tag:blogger.com,1999:blog-37275202375931759762024-03-13T19:54:40.226-07:00The EndpinJennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-3727520237593175976.post-54243804801953327092014-10-28T07:00:00.000-07:002014-10-28T07:00:04.027-07:00Teaching Contracts<img alt="Teaching Contracts Title" height="383" src="https://farm6.staticflickr.com/5612/15548067821_1278f993be_o.jpg" width="575" /><br />
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After a great comment thread on Facebook initiated by cellist <a href="http://mariesinco.webs.com/">Marie Sinco Warren</a>, I realized I'm not the only one out there who feels a little baffled by teaching contracts. What should I put in there? How official does it need to be? Am I missing something? <br />
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Marie suggested a post about it all, and I thought it would be fun to peek at a few other musicians' contracts. So, three very generous teaching artists below have volunteered to share their contracts and some info about their teaching contract experience.<br />
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<a href="https://www.blogger.com/blogger.g?blogID=3727520237593175976" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-OxDEuU4cp5A/VEAF5iH5DQI/AAAAAAAAKlg/xJKgz-xSyzA/s1600/Justin.jpg" /></a><a href="http://www.justin-dougherty.com/splash.html" target="justinweb"><b>Justin Dougherty</b></a> teaches cello and chamber music to private students in middle and high school, as well as at two universities on an adjunct basis. He's been teaching privately since 2008 (when he finished my undergraduate degree), and recently organized his studio into a full time job in 2012.<br />
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"I've been using contracts for performances since 2010 to protect both the presenters' interests and my own. It makes it much easier to organize one's professional obligations when all things are written in concrete terms, with no ambiguity. My private studio contract isn't so much a contract as a set of clearly defined policies which seem strict on the surface, but really only lay out what happens in the worst case scenario."<br />
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<b>What's the most important part of your teaching contract?</b><br />
"The most important part of my contract deals with showing up. What I think many non-musicians don't think about is what they are paying for in a music lesson. It's not just the instruction (one's expertise), which is truly the largest factor, but also the time: a parent/student is paying me to reserve my time for them. In return for this reservation, I will show up and offer my expertise. My contract guarantees that the student will also show up during their reserved time, but if they don't, I am still compensated for it."<br />
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<b>What policy change has made the biggest impact on your studio?</b><br />
I recently changed my cancellation policy because my former policy had many loopholes and situational considerations. It was too case-by-case to be an effective policy. Now, I have a "no refunds or credits for cancellations of any kind" policy. In this policy, I've set aside eight hours each weekend for rescheduled lessons, and if a student must cancel their regularly scheduled lesson for any reason, they have 30 days to make up the cancelled lesson… If [parents] are unable to find a reschedule time over 30 days, they lose their tuition. So far, there have been no problems with this policy, and many parents find it freeing to have options and possibilities.<br />
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<b>Other contract thoughts or advice?</b><br />
If you think it (a situation) may eventually be a problem, add it to your contract. If you are fearful that a student may not bring their instrument to their lesson (gosh, why wouldn't they?!), make sure you add it to your contract. If you think that a parent may try to pay you in Euros and you aren't so keen on that, make sure to define payment type. Update your contract regularly (yearly, at least) to either trim the fat from the contract or to add new policies to address ongoing issues that you've been having. Overall, remember: the contract protects both you AND your client/student/student's parent from abuse.</div>
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<h3>
Check out Justin's Teaching Contract <a href="https://docs.google.com/file/d/0B8GbrVjXfOudTEVUcS1WczEtMTA/edit?pli=1" target="justin">Here</a></h3>
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<a href="https://www.blogger.com/blogger.g?blogID=3727520237593175976" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-DGKU-ItaNCM/VEAF5uOS__I/AAAAAAAAKlc/sFUfyVRZ6D8/s1600/Eric.jpg" /></a><a href="http://www.celloloft.com/" target="ericweb"><b>Eric Moore</b></a> has been teaching cello privately since 2005, full-time since 2010. Currently he teaches weekly lessons out of his home studio but has also taught in other locations and through local music shops. <br />
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"I started using a contract in 2008 when I started to have students who would cancel on the same day."<br />
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<b>What's the most important part of your teaching contract?</b><br />
"Clarity. Whether your teaching policies are flexible or rigid, being clear about your normal expectations and clear about foreseeable contingencies is important.<br />
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Of my policies, the expectations about absence, extended absence and leaving the studio are the most important to my business. Since teaching accounts for most of my income, my students' payments are budgeted as though I were on a salary. I've started to think about this guaranteed income like rent - students use out my available time slots like they would rent an apartment. Leaving for a vacation doesn't get a person out of a weeks' worth of apartment rent. Similarly, two weeks' notice for me to fill the time slot is reasonable - that's income I expected to have and I need time to replace the tenant of that time slot."<br />
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<b>Has having a teaching contract helped you get out of tricky situations? Prevented them?</b><br />
"Over months or years with students (and parents) we get to know them personally and it can be tough when they email and ask for an exception to the policies. Rather than hem and haw because you feel guilty, having policies allows you to email back 'I'm sorry, I can't do that as per my policies but I hope they have a great time doing [whatever]! See you next week!'"<br />
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<b>What policy change has made the biggest impact on your studio?</b><br />
"On a practical level, monthly tuition (rather than weekly) is awesome and I go so far as to keep it the same regardless of the number of weeks. Everyone knows they're going to get a lesson a week and that over a year my monthly rate is a tad cheaper than my "hourly" rate. I use Square Cash (no transaction fees and my students get points for using their debit cards) and the amount is the same every month. I used to have to calculate out how many weeks there were in the month and ask for that amount. This is much faster."<br />
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<b>Other contract thoughts or advice?</b><br />
"As musicians, it is <i>so</i> easy to get into the mentality that we are somehow subservient to our students (or their parents) who are essentially patrons or donors. Not true. We are a providing a service to them and as such we need not feel shy or timid or awkward about being business people.<br />
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That being said, my policies are very cut & dry and out of context could sound mean or heartless. I am, on the other hand, very much a goofball and I joke around constantly during lessons. The policies enable me to have that distinction and, ultimately, are just there as a worst-case-scenario for chronic problems."</div>
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<div style="text-align: center;">
<h3>
Check out Eric's Teaching Contract <a href="https://docs.google.com/file/d/0B8GbrVjXfOudSzBBelhNcFdMS1U/edit?pli=1" target="eric">Here</a></h3>
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<a href="https://www.blogger.com/blogger.g?blogID=3727520237593175976" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-KP5BJh9q1wg/VEAF5kzJIxI/AAAAAAAAKls/T8fgrY5_d0A/s1600/Ariana.jpg" /></a><a href="http://www.villamusica.org/faculty-lamon/" target="arianaweb"><b>Ariana Warren</b></a> teaches both at her home studio and at a private school. All of her teaching is through one on one lessons on clarinet, saxophone, and flute.<br />
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"I started using a contract because it's really hard to get people to pay on time and cancel lessons in a timely manner. I ask that they pay up front for the month so that there is more incentive to give me notice when they will be away. If I have plenty of notice for an absence I don't have them pay for that week when paying the month's bill." <br />
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<b>What's the most important part of your teaching contract?</b><br />
"Money and cancellation policy."<br />
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<b>Has having a teaching contract helped you get out of tricky situations? Prevented them?</b><br />
"Not yet--parents are still bad about paying on time, particularly at the private school since I rarely see the parents. The kids stay after school and go to aftercare, so their parents aren't around to pester."</div>
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<div style="text-align: center;">
<h3>
Check out Ariana's Teaching Contract <a href="https://docs.google.com/file/d/0B8GbrVjXfOudX0xHUkdPMkd2elU/edit?pli=1" target="ariana">Here</a></h3>
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Aren't these three the best? A HUGE thank you to Justin, Eric, and Ariana for sharing their experience. If you've had any helpful contract experiences, please please share them in the comments below!<br />
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<i>Disclaimer: This post is not a substitute for seeking legal advice from a licensed professional. To be sure your contract is legally sound and meets your business needs, please do hire a professional. </i>Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0tag:blogger.com,1999:blog-3727520237593175976.post-28237391069442604792014-10-14T07:00:00.000-07:002014-10-14T07:00:07.209-07:00When to Turn the Page<img alt="No Page Turn Title" height="383" src="https://farm4.staticflickr.com/3953/15323751689_c21a873db3_o.jpg" width="575" /><br />
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Sometimes it can feel like finding the right spot to turn pages is a labyrinthian task of negotiations, especially if a publisher or composer hasn't had the chance to plan page turns or if you've decided to play from the score.<br />
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When rests are especially sparse, page turns drive me absolutely batty! The only spot I have for turning is during this amazing dramatic pause? No!! I want to feel the physicality of the silence, not the <i>whoosh</i> of moving paper!<br />
