown, Connecticut where a 2012 shooting at Sandy Hook Elementary School took the lives of 20 children and six staff members, and to Virginia Tech (Virginia Polytechnic Institute and State University) after a campus shooting in 2007 killed 32 and injured many others.

Other uses of music therapy

Music therapy also serves those who’ve experienced trauma as a result of chronic pain, chemical addiction, child abuse, asylum-seeking, domestic violence, incarceration, and other sources of emotional distress.

• Janice Lindstrom, a visiting lecturer in Music Therapy at SMU Meadows School of the Arts, has utilized music therapy with abused children and with patients at Veterans Administration hospitals. She has also applied music therapy to her work with the International Rescue Committee (IRC) to support individuals around the world who are affected by war and natural disasters.

• Kimberly Sena Moore, clinical training director of Music Therapy at the Frost School of Music at University of Miami, is researching the impact of music therapy on the emotional self-regulation of children with a history of trauma. Emotional regulation refers to the ability to effectively manage and respond to emotional experiences.

• Ron Borczon, director of Music Therapy at California State University, Northridge, worked with the therapists of family members and survivors of the 1995 Oklahoma City bombing as well as with school-age children who experienced the 1994 earthquake in Northridge, California. He also helped in planning music therapy interventions after shootings at Columbine High School in Littleton, Colorado and Santee High School near San Diego, California.

• Yasmine Iliya, adjunct faculty at Saint Mary-of-the-Woods College, New York University and Molloy College, is working on a pilot program using music therapy with Syrian refugee children in Jordan.

• Maggie Connors, a music therapist in private practice in Vermont, has worked with children and adolescents with a history of domestic violence in the home and/or sexual abuse. She’s also worked at a children’s hospital, where she relates that “trauma was more often related to medical procedures or events that precipitated hospitalization.”

• Jessica Cole-Robinette uses music therapy with patients at Akron Children’s Hospital’s Palliative Care Program. She has also used music therapy with victims rescued from human trafficking; homeless veterans; and those dealing with medical trauma within the family.

Music therapy in the NICU

Joanne Loewy, director of New York City’s Mount Sinai Beth Israel’s Louis Armstrong Center for Music & Medicine, has found music therapy to be a vital intervention for premature infants in neonatal intensive care units (NICU).

She says that music therapy for premature infants “addresses the trauma of missing out on the ‘warmth and soundscape’ of the womb environment. Preemies are deprived of the ‘whoosh’ and warmth of the womb. Studies show this affects the development of premature newborns especially in the areas of sleep, feeding behavior, weight gain, and because of the trauma from any procedures they have to undergo.”

Loewy’s research shows that singing to infants in the NICU increases their alertness. She developed a rhythm technique in conjunction with the Remo drum company, using a small two-toned wooden “gato” box to mimic the heartbeat of the infants’ mothers.

She also worked with Remo to develop the Lullaby Ocean Disc to imitate the missing whooshing sounds of the womb. The Disc has been shown to slow and regulate the breathing of premature infants whose lungs are not yet fully developed. It has also been effective at reducing stress and facilitating sleep. Parents are taught how to use these techniques in order to feel more engaged with their premature infants and to be able to continue working with these interventions when their babies are ready to go home.

Loewy has also shown that music therapy is an effective intervention with children suffering from a number of problems including cancer, diabetes, asthma, eating disorders, suicidal tendencies, and emotional distress.

Techniques used

Songwriting and improvisation are two of the most common ways music therapy addresses trauma.

• Alejandra Ferrer, coordinator of Music Therapy at Belmont University School of Music, has worked in mental health facilities with victims of trauma and abuse. She says, “Music therapists who work with these populations may implement techniques such as songwriting and lyric analysis, music-based relaxation activities, and combined music and art interventions.”

•  Andrew Knight, assistant professor of Music Therapy at Colorado State University, says that music therapists incorporate “song lyrics, musical elements, and metaphors/analogies” that can help clients gain new insights to help them move through difficult problems. “Composition includes songwriting as a way to express oneself in a musical medium,” he says.

• Jim Borling finds that “Music therapy serves to help people connect with each other and experience support…When working with groups, sometimes large groups, music (often times drumming) provides a safe space for people to come together and be in close proximity with each other, but not need to verbally discuss or process traumatic events or experiences. Music, and rhythm in particular, can communicate safety, connectedness, community, and support all at the same time.”

• Cathy H. McKinney, coordinator of Music Therapy at the Hayes School of Music at Appalachian State University utilizes the Bonny Method of Guided Imagery and Music (see sidebar) to help clients recover from trauma. Through the Bonny Method, images are brought to mind to assist clients in working through trauma and related unresolved issues.

Training

Undergraduate music therapy programs do not focus on working with traumatized populations. Those drawn to this area of concentration gain some of the necessary training through their required supervised internship. Many enter graduate programs in music therapy for additional clinical skills and further training. Others seek a degree in a relevant area of counseling.

Jessica Cole-Robinette sees trauma as a fairly universal phenomenon. As a result, she says, “All music therapists working with any population need trauma-informed education, whether it be at the undergraduate level or for continuing education.”

