NETMCDO — CELEBRATING 28 YEARS!
Convener: Emily Weingarten
Participants: Chris Marshall, Jan Bottomer, Andrea Davison, Elisa Seeherman, Bill Nerenberg, Liam Abramson
Entrepreneurship is threatening to a lot of music faculty.
What does entrepreneurship mean?
Individual’s ability to control circumstances of production of their livelihood
Media definition is misleading – sometimes = new ideas
Entrepreneur has a passion for business regardless of subject
Passion for an idea is important
Serial entrepreneurs – create a business, sell it when it makes a profit
How can we tie in entrepreneurship with sustainability for musicians?
Is entrepreneurship the right word for us?
How can we introduce entrepreneurship to musicians in a way that is not scary?
Risk is a very scary word for musicians
Some will succeed as entrepreneurship and some will not
Marriage of right and left brain
New audiences, new spaces
We’re training musicians for a 19th Century career when that doesn’t exist
Matt Haimovitz – cellist, plays in clubs
Democratization in arts
Access to performances:
drive down standard of performance and appreciation
could be a gateway for people to appreciate
People love mediocrity
General public can distinguish good from bad
Introduces empowerment, develops discernment
Is music something that you do, or something that is done to you?
Person that wins American Idol has everything that is done to them
Try to beat the competition or create a new audience for what you’re doing (ex: Cirque de Soleil ? created a new model: circus for adults)
Maybe musicians could create a whole new audience it’s not that unusual in any other field.
Maybe it’s not duplicating a system like “El Systema” but creating a more customizedbylocation/situation approach
Often music students don’t go to concerts, don’t read, are oblivious to their surroundings
Workshops of service for alumni
Pyramid scheme come up with an entrepreneurial project. Students had to write business plans for their friends
Students don’t understand how long the process is of building your own career
Players’ Theater works with performance groups on marketing
How do we overcome students’ apathy?
When are students ready to learn this?
1. Allow students to have a “go” in a safe environment and fail
2. If student’s don’t have an entrepreneurial streak, make friends who have it
3. There is a danger of creating people in one image – should it be a business degree with music concentration?
Convener: Russell Scarbrough
Participants: Alana Jardin, Thresa Swadley, Rosie Perkins, Claire Hamm, Katy Hemingway, Kim Haack, Courtney Blackwell, Laura Keegan, Dorothy Wyandt, Glenn Caruthers, Rineke Smilde, Kip Cranna, Joe Mount, Edna Landau
Using active students to talk to others
Offering community outreach with compensation
How do we deal with scheduling extra career activities (seminars, classes, advising, etc.)
Requiring a resume for any on-campus job
Freebies – Food – Fun – Fast ? Immediate results
Bring the services out into the Lobby, Main Hall, etc. – go to the students
Contacting Parents – letting them know what services are available -- getting/using parents’ home address
Engaging & diverse speakers, trying to make classes as relevant
Presentation in orientation, studio class, open house
‘Fact sheets’ for studio teachers – what can we do to help Newsletters
Using Gig Service to engage students –requiring attendance at a professional seminar before being active on Gig Service
Convener: Hank Bordowitz
Participants: Midge Thomas, Dale Wilson, Georgia McBride
School doesn’t have a program.
Who would teach it?
Conservatory could, small school it would be more difficult.
-Panels vs. Class?
-All Music Schools need an Up-to-date Library of music business sources-
Students need to know how to deal with contracts.
Legal aspects also should be taught to everyone, especially performers
The larger part of this training should be available to everyone in the school.
“Not knowing what’s going on in the outside world is dangerous.”
“It pays to avoid being taken advantage of.”
Convener: Kelland Thomas
Participants: Kelland Thomas, Edna Landau, Emily Weingarten, Justin Kolb, Thresa Swadley
Edna Landau outlined Colburn’s course offering for Career Development – 2x/weekly, 1 week a month. Offered for the first time this year. Topics include Fiscal Sponsorship, Taxes, Grantwriting, Fundraising, Networking, Recording Industry, Digital Era (w/ the Chief Marketing Person from iTunes), Composers talking about Commissioning, Freelancing (w/ Past & Current Students, Faculty, and a Hollywood Contractor).
Technology in the curriculum was discussed, with important questions being “How to Keep Up” and “Teaching Specific Technologies vs. empowering students to explore new technologies and be adventurous.” One strategy is to find ARTISTS online who use technology well in various ways and make these ROLE MODELS (or CASE STUDIES). In the U of A Course, I have students complete a website.
WEBSITES can function as “Press Kits” and online “COMMUNITY DEVELOPMENT” (Your MARKET!)
There was some discussion of using Weblogs in course curriculum – at Colburn, students submit a Blog Entry as a writing sample.
There was discussion about a WIKI to share online links and course materials between schools- KT will follow up on this project.
There was discussion of the role of teaching in ENTREPRENEURIAL outlook in a career course, not just concrete Career Skills, to empower students to seek out new opportunities, and find relevant information to pursue and execute.
Important skills for any careers curriculum are Verbal & written communication. Some talk about the “Mock Job Interviews” (or online Interview software) as a tool for feedback on verbal skills.
Thresa Swadley discussed having students take Personality tests upon entering to identify skills. Students often are extremely creative in matching their traits with interesting career options.
Convener: Justin Kolb
Corporate Money from Marketing Departments easier to obtain than corporate foundation
-County money available for outdoor concerts (parks dept)
-Corporate marketing departments
-Use 501c3 “pass through” organizations ?
-OPM requires that contribution can be written off
-Director of Musical America lists Granting organizations
-Arts in Education funds easily accessible
Convener: Elisa Seeherman
Participants: Mary Loiselle, Midge Thomas, Rosie Perkins
How do we set up assessment models?
What we already do:
CT College- no systematic mechanism – very anecdotal via faculty
Royal College- 2 methods: 1) destination survey, 2) working in music project
-most recent 5 years -9-5 “placement” model doesn’t work
-1st 5 years after graduated -4 Dimensional Model
-phone interviews (by students) 2 objective components
-compile stats -amount of time spent
-grant funded (in-house) -how much money earned (%)
-results-justifies 1 to 1 lessons 2 subjective components
-send a letter to alumni in advance -how do they see self?
-what is their vision?
Curtis- career office is only ½ years old – handled by Alumni Office (challenging)
University of Arts-
-one year out survey-online
-ask about various types of employment (FT/PT/performing/self-employed)
-success=some type of work related to their major
-Important to assess not only what they are doing, but also how satisfied they are with what they are doing
-Did you make a conscious choice to pursue another career?
Convener: Liam Abramson
Discussions & Recommendations Outline
Covener: Alana Jardis, Courtney Blackwell
Participants: Aya Terasawa, Kip Cranna, Claire Hamm, Elisa Seeherman, Georgia McBride, Hank Bordowitz, Thresa Swadley, Janet Rarick, John Blanchard, Kