Earlier this month, country music legend Dolly Parton announced a major tour throughout the US and Canada later this year. The announcement was inspiring considering the singer's age as well as the fact that it has been more than 20 years since her last major tour. What I truly found remarkable and thought-provoking was Parton's description of the tour -- the concerts will be "stripped down" to reflect the promotion's Pure and Simple title.
In our technologically driven society, some observers attribute classical music's declining audiences in part to the genre's failure to entice patrons with the latest technology. This explains the appearance of light displays, intricate PowerPoint presentations, and movie clips in recital halls around the country in recent years. While I am all for using all forms of media when it enhances the overall experience, I also find that its inclusion is not always beneficial. I think it is time that we face the fact that all of the sparkle is sometimes included in an effort to disguise an inherent deficiency.
It seems that Dolly is on to something. During his March 18, 2016 interview on The Chew (ABC), Seal stated that the current plan for his upcoming European tour will feature him and one or two other musicians on stage. No light shows. No dancers. When asked why, Seal suggested that the audience wants to just focus on the message of the music. Is it possible that classical audiences are dwindling because we are no longer communicating relevant messages to them? Have we failed to present music that speaks to the heart? Do we as performers intentionally bring personal interpretations of the music to the recital stage that we have painstakingly developed in the practice room or are we simply regurgitating a soulless version of a favored recording?
That's the challenge facing musicians today. In the coming weeks, I'll explore what I believe to be some of the causes of our present cookie-cutter performances as well as steps today's teachers can take to break the cycle while training the next generation of musicians. I hope you'll join me for the conversation.
Showing posts with label technology. Show all posts
Showing posts with label technology. Show all posts
Thursday, March 24, 2016
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Thursday, March 10, 2016
Technology for the Piano Studio
As our world is daily effected by modern technology, our piano studios are also changing. Students of all ages come to us more tech-savvy than ever before. They expect our teaching to include the use of apps and other forms of technology that will be beneficial to their learning. Here's a quick look at some of the websites, applications and equipment I am currently using in my collegiate studio on an almost daily basis.
- ForScore Music Reader. After spending the early years of my career as a collaborative pianist hauling enormous binders filled with photocopies of scores from rehearsal to rehearsal, ForScore changed my life. The iPad app holds lots of music that is clearly displayed on the tablet. With the ability to mark the score easily as well as the imbedded metronome and recording equipment, ForScore is one of the most powerful tools in my arsenal at the moment.
- AirTurn Blue Tooth Page Turner. Paired with my iPad and ForScore, my AirTurn system allows for hands-free page turning. Set up is easy and the dual pedal configuration is highly mobile, reliable, and affordable. Rarely do I play a performance or important rehearsal without using my AirTurn.
- Recording Capabilities. Recording lessons, rehearsals and performances is a valuable tool for every musician and most of our students have the capability to record -- both audio and video recordings -- from one of their devices. Additionally, sites such as YouTube and SoundCloud enable performers to reach a large audience without spending a cent on travel.
- Metronome. Students have no excuse for not practicing with a metronome! There are many free apps that are quite good. I encourage my students to use the simple metronomes so they aren't distracted by all of the "bells and whistles" that come with many for-purchase apps. Why pay for more when we just need a clear sound that keeps a steady beat?
- Online Music Sources. It is now possible to obtain music very quickly with the advent of digital scores. Additionally, many free scores are available. I find myself accessing IMSLP regularly as I research new music that is now in the public domain and finding scores for students who are struggling financially. Students enrolled in my class piano course are no longer carrying an enormous textbook; instead, they purchase a semester's license to EnovativePiano.com. Enovative offers everything from repertoire to score reading excerpts, transposition exercises, and harmonization projects in a single location at a reasonable price. Perhaps most importantly, each of Enovative's repertoire selections is accompanied by a video performance that displays solid technique and musicality. (In case you can't tell, I'm a big fan of the online text and would love to chat with you about it further if you are interested.)
- Listening Sources. Whether you prefer YouTube, Spotify, SoundCloud, or Naxos, there are plenty of places to direct your students to hear performances -- both good and bad -- of repertoire they should know as well as pieces they are studying. When you don't find what you're looking for, the option to upload your own recording is also an option. When you can't listen to a live performance, these websites offer the next best thing.
- Survey Monkey. Yes, I'm using Survey Monkey in my studio instruction. It's an easy way to collect comments on peer performances in a piano lab setting or studio performance lab without forcing introverted students to stress over speaking in front of a group of their peers. In my personal experience, I've found that a few confidential surveys help everyone's confidence to grow and realize that they have insightful comments to make on musical performances that can be helpful to their friends.
Thursday, July 30, 2015
Home Recitals
A few years ago, I ran across an article detailing one pianist's experience of presenting a small tour of intimate recitals in the homes of various friends and family members throughout the country. The idea intrigued me, but I wasn't certain it would be something I would be interested in. It seemed like so much work without much return or benefit. The concept returned to my mind last week when I was able to watch a preview recital of pianist Richard Fountain via Facebook that he played in a home while visiting family out of town. The success of this experience has led me to once again consider the pros and cons of home recitals.
The home recital is more relaxed and intimate by its very nature. It is a perfect situation for the performer to try out new repertoire before appearing on the main stage. Additionally, it allows the audience the opportunity to interact with the artist in a casual setting and encounter music with which they may not be familiar. A reluctant concert goer will be more comfortable experiencing something unfamiliar in a friend's home than in a stuffy concert hall.
One of the things that most attracts me to home recitals is the opportunity to share my passion for music with an audience in a non-threatening, relaxed manner. There is no pressure to be "informed" about the music; the audience simply gets to enjoy the sounds while sipping a beverage in a comfortable chair. Questions about the music and the learning process are welcome, but the discussion will likely be less academic than that which might be commonly encountered in a traditional concert setting.
A few challenges immediately come to mind when considering a home concert. Obviously a quality instrument needs to be available to the performer. In most metropolitan areas, a piano can be rented for a nominal fee if one is not already available in the home. While I would prefer to play on a nice grand piano, it is possible to elicit beautiful sounds from consoles and uprights that have been properly maintained as well. If we are willing to play on instruments that might be "less than ideal," the experience might be less intimidating for the audience as well as the prospective host.
Another concern for many performers is audience size. The purpose of the home recital is not to reach the masses with our music. Rather, the focus of these concerts is found in the intimacy between the audience and performer while allowing the artist to test our repertoire in a small venue. An audience of twelve to twenty guests would result in a packed house (literally!) in many home recital venues. With the use of technology that is readily available to many today, it is possible to expand the concert's audience beyond the geographical boundaries of the host home with minimal equipment.
The artist is probably not going to earn much money from a home performance. I would honestly be surprised to receive much more than a meal and possibly lodging. So why play a home recital? In addition to the benefit of trying out new repertoire alluded to earlier, it is also a way to reconnect with friends and colleagues while making new acquaintances (that might lead to future gigs). Most importantly, it is another opportunity to share the music we love with an audience we may never encounter from the concert stage. As a professional artist, some of the expenses associated with the home recital may be tax deductible; you will just want to speak with your tax professional before embarking on your adventure.
What are your thoughts? I'd love to hear about your experiences with home performances as well as your thoughts about their benefits and potential pitfalls.
The home recital is more relaxed and intimate by its very nature. It is a perfect situation for the performer to try out new repertoire before appearing on the main stage. Additionally, it allows the audience the opportunity to interact with the artist in a casual setting and encounter music with which they may not be familiar. A reluctant concert goer will be more comfortable experiencing something unfamiliar in a friend's home than in a stuffy concert hall.
One of the things that most attracts me to home recitals is the opportunity to share my passion for music with an audience in a non-threatening, relaxed manner. There is no pressure to be "informed" about the music; the audience simply gets to enjoy the sounds while sipping a beverage in a comfortable chair. Questions about the music and the learning process are welcome, but the discussion will likely be less academic than that which might be commonly encountered in a traditional concert setting.
A few challenges immediately come to mind when considering a home concert. Obviously a quality instrument needs to be available to the performer. In most metropolitan areas, a piano can be rented for a nominal fee if one is not already available in the home. While I would prefer to play on a nice grand piano, it is possible to elicit beautiful sounds from consoles and uprights that have been properly maintained as well. If we are willing to play on instruments that might be "less than ideal," the experience might be less intimidating for the audience as well as the prospective host.
Another concern for many performers is audience size. The purpose of the home recital is not to reach the masses with our music. Rather, the focus of these concerts is found in the intimacy between the audience and performer while allowing the artist to test our repertoire in a small venue. An audience of twelve to twenty guests would result in a packed house (literally!) in many home recital venues. With the use of technology that is readily available to many today, it is possible to expand the concert's audience beyond the geographical boundaries of the host home with minimal equipment.