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As an exercise in illustrating how strangely complicated the process can be, I've drawn up a fun flow chart for choosing when to turn your page...<br />
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<img alt="Page Turn Flow Chart" height="739" src="https://farm3.staticflickr.com/2948/15331489758_4e97c56dfe_o.jpg" width="575" /><br />
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So, when are you turning your page? Any others with page turn pet peeves out there??Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com1tag:blogger.com,1999:blog-3727520237593175976.post-58361371974265882822014-09-30T07:00:00.000-07:002014-10-02T15:10:20.667-07:00Quick + Easy Bio GeneratorCan we all agree? Writing bios is the worst. Not only is there that nagging feeling of having done nothing important, but there's the terrible sense of "I know what I need to say to make myself seem impressive, but that doesn't really represent me as an artist."<br />
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<a href="https://www.flickr.com/photos/126132709@N08/15327069535" title="Bio Generator Title by Jennifer Bewerse, on Flickr"><img alt="Bio Generator Title" height="383" src="https://farm3.staticflickr.com/2942/15327069535_a55a15f5cd_o.jpg" width="575" /></a><br />
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So let's just all skip it. Here's a bio generator that will get the job done without all the BS. Just fill in the following text and call it a day! (Tip: Do not over think this. We're talking "first word that pops into your head" here.)<br />
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Please please please, if you make a bio, come back and share it here in the comments. We all thank you in advance.<br />
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<table align="center" style="background-color: #eeeeee; background-image: none; border-color: #B3BBF2; border: none; font-size: 12pt; padding: 10px; width: 425px;"><tbody>
<tr></tr>
<tr><td align="center" colspan="3"><form action="http://www.madtakes.com/doglib.php" method="POST"><input name="offsite" type="hidden" value="true" /><input name="title" type="hidden" value="QUICK & EASY BIO GENERATOR" /><br />
<center><span style="font-size: 18pt; font-variant: small-caps; font-weight: bold; text-align: center;">QUICK & EASY BIO GENERATOR</span></center><br />
<input type='hidden' name='text' value='<-> <-> is a <-> <-> hailed by the <-> as "<->... <->... a <-> <->." <-> is a <-> <-> of <-> music and has collaborated with the <-> Orchestra, <-> <-> Ensemble, the <-> <-><-> Festival, and was the <-> prizewinner of the <-> Competition for <-> <->. When <-> is not being a very busy and sought after <->, <-> can be found <->, <->, or <-> <-> on <-> <-> <->.'><table border='0' style='font-size: 10pt;'><tr><td align='right'>YOUR FIRST NAME</td><td align='left'><input type='text' name='1'></td></tr>
<tr><td align='right'>YOUR LAST NAME</td><td align='left'><input type='text' name='2'></td></tr>
<tr><td align='right'>ADJECTIVE</td><td align='left'><input type='text' name='3'></td></tr>
<tr><td align='right'>YOUR OCCUPATION I.E. "CELLIST" "COMPOSER" "PRESENTER" "PERFORMER"</td><td align='left'><input type='text' name='4'></td></tr>
<tr><td align='right'>PRESTIGIOUS PUBLICATION</td><td align='left'><input type='text' name='5'></td></tr>
<tr><td align='right'>ADJECTIVE</td><td align='left'><input type='text' name='6'></td></tr>
<tr><td align='right'>ADJECTIVE</td><td align='left'><input type='text' name='7'></td></tr>
<tr><td align='right'>VERB ENDING IN "ING"</td><td align='left'><input type='text' name='8'></td></tr>
<tr><td align='right'>NOUN</td><td align='left'><input type='text' name='9'></td></tr>
<tr><td align='right'></td><td align='left'><input type='hidden' name='10' value='{!2}'></td></tr>
<tr><td align='right'>ADJECTIVE</td><td align='left'><input type='text' name='11'></td></tr>
<tr><td align='right'>VERB FOR YOUR WORK ENDING IN "ER" I.E. "PERFORMER" "COMPOSER" "PRESENTER"</td><td align='left'><input type='text' name='12'></td></tr>
<tr><td align='right'>ADJECTIVE</td><td align='left'><input type='text' name='13'></td></tr>
<tr><td align='right'>PLACE</td><td align='left'><input type='text' name='14'></td></tr>
<tr><td align='right'>COLOR</td><td align='left'><input type='text' name='15'></td></tr>
<tr><td align='right'>NOUN</td><td align='left'><input type='text' name='16'></td></tr>
<tr><td align='right'>SOUND</td><td align='left'><input type='text' name='17'></td></tr>
<tr><td align='right'>NOUN</td><td align='left'><input type='text' name='18'></td></tr>
<tr><td align='right'>PUNCTUATION I.E. !?</td><td align='left'><input type='text' name='19'></td></tr>
<tr><td align='right'>YEAR</td><td align='left'><input type='text' name='20'></td></tr>
<tr><td align='right'>CELEBRITY</td><td align='left'><input type='text' name='21'></td></tr>
<tr><td align='right'>ADJECTIVE</td><td align='left'><input type='text' name='22'></td></tr>
<tr><td align='right'>PLURAL NOUN</td><td align='left'><input type='text' name='23'></td></tr>
<tr><td align='right'></td><td align='left'><input type='hidden' name='24' value='{!2}'></td></tr>
<tr><td align='right'>OCCUPATION</td><td align='left'><input type='text' name='25'></td></tr>
<tr><td align='right'></td><td align='left'><input type='hidden' name='26' value='{!2}'></td></tr>
<tr><td align='right'>VERB ENDING IN "ING"</td><td align='left'><input type='text' name='27'></td></tr>
<tr><td align='right'>VERB ENDING IN "ING"</td><td align='left'><input type='text' name='28'></td></tr>
<tr><td align='right'>ADVERB</td><td align='left'><input type='text' name='29'></td></tr>
<tr><td align='right'>VERB ENDING IN "ING"</td><td align='left'><input type='text' name='30'></td></tr>
<tr><td align='right'>YOUR GENDER PREFERENCE PRONOUN, HIS OR HER</td><td align='left'><input type='text' name='31'></td></tr>
<tr><td align='right'>ADJECTIVE</td><td align='left'><input type='text' name='32'></td></tr>
<tr><td align='right'>NOUN</td><td align='left'><input type='text' name='33'></td></tr>
<tr><td align='center' colspan=2><input type='submit' style='font-weight:bold; color:#ffffff; background-color:#666666; border-style:none; border-color:#B3BBF2;' value='Submit'></td></tr>
</table><input type='hidden' name='wCount' value='33'></form></td></tr>
</table><br />
Thank you to <a href="http://www.madtakes.com/createyourown.php">MadTakes</a> for providing the tool for our new fabulous bios!!Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com15tag:blogger.com,1999:blog-3727520237593175976.post-36201950768822525412014-09-23T07:00:00.000-07:002014-09-23T07:00:05.907-07:00Rethinking the RepeatA classic rule for playing music with a repeat: do it differently the second time. <br />
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Frankly, I've found this bit of musical advice completely unhelpful!<br />
1. It’s impossible NOT to do it differently the second time<br />
2. "Different" isn't good in itself, and different for difference's sake is meaningless<br />
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<img alt="Repeats" height="383" src="https://farm6.staticflickr.com/5564/14914476447_55e923c5b0_o.jpg" width="575" /><br />
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I'd like to propose another way of thinking about the repeat. Instead of treating repeated music as “the same thing, but different,” interpret the repeat using the emotional baggage your music would have accumulated the first time through.<br />
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To demonstrate what I'm getting at, consider speech. How would you communicate differently if you had to repeat yourself?<br />
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<div style="text-align: center;">"I can't believe you did that! I can't <i>believe</i> you did that!!"</div><div style="text-align: center;">A toddler screaming "no no NO NO NOO!"</div><br />
Whether it's a heavier emphasis on "believe" or a crescendo on "no," when we repeat ourselves in speech we use timing, dynamics, and articulation to communicate our emotions and intentions. Repetition is a device for communication, not a superficial chance to hear ourselves again.<br />
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<img alt="Repeats_4" height="383" src="https://farm4.staticflickr.com/3917/15098028921_9f0fab83b7_o.jpg" width="575" /><br />
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To put it another way, <b>performing with emotional baggage creates an emotional narrative</b>.<br />
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The possibilities for that narrative can be endless, and the repeat can become part of a larger arc instead of just another possible interpretation. Has the wailing grief subsided into shocked numbness? Has the playfulness taken on a more mischievous tone, trying to toy with the listener instead of play with them? Instead of wondering how the music can sound different, ask how you can make the music sound like an authentic reaction.<br />
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Repeating can be a chance for us to dive more deeply into our music's narrative, to explore nuance, and reveal deeper emotional understanding. Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com2tag:blogger.com,1999:blog-3727520237593175976.post-43962704439403708312014-09-16T07:00:00.000-07:002014-09-16T07:00:06.567-07:00Journaling for MusiciansGrowing up, I was never a person who could maintain a journal. I still have the one I attempted; I got about four entries in, each of which I printed out on my dot printer - the kind you had to rip the edges off of - and taped in using my Lisa Frank tape (I was super cool). <br />
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I never really understood what was so great about journaling. <br />
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<img alt="Journaling Title" height="383" src="https://farm4.staticflickr.com/3875/15077968305_0e739c7051_o.jpg" width="575" /><br />
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This year I think I finally got it.<br />
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Journaling isn't about recording your best ideas, it's about capturing <i>all</i> of your ideas and getting them out of your head so you have room for new ones. When you're stuck, journals become idea machines, not just for the ideas you've already written down, but for the new ideas the old ones inspire. It's kind of magical.<br />
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"You can't use up creativity. The more you use, the more you have" - Maya Angelou<br />
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<img alt="Journaling_2_1" height="383" src="https://farm4.staticflickr.com/3918/15077598172_5f0b97aab4_o.jpg" width="575" /><br />
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I use my journal to list out concert ideas, blog ideas, things I want to do online, and notes on music in general. It's all very messy and I try not to worry about whether anything I write is worth recording.<br />
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<img alt="Journaling_3_1" height="383" src="https://farm6.staticflickr.com/5586/14891256139_495319189c_o.jpg" width="575" /><br />
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To keep myself organized, I hole-punch a specific line of my book to coordinate with its subject, then color the edge with the coordinating color. (TIP: If you make your own hole-punch index system, do it in reverse of the above. Punch holes in all of the lines EXCEPT the coordinating subject. You'll end up with little colored tabs instead of colored holes. Live and learn.)<br />
