Saturday, April 8, 2017

Clients, Students and Parents - Dealing with all the “Crazies”




Being a freelance harpist and teacher, I get the opportunity to encounter a diverse spectrum of individuals. We all have our war stories dealing with personalities - the aggressive demander, the indirect-manipulator, the whimsical mind-changer.  The ones oblivious to time who thinks it complies to their needs. The ones, who despite how friendly and agreeable, end up writing a huge complaint letter. Are all these people crazy or are there underlying patterns for understanding and navigating our client's personalities?

I recently read the book, “Foreign to Familiar - A Guide to Understanding Hot and Cold Climate Cultures."  This book investigates patterns that go beyond personalities to their root cultural causes that are tied to the geography and climate where these cultures exist and grow.

Being in the people-business, these concepts are key for freelance musicians and teachers.

Hot and Cold Climate Cultures
The author Sarah Lanier presents two general categories which most cultures fall under. Hot-Climate Cultures are relational based. This group values connection, good feelings, and people before goals and business. You will leave feeling connected even if the task didn't get completed. The connection is prioritized over accurately. For example, a student/ parent may appear agreeable and pleasant without sharing their needs or frustrations. Then out-of-the-blue they let you know that due to x (art class, sports, school) they will be taking time off. This could even be done in a text or email to avoid "confrontation." As Lanier says, “No one is willing to jeopardize the friendliness no matter how superficial."

The Cold-Culture group is task and goal focused; “communication must provide accurate information." You will leave with business completed in a timely manner to show respect for people. For example, a client may come off confrontational, with a list of expectations they want you to solve. When you explain what's provided in your services, they may bluntly discuss if their business needs are met or they may simply move to a new musician. These clients will not “waste” your time; they will value truthfulness over their friendliness.  

Direct and Indirect Communication
The next distinction between these two groups is communication style. With Direct Communication (Cold-Culture), people mean what they say. It is simple and straightforward. They will share their opinions without considering it offensive. Their communication is informational not personal. These people sound like critics, who tell you negative things, or seem to be “in-your-face” and aggressive. With direct communication, it is helpful to see communication is a means to an end; give the information and get the results.

Indirect Communication (Hot-Culture) shares in a subtle and open way as to avoid negativity, displeasure or dissatisfaction. The answer, “Yes” or “Ok” is applied to everything regardless of if they will do it or even understand. Indirect reasons are given instead of "No." Many cases people will go out of their way to leave things open ended to avoid the disappointment that comes with "No."  Such indirect responses such as, “I'm sick," “My fiancé is busy or booked someone else," “We are not sure what we want," “Maybe check with this person” or “Yes of course” - but never will reply again.

Although these could be labeled as “excuses” their goal is your satisfaction, connection and happiness. When we see that the Direct Communication isn't personal, and the Indirect Communication prefers to avoid disappointment, more harmony is achieved and less crazy people seem.

Individualism and Group Identities
For this distinction, I find the best examples in teaching. The concept of Individual Identity may be more familiar to us in the USA than in other places in the world. Students are encouraged to have opinions, be their own person, to be independent and take charge. Responsibility is placed on an individual. Even the scenarios where students are “in-charge” and their parents defer to their requests. Alternatively, if the student’s enthusiasm fluctuations, then the teacher’s skill is questioned. These are examples of Individual Identity.

Group Identity finds its strength, pride or success in the family or community. Students are encouraged to conform to standards, and expectations. Responsibility is placed on the institution, group or family. Scenarios where students bring shame to parents if assignments are not completed or competitions are not won. Or where students are fantastic at following direction but miss the musicality or subtleties of something. Or when students do not share their opinions or feedback.  These are scenarios where families have a group identity.

High-Context  and Low-Context
These distinctions are defined as degrees of formality, traditions, rules, and etiquette.  Older cultures (those who have been established for centuries) such as many European, Asian, Indian and Middle Eastern culture are categorized as formal and High-Context. Classical music training come from a High-Context cultural. Details matter - status, dress codes, gender roles, respect, systems, manners, and rules. We encounter this in our Classical systems, in our performance etiquette, and in our orchestras. People with this background have expectations of others to follow systems. Extreme offense is taken when these rules are bent or broken.