Continuing education is an important part of the professional life of a music therapist. Training and support are available through workshops, seminars, and publications offered by the American Music Therapy Association. The World Federation of Music Therapy is another resource for continuing education.

Most music therapists who have worked in the area of trauma agree that training beyond the entry level is essential. According to Kimberly Senna More, “A professional board-certified music therapist with a bachelor’s degree should provide supportive, activity-oriented music therapy services, whereas a professional board-certified music therapist with a master’s degree has the advanced training to provide more insight-oriented music therapy services.”

She adds, “Trauma-informed training does not look like a one-time continuing education course. It should be integrated into every course in some way. It’s becoming more and more apparent as to how early trauma with or without attachment wounds impacts the psychological well-being of the populations that we serve. This ranges from geriatric to pediatric, from physical rehabilitation to hospice.”

Alejandra Ferrer at Belmont stresses the importance of gaining “significant clinical knowledge about the population itself. This will help in guiding the therapist as to what goals, techniques, and interventions may be most important/effective/beneficial. It is important to have a high level of sensitivity towards (traumatized) populations.”

By the same token, Maggie Connors reminds, “Your job is to support and guide clients or patients through their journey…Some music therapy settings focus on crisis stabilization where you may only see a person once or twice and other settings (may better) allow for long-term processing and learning.”

Beyond skills

Katurah Christenbury teaches at Appalachian State University and works as a music therapist at the school’s Institute for Health and Human Services. She asserts that those who want to work as music therapists to address traumatized populations need to “have a strong sense of self, and the ability to be able to empathize with another.”

Christenbury adds, “We must learn more about the cultures of our clients to better understand, serve, and sympathize/empathize with them before pursuing our own therapeutic agendas.” Music therapists need to be aware that trauma manifests for different people in different ways, she says, including anger, withdrawal, sexual acting out, and addictive behaviors. “Being open and accepting of each person’s journey, religious beliefs, views of humanity –– especially if they are different from one’s own” is essential. “Being patient; trusting the process of healing; and going at the client’s pace” – these are all important when working with traumatized clients.

Maggie Connors describes “compassion fatigue” as a legitimate concern for music therapists who work with people who have experienced trauma. “The idea that you can’t take care of someone unless you take care of yourself first is true,” she says. “Selflessness and empathy are characteristics that probably have contributed to your wanting to be a music therapist. It is not selfish to take a moment for yourself. It is not insensitive to not being thinking about your clients at every moment. Acknowledging when you need a break or need to talk with a co-worker or supervisor will make you a stronger and more effective music therapist.”

Music Therapy in the NICU:  The Columbian, Ariane Kunz

Check out the
Music Therapy Programs
at these Sponsoring Schools on MajoringInMusic.com

• Arizona State University School of Music
• Berklee College of Music
• Colorado State University
  Department of Music, Theatre and Dance
• East Carolina University School of Music
• Florida State University College of Music
• Mary Pappert School of Music, Duquesne University
• SMU Meadows School of the Arts
• Temple University Boyer College of Music & Dance
• West Chester University Wells School of Music

Music journalism is an ever-evolving industry for those passionate about music and writing. How do you know if it’s for you? And how do you get there?

By Caitlin Peterkin

Connecting Audiences to Music

Music journalism connects musicians and audiences, both new and established, through articles, podcasts, videos, and more.

It’s a hustling gig. A typical day for a music journalist might include:

• Researching

• Pitching outlets

• E-mailing publicists for advance copies of albums or to be put on the press list for upcoming shows

• Transcribing notes and interviews

• Writing, writing, and more writing

From reviewing live shows to profiling up-and-coming artists, from creating podcasts to writing think pieces, from transcribing interviews to researching bands, music journalism offers a lot of opportunities.

How to Break into Music Journalism

“Journalism isn’t like medicine or law, where a specific degree is a stone-cold prerequisite,” writes NPR’s Stephen Thompson in his piece, How Do You Break Into Music Journalism?

Professional journalist, artist, and educator Jason King agrees. “There are many paths to become that kind of writer,” he says, “including the path of attending any university program that has a heavy emphasis on improving and honing writing and critical thinking skills.”

King, an associate professor and director of the Writing, History & Emergent Media Studies program at NYU’s Clive Davis Institute of Recorded Music, encourages students interested in pursuing music journalism to look for programs that offer a holistic approach. A well-rounded curriculum allows you to become “very well informed about music history as well as the music making and production process, and about the music industry itself.”

Majoring in Music vs. Majoring in Journalism

As already stated, there is no one right path to becoming a music journalist. And there are few undergraduate programs specific to this field. Consider combining undergraduate study in both music and journalism, either earning a degree in both or minoring in one.

As you research prospective schools, look for programs that offer:

• Flexibility and crossover between departments

• Faculty who are still active in the field

• A good career resources center

If you choose music as your major, build your journalism experience by joining student media outlets, writing reviews or hosting a radio show. If you’re on the journalism track, seek out electives like music history or theory, and gain exposure to as much music as possible.

Do You Need a Graduate Degree?

“You certainly don’t need an advanced graduate degree to become a music journalist,” explains King. “It can help you to become more informed, or it can even help you to get a certain type of job, but it isn’t the norm and it isn’t required.”