The artist is probably not going to earn much money from a home performance. I would honestly be surprised to receive much more than a meal and possibly lodging. So why play a home recital? In addition to the benefit of trying out new repertoire alluded to earlier, it is also a way to reconnect with friends and colleagues while making new acquaintances (that might lead to future gigs). Most importantly, it is another opportunity to share the music we love with an audience we may never encounter from the concert stage. As a professional artist, some of the expenses associated with the home recital may be tax deductible; you will just want to speak with your tax professional before embarking on your adventure.
What are your thoughts? I'd love to hear about your experiences with home performances as well as your thoughts about their benefits and potential pitfalls.
Thursday, November 7, 2013
Rehearsal Scheduling Website
I love accompanying other musicians in their performances. That love guided my decision to focus on collaborative arts in graduate school and it has led to my current position as staff pianist. The most frustrating aspect of the job has always been scheduling rehearsals. Soloists would call or text me to ask for a rehearsal, but they had no idea what my availability was really like. Comparing calendars was always difficult.
As I started splitting my time between Memphis and Jackson, Tennessee, I posted sign-up sheets for students to arrange rehearsals. Problems quickly appeared. It wasn't convenient for students to get to my sign-in sheet, so they didn't. Worse still, singers would sign up for a rehearsal after I had already left and I would miss the scheduled meeting because I didn't know about it. It was frustrating for everyone involved. I knew there had to be a solution that would help me maintain my professionalism while making the process easy for everyone involved.
That's when I discovered web-appointments.com. This online appointment center allows me to set aside rehearsal times based on my availability. Students are able to reserve rehearsals at their convenience as long as they have internet access. Once an appointment is made, it is not finalized until I confirm the rehearsal with the simple click of a button. To make things even more convenient, clients provide their phone number and email address at the time of registration; these come in really handy when I'm running late or need to reschedule.
While it is not necessary to obtain a domain name for the site, it has proven to be a worthwhile investment for me. The web address is now easy to remember (compared to the default address provided by web-appointments) and clients don't have to keep up with an awkward address on a random piece of paper.
When I first began using web-appointments.com, many clients were apprehensive and didn't want to use it. With a little encouragement (and using the site myself to schedule appointments for them), they quickly grew to appreciate the ease of scheduling. The best news of all? Reminder emails have resulted in a significant reduction in no-shows since using the scheduler.
I can keep singing the praises of web-appointments.com, but the best way to understand it is to check it out for yourself. Depending upon how you pay for the service (either quarterly or yearly), the cost breaks down to less than $10 per month. Once you get used to the system and get things arranged correctly, you'll wonder how you managed to schedule rehearsals (and lessons) before.
FYI - I have received no compensation from web-appointments.com or their providers for this review. KF
As I started splitting my time between Memphis and Jackson, Tennessee, I posted sign-up sheets for students to arrange rehearsals. Problems quickly appeared. It wasn't convenient for students to get to my sign-in sheet, so they didn't. Worse still, singers would sign up for a rehearsal after I had already left and I would miss the scheduled meeting because I didn't know about it. It was frustrating for everyone involved. I knew there had to be a solution that would help me maintain my professionalism while making the process easy for everyone involved.
That's when I discovered web-appointments.com. This online appointment center allows me to set aside rehearsal times based on my availability. Students are able to reserve rehearsals at their convenience as long as they have internet access. Once an appointment is made, it is not finalized until I confirm the rehearsal with the simple click of a button. To make things even more convenient, clients provide their phone number and email address at the time of registration; these come in really handy when I'm running late or need to reschedule.
While it is not necessary to obtain a domain name for the site, it has proven to be a worthwhile investment for me. The web address is now easy to remember (compared to the default address provided by web-appointments) and clients don't have to keep up with an awkward address on a random piece of paper.
When I first began using web-appointments.com, many clients were apprehensive and didn't want to use it. With a little encouragement (and using the site myself to schedule appointments for them), they quickly grew to appreciate the ease of scheduling. The best news of all? Reminder emails have resulted in a significant reduction in no-shows since using the scheduler.
I can keep singing the praises of web-appointments.com, but the best way to understand it is to check it out for yourself. Depending upon how you pay for the service (either quarterly or yearly), the cost breaks down to less than $10 per month. Once you get used to the system and get things arranged correctly, you'll wonder how you managed to schedule rehearsals (and lessons) before.
FYI - I have received no compensation from web-appointments.com or their providers for this review. KF
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