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<img alt="Journaling_4_1" height="383" src="https://farm4.staticflickr.com/3852/15077955055_b29f8cac68_o.jpg" width="575" /><br />
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Now, my journal goes everywhere with me and I credit it with a great deal of the surge in creative energies I've been feeling over the past several months. Highly recommend.<br />
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Any other music journalers out there?Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com2tag:blogger.com,1999:blog-3727520237593175976.post-86903820997127225472014-09-09T07:00:00.000-07:002014-09-09T07:00:05.328-07:00Knitting Vs. SculptingHow does the saying go? "There are two kinds of people in the world: those who divide the world into two kinds of people, and those who don't" – Robert Benchley<br />
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<img alt="Knitting Sculpting Title" height="383" src="https://farm4.staticflickr.com/3868/14901445119_987354efbd_o.jpg" width="575" /><br />
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Well, today I'm going to fall into the former category along with <a href="http://staff.ithaca.edu/kpaulnack/">Karl Paulnack</a>, dean of the School of Music at Ithaca College. I met him when he was the Director of the Music Division at Boston Conservatory, and he taught me a metaphor I've been using ever since.<br />
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<b><span style="color: black;">You're Either a Knitter or a Sculpter</span></b></h2>
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<img alt="Knitting Sculpting_3" height="383" src="https://farm4.staticflickr.com/3909/15085120131_9c896f2c8a_o.jpg" width="575" /><br />
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Knitting is a step-by-step process. Each stitch must be perfect before the knitter can move on, and mistakes cause ripple effects out into the rest of the work. Knitters can't to skip to the end or bounce to another part of the project, they work one stitch at a time until they're finished.<br />
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Workers who are "knitters" start at the beginning and deal with each section or obstacle as it arises. In music, these are the people who learn rehearsal A before they can go on to B. They perfect the first phrase before dealing with the next and are inclined to start the metronome at its lowest setting, working their way click by click to the final tempo. They thrive on detail and the micro-level.<br />
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At their worst, the knitter is all nuance and no vision, or can't find their way to the end a project. At their best, they're the master of detail and patience.<br />
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<img alt="Knitting Sculpting_2" height="383" src="https://farm6.staticflickr.com/5556/14901552708_279829a22c_o.jpg" width="575" /><br />
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Sculptors begin with a chunk of clay or rock. From the whole, they slowly chip away, forming details layer by layer. They move around their medium, revealing the whole as they refine the edges of their work. Working on one section without stepping back to examine the whole results in distortions and imbalances, so the sculptor always has their eye on the gestalt.<br />
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Workers who are "sculptors" begin each project with an overview to evaluate all challenges and get a sense of the final result. In music, they're likely to play through a piece, deal with small issues, then run through the piece again to see how their solution fit into the larger context. They drill down from the whole into its details and always place musical elements in a large scale.<br />
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At their worst, sculptors are full of grand gestures without the substance to back them up, or they end up with a sloppy final product. At their best, they're masters of form and vision.<br />
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<img alt="Knitting Sculpting_4 small" height="383" src="https://farm4.staticflickr.com/3856/14944470089_6bda6748a0_o.jpg" width="575" /><br />
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In reality, none of us are <i>only</i> knitters or <i>only</i> sculptors - we land somewhere in between, but might lean one way or the other. Depending on what's being asked of us or what phase of a project we're in, we might switch between the two styles.<br />
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But, because music is so often collaborative, it's still helpful to know which way you lean. For example, I'm almost always a knitter, so, left to my own devices, I'll drill a detail into the ground until. It. Is. <i>Perfect</i>. That's fine in my personal practice, but can be soul-sucking for my sculptor collaborators. I'm always careful to keep an eye out for the glazed over "can we PLEASE move on!" look from my partners in music - that's when I know it's time to switch to sculpting!<br />
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Being aware of my penchant for knitting is also helpful when I start new projects. I know if I need to learn a piece of music quickly, I might not have time to knit - if I do, I'll probably sound rough at the end of the piece. Instead, I know I'm going to have to let go of a few details and spend some time sculpting.<br />
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In the end, it's best to be able to knit <i>and</i> sculpt, and either method can be learned with a little targeted effort. Both styles are useful in different settings, and both end in beautiful art.<br />
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So which are you? Knitter or sculpter?Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com2tag:blogger.com,1999:blog-3727520237593175976.post-4972935943134421542014-09-02T07:00:00.000-07:002014-09-02T07:00:03.233-07:00Three Page Score BindingAny musician playing from photocopies or printed PDFs will rapidly outgrow the <a href="http://www.theendpin.com/2014/06/score-binding-basics.html">basic score binding method</a>. Many pieces simply do not include rests for page turns! In those cases, <a href="http://www.theendpin.com/2014/05/choosing-score-paper.html">having three pages on the stand</a> may be the best solution.<br />
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<img alt="Three Page Binding Title" height="383" src="https://farm4.staticflickr.com/3847/14914810590_0982207769_o.jpg" width="575" /><br />
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I remember the first couple of times I attempted to assemble my own trifold scores. Assembling a score with trifolds isn't hard, but I managed to make a few <i>very awkward</i> scores before I ironed out the kinks to my method.<br />
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So that you can skip past the awkward score phase (think of it as the teen years of do-it-yourself score binding), I've made a video tutorial that will teach you exactly how to add a third page to your scores. As a bonus, there's also an alternative trifold page turn solution that can save you paper.<br />
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<iframe width="575" height="323" src="//www.youtube.com/embed/ZyY_R46arOE?rel=0" frameborder="0" allowfullscreen></iframe><br />
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See? Totally doable and very handy!<br />
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If you're a performer who likes to invest in spiral binding for their scores, you can still have trifolds. Just trim about 1/4 inch off the edge of your trifold page, so it can be tucked in without bumping into the spiral binding.<br />
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<img border="0" src="http://4.bp.blogspot.com/-PzCDGrgOHi4/VAPpOp2gx9I/AAAAAAAAKUM/LR8TYf6yQb4/s1600/Three-Pages_1-Spiral.gif" /><br />
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If you have any score binding questions, requests, or additional tips be sure to leave them in the comments!Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0tag:blogger.com,1999:blog-3727520237593175976.post-46188601167376202322014-08-26T07:00:00.000-07:002014-08-27T10:29:15.119-07:00The Illusion of EaseEase and effortlessness are essential to so much creative work. From an effortless bow change to an oil painting that masks all brush strokes, ease allows other emotions, characteristics, ideas, and experiences to hold central focus.<br />
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But ease is almost always an illusion.<br />
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<img alt="Illusion of Ease Title" height="383" src="https://farm4.staticflickr.com/3914/14660502848_16f0cb5e46_o.jpg" width="575" /><br />
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For example, I started The Endpin in May, 2014. To a visitor it might look as if I were able to launch a blog with a custom design, publish posts that have been widely shared (PS thank you for that!!), use original photography, and cover a variety of relevant topics in four months.<br />
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In reality, I've blogged about <a href="http://www.insideways.com/">other topics</a> for 5 years, I've taken e-courses on blogging, I've learned rudimentary web design over about 5 years, and my first blog looked like crap. I've steadily improved my photography over 4 years, I've been interested in and actively studying graphic design for about 3 years, and I've worked part-time as UCSD Music Department's Promotions Graphic Designer for 2 years. I thought about starting a music blog for ages before deciding I had information worth sharing, then I journaled blog topic ideas for several months before writing my first post. Each post is based on an idea I've considered at length (sometimes for years) and can take anywhere from 3-14 hours to photograph, write, and edit.<br />
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<img alt="Illusion of Ease small" height="383" src="https://farm6.staticflickr.com/5551/14660593317_7e61f23dcb_o.jpg" width="575" /><br />
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I don't want readers to feel my efforts because it would distract from the point of my posts. (And <i>this</i> post is absolutely not to show off how hard I work - the cult of "I am so busy" ISN'T the solution to the illusion of ease.) But, it's important to know that my work isn't the result of a first try. I've experimented with, learned about, mulled over, and (to be honest) failed at so many things to get to this point.<br />
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If someone else were interested in creating a similar blog, it would take a similar amount of effort and accumulated experience.<br />
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Working towards our creative goals is <i>hard</i>, and when we buy into the illusion of ease we risk inviting floods self-doubt and criticism into our creative processes. While self-doubt and criticism are completely unavoidable - they're feelings every artist learns to manage over time - they become problematic when the feelings are so consuming that they overwhelm our efforts. We quit.<br />