Some students choose journalism at the graduate level to gain experience they didn’t receive as undergraduates, to more thoroughly hone their writing and reporting skills, or because they’ve changed career paths.

At the graduate level, there are more niche programs tailored to music and/or arts journalism.

Ashley Eady originally set out to become an orchestral clarinetist. She earned a B.M. degree in 2014 from Vanderbilt University as a double major in Music Performance (clarinet) and French. But after graduation, she reevaluated her career path and decided to pursue arts journalism.

“Since I didn’t have a ton of journalistic experience coming out of college, I figured going to grad school would be a smart option to gain that experience,” she says.

Eady decided on University of Southern California’s Annenberg School for Communication and Journalism, which offers an M.A. in Specialized Journalism (the Arts). She received her master’s, finished a summer internship at The Wrap, a TV/film/entertainment website, and freelances while looking for jobs in radio or music criticism.

Jeremy Reynolds was in a similar position after graduating from Oberlin Conservatory’s Double Degree Program, with a B.A. in English Literature and a B.M. in Clarinet. Rather than pursue an orchestral career, he decided to apply to a mix of journalism and arts administration graduate programs before deciding on a master’s in Arts Journalism at Syracuse University’s S.I. Newhouse School of Public Communications. He went on to freelance for numerous publications before landing a job as classical music critic for the Pittsburgh Post-Gazette.

Suggestions for Undergraduates

“While graduate school may be an option for some, other students have been able to thrive in music journalism without the need of a graduate degree,” says Jason King. By writing and building up a portfolio early in your undergraduate career, you may open the door to more options after you graduate.

Music journalist Bonnie Stiernberg graduated with a journalism degree from the University of Illinois, where she was active in student publications as a reporter and editor. She went on to intern at Paste Magazine, where she ended up serving as music editor until 2017. Now she freelances for publications including Billboard and Rolling Stone.

Stiernberg says she knew at a young age that she wanted to be a music journalist, and therefore immersed herself in as many media and writing opportunities as she could as an undergraduate.

Final Thoughts

“If you were coming out of high school, I’d urge you to go to college and immerse yourself in the student radio station, the student newspaper and any events programming board that will have you,” writes NPR Music editor and reviewer Stephen Thompson. “There comes a point (very early) in every journalist’s career when experience is far more important than what and whether he or she studied in school.”

Here are a few more suggestions for how to gain experience, build your résumé, and hone your skills:

1. Write

Join your school’s publication, start your own blog, or work for a local publication or blog.

“The best way to become a good writer is by doing it a lot, by writing as much as you can, figuring out what works and doesn’t work. Writing gets better the more you write,” says Stiernberg. “You don’t major in music and not play your instrument—it’s the same kind of concept.”

“Even if you can’t find work writing for a publication, it’s very easy (and cheap) to start your own blog,” adds Eady. “Start a WordPress blog, and just write about music: album reviews, concert reviews, criticism, think pieces, playlists, or anything you can think of that’s related to music.”

2. Read

“Read as much as possible,” says Stiernberg. “I think reading a lot helps you find your voice as a writer—you see what you like about other writers and what you don’t like about other writers, and you find yourself in that somewhere.”

3. Listen

Eady says: “Expose yourself to as much music as you can, and then write about that music.”

4. Find a mentor

Faculty and staff at college and university programs are built-in resources for helping review your work or “clips” and résumé. They also provide key recommendations for internships and jobs, and facilitate the all-important aspect of networking.

Drew Hinshaw, Clive Davis Institute ’07, notes the importance of learning from and forming relationships with experienced faculty. “The professors and staff were the best part of the program for me, not just because they were New York City music world veterans, but because they were generally fun, thoughtful people full of ideas and conversations that were new to me,” he says. “Lean on [professors] for advice and get to know them.”

5. Put yourself out there

“Go to as many shows as you can,” says Eady. “And when you go to concerts, talk to people….Introduce yourself to the people standing around you, be friendly, and start a conversation. You may end up meeting someone who could help you in your career!”

6. Don’t get discouraged

Bonnie Stiernberg urges new music journalists to hang in there: “Don’t get frustrated if you don’t get where you want to be right away. It takes a while to build up clips and get your résumé to a point where you can pitch somebody at Paste or Pitchfork or Spin or Rolling Stone.

Music editors are busy and receive a lot of emails each day, so your emails may slip under the radar. “It’s important for young writers to not get discouraged if they don’t hear back on a pitch, or if they submit résumés regarding internships (and don’t hear back). Keep trying, don’t be afraid to follow up.”

7. Be passionate

The most common tip working music journalists offer is to have passion for the job.

“This isn’t a direction to go in unless you really love it, but if you do, there are opportunities to use these skills, even if not directly related to music journalism,” says Jeremy Reynolds.

King adds, “My top tip for becoming a music writer: don’t become a music writer unless you’re passionate about writing and unless you’re passionate about music itself. And from that place of informed passion about what words can do to music and what music can do to words, pursue the craft of becoming a great technical writer with command, skill, style and panache.”

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

Links & Resources

How Do You Break Into Music Journalism?

Dual Degrees, Double Majors, and Music Minors

Music & Writing: Life as a Dual Artist

Jazz Journalists Association

Careers in music production vary according to your creativity, education and training, hands-on experience, spirit of entrepreneurship, and connections.

Professional experience outside the classroom is essential for finding a job or creating your own studio. Most college programs in production-related fields provide hands-on training at campus and local area recording studios along with internships at large and small music and music tech companies. This is essential for anyone wanting to work in this field.

“Professional work within the safety net of college helps students build a professional track record,” says Dan Godfrey, chair of Northeastern University’s Department of Music. It helps “fine-tune students’ chosen paths before their first foray into the profession.” Northeastern students are set up with one to three co-op experiences lasting six months each to provide extensive hands-on experience.

Beyond the technical and musical skills, career success “also requires strong networking skills, tireless efforts to make yourself known to others in the field, being persistent without being annoying, and finding creative ways of solving problems facing others who can become your employer or client,” says Scott Metcalfe, Director of Recording Arts and Sciences at Peabody Conservatory of The Johns Hopkins University. “Most recording engineers have freelance careers that require strong communication and organization skills.”

Metcalfe says students with strong math and science knowledge – especially in physics – find “a wider range of employment opportunities in settings that are more conventional (i.e., full time with benefits). For example: careers in electroacoustics (engineering loudspeakers, headphones and microphones), audiovisual system design (collaborating with architects on the audiovisual and information technology needs of a new construction or renovation project), acoustical engineering consultants, etc.”

Options for Careers in Music Production

A background in music production with business and entrepreneurship skills prepares graduates to create their own production studios.

Others find work:

• at existing studios
• with companies such as YouTube, Avid, Adobe, Apple
• in live performance and multimedia
• touring with musicians
• running music festivals
• working in audiovisual and headphone/microphone design
• as educators

Jobs are also available as:

• acoustic installation engineers
• audio engineers for video
• audio gaming engineers
• audio multimedia specialists
• audiovisual consultants
• front-end/back-end developers
• instructional designers
• master engineers
• multimedia educators and specialists
• stage technicians
• studio managers
• sound effects creators (Foley artists)

We’d like to introduce students and recent alumni who share their best tips for current and future music production majors.

Claire Margaret Wilkins, studio manager

Area of emphasis in college: Recording and production

Music background: Played and performed flute in middle school, high school and college. Also attended a summer study abroad program in Ireland focusing on traditional Irish music.

Current work: Studio manager at Georgetown Masters Audio, LLC in Nashville, TN.

Previous: Internship at Starstruck Studios and Modern Works Music Publishing. Temporary position at KPentertainment.

What I wish I’d known or done differently: In addition to the required final internship for my degree, I wish I had done at least one other summer internship while in school. A lot of my peers gained invaluable experiences at summer internships that helped them narrow down what they wanted to do after graduating.

In addition to the challenging coursework of my program, I also wish I had been more active in the non-music art scene and been involved with projects that collaborated with different departments.

Suggestions for future music production majors: Be as active as you can in the existing arts communities in your hometowns or surrounding areas. Begin to learn how to be a part of a creative community as well as how to communicate with a creative community.

Claire Margaret Wilkins, ’14,
Appalachian State University Hayes School of Music, BS, Music Industry Studies

Matthew Weiner, acoustical and audiovisual consultant

Area of emphasis: Acoustics

Music background: Studied guitar from 6th grade through college. Minored in music as an undergrad.

Current work: Acoustical and audiovisual consultant, SM&W (Shem Milsom & Wilke)

Previous: Live sound events. Instructor at an audio engineering school.

Suggestions for future music production majors: Consider diversifying your studies.

Matthew Weiner, ’17,
Peabody Institute Recording Arts and Sciences, MA, Audio Sciences

Michael Lekrone, concert recording manager, staff recording engineer

Areas of emphasis: Recording and production

Music background: Trumpeter in high school marching band, concert band, jazz band, church bands, and some private gigs. Self-taught in guitar and percussion.

Current work: Several pro audio positions. Concert recording manager and a staff recording engineer for Appalachian State University Hayes School of Music. Stage technician at the Schaefer Center for the Performing Arts – live audio, lighting, stage load-in and load-out, and artist relations. FOH engineer for Cornerstone Summit Church – live sound, recording, and livestream video. Freelance engineer and independent audio contractor. Regularly hired by DJ Hamilton Productions to run sound in a local bar and around town.

Suggestions for future music production majors: Read as much as you can about music production. You won’t retain all the information, but every little bit helps. And, if it is something you are really interested in, you will grow to enjoy the research more and more.

• Listen to as much music as possible. Consider the reasons why you like a particular song, or why you don’t like it. Go to live shows and listen to how a song sounds versus how it sounds on a record. Technical aspects of a piece of gear are easy to teach, but an appreciation for what sounds good on a recording is much harder to teach. Listening to as much music as possible will begin to hone your ear for what your desired product is.

• Never turn down an opportunity to learn or gain experience. There are many ways to learn other than just sitting in a classroom. Those who seek out those learning opportunities will go further in reaching their goals. You never know who will drop an opportunity in your lap that will be a stepping stone to something bigger and better in the future.