Low-Context groups are considered informal and newly established societies or nations such as the USA, Australia, or places of cultural immigration and diversity. Silicon Valley, where I'm from, is one of the most informal, open, casual, familiar, first-name-basis cultures. Whether you are a CEO or waiter, people dress casually, are oblivious to rules and most etiquette, rarely parade status symbols and can be generally obtuse to basic manners. What is natural for all of us, can be taken as highly offensive to many other cultures. Understanding the level of formality your client is from and being able to apply a higher or lower degree of formality is key to a successful working relationship.

Time and Planning.
Lastly, is the concept of time. This is a very relevant category we all encounter and probably know which group we fall into ourselves. Cold-Climate groups, like direct communication, are inflexible with time. Five minutes early is late. Not being prepared is late. Not planning ahead is late. We all know those weddings we performed that ran like clockwork. We have those families that show up 5 minutes before class and begin glaring if their child is not sitting down playing the moment their lesson time starts.  The “on-time families” where if call-time is 5:00, they are there at 4:00 and suggest you may be late. Ask these people to be spontaneous, change their plans, or do something different, and they probably look at you with a mixture of fear, disgust and indignation.

Then there are the Hot-Climate groups which experience and respond to all of life, focusing on the spontaneity and people. These are the weddings we perform that upon arrival, the building is still locked, the wedding party is getting dressed at the start time, and the guests don't show up until the reception. These are the families that always seem 10 minutes late for their 30 minute lessons; the ones you need to tell the recital begins an hour before it does. These are the flexible, spontaneous, people that hold commitments as suggestions. Here, a set time is almost an insult, a burden and unnecessary pressure.

Understanding the concept of time and how it reveals personal convictions, help us to respect and work fluidly with each other. The people who come off as crazy, who use different values for things we thought were fundamental givens, now make more sense. It's a marvelous thing to gain insight into the diversity and cultural practices of the people we serve every day.

Inspired by the book, “Foreign to Familiar” by Sarah Lanier

Being a Musician and Teacher in Silicon Valley Unintended Discrimination






An interesting thing happened to my family recently. Both my husband and myself make our living from only music. We have been married about seven years, have three kids and own a house. Besides from teaching, my husband is a church musician - pianist, organist, guitarist, vocalist, and even tech guy. He recently got called to a new congregation. We introduced ourselves, like any other time, as musicians and music educators. However, instead of the normal patronizing response of, “Oh how nice," we found this community of Silicon Valley tech, entrepreneurs, and venture capitalists actually intrigued. It was like they had never met a successful musician, let alone one established with a family.

In the Bay Area where I grew up, and from what I surmise about most of the US, a teacher is not considered a prestigious job. A college professor, maybe. Moreover, musicians tends to have the stigma of being a free spirit with no legitimate job (even if you are with an orchestra).

This is why the common response to, “I'm a music educator," “I'm a harpist," “I'm a teacher," is met with disinterest, patronization or the idea that my husband must support the family with a real job, so I can be a harpist.  Even when being a harpist catches attention, it is often categorized as that of being a Disney Princess or Fairy Godmother. Our career choices are not labeled as important, realistic, or successful.

One glaring example is when we were house hunting.
We went to an open house with a group of people all looking at the same time, and were casually asked the question - “So, what do you do?” (I.e can you qualify, are you worth my time, are you important?)
We said, “We are music educators”.... They gave us a curt smile and neglected us the rest of the tour.

Another example we encounter, time and time again is when we have “The Talk” with our talented freshman or sophomore music students and their families about careers in music. However, no matter how great their talent is, how high their level, their commitment to music, the underlying response is - it's not a real job, it's a fall-back job.... Once again a musician/teacher is not of value, not sustainable, not prestigious.

With this pattern of unintended discrimination, we were shocked when our careers not only were automatically validated but also seen with respect, honor and rareness.
An article from Huffington Post reminds us that in some countries, such as China or South Korea, see teachers as equal to doctors, lawyers and engineers.

"...Teachers should be held in the same regard as widely respected professionals like doctors -– a feat only China accomplished, according to the survey.”
“If we want future generations to have the right values and the best life chances … we need to recruit the best and brightest teachers into the profession, and look at the ways in which we can retain them,”-  Sunny Varkey

This simple acknowledgment that our career choices are legitimate, valuable, important and necessary, is a breath of fresh air.