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Ira Glass articulates it beautifully in <a href="https://www.youtube.com/watch?v=loxJ3FtCJJA">this interview by Current TV</a><br />
(animated by<a href="http://david-shiyang.com/"> David Shiyang Liu</a>).<br />
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<iframe allowfullscreen="" frameborder="0" height="323" mozallowfullscreen="" src="//player.vimeo.com/video/24715531" webkitallowfullscreen="" width="575"></iframe><br />
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Understanding that, as a rule, good things take effort normalizes the effort each of us experience when we try something new. If we know that achievement takes time, no matter how easy it looks, we can move from "I'm not good at ___" to "I'm not good at ___ YET"<br />
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Grappling with the illusion of ease means holding two truths simultaneously. We must both experience creative works as they're intended (usually without a projection of effort) AND cultivate an understanding of the effort all creative endeavors require.Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com2tag:blogger.com,1999:blog-3727520237593175976.post-5111656178314108292014-08-19T07:00:00.000-07:002014-08-19T07:00:01.963-07:008 Free Resources for DIY Websites<img alt="Website Resources Header" height="383" src="https://farm6.staticflickr.com/5588/14830161924_fd1aa4dd8b_o.jpg" width="575" /><br />
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Generally, life as a musician is built on a shoestring budget. And, while there are many affordable website design options out there, nothing beats free. Below are the 8 Customizable, High Quality, and FREE Resources I personally use to create <a href="http://jenniferbewerse.com/">my cello website</a>.<br />
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<img alt="Free Service Images blogger" height="170" src="https://farm4.staticflickr.com/3868/14829646154_c763952c42_o.jpg" width="575" /><br />
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1. <a href="http://www%2Cblogger.com/">Blogger</a></h2>
Yes, it's designed as a blogging platform, but I've found blogger to be so easy to customize that I love using it for my website. An added bonus, its massive user base has resulted in an endless supply of tutorials. If you'd like to do something with it, there are probably detailed instructions out there already. An additional advantage is that, since it's hosted by Google, blogger servers rarely if ever go down - you won't have to worry about your website breaking.<br />
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<a href="http://www.jenniferbewerse.com/">See it in action</a> || Other options: <a href="http://wordpress.org/">Wordpress</a><br />
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<img alt="Free Service Images flickr" height="170" src="https://farm4.staticflickr.com/3873/14645346129_b5b63a93ff_o.jpg" width="575" /><br />
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2. <a href="https://www.flickr.com/">Flickr</a></h2>
If you'd like to add images to your website (and you probably should), you'll need a service to host them. While, there are many many options out there, I use flickr because it maintains the high quality of my photos and is so easy to use.<br />
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Other options: <a href="http://photobucket.com/">Photobucket</a>, <a href="http://picasa.google.com/">Picasa</a> (Google+)<br />
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<img alt="Free Service Images dropbox" height="170" src="https://farm3.staticflickr.com/2903/14645465517_18b2e8d157_o.jpg" width="575" /><br />
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3. <a href="https://www.dropbox.com/">Dropbox</a></h2>
If you'd like allow visitors to access files on your website (maybe an EPK, different versions of your bio, or free downloads), Dropbox is an easy file hosting service. Also, if you're managing a website with others (say, as part of an ensemble), Dropbox is build to be easily sharable and collaborative.<br />
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Other options: <a href="https://drive.google.com/">Google Drive</a><br />
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<img alt="Free Service Images youtube" height="170" src="https://farm6.staticflickr.com/5579/14645283850_428149bd14_o.jpg" width="575" /><br />
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4. <a href="https://youtube.com/">YouTube</a></h2>
Ubiquitous on the internet, YouTube is my go-to host for videos. It used to have a lower visual quality than Vimeo, but has massively improved in recent years. The added bonus of a very active community (don't read the comments though!) makes this my preferred video resource.<br />
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<a href="http://www.jenniferbewerse.com/p/recordings.html">See it in action</a> || Other options: <a href="https://vimeo.com/">Vimeo</a><br />
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<img alt="Free Service Images soundcloud" height="170" src="https://farm4.staticflickr.com/3899/14645465617_0582f1a70c_o.jpg" width="575" /><br />
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5. <a href="https://soundcloud.com/">SoundCloud</a></h2>
To be honest, I haven't delved completely into everything soundcloud has to offer, but I love that you can customize the embeddable audio player to blend seamlessly into your web design.<br />
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<a href="http://www.jenniferbewerse.com/p/recordings.html">See it in action</a> || Other Options: <a href="https://bandcamp.com/">Bandcamp</a><br />
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<img alt="Free Service Images calendar" height="170" src="https://farm3.staticflickr.com/2898/14851861083_70f3328e93_o.jpg" width="575" /><br />
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6. <a href="https://www.google.com/calendar">Google Calendar</a></h2>
Most musicians create their online calendar by simply adding text to a webpage, but I find that very difficult to update - I always forget! For me, the best solution is to embed a google calendar (which I already used for all of my scheduling) into my website. When I add a calendar to my personal account, it automatically updates my website. This solution has the added bonus of doubling as a "Past Concerts" page.<br />
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<a href="http://www.jenniferbewerse.com/p/calendar.html">See it in action</a><br />
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<img alt="Free Service Images mailchimp" height="170" src="https://farm4.staticflickr.com/3918/14645314270_703a741eff_o.jpg" width="575" /><br />
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7. <a href="http://mailchimp.com/">MailChimp</a></h2>
When I first started using MailChimp for my newsletters, I really appreciated how easy it was to use. Even more impressive (though admittedly not quite as easy) is how seamlessly I can embed the MailChimp newsletter sign up form onto my website. It's practically impossible to tell it's an external service at all!<br />
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<a href="http://www.jenniferbewerse.com/p/contact.html">See it in action</a><br />
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<img alt="Free Service Images analytics" height="170" src="https://farm6.staticflickr.com/5584/14809005276_ecae82ec7a_o.jpg" width="575" /><br />
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8. <a href="http://www.google.com/analytics/%E2%80%8E">Google Analytics</a></h2>
I use Google Analytics to learn how to improve to my website. From how many people visit to where they come from, having a good analytics system in place helps me decide where to effectively invest my efforts.<br />
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By no means breaking news, together these free services provide me with everything I need to have a self sustaining web presence. If you have other services you use and love, please leave them in the comments below!Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com2tag:blogger.com,1999:blog-3727520237593175976.post-10894011734396799992014-08-13T07:30:00.000-07:002014-08-13T07:30:01.061-07:00Extra Low Music Stand<img alt="Low Stand Title" height="383" src="https://farm4.staticflickr.com/3840/14660466577_c0a9401758_o.jpg" width="575" /><br />
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One of my great enduring struggles as a cellist has been the traditional music stand. Yes, it holds my music very well, but it also creates a giant blockade. Meet the Dead Zone.<br />
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<img alt="low stand" height="432" src="https://farm4.staticflickr.com/3877/14660377008_c39fdd26b4_o.jpg" width="575" /><br />
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I hate the dead zone. It visually (and to a lesser extent acoustically) blocks all of the most interesting sounds the cello can make! So while learning <a href="https://www.youtube.com/watch?v=ep6joCRmWxg">Lachenmann's Pression</a>, which specifically requires the cellist/cello to be visible, I began a quest for the perfect low music stand. And I found it.<br />
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<img alt="low stand_2" height="863" src="https://farm4.staticflickr.com/3889/14844580194_366e1d20d0_o.jpg" width="575" /><br />
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Pictured above is a <a href="http://www.amazon.com/gp/product/B0002E3AHY/ref=oh_aui_detailpage_o03_s00?ie=UTF8&psc=1">Manhasset Table Top Stand</a>, which, it just so happens, also works very well on the floor. The stand is stable, looks nice, and is <i>completely</i> unobtrusive.<br />
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In the interest of full disclosure, there are three downsides to a stand this low:<br />
1) you have to know the piece well and have good enough vision for the distance<br />
2) it's difficult to see collaborators (ie conductors or chamber music partners)<br />
3) page turns are difficult at that distance<br />
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But if you add <a href="http://www.amazon.com/gp/product/B001BSKGT0/ref=oh_aui_detailpage_o02_s00?ie=UTF8&psc=1">Stand-Out stand extenders</a>, you should have no problem fitting your music without needing page turns.<br />
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<img alt="low stand expanded" height="432" src="https://farm4.staticflickr.com/3850/14660410198_f277fa1d72_o.jpg" width="575" /><br />
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With extenders, you can easily fit 8 pages of music (<a href="http://www.theendpin.com/2014/05/choosing-score-paper.html">probably more if you consider your page size carefully</a>). When collapsed, two stands with their extenders fit in carry-on luggage and can be held with one hand.<br />
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<img border="0" src="http://1.bp.blogspot.com/-3AMqHnWL-Zc/U-KeOSrrsQI/AAAAAAAAJog/2ZlxSL0e6PI/s1600/low-stand-pages.gif" /><br />
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All together the two stands and extenders will run you about $90. There are cheaper options out there, but I haven't found anything that's as durable, nice looking, and easy to transport.<br />