Michael Lekrone, ’18,
Appalachian State University Hayes School of Music, BS, Music Industry Studies

Elysia Smith, entertainment management, production; event planning

Area of emphasis: Entertainment management and production. Event planning.

Music background: Classical voice and piano

Current work: Projects in entertainment management, production, and event planning.

Suggestions for future music production majors: Find the college that targets your interests. Even if it’s a great school with a great reputation, if they don’t specialize in what you want to do, it won’t be the right school for you.

Pursing music or any of the arts as a career field is rarely a 9-5 day job with cushy benefits. However, the work that we do, in whatever special interest we choose to pursue, is so very rewarding because it reflects our hearts and our passions.

Elysia Smith, ’17,
University of Colorado Denver, Music Business and Recording Arts

Drew Vandenberg, studio engineer, producer

Area of emphasis: Studio and live recording

Music background: Piano for 8 years, drums, electric bass in high school through college.

Current work: Producer and studio engineer. Live and mobile recording in “odd places.”

Suggestions for future music production majors: Don’t worry about how primitive your first recording setup may be. Learn everything you possibly can from that setup before you move on to something bigger.

Seek out opportunities to shadow people who know more than you. Learn from them. You’d be surprised how much you learn just by being there and helping out. That, along with practicing on your own and doing as much reading and listening as possible, will lead to a very well-rounded foundation for whatever your passion is.

Drew Vandenberg, ’08,
Indiana University Jacobs School of Music, BS, Recording Arts

Nikki Grande, concert recording staff, administrative director

Area of emphasis: Duel concentration in recording and production and marketing and promotion

Music background: Guitarist; high school jazz band and pit orchestra; singer/songwriter.

Current work: Concert recording staff for Appalachian State University Hayes School of Music. Administrative director for the annual Appalachian Guitar Festival and Competition.

Suggestions for future music production majors: Get involved in as much as possible! The more you put yourself out there, the more opportunities you will have to be a part of something really cool that you might love. You never know who you will meet who will have a useful connection down the line.

Don’t underestimate yourself or feel too intimidated. Everyone in school is there to learn, so put yourself out there! (It’s helpful to have) a background in music theory and performance when working to produce bands.

Nikki Grande, ’18,
Appalachian State University Hayes School of Music, BS, Music Industry Studies, minor in General Business

Peter Leonard, sound engineer

Area of emphasis: Post-production

Music background: Studied alto saxophone for 15 years, electric bass for 11 years.

Current work: Podcast engineer and studio manager at Vox Media (Vox.com, The Verge, SB Nation, Eater, Racked, Curbed, Recode, Polygon). Freelance production work. Bassplayer in Sunbathers, a DC/Baltimore-based pop group.

Masters degree candidate in Audio Technology at American University. Focus: audio algorithms and computer music, computer programming.

Previous: Worked at SiriusXM as part-time board operator for their talk radio division (October, 2015 – January, 2017). Recorded, edited, and mixed album for Latitude 49, a mixed chamber ensemble.

What I wish I’d known or done differently: I wish that I had tried and failed at more things. You’ll never really get the opportunity to fail and not have to pay enormous consequences anywhere other than college. You will have the greatest number of resources, facilities, and people willing to collaborate and help you while you’re in college.

Suggestions for future music production majors:

• DON’T pursue any other area of study just for the sake of having a safety net. Unless you KNOW that you REALLY want to, I’d advise against double majoring. Stick with what makes you happy and what you love.

• DON’T get discouraged when, inevitably, out of college you have to work at that part-time job that doesn’t really pertain to your degree or that you don’t really like. The chance of getting to do exactly what you want, and especially right away, is extremely slim. Keep on! It takes a really long time to align all the details that will pave the way to the next thing. To that end, it’s all about the people you surround yourself with and how good you are to them, because they will remember you later.

• Along the way, if your convictions change (and they probably will!), it’s ok! Discovering that the specific place in the music industry that you sold yourself on in college isn’t actually for you may be a difficult realization at first, but on the whole, it’s a positive thing, and it’ll lead you to somewhere else in music that WILL make you happy.

Peter Leonard, ’15,
University of Michigan School of Music, Theatre and Dance, BS, Sound Engineering

Joey Diehl, employed by Special Event Services

Area of emphasis or interest: Recording and production

Music background: Guitarist. Played in bar bands in high school, toured in smaller bands during college. Recorded own albums and friends’ albums.

Current work: Special Event Services, a concert production company.

Previous: Worked with and toured with many mainstream artists including the Avett Brothers, Lynard Skynard, Darius Rucker, Il Divo, Lee Brice.

Suggestions for future music production majors: My own personal basic rules of success have helped me succeed in every place I’ve been in:

• Don’t talk out of your ass, don’t lie about anything, and just be nice in general.

• Apart from those three rules, just be hungry and be prepared for competition. As long as you remember that luck is just preparation meeting opportunity, you’ll be fine.

• If fast-paced is something you crave, then the live (sound) world is somewhere you need to be.

Joey Diehl, ’15,
Appalachian State University Hayes School of Music, BS, Music Industry Studies

Emma Azelborn, DSP engineer

Area of emphasis: Digital Signal Processing, audio plugin development

Music background: Vocalist, pianist, composer; member of U of Michigan Chamber Choir.