Let's take a moment to remember, that teachers are entrusted to create success for the next generation. Musicians are entrusted to remind people of their humanity, to keep history alive and be a mirror to society. How amazing is that?


http://m.huffpost.com/us/entry/4032354




Embracing  Vulnerability

I recently heard a joke, “If you want to feel bad about your new achievement, google it adding 5-year-old doing it.....”
Unless you are the blessed few (like the 5 year old playing the Handel Harp Concerto...),
you are no stranger to the vulnerability that comes with being a musician and harpist. Self-doubt, mistakes, being ill-equipped, external or internal judgment, high standards, expectations, and disappointments are just a few ways we experience vulnerability negatively.

With high-stress performance cultures, we often put up walls, wear masks, and create ideal identities, all for the perception of strength, success and safety. However, our self-imposed walls and masks often feels hollow, driving up our anxiety and triggering the need to escape.  This cycle of mask, insecurity, anxiety, and vulnerability leads us to believe vulnerability is entirely bad news.

In addition, the daily task of musicians is the conflict between striving towards mastery and the question, “Am I worthy?”

How then do we embrace vulnerability in a powerful way?

  1. Name it - take time to get down and dirty to identify your basic musical fears and desires.  
  • “I fear inferiority when...”
  • “I fear shame when..”
  • “I fear helplessness when..”
  • “I fear invalidation”
  • “I desire fulfillment”
  • “I desire affirmations”
  • “I desire respect”
  • “I desire beauty

By naming what triggers our masks, walls and negative vulnerabilities, we see our patterns. Patterns remove the mysteries and empower us to take charge to eliminate the negative.

  1. Tame it - Be kind to yourself and define when you feel successful. Set your own expectations; define your goals and if/when you achieve them. With a career focused on continual growth, set your growth within your control instead of reacting or feeling helpless.

  1. Befriend it - When we begin to befriend vulnerability and embrace the unpredictability and imperfections of our music, careers, and life, our anxiety level lowers and our peacefulness increases.  

  1. Use it - Authenticity is the use of vulnerability. This is who I am, this is what I can do, this is what I love. Begin to practice openness, peacefulness, and self-compassion in your daily musical journey.

Embracing vulnerability is the starting point of strength and success.  Vulnerability empowers you as a musician. Embrace yourself as the harpist you are.  Open yourself to share and be seen at your core - your raw, authentic self.  Know that you are worthy; your music is worthy.











Saturday, March 16, 2013

Harp Student Resources


Angelic Harp Blog
For more information:


How to Change A String


Music Education Tools


Harp Societies and Groups


Extensive Resource Lists: 



On Line Music Articles 


On Line Harp Stores 



Harp Music 

Renting or Buying A Harp

To Rent or Buy?

What to Look for:
Classical harp, “Nylon, gut and wire strings”  - not all wire strings
26-42 strings  - no fewer than 26
Full Levers  -  Needs ability to sharp all strings
Trustworthy Brand: Lyon & Healy, Salvi, Camac, Swanson, Triplett and Dusty Strings
Wrong  brands: Rosewood,  Harpsical, Balladeer,Paraguayan, heartland, “lap harp”, 


Harp Resources

http://www.harpmall.com/harp_music.htm


http://www.harpcolumn.com/

http://www.harpsociety.org/ and www.scvharp.org

Harp Rental Info:
Angelic Harp will help you find a harp
Harps range from $45-65 per month
from small 26 strings to 38 strings
Ask kristalharp@gmail.com for more info

Stores
Harps etc. - ONLY ONE IN Northern CALIFORNIA
http://harpsetc.com
Rent-To-Own Program
Harps Etc. offers a Rent to Own Program which provides you an affordable opportunity to purchase a new or used lever or pedal harp after a 4 month trial period while locking in the purchase price of your rental harp during your 4 month rental period. At the end of the 4 months you have the following options

Harp Connection
http://www.harpconnection.com/LeverRentalProgram.html
The Harp Connection's Lever Harp Rental Program features both Classic and Celtic Lever Harps for rent nationwide. This program lets you limit your investment while you try one of our instruments. 100% of your first four months rent can be applied towards the purchase price.
Choosing a harp is never easy - that's why we have the best instruments from Lyon & Healy, Salvi, Triplett, Dusty Strings and William Rees available for rent. Prices range from $60 to $80 per month, with a minimum four month rental commitment (payable in advance). Security deposit and credit approval required.