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Cellists, get excited.Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0tag:blogger.com,1999:blog-3727520237593175976.post-38106474250921956972014-08-07T20:05:00.000-07:002014-08-07T20:05:23.692-07:00DIY Concert Posters<img alt="Poster Title" height="383" src="https://farm6.staticflickr.com/5553/14845000474_753f9dd596_o.jpg" width="575" /><br />
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Over the past two years, I've been in full-on visual promotions mode as the Productions Research Assistant for the UC San Diego Music Department. Basically my job has been to make digital and printable posters/flyers.<br />
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Do it yourself promotions are actually pretty darn easy, but the learning curve for poster printing basics can be pretty confusing. So, from someone who's been through it (often the hard way), here are the printing basics you need to make your own professional looking posters.<br />
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<img alt="Posters copy_1" height="383" src="https://farm4.staticflickr.com/3893/14847109732_fa95cd3164_o.jpg" width="575" /><br />
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*Parts of this post assume access to some kind of image-making software like <a href="http://www.pixelmator.com/">Pixelmator</a> or <a href="http://www.photoshop.com/">Photoshop</a><br />
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<b><span style="color: black;">1. Image Resolution:</span></b> When creating your poster image for print, always set your resolution to 300ppi (pixels per inch). That's the standard resolution for print. Resolution for digital posters (images online) can be 72ppi, a much lower resolution.<br />
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<b><span style="color: black;">2. Paper Size:</span></b> While 8.5x11 paper is the easiest to do yourself, using 8.5x14 or 11x17 paper will give you a more custom (and thus more professional) looking poster. I almost always make my posters on 8.5x14 paper, then get them printed at a local office supply store on a laser printer with nice quality paper.<br />
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<img alt="rgb cmyk" height="476" src="https://farm4.staticflickr.com/3915/14660919967_f9532de049_o.jpg" width="575" /><br />
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<b><span style="color: black;">3. CMYK vs RGB: </span></b>Printed images should always be made using CMYK color settings - pigment based colors that will translate to printers with high fidelity. Digital pictures should use RGB settings, which are colors based on light. If you mix up the two color settings, you'll get images that don't look how you intended them. For example, in the photo above you can see how a CMYK image looks faded compared to an RGB image when viewed on your computer screen.<br />
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<img alt="Posters_5_1" height="383" src="https://farm4.staticflickr.com/3889/14847444915_d0a5b132e1_o.jpg" width="575" /><br />
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<b><span style="color: black;">4. Full Bleed:</span></b> When an image goes all the way to the edge of the paper it's called "full bleed." Full bleed is a kind of illusion because printers can't actually print to the edge of paper! To get the full bleed effect, you have to incorporate extra image around the perimeter of your design, called the bleed, then crop your poster.<br />
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<img alt="Posters_6_1" height="383" src="https://farm4.staticflickr.com/3867/14824476806_e771e47019_o.jpg" width="575" /><br />
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As a general rule, always add 0.25 inches of bleed to your design, then use a paper cutter to cut off the excess edge. If you have a program like <a href="https://helpx.adobe.com/indesign.html">InDesign</a>, you can even add crop marks to show you exactly where to cut.<br />
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<span style="color: black;"><b>5. Image Rights:</b></span> When you're making a poster, it can be tempting to grab the first great image you see off of a google image search, but that image doesn't belong to you. Always get permission to use another artist's image, or better yet, <a href="http://www.theendpin.com/2014/07/10-tips-for-diy-headshots.html">make your own</a>!<br />
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<img alt="Posters_1 copy_1" height="383" src="https://farm6.staticflickr.com/5561/14660822619_2a4a611983_o.jpg" width="575" /><br />
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It might all seem like overly complicated jargon at first, but these basics can become second nature in no time. Depending on the software you use, solutions and tutorials are usually just a web search away. In the end, it's pretty simple to up your promotions game and get butts in your concert seats.Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0tag:blogger.com,1999:blog-3727520237593175976.post-37018339032655833162014-07-30T16:23:00.000-07:002014-07-30T16:23:14.147-07:00The Gigging TriangleGigs. If you're a working musician (or most any creative for that matter), gigs are probably a significant source of your income and career. As a result, we've all taken gigs that were soul-sucking, felt like a waste of our talents, or even ones that ended up costing more than they paid.<br />
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<img alt="Gig Triangle" height="575" src="https://farm4.staticflickr.com/3887/14566083337_9ede09b954_o.jpg" width="575" /><br />
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The Gigging Triangle is basically a tool that uses three gig characteristics to help avoid those soul-sucking-waste-of-talent-costing-me-money gigs that, over time, cause more harm than good.<br />
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Break It Down</h2>
<b><span style="color: black;">1. Money:</span></b> Probably one of the most concrete parts of the triangle - does it pay? Always remember to include costs in this calculation! Will you be missing other gigs? Travel costs? Will the time you spend on this project be more profitable if you spend it doing something else?<br />
<b><span style="color: black;">2. Fun:</span></b> Maybe it's colleagues you love or an activity you can't get enough of - this part of the triangle includes anything that just makes you happy. I suggest "subtracting" from this category if the gig includes activities you specifically hate.<br />
<b><span style="color: black;">3. Reward:</span></b> This is probably the most personal, abstract, and, frankly, tricky category on the triangle. Rewards can either be artistic or career related, will be different for everyone, and will change during different points of your career. Examples might be performing a piece you've always wanted to learn, getting reviewed, working with an important person in your field, or playing in an important venue.<br />
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While we can all survive a bad gig every once in a while, the reality is that working for just money, just fun, or just reward isn't sustainable. Also true, unfortunately, is that dream gigs (the ones that are fun, rewarding, <i>and</i> pay) can be pretty rare.<br />
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<span style="color: black; font-size: x-large;">The gigging triangle is about making <b>sustainable</b> decisions, not perfect ones. The goal is to only take gigs that fulfill <b>at least two</b> of the three categories.</span><br />
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<iframe allowfullscreen="" frameborder="0" height="323" src="//www.youtube.com/embed/1mzDQbmtPZ0" width="575"></iframe><br />
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Four Scenarios:</h2>
<b><span style="color: black;">1. Money + Fun + Reward =</span></b> You are super lucky! Take the job and hang onto it with your life!<br />
<b><span style="color: black;">2. Money + Fun =</span></b> Might not be the most satisfying job in the world, but it will pay the bills and make you laugh.<br />
<b><span style="color: black;">3. Money + Reward =</span></b> It might be a bit of a slog, but you'll make your rent and build career capital.<br />
<b><span style="color: black;">4. Reward + Fun =</span></b> You'll have a great time and progress your career, it's not going to pay the bills, but still a good investment!<br />
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I've been trying out this method for about a year, and, while I've definitely still taken <i>several</i> gigs that didn't work out well, I'm taking fewer gigs for money desperation or because I think I "should," and I'm saving my time for the work that will sustain my career. I'll take the progress.<br />
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The Gigging Triangle will never be an ideal predictor for the perfect gig, but it is an excellent tool for learning about what works and doesn't so we can make better choices in the future.<br />
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But it's just one method! How do you decide which gigs to take?Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0tag:blogger.com,1999:blog-3727520237593175976.post-28623096065054793632014-07-22T08:00:00.000-07:002014-07-22T08:00:02.555-07:0010 Tips for DIY HeadshotsOne of my top goals as a working musician is to learn skills that give me financial and artistic independence. I don't always have tons of money, but I have plenty of elbow grease!<br />
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<img src="https://farm4.staticflickr.com/3876/14499920747_4b1eb9bc3e_o.jpg" /><br />
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Photography is one area that I've invested a lot of time into. In an attempt to pass along some of the most important things I've learned, here are 10 tips to help take better DIY headshots.<br />
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<b><span style="color: black;">1. Plan How You'll Use Your Photos:</span></b> Posters? Business Cards? Headshots? Each of these traditionally require a different type of photo. For example, posters are portrait orientation including negative space for text, business cards and postcards are landscape orientation including negative space for text, and headshots are portrait or square orientation and should feature you and your instrument.<br />
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<img border="0" src="http://1.bp.blogspot.com/-drHznyphlA8/U8cpkAr321I/AAAAAAAAJm0/nFUAkRkeerQ/s1600/No+Room+for+Text.jpg" /><img border="0" src="http://4.bp.blogspot.com/-a41MuifsSYk/U8coWGxnUJI/AAAAAAAAJms/sruzwBLHE3I/s1600/Text+Spacing+Good.jpg" /><br />
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Knowing how you'll use your photos will allow you to plan your shots to have all of the necessary layouts to meet your goals.<br />
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<b><span style="color: black;">2. Find Your Mood:</span></b> All of the elements that go into your photo - what you wear, the lighting you use, where you are, the expression on your face - are for more than looking good; they all come together to create the mood of your photo. Deciding how you want the photo to feel can guide your decisions, so your photo can reflect who you are as an artist and what your work is like.<br />
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<img alt="Formal Photo" src="https://farm3.staticflickr.com/2919/14670291691_66a7e8811b_o.jpg" /><br />
<img alt="Casual Photo" src="https://farm3.staticflickr.com/2905/14486825649_9bb84d7328_o.jpg" /><br />