Current work: DSP engineer at Goodhertz, Inc., an audio plugin company that focuses on unique sounds with intuitive interfaces

Previous: Summer internship at Goodhertz

What I wish I’d known or done differently: I wish I had been less worried about attending things by myself in my earlier college years. Lately I’ve been going to whatever interests me, even when none of my friends are available or interested, and it has been really wonderful.

Suggestions for future music production majors: Google everything. There is so much information available online, and all you really need to get started is a computer with some sort of DAW (digital audio workstation).

Emma Azelborn, ’17,
University of Michigan School of Music, Theatre & Dance, BS, Computer Science and Sound Engineering

The following participating schools on MajoringInMusic.com offer majors and minors in music production-related areas:

Berklee College of Music – Music Production and Engineering; also Electronic Production and Design

Carnegie Mellon University School of Music – Music and Technology (recording technology, audio engineering, computer music)

DePaul University School of Music – Sound Recording Technology (audio industry: recording, sound for video, music production, multimedia, acoustics)

Florida State University College of Music – Commercial Music (recording, mixing, mastering with a business minor)

The Hartt School – Music Production & Technology (recording, mixing, and mastering engineers)

Indiana University Jacobs School of Music – Audio Engineering & Sound Production (recording, post production, live sound, IT audio, technical support)

Ithaca College – Sound Recording Technology (recording, mixing)

Leeds Conservatoire – BA (Hons) Music Production (production classes also offered in curricula for majors in Jazz, Popular, and Classical)

Liverpool Institute for Performing Arts – Sound Technology (recorded sound, live sound, post-production)

Mary Pappert School of Music – Music Production & Technology

Northeastern University Department of Music – Music Industry (major or minor, recording industry focus); Music Technology (can add Computer Science or Physics); or Recording minor

Oberlin Conservatory of Music – Technology in Music & Related Arts – TIMARA (technology applications for composition, new media and performance)

Peabody Conservatory of The Johns Hopkins University – Recording arts and sciences

Temple University Boyer College of Music – Music Studies: Music Technology (music and recording technology)

Tiffin University – Music production & technology

U. of Colorado-Boulder College of Music – Bachelor of Arts-Music with Emphasis in Music Technology & Media Studies

U. of Colorado-Denver Music & Entertainment Industry Studies or MEIS – Recording Arts (audition and non-audition tracks in audio production)

U. of Denver Lamont School of Music – Recording and Production (performance area + engineering, production)

U. of Michigan School of Music, Theatre & Dance – Sound Engineering, Music and Technology, or Performing Arts Technology (audio engineering, sound recording, production, electronic music composition, performance systems, sound synthesis, music psychology, digital fabrication)

U. of South Carolina School of Music – Performance, with a Concentration in Technology or Recording Technology Studies minor (audio recording, computer composition, digital technology, multimedia production)

U. of Southern California Thornton School of Music – Music Technology (music production, live performance, multimedia – creative, technical & business aspects)

U. of Toronto – Music Technology and Digital Media (master’s degree, music technology with performance and/or composition)

Are you interested in studying music production? Are you obsessed with how music is effectively presented live and/or recorded?

This article will help you zoom in on your specific interests and career goals. Find out what you need to know before you apply to music production programs, and learn what schools expect from their applicants.

In a follow up article, students and recent graduates working in a variety of production-related settings will share their insights and recommendations to help you figure out your next steps.

Working in music production

According to Michael Gurevich, chair of the Department of Performing Arts Technology at University of Michigan School of Music, Theatre and Dance, a producer can play a variety of roles including:

• Organizing and funding a recording project
• Making beats or background tracks for solo recording artists
• Working with songwriters, arrangers, and engineers

The production process also includes various engineering roles that Gurevich describes as follows:

Recording engineer – Decides which microphones to use, where and how to use them, how to process or treat the sound before and after the recording. Recording engineers also manage the technical aspects of the recording session.

Mix engineer – Decides how all of the parts that were recorded in a session should be combined into a stereo recording. A single album may have several different recording or mixing engineers on different tracks.

Mastering engineer – Fine-tunes the audio on all the mixed recordings to make the individual tracks sound good. Provides a cohesive sound for the entire album.

How to find a music production program

Schools offer music production programs under various names such as:

• Audio Recording
• Sound Recording
• Music Production
• Music Technology
• Acoustical or Sound Engineering
• Electronic Production
• Recording Arts
• Some combination of the above
• Something entirely unique to the school

Don’t get caught up with the name of the program! Instead, look for this information on school websites:

• Program focus

• Required classes

• Opportunities for hands-on training, internships, and other real-world experience. There’s a limit to what you can learn just sitting in a classroom.

• Additional career-related opportunities

• Faculty – and their experience in your area of interest

• Facilities available to students

• Careers recent graduates have entered based on their education and training

Note that at some schools, you’ll find these kinds of programs within a Music Industry department.

Program focus

Music production programs center around the science of sound, but the classes you’ll take, the hands-on experience you’ll receive, and the type of degree you’ll graduate with vary according to the focus of the program.

BM programs emphasize a music performance component. They require an audition.

BA programs are less likely to require an audition or strong performance chops. They may require a portfolio of previous relevant work and/or an interview.

BFA programs are less common, may include digital performance, and may offer options for a focus in areas including composition or film. They may require a portfolio of previous relevant work and/or an interview.

BS programs are more science/engineering-oriented, and may or may not include a music concentration. General requirements may include calculus, physics and computer science. They may require a portfolio of previous relevant work and/or an interview.

Ask admission offices any questions that aren’t answered on their schools’ websites. If the schools participate on MajoringInMusic.com, you can use the form on their participating pages to ask your questions. We’ll make sure you get the answers you need.

Who’s a good fit?

Music schools contributing to this article describe their students as:

• Passionate about the arts as well as technology
• Comfortable with math and analytical thinking
• Creative and highly self-motivated
• Entrepreneurial – or ready to become so
• Forward-thinking

Jeff Cline, Associate Professor of Music Industry at University of Memphis, emphasizes the need for students to have “a continuous passion to learn and participate.”

“Students who have a penchant for brainstorming and implementing, often with teamwork at the heart of the enterprise, are more likely to succeed,” says Dan Godfrey, Chair of the Department of Music at Northeastern University.

Scott Metcalfe, Director of Recording Arts and Sciences at Peabody Conservatory, describes his students as “relieved to not have to decide between pursuing engineering or music in college to the exclusion of the other.”

Before you apply

Most of the schools we talked with agree that applicants should be “creative and active musicians who also demonstrate an interest in interdisciplinary collaboration and experimentation,” a description provided by Kurt Isaacson, former Admissions Counselor at CalArts.

But expectations vary as far as what you should already know before you apply to a college-level program in any area of music production. Most schools expect you to have a musical background and at least some formal music training.

At a school with a performance-oriented production program, you’ll audition and also take lessons on your primary instrument. These types of programs seek “strong performers who want to continue to develop as musicians in addition to studying the craft of music recording,” says Justin Kurtz, Chair of the Music Production and Technology program at The Hartt School.

Schools that don’t require an audition will likely require a portfolio of past creative work in recorded and/or live sound. Some will also require an interview to discuss your interests and experience.

For the more engineering-oriented programs, a strong math- and computer-savvy background and a high level of comfort in both areas are important.

“Often students will have gained lots or all of their experience outside of their formal education,” says Darren Murphy, International Manager at The Liverpool Institute for Performing Arts. “We like this as it shows commitment and enterprise.”

10 Tips on how to prepare

Before applying to college-level programs, get some experience in the area of music production you’re most interested in focusing on in college.

Some suggestions:

1. Take a music technology class at your high school, at a local community college, or online. This is a great way to see how interested you really are in diving into this field.

2. Look for summer music programs to further your knowledge.

3. Take a music theory class.

4. “Start finding out about how the music you love is made,” urges Darren Murphy at LIPA.

5. Talk with people working in the field you’re interested in pursuing. Shadow them on the job. Volunteer.

6. If you’re interested in recording, “Developing your ears to discriminate between the aesthetics of classical vs. jazz vs. pop/rock recording is very important to becoming a critical listener and student of recording,” says Justin Kurtz at The Hartt School.

7. If possible, obtain some home recording equipment, “even an inexpensive system with freeware software to learn on and record friends, associates, and professionals,” says Scott Wynne, Associate Professor and Chief Recording Engineer at Appalachian State University. This can help you “know the trials of recording music” and see if this is the right path to pursue.

8. “The most important thing we like to see is evidence of entrepreneurship, and this can be shown by finding positions of leadership within your school, launching a music club or event, actively performing in your community or seeking opportunities for creative collaboration with peers,” say Brianne Hayes, Administrative Director, and Alan Watson, Administrative Coordinator at NYU Tisch School of the Arts Clive Davis Institute of Recorded Music.

9. “Above all, be curious and be an independent learner. There is an incredible wealth of resources out there available to students online for self-study in music technology,” says Michael Gurevich, at the University of Michigan.

He continues, “There are free or low-cost DAWs (digital audio workstation software) for recording, editing and producing audio files so that all you really need to get started is access to a computer, the internet, and a pair of headphones.” A microphone is also helpful.

10. Learn how to communicate about your interests. This will be important for successful interviews at schools that require them in lieu of or in conjunction with a portfolio and/or audition.

What about grad school for music production?

The world of music production is rapidly changing. This means anyone entering it must be ready and willing to stay current with technological advances in order to remain hirable.

Graduate-level training will be useful if your career goals are unreachable without it. It may provide training that was unavailable while you were an undergrad. And it can jumpstart your learning new technologies as well as pursuing your creative interests with the assistance of mentors and collaborators.

Gurevich at Michigan encourages anyone considering a graduate program in music technology, production and/or engineering to “start to develop a research or creative focus that you want to explore in grad school” –– ideally while you’re still in college. “At the grad level,” he says, “schools are looking for your ability to formulate original research questions that show an awareness of the state of the art of the field, and have the potential to move it forward.”