Harp Brands to Rent or Buy
Lyon Healy  - http://www.lyonhealy.com/

Salvi - http://www.salviharps.it/

Camac - http://www.camac-harps.com/camac-harps-fr/

Dusty Strings - http://www.dustystrings.com/

Swanson - http://www.swansonharp.com/

Triplett - http://www.triplettharps.com/

Vanderbilt - http://vanderbiltmusic.com/


Helpful Resources 
             http://www.enjoytheharp.com/How-pedal-and-lever-harps-differ.html

             http://www.harpcolumn.com/forums/






Friday, March 15, 2013

Learning how to Compete and Perform:

Learning how to Compete and Perform: 

Originally published in Blair Quarter Note

They say everyone loves a winner, so musicians, like athletes and entrepreneurs, spend an inordinate amount of time preparing to outperform the competition. There’s no scoreboard or balance sheet. Musicians leave their progress lingering in the air to hear every time they perform.
“There’s no way of avoiding competition,” says Roland Schneller, Chancellor’s Professor of Piano. “They play in recital, they all hear each other, they compare themselves, and they want to be as good as they possibly can be.”
But there are few winners declared in a competition and limited numbers of scholarships or chairs in an orchestra. How, then, do music students prepare for a lifetime of auditions and competitions, when the outcome is anything but certain?

Working toward a goal

Culture and competition don’t usually go hand in hand. But all disciplines of the arts at some point become competitive.
“Music is not inherently competitive,” Schneller states. “I have students who are not interested in competition, and I think that’s fine. But when you share music, it is only human to compare yourself to others and it becomes competitive. I have all my [pre-college] students do the yearly local music club auditions, as we call them, in which they play for a judge and get comments. I ask them to do that because it’s a motivating goal to work toward.”

“I coordinate the Tennessee state instrumental competitions for the Music Teachers National Association (MTNA) which include both pre-college and college students,” Rose explains. “They get comments, and a winner, runner-up and sometimes honorable mentions are declared in each category. The winners of those categories go on to the division level, which includes eight states. Ours go on to the southern division.Melissa Rose, associate dean and associate professor of piano, agrees that competing strengthens a student’s skills. Many teachers have their pre-college students prepare for these auditions, sponsored by the local music teacher associations, where students are given a rating and comments. At the state level, however, the auditions become more identified as a competition.
“In that case, they are competing against one another,” Rose says. “Most teachers emphasize that this is a way to perform for somebody else. As long as it is promoted in a healthy way by the teacher and the family, I think it can be healthy for the student, because it shows them what’s out there. You might be a big fish in a little pond here, but then you go to this level, and you see that another student can do this [particular piece]. It can encourage the student. You try to avoid the demoralizing aspect of it. I think that’s the responsibility of the support network for the student and the organizers [of the competition].”

Schneller concurs, noting that the younger the student is, the less stage fright they have. “Even students who have no stage fright can develop it as adults. Once the onset of puberty arrives, you become very self-conscious, and it becomes a bit more common. Competition affects you more when you’re older,” he says, “because you are aware you’re being judged, when before it felt more like a chance to show off your talent.”Emphasizing the journey and not the end result is also important to get through a competition without debilitating stage fright. Jared Hauser, assistant professor of oboe, thinks the word “competition” is a stumbling block. “When you go to an orchestral or solo competition, you’re being compared to everybody else,” he says. “That can [turn into] a mind game, so it’s a lot more effective in my experience to say, ‘I know this music; I have a way of playing this that’s my way, and I’m going to show you how it goes.’ If I worry about what they want to hear, then I tie myself up in knots, and I can’t execute anything.”
“The more you compete, the more comfortable you are,” Rose says. “That’s another valuable part of competition.”

A different mindset

“There’s definitely a difference whether you’re doing it with a group or by yourself. Each individual musician has to figure out what motivates them and be able to use it in any situation.”