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(Bottom photo by the amazing <a href="http://kaitlinjane.com/">Kaitlin Moreno</a>)</div>
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<b><span style="color: black;">3. Photography Equipment:</span></b> If you're a beginner to photography the two most important pieces of equipment you will need are 1) a camera with the highest resolution you have access to and 2) a tripod or friend to take your photos.<br />
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<a href="http://www.vividlight.com/articles/3116.htm">Resolution</a> is important because it will limit how you can use your photos. If you only need your photos for internet use, you can get away with lower resolution, but, if you'd like to print concert posters, you will need a higher resolution camera.<br />
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<img alt="Equipment" src="https://farm6.staticflickr.com/5595/14687061882_57f70c40e3_o.jpg" /><br />
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Obviously, expensive equipment can yield gorgeous results, but <a href="http://www.abeautifulmess.com/2014/07/how-to-create-bright-and-sharp-photos-with-your-iphone.html">phone cameras and point-and-shoot cameras have improved tremendously over the years</a>! The easiest/most affordable solution is to have a good friend take your photos with a point-and-shoot camera or your phone camera.<br />
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<span style="color: black;"><b>4. Experiment With Smiling:</b></span> Not everyone looks best while smiling. Give yourself some options by taking photos with and without a smile. Remember, if you DO smile, avoid an awkward yearbook look by <i>always</i> smiling with your eyes too!<br />
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<a href="https://farm4.staticflickr.com/3905/14500397289_0f55cbdde6_o.jpg" title="Smile Chart by Jennifer Bewerse, on Flickr"><img alt="Smile Chart" src="https://farm6.staticflickr.com/5592/14500397339_5d4cd26334_o.jpg" /></a><br />
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(click photo to view a larger version)</div>
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<span style="color: black;"><b>5. Consider Your Instrument:</b></span> The advantage of showing your instrument is that viewers can immediately know what you do. BUT, be sure to maintain nice posture if you play in your photos. Sometimes that means playing an easy scale or miming your technique. Take care, because moments of transition while you play (maybe between a shift or during a breath) can result in distorted pictures with awkward posture.<br />
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<img border="0" src="http://4.bp.blogspot.com/-oQ_zgYCLgoU/U8cfHJHKMBI/AAAAAAAAJmU/2kpc03UJQeo/s1600/Posture+Photo.jpg" /><br />
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(Photo from <a href="http://www.shutterstock.com/pic-130783727/stock-photo-beautiful-young-woman-playing-cello-over-black-background.html?src=JysZcZ41DkjLsLDEwD1mZQ-5-77">Shutterstock.com</a> | Photo by the amazing <a href="http://kaitlinjane.com/">Kaitlin Moreno</a>)</div>
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<b><span style="color: black;">6. Use Natural Light:</span></b> While many professional headshots are taken indoors, the success of these photos is a result of professional lighting and professional level photography. For the rest of us mere mortals, natural light will greatly improve our chances for beautiful photos. Avoid direct sunlight because it can cause harsh shadows (plus, you'll be all squinty). Try to take your photos <a href="http://en.wikipedia.org/wiki/Golden_hour_(photography)">during the golden hour</a> for best results.<br />
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<b><span style="color: black;">7. Background Care:</span></b> Busy backgrounds are bad for text. If you plan to add text to your photo, try to find an interesting, but simple background.<br />
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<img alt="Hard to Read Background" src="https://farm4.staticflickr.com/3921/14672887202_92acb639bb_o.jpg" /><img alt="Easy to Read Background" src="https://farm4.staticflickr.com/3889/14672887242_53f7c790b7_o.jpg" /><br />
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<b><span style="color: black;">8. Account for Black and White:</span></b> If you plan on using your headshot for concert programs, remember, programs aren't all printed in color! In fact, usually they're not. While color photos look best with well... nice colors, <a href="http://www.digital-photo-secrets.com/tip/2857/how-contrast-affects-your-photos/">black and white photos look best based on contrast</a>. Busy or low contrast areas in your photo might not look as good in black and white.<br />
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<img alt="Color and Black and White" onmouseout="this.src='https://farm3.staticflickr.com/2915/14686644902_72e1189794_o.jpg'" onmouseover="this.src='https://farm3.staticflickr.com/2920/14686940175_24b2b000c2_o.jpg'" src="https://farm3.staticflickr.com/2915/14686644902_72e1189794_o.jpg" /><br />
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(Hover to See Black & White Version | Color photo by the amazing <a href="http://kaitlinjane.com/">Kaitlin Moreno</a>)</div>
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<b><span style="color: black;">9. Take a Million Photos:</span></b> I can't emphasize this one enough. Since digital photos are basically free, take as many as you can stand and weed out the bad ones later. You're much more likely to get "The Shot" if you have lots of options to choose from.<br />
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<b><span style="color: black;">10. Edit Your Photos:</span></b> The reality is, every professional photo you see has been edited at least a little. Though starting with a well lit photo with sharp focus is key, adding more contrast and saturation will make a huge difference for your pictures. Editing software ranges from free (try <a href="http://picasa.google.com/">Picasa</a>) to very expensive (<a href="http://www.photoshop.com/">Photoshop</a> is extremely powerful) to somewhere in between (<a href="https://itunes.apple.com/us/app/afterlight/id573116090?mt=8">Afterlight</a> is a great iPhone app and <a href="http://www.pixelmator.com/">Pixelmator</a> is like Photoshop light).<br />
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<img alt="Before After Edit Headshots" height="432" src="https://farm6.staticflickr.com/5471/14470179887_bf8ab70636_o.jpg" width="575" /><br />
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The world of photography is unbelievably expansive - I mean, <i>it <b>is</b> it's own artform</i> - and it can be easy to get overwhelmed. Frankly, that's why professional photographers are worth every penny they charge! But, with some effort, it is possible to do it yourself.<br />
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If you have any questions or advice to add, feel free to leave them in the comments section below!<br />
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<i>All photos in this post were taken by Jennifer Bewerse unless otherwise noted. Special thanks to <a href="http://www.rachelbeetzflute.com/">Rachel Beetz</a>, <a href="http://dustindonahue.bandcamp.com/">Dustin Donahue</a>, and <a href="http://www.bryanhayslett.com/">Bryan Hayslett</a> for agreeing to make photo appearances for this post!</i>Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com3tag:blogger.com,1999:blog-3727520237593175976.post-41360568015174072202014-07-15T03:21:00.000-07:002014-07-15T17:42:55.242-07:00Creative Ideas: Elizabeth GilbertIn some corner of an internet rabbit hole, I came across this video, a TED Talk by Elizabeth Gilbert. While it flew in the face of many of my beliefs, it also opened a few possible venues of thought that I found fascinating and inspiring.<br />
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So today, I'm attaching my thoughts to this video. Give it a look and then let's chat...<br />
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<iframe allowfullscreen="" frameborder="0" height="323" src="//www.youtube.com/embed/86x-u-tz0MA" width="575"></iframe><br />
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I believe in the power of people. In fact, the entire reason I play music is to connect with people. A wonder-filled moment of sensing truth or an "Aha!" flash of understanding from the audience fuel my artistry. These aren't otherworldly experiences, they are deeply human.<br />
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So you can imagine how hesitant I am to pass these gifts over to some kind of spirit.<br />
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However, Elizabeth makes a compelling argument. I have absolutely and repeatedly found myself in the position of questioning whether I can bear my failures - an unavoidable part of the artistic process - or whether pouring myself into something so abstract, subjective, and elusive is just asking for a life of insecurity or disappointment.<br />
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I have felt the divine inspiration Elizabeth describes, and I've performed concerts where I just can't seem to find my flow. This tantalizing "divine wonderment" seems to have only the bare minimum relationship to preparation. (Obviously the divine inspiration can't even be accessed if one isn't completely prepared.)<br />
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Often times, the industry-standard response to such insecurities is to "toughen up," to close off the part of yourself that is vulnerable to caring about how your work affects the world. But, that vulnerability is essential to my entire reason for creating. To cut out that vulnerability is to sever the lines of authenticity and empathy that catalyze the most intense experiences music has to offer.<br />
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<img border="0" src="http://1.bp.blogspot.com/-BNV6xStZnLA/U3f4Ehj8oGI/AAAAAAAAJeI/IL8zPFSDUI8/s1600/Elizabeth-Gilbert+Quote.jpg"><br />
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Maybe then, Elizabeth's strategy offers a nice psychological tool for creating that little bit of cushion necessary to be completely vulnerable and still survive the darkest moments of living a creative life.Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0tag:blogger.com,1999:blog-3727520237593175976.post-14496638366093441702014-06-25T21:41:00.000-07:002014-06-25T21:41:52.657-07:00Why I Don't Want to Expose Audiences to Classical MusicHave you ever suddenly become hyper-aware of a word then hear it everywhere? With me, it’s usually the word “like” (which I use far too much as an obnoxious substitute for “um"), but recently the word “exposed” has been hot on my radar.<br />
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<img border="0" src="http://4.bp.blogspot.com/-u0eyiYMSZ-g/U6jF0i7yxOI/AAAAAAAAJjU/81SRexgOYN4/s1600/Expose+Title.jpg" /><br />
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As presenters in the classical music world, we’ve all said it - we're going to expose someone to classical music. It’s a very convenient way to describe the process of discovery we hope all of our audiences will have.<br />
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<img border="0" src="http://3.bp.blogspot.com/-xRkwrcclsao/U6iJaYaDrgI/AAAAAAAAJi8/BIJ1bHVON84/s1600/Expose+Graphic+Quote+1.jpg" /><br />