The following participating schools on MajoringInMusic.com offer majors and minors in music production-related areas:

Berklee College of Music – Music Production and Engineering; also Electronic Production and Design

Carnegie Mellon University School of Music – Music and Technology (recording technology, audio engineering, computer music)

DePaul University School of Music – Sound Recording Technology (audio industry: recording, sound for video, music production, multimedia, acoustics)

Florida State University College of Music – Commercial Music (recording, mixing, mastering with a business minor)

The Hartt School – Music Production & Technology (recording, mixing, and mastering engineers)

Indiana University Jacobs School of Music – Audio Engineering & Sound Production (recording, post production, live sound, IT audio, technical support)

Ithaca College – Sound Recording Technology (recording, mixing)

Leeds Conservatoire – BA (Hons) Music Production (production classes also offered in curricula for majors in Jazz, Popular, and Classical)

Liverpool Institute for Performing Arts – Sound Technology (recorded sound, live sound, post-production)

Mary Pappert School of Music – Music Production & Technology

Northeastern University Department of Music – Music Industry (major or minor, recording industry focus); Music Technology (can add Computer Science or Physics); or Recording minor

Oberlin Conservatory of Music – Technology in Music & Related Arts – TIMARA (technology applications for composition, new media and performance)

Temple University Boyer College of Music – Music Studies: Music Technology (music and recording technology)

Tiffin University – Music production & technology

U. of Colorado-Boulder College of Music – Bachelor of Arts-Music with Emphasis in Music Technology & Media Studies

U. of Colorado-Denver Music & Entertainment Industry Studies or MEIS – Recording Arts (audition and non-audition tracks in audio production)

U. of Denver Lamont School of Music – Recording and Production (performance area + engineering, production)

U. of Michigan School of Music, Theatre & Dance – Sound Engineering, Music and Technology, or Performing Arts Technology (audio engineering, sound recording, production, electronic music composition, performance systems, sound synthesis, music psychology, digital fabrication)

U. of South Carolina School of Music – Performance, with a Concentration in Technology or Recording Technology Studies minor (audio recording, computer composition, digital technology, multimedia production)

U. of Southern California Thornton School of Music – Music Technology (music production, live performance, multimedia – creative, technical & business aspects)

U. of Toronto – Music Technology and Digital Media (master’s degree, music technology with performance and/or composition)

Photo Credits

Top: Appalachian State University

Side: University of Michigan

Music conferences offer students as well as seasoned musicians a wealth of professional opportunities. They are motivating and help recharge your battery. They even help set future goals. Consider music conferences an essential component of your training and career.

by Paul Fox

Here’s why:

Music conferences “grow” your professional network and your opportunities for future collaboration. They build your knowledge base in a variety of ways. You get to:

• Hear about potential job openings.

• Stay current in the field.

• Discover mentors.

• Learn about new thinking, technology, music literature, classroom materials and curriculum initiatives, research, and unique approaches to problem-solving.

• See “state-of-the-art” student and professional performances.

How to prepare

You’ll get more out of a music conference if you do some advance preparation.

1. If the conference is offered through a professional association, check their website for the conference program. The program may also be available through an app like Core-Apps or Guidebook.

2. Review the sessions to be offered. They’re typically listed in chronological order or by content strands.

3. Look for keynote speakers, guest clinicians, showcase demonstrations, association or committee meetings, and performances.

4. See if there’s a conference planning app for setting up your schedule (“where to go and what to do”), reading the bios of the presenters, locating session rooms and exhibit booths, learning who is attending, taking notes, and hearing about last minute changes. Highlight areas of your highest interest.

5. Plan to stay at or near the venue where the conference is being held. Many conferences offer roommate options to help save money as well as conference block rates. Staying at or near the conference will allow you to focus on the conference events rather than worrying about getting to and from the conference. But this means signing up early as conference blocks sell out.

6. Prepare your business cards and review your networking skills. You’ll want people you meet to remember you.

Once you’re there

Don’t remain in your “comfort zone” by sitting exclusively with your friends and colleagues at every session and concert. For the sake of networking opportunities, get to know other professionals, possible job screeners or collaborators, etc.

Instead of attending sessions or concerts only in your specialty or most proficient areas, attend some that are not directly related to your major field. You may be surprised at the connections you discover or the new interests that arise.

8 tips for maximizing the takeaways from music conferences

1. Don’t be shy! Music conferences are no place to be timid or afraid to start up a discussion with more experienced professionals.

2. Circulate and introduce yourself. Be your “most charming self.”

3. Attend all general sessions. These usually feature the keynote speakers, association officers, and a special performance or award presentation.

4. Don’t be the first person to leave a session. Leaving early can be seen as disruptive and rude, and doesn’t let you to get the “whole picture” of the presentation or hear or participate in the Q&A, which may be as valuable as the presentation itself.

5. Look for special sessions on interviewing and landing a job.

6. Some of the best takeaways happen informally – over a meal, after a session, at continental breakfasts or coffee hours before the daily sessions start, and on the shuttle to/from the airport. Be prepared – even seek opportunities for this to happen.

7. Take time for a walk and for a breath of fresh air, and to regroup with yourself. Music conferences can be overstimulating and typically don’t leave much time for sleep.

8. Take notes about your experience during the conference and right after. Decide what you need and want to follow up on. Follow up with anyone you met who may be able to help you move forward in your education or career.