Colin Pinto-Martin, a percussionist currently in conservatory, wonders about his own future and the future of his art form. Conservatories across the country are producing highly skilled musicians, but if the art form has only declining audiences and declining interest, what does that mean for all those currently in training for the orchestras of tomorrow? Pinto-Martin considers the changes in audience, their waning familiarity with classical music and the growing informality of culture in general, and he sees tremendous uncertainty. The question then becomes what are the musicians themselves willing to do in order to change that future. He writes, “If we as musicians and artists don’t begin to adapt to a rapidly changing culture soon our craft will be as valuable as making buggies for horses.”
The Muse Dialogue offers some provocative thoughts and challenging questions from a young musician who argues that musicians themselves are partly responsible for the situation, and must take up responsibility for its future. Read on in “All Dressed Down, Nowhere to Go” (click here for full article).
We have become so accustomed to characterizing art works as the product of “genius” that we may just overlook other qualities of character needed by their creators. The world of music gives us melodies and textures of sound that have us marveling at their beauty, their cleverness, and their expressiveness. Yet what was required to bring those sounds to life, to bring that impact on us?
In a new article from The Muse Dialogue, Kristine Rominski argues that although genius might be required, it is not the only necessary ingredient to great art. Perhaps not even the most important one. Rominski is a flutist currently in conservatory, and she offers a very personal look at the willpower behind musicianship. Her story considers the distractions of the contemporary age, the demands of consistent practice, and the content of character behind excellence.
For a special insight into the mind of the musician and the demands that they face in the solitude of the practice studio, join us for Kristine Rominski’s “The Power of Will, The Power of Genius” (click here to read full article).
TMD continues its series on emerging artists in classical music today with a rethinking of the the problem and the solution. We know that audiences are declining, and so classical music organizations respond with innovative presentations, non-traditional performances, and clever marketing approaches. While well intentioned, such efforts miss the real problem in the opinion of Annie Gordon. They are nice, perhaps, but only “band-aids” to solving the issue of declining audiences.
Gordon argues that the very mindset of classical musicians must change first before any substantial change is possible with audience trends. “As musicians, we are preventing our own art from flourishing because we do not value with equal intensity our roles as music educators and mentors,” Gordon argues.
Join us for a consideration of how one defines the role of “musician” in this article from The Muse Dialogue, “The Classical Musician’s Paradigm Shift” (click to read full article).