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The thing is, most uses for the word “expose” are negative. It connotes nakedness, uncomfortable vulnerability, unfamiliarity, and bad behavior. <br />
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…exposed to the elements…</div>
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…exposing a terrible truth…</div>
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I know we’re all using “exposed" positively when we talk about music, and it’s true, exposing someone to some kind of knowledge is a completely valid and recognized use of the word. But when we look at the definitions of "expose," its positive meaning is buried among "unprotected," "indecently," or "objectionable."<br />
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<img border="0" src="http://4.bp.blogspot.com/-DOvdO4qYQ28/U6W_habxGiI/AAAAAAAAJio/pnsDu9DGw-U/s1600/Expose+Graphic.jpg" /><br />
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I think it’s safe to say most musicians don't want their audiences exposed in these ways. But unfortunately, the word is loaded with negative connotations and evokes justifiable feelings of resistance.<br />
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Even in the best scenarios, the word feels like a chore or an obligation. Do you imagine being exposed to something to be delightful or just somehow necessary? The "eat your vegetables" mentality is partially caused because "exposure" indicates a total separateness between a person and the thing to which they are being exposed. Rather than uniting someone with their cultural birthright, exposing someone to music sounds foreign and uncomfortable.<br />
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Another curious result of using the word “expose” when describing musical experiences is that it negates the active role of listeners. While it can sometimes seem passive, listening to music is an action - absorbing, synthesising, and attempting to understand. The best audience members are anything but passive! Being exposed to something is a passive act during which something is shown to you. Exposure is done to you, not with you.<br />
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I propose our role is to share, to facilitate discovery, to reveal. <br />
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So much more than near-synonyms, these are words that actually reflect the act of musicking that occurs between a performer and audience member. <br />
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<img border="0" src="http://2.bp.blogspot.com/-NSo-SWuNGHA/U6iJiCy4F8I/AAAAAAAAJjE/4ppST8sTcmM/s1600/Expose+Graphic+Quote+2.jpg" /><br />
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As musicians, we spend most of our time working in the realm where words end. But, when we're not performing, words matter. They shape so many of the ways we interact with and, as a result, interpret the world around us. <br />
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We have a responsibility to choose our words with care.<br />
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So how about it? Let’s all take a look at our mission statements, grant applications, and concert proposals. Let’s check on the words we use when discussing audience development, outreach, program notes, and when speaking to audiences. <br />
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There’s no need to expose classical music to that word any more.Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0tag:blogger.com,1999:blog-3727520237593175976.post-80432228934457023272014-06-11T10:35:00.000-07:002014-06-11T10:35:22.160-07:00Score Binding BasicsThese days 90% of my performance parts are PDFs printed on my home printer. Unlike beautiful Urtext scores, these loose leafs are hardly stage-worthy. Over the years I've gotten very accustomed to binding these scores myself. <br />
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My former teacher, Ronda Rider, calls it "New Music Arts and Crafts". Obviously, she is the best.<br />
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<a href="http://4.bp.blogspot.com/-fuRpQirgs8g/U3lF5Mns0rI/AAAAAAAAJfM/HEBmK_KOOls/s1600/Score+Binding_15.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-fuRpQirgs8g/U3lF5Mns0rI/AAAAAAAAJfM/HEBmK_KOOls/s1600/Score+Binding_15.jpg" /></a><br />
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Why tape your pages together? Loose leafs on stage are a risky proposition. All it takes is one wrong page shift, a wobbly stand, or an over-zealous air conditioning unit and you're spilling sheet music all over the stage in a not-quite-performance-art kind of way.<br />
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Some musicians manage to tape their pages together but don't bind them into a booklet. Have you ever seen the accordion-style spill of music off a stand? It's not pretty and there's no elegant way to recover on stage.<br />
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So, for the sake of getting through the concert in one piece...<br />
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<h2>How to Bind Your Score: Basic Method</h2>Supplies: music, strong matte (non-shiny) tape<br />
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<a href="http://4.bp.blogspot.com/-N6eoWMxyJSk/U3lF4nwCTBI/AAAAAAAAJfE/Ah5cxJWEbUI/s1600/Score+Binding_10.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-N6eoWMxyJSk/U3lF4nwCTBI/AAAAAAAAJfE/Ah5cxJWEbUI/s1600/Score+Binding_10.jpg" /></a><br />
<a href="http://3.bp.blogspot.com/-qiaEVzx2or4/U3lF528elFI/AAAAAAAAJfU/n-tNzh2XFCs/s1600/Score+Binding_1_1.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-qiaEVzx2or4/U3lF528elFI/AAAAAAAAJfU/n-tNzh2XFCs/s1600/Score+Binding_1_1.jpg" /></a><br />
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1. Tape all of your pages left/right sides together so the piece is one long row of pages. Leave a small gap between the pages as you tape them. Avoid putting tape where you might like to write notes in the future. Pencil doesn't stick well to tape.<br />
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<a href="http://4.bp.blogspot.com/-Uld6lLdBsDQ/U3lF6ZbhGAI/AAAAAAAAJfc/wQkHs07mT3k/s1600/Score+Binding_2_1.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-Uld6lLdBsDQ/U3lF6ZbhGAI/AAAAAAAAJfc/wQkHs07mT3k/s1600/Score+Binding_2_1.jpg" /></a><br />
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2. Fold your music accordion-style to create an unbound book. Now is the time to check your page turns. Did you get the pages in the right order? <br />
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<a href="http://4.bp.blogspot.com/-t6w6b83S0Wo/U3lF6ySF2MI/AAAAAAAAJfk/Xmvy11O_Ae4/s1600/Score+Binding_3_1.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-t6w6b83S0Wo/U3lF6ySF2MI/AAAAAAAAJfk/Xmvy11O_Ae4/s1600/Score+Binding_3_1.jpg" /></a><br />
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3. With the accordion of pages collapsed down to a stack of papers, turn the soon-to-be spine of your score towards you.<br />
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<a href="http://2.bp.blogspot.com/-ONNUkm-tMd0/U3lF7sRB9AI/AAAAAAAAJfs/O1YukmEW5ZQ/s1600/Score+Binding_4_1.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-ONNUkm-tMd0/U3lF7sRB9AI/AAAAAAAAJfs/O1YukmEW5ZQ/s1600/Score+Binding_4_1.jpg" /></a><br />
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4. Gently separate a set of two page-pairs (the points where you already taped the pages together) and bind them together with a piece of tape perpendicular to the pages. <br />
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<a href="http://3.bp.blogspot.com/-cDFvY0EW2rE/U3lF8CDxWeI/AAAAAAAAJf0/KjRGj98gb-8/s1600/Score+Binding_5_1.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-cDFvY0EW2rE/U3lF8CDxWeI/AAAAAAAAJf0/KjRGj98gb-8/s1600/Score+Binding_5_1.jpg" /></a><br />
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5. Continue to tape these pairs until there are none left.<br />
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<a href="http://4.bp.blogspot.com/-zl15nYPF0a4/U3lF8x_VJpI/AAAAAAAAJf8/DNBLWYpeLco/s1600/Score+Binding_6_1.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-zl15nYPF0a4/U3lF8x_VJpI/AAAAAAAAJf8/DNBLWYpeLco/s1600/Score+Binding_6_1.jpg" /></a><br />
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6. Now tape the pairs into pairs.<br />
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<a href="http://2.bp.blogspot.com/-ZDfnPWlmG8E/U3lF9WmA2pI/AAAAAAAAJgE/JAlCnRWkJeI/s1600/Score+Binding_7_1.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-ZDfnPWlmG8E/U3lF9WmA2pI/AAAAAAAAJgE/JAlCnRWkJeI/s1600/Score+Binding_7_1.jpg" /></a><br />
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7. Repeat until all of your pages are taped together. <br />
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At first your music is going to be a little... voluminous... the tape needs time to get broken in. It's a good idea to tape your music as soon as you get it so you have plenty of time to get comfortable with the new set up.<br />
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<a href="http://4.bp.blogspot.com/-O5Y0er4J1cM/U3lF-J-uZbI/AAAAAAAAJgM/_TQpfjUggpE/s1600/Score+Binding_8_1.jpg" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-O5Y0er4J1cM/U3lF-J-uZbI/AAAAAAAAJgM/_TQpfjUggpE/s1600/Score+Binding_8_1.jpg" /></a><br />
<a href="http://2.bp.blogspot.com/-HIt70iWwC2E/U3lF-ifW9wI/AAAAAAAAJgU/1LTjs78CEeU/s1600/Score+Binding_9_1.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-HIt70iWwC2E/U3lF-ifW9wI/AAAAAAAAJgU/1LTjs78CEeU/s1600/Score+Binding_9_1.jpg" /></a><br />
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If the piece you're learning is very long (say more than 15 pages) it might be worth having it printed double sided on nice paper and bound professionally. This Basic Method of binding scores doesn't work well if the score gets too think.<br />
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There you have it, a basic plan of attack for binding your music. Of course, there are other fancy ways of binding that include third page fold-outs, blank pages for page turns, and tricks that begin to compete with pop-up-book artists, but in due time... mastering the basic method is an important first step.<br />
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Does anyone have any particular type of tape their in love with? I usually use regular ole' scotch tape, but I've seen some nice results with masking tape. Do share...Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com8tag:blogger.com,1999:blog-3727520237593175976.post-9176128527886569662014-05-16T14:38:00.000-07:002014-05-16T14:47:00.583-07:00Choosing Score PaperHow music fits on a stand is probably my most un-sexy musical interest. A true Type A personality, I find it <i>very</i> interesting and it absolutely affects my day-to-day music life.<br />
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I've had several conversations with composers and performers about score size/orientation, and I thought it might be time to put all of my thoughts in one place. <br />
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<a href="http://1.bp.blogspot.com/-vjwSEjaLAeQ/U3ZFXr6VcJI/AAAAAAAAJdM/ksipR0jcklM/s1600/Stand+Graphic.jpg" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-vjwSEjaLAeQ/U3ZFXr6VcJI/AAAAAAAAJdM/ksipR0jcklM/s1600/Stand+Graphic.jpg" /></a><br />