—Lindsey Reymore

Whether a student is performing in a local music audition or a more intense competition, repertoire frequently comes from several contrasting styles of music. Mindset varies depending on the context—a solo competition judged by a panel of three requires a different mental approach than a chamber music competition in which a student is playing as part of a group in front of judges and an audience. The context affects the way the student prepares the repertoire and the performance.
Lindsey Reymore, a senior oboe performance major at Blair, has competed in both solo competitions and in chamber music competitions.
“There’s definitely a difference whether you’re doing it with a group or by yourself,” she says. “Each individual musician has to figure out what motivates them and be able to use it in any situation. I’m much more naturally motivated in a chamber music setting,” she explains, “because I’m working with other people who I respect and support, so I have a responsibility to them, and that motivates me to practice.

The mental preparation for solo competitions and orchestral auditions is also different. Orchestral auditions are usually behind a screen, even for the Vanderbilt Orchestra. Students walk in without speaking, play the excerpts and leave. On the other hand, auditions for summer festival spots or solo competitions are done in view of the judges.“That same reasoning doesn’t apply to a solo competition,” she says, “so I have had to figure out how to get the same degree of motivation in a different way.”
Reymore auditioned for several summer festivals last year. “[Professor Hauser] prepared me for how I walked into the room and what I [would] wear,” Reymore says. “All these details don’t matter with an orchestral audition because you don’t interact with the judges at all.”
“Preparing for a solo competition, the process is going to be more lengthy and involved than for an orchestral audition, where you’re playing small snippets of orchestral pieces or solos out of context that may be only eight bars long,” Hauser says. “For a solo competition, the student should be thinking big picture: broad, long phrases, direction within the piece, how one movement relates to the next, and how their own personal appearance is important.
“At a solo competition you want to look bigger than life when you’re on stage. Every detail is important, from what you wear, to how you walk on stage, to the way you bow, if you bow.”

Practice makes perfect

Preparation also entails picking repertoire that the student can learn and perform well by the time the competition happens. Because of the time it takes to pick and learn repertoire specific to a competition, students frequently pick something they already feel comfortable performing.
“With MTNA, you apply early in September and auditions are in November,” Rose says. “So you have to predict in September what you’re going to be able to play in November. I always get the question, ‘I couldn’t get the piece ready, so can I change it?’ No, you cannot.
“I think if you really want to win a competition, you’re going to want to take your seasoned repertoire. You generally don’t take something new.”

“We put together the whole thing in one semester. They came over to my house for a week during winter break to rehearse all day, and then after that we had as many coachings as we possibly could at school,” she says. “We rehearsed five days a week and then every day coming close to the competition. I think it was a little too much, looking back on it,” she says.Reymore, along with Thomas Crespo, BMus’11, (bassoon) and junior Valerie Hsu (piano) made up Troika two years ago. The undergraduate chamber music trio made it to the live rounds of the Fischoff Chamber Music Competition along with the pre-college Parthenon String Quartet, made up of Alvin Kim (cello), Will Bender (viola), Jacob Schafer (violin) and Annie Bender (violin). The Fischoff is one of the best-known and influential competitions in the United States. Reymore and her trio only decided to compete at the end of the fall semester.
Their youth as a recently organized trio made it even more significant that they were chosen by the Fischoff, which only selected 48 entries from a total of 130 to play in the live rounds that year.
“They were pretty young, compared to most of the field for Fischoff,” says Hauser. “The judges were looking for the overall package of a group and not the individual virtuosity of each player. It doesn’t mean that the players aren’t virtuosic,” he explains, “it just means they’re looking for a blend and a maturity.”
“Our biggest comment from the judges as to why we didn’t advance [to the semifinal round],” Reymore says, “was that we had balance issues. We had played in various places—at Blair, in people’s houses—but it shows maturity for a group and for individual musicians to be able to adjust to a hall right away, which is not even something I had thought about until then. It was a learning experience to realize that there were subtle things like that that can make such a huge difference.”
“The Fischoff does a really nice thing,” Rose says. She helped coach Troika and her son was a member of the Parthenon String Quartet. “After they announce the finalists, they have an ice cream social for all the groups, and they have all the judges available to talk to each of them. They can go over things that the judge didn’t write in the comments. I really liked the more educational component, and that they could actually talk to the judge and get some feedback.”
With big competitions like the Fischoff, competing is a way for a performer to launch a career. However, only concentrating on competitions does not necessarily lead to a well-rounded educational experience for a musician. “Competitions sometimes get a bad rap, too,” Rose says. “If you’re only always working toward a competition, I think that’s very limiting. You’re limiting your repertoire and not working on other areas of your musicianship.”
The bottom line is that competitions are not necessary to enjoy making music, but they can help serious students progress in technical skill, planning and musicianship, whether they win or not.
“If you use competitions as a tool to help you grow, then they’re great,” Rose says. “You always have to enter a competition thinking, ‘Gee, if I win, it would be really nice.’ Don’t go thinking, ‘I’ve got to win this competition,’ because there’s no point in it. You need to think that this is an opportunity to play for other people, to get comments and to grow as a musician. If you go with that attitude, you’re fine, and I think most teachers try to promote that.”
by http://news.vanderbilt.edu/2012/03/blair-top-spo