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<i>(The sizes I'll deal with are the ones you tend to get from composers via pdf. </i><i>I'm going to ignore 9x12 paper because it's specialty printing. </i><i>I'll also leave out the standard double 8.5x11 portrait setup. It seems obvious to me that if page turns work out for that size/orientation/number of pages, it's absolutely the best option. I'll also stick to one stand because multiple stands opens up a whole other can of worms. Ok, qualifiers fin)</i><br />
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<h2>Spacial Comparison:</h2>Let's start with the most essential analysis - how much music are you actually getting on the stand?<br />
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<div style="text-align: center;">8.5x11 portrait (3 pages per stand) = 290.5</div><div style="text-align: center;">8.5x14 portrait (3 pages per stand) = 357</div><div style="text-align: center;">11x17 portrait (2 pages per stand) = 374</div><div style="text-align: center;"><br />
</div><div style="text-align: center;">8.5x11 landscape (2 pages per stand) = 187</div><div style="text-align: center;">8.5x14 landscape (1 pages per stand) = 119</div><div style="text-align: center;">11x17 landscape (1 page per stand) = 187</div><br />
In this comparison, portrait orientation is absolutely the most efficient use of space with 11x17 paper giving you the most space of any paper size.<br />
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But stopping there doesn't give you the whole story!<br />
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<h2>Intangible Comparison:</h2>The size/orientation of music can have unintended effects on the pragmatic experience of making music.<br />
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<b><span style="color: black;">Page Turns:</span></b> The more music you fit on a stand, theoretically, the fewer page turns you need. This can minimize distracting moments or unwanted sounds during performance, which is especially important as the ensemble gets smaller. (A solo cello piece suffers much more from page turns than an orchestra piece.)<br />
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Additionally, page turn difficulty differs instrument to instrument: singers can turn as they need, pianists or some wind instrumentalists can turn when one hand is free, string players can hardly ever turn while playing.<br />
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Though it affords more space, page turns can get more complicated or unwieldy with set-ups using 3 pages per stand. The third page often needs to be tucked or untucked during the page turn, which takes additional time.<br />
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<b><span style="color: black;">System Length:</span></b> <a href="http://baymard.com/blog/line-length-readability">Web designers pay a lot of attention to line length</a> and studies show there are optimal lengths for reading ease and comprehension. There are absolutely parallels to reading music - long systems are difficult to read.<br />
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Also, the shorter stave systems are, the closer measure numbers are to each other. It seems like an obvious and pointless fact, but infrequent measure numbers mean wasted rehearsal time counting bars. (No, seriously, so much wasted time.) Horizontal page orientations are especially problematic for this reason.<br />
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<a href="http://3.bp.blogspot.com/-iZ4JiShQV9c/U3Z9zj3iXEI/AAAAAAAAJdg/wG7HUCrFOWY/s1600/Music+Fit+On+Stand.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-iZ4JiShQV9c/U3Z9zj3iXEI/AAAAAAAAJdg/wG7HUCrFOWY/s1600/Music+Fit+On+Stand.jpg" /></a><br />
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<span style="color: black;"><b>Overhang: </b></span>Overhang can provide the little extra space on a stand needed to avoid a distracting or difficult page turn. But, large amounts of overhang can result in drooping or falling pages, light issues as stage lights pass through the paper, acoustic interference, and decreased visibility for the audience.<br />
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Most of these issues can be fixed with sturdy paper-stock or poster board extensions to the stand, but visibility or acoustics are instrument dependent problems affected by the directional acoustics of the instrument. For example, violinists' music is oriented perpendicularly to the audience, so acoustics and visibility isn't impacted by overhang. On the other hand, a cellists stand is parallel to the audience directly in between the audience and instrument. A huge wall of paper has an acoustic and aesthetic impact.<br />
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Another very practical effect of overhang is difficulty writing notes on the score during rehearsal. You can't write easily on any overhang because it isn't supported by the stand. It's obviously a small impact, but worth noting if page sizes with less overhang are an option.<br />
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<span style="color: black;"><b>Travel:</b></span> Large scores are more difficult to transport without damaging them. While 8.5x11 paper easily fits into a protective folder or binder, 8.5x14 and 11x17 paper need to be folded (or risk being crumpled). Why do folds and crumples matter? Besides it being easier to read clean paper, folds and crumples can create shadows under concert lighting or make the music less stable on the stand.<br />
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<h2>Conclusions:</h2>8.5x11 portrait has the third most space on the stand, minimal overhang, is easy for travel, has a nice system length, and fairly easy page turns. This is always my vote.<br />
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A close second is 8.5x14 portrait which has more space on the stand at a cost of slightly more overhang and less convenient travel. I use this set-up frequently as well.<br />
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11x17 portrait has the most space on the stand with easy page turns, but is annoying for travel, has long systems, and has inconvenient overhang on the top of the stand. If there are really NO other page turn solutions, this will work out. (Though personally, I'll usually just shrink the music once I know it well enough or write out my own shorthand.)<br />
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Landscape orientations are terrible. Really... that's the point of this whole post. Please don't use them. Like, ever.<br />
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Did I miss something? Have another reason for or against a certain paper set-up? Let me know in the commentsJennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com8tag:blogger.com,1999:blog-3727520237593175976.post-37688337704731736532014-05-06T15:53:00.003-07:002014-05-06T21:53:04.015-07:00Practice Studio Tour<a href="http://www.bloglovin.com/blog/12229489/?claim=yxjwbtzutxz"></a><a href="http://2.bp.blogspot.com/-sh1L89XN1u8/U2k3Gkk7hGI/AAAAAAAAJbg/1skpeLsG6Jc/s1600/Practice+Space_4_1.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-sh1L89XN1u8/U2k3Gkk7hGI/AAAAAAAAJbg/1skpeLsG6Jc/s1600/Practice+Space_4_1.jpg" /></a><br />
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I'm the kind of musician who thrives when I have a nice practice space. Natural light, a nice sounding room, privacy - I feel so grateful that I'm able to practice at home in my current apartment.<br />
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It's not always possibly to access a bright and beautiful practice space, but as a cellist, a few key features in my practice space make all the difference.<br />
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First and foremost is my Cello T. Making a Cello T is extremely easy, inexpensive, and a far better solution than a rock stop or chair strap if you need to protect floors from your endpin. Using a Cello T means no slipping, and it's infinitely adjustable in all directions.<br />
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Next is a set of nice speakers I can connect to my laptop. There're not as nice as speakers I would ever use for performance, but I can use them for drone practicing or to practice any music for cello and electronics. Let's be honest, having them easily accessible means I actually do those kinds of practicing consistently!<br />
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The tiniest, and possibly most simple, luxury is a little magazine caddy I use to store any music I'm not working on immediately. It keeps my music stand nice and clear and helps me organize for upcoming concerts. A little jar for pencils means I'm never hunting for one during a practice session.<br />
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Rather than fight little inconveniences, it's so rewarding to take the time to set up a space that makes practicing as easy as possible.<br />
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If you have any must-have practice set-up tips (for any instrument) do tell! Share them in the comments below!Jennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com1tag:blogger.com,1999:blog-3727520237593175976.post-26098318393135546842014-01-20T09:28:00.000-08:002014-05-17T17:01:35.721-07:00Liveness: Cello Recital<img src="http://4.bp.blogspot.com/-Q0U6G-S-UnQ/U2e8GAz42CI/AAAAAAAAJZo/Jvyfj6SIxfg/s1600/Cello+Slide.jpg" /><br />
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I'm very excited to present my second of three Doctoral recitals at the University of California San Diego this <b>January 28th at 8PM in the <a href="http://musicweb.ucsd.edu/directions/directions-pages.php?i=601">Conrad Prebys Music Center Concert Hall</a></b>!<br />
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For me, performances are a very special opportunity to share music I love and provide a space for ideas to flourish. In this concert I'm confronting a question many of us music lovers take for granted: <b>is live performance essential? </b><br />
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This recital offers five pieces and their various answers to this question. Focusing on the very physical nature of sound and its expression in space, the full realizations of these works are only available in the moments they are exchanged between the performer and audience. A case for live performance is made not with the risk of failure or presentation of the performer as hero, but with compositional ideas that live fully only within the moment of performance.<br />
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Burn Again with a Low Blue Flame - <a href="http://www.anniegosfield.com/">Annie Gosfield</a><br />
Vessel - <a href="http://carolinelouisemiller.com/">Caroline Miller</a><br />
Durations 2 - Morton Feldman<br />
The New Right of Spring - <a href="http://www.paulineoliveros.us/">Pauline Oliveros</a><br />
Charles Curtis - <a href="http://alucier.web.wesleyan.edu/">Alvin Lucier</a><br />
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My hope is the weird and wonderful music you'll hear at my recital will not only provide you with an exciting musical experience, but carry on after the music has stopped through interesting conversation and thought. <br />
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Yours in musical excitement and anticipation,<br />
JenniferJennifer Bewersehttp://www.blogger.com/profile/01132122273107101332noreply@blogger.com0