Sunday, March 10, 2013

How to Prepare for Music Competitons


How to Prepare for Music Competitions

by Dr. Thomas Swenson
by Dr. Thomas Swenson -
Music competitions are a regular part of life for many students who plan to go to music school and seek a career in music.  Three “realities” of music competitions:
1. Any performance — whether in a competition, a lesson, for friends, or at Carnegie Hall — is just a “snapshot” of your talent and skills. Prepare and do your best, and then be proud that you did! 
2. Music evaluators (judges) love music. They are evaluating the communicative power of your performance; they are not judging you personally.  
While accuracy is something to continually strive for, most judges want to be emotionally moved by the music. Even with a few errors, music can magically connect people with ideas that transcend language.    
3. Music competitions do not have easily quantifiable scores.  Unlike a soccer game, where you simply count the number of goals, music ratings are somewhat subjective. Judges do their best to take into account many things:
    • overall musicality
    • stylistic elements (somewhat debatable)
    • adherence to the score (creative interpretation versus the minutia of the score)
    • the entire program you prepared (diverse styles performed equally well)
    • the individual pieces (like you, judges simply have music preferences)
    • musical intuition (who can really define this?)

5 Benefits Gained from Participating in Music Competitions  
1. An opportunity to overcome technical, musical, and mental challenges.
This should be one of the most important goals of entering any competition. Many times you may overcome a challenge in your practicing, but overcoming a challenge in a public venue is a much more celebrated victory.
2. Exposure to many people who appreciate and support music, including teachers, college/university faculty, and potential employers and fans (who may eventually become financial supporters).
Many students have made important connections at competitions that eventually led to scholarships or participation in other unique programs.  Feedback from these people, especially the judges, can help you identify your strengths and areas to further develop.
3. An opportunity for your “fans” to witness and acknowledge your growth (some competitions allow an audience).  
Anyone watching your performance (typically family, friends, teachers) can provide important feedback about your long-term development.     
4. A chance to observe your peers.
You can gauge your own strengths and weaknesses against those of your peers. You may also be exposed to, and inspired by, new and exciting repertoire.
5. An honorable recognition of your musicianship.  
If you happen to place in, or win, a competition, include it in future applications and your résumé.

Final Advice for Anyone Thinking about Music Competitions
• Seek out competitions that are at the appropriate level for your development.  Doing so ensures that you are more likely to have a positive experience.
• Prepare to your best ability, perform your best, and be proud of your performance—no matter what actually happens.
• Good resources –– books, articles, videos, and even “performance coaches” –– can help you develop strategies for performing at your peak.
• Be proud of winning a competition, but remember it is only a momentary recognition. Be respectful and sensitive to your peers who don’t fare as well as you.

Dr. Thomas Swenson, Assistant Professor of Music and Director of the Center for Musical Excellence at Salem College and President-Elect for the North Carolina Music Teachers Association, has distinguished himself as a national leader in the field of piano pedagogy.  He is published in many journals and books, has presented at national conferences and workshops, and has taught students throughout the world.   Dr. Swenson holds degrees from Minnesota State University, the University of North Carolina at Greensboro, and the University of Oklahoma. He can be heard on numerous CDs as a soloist, accompanist, arranger, and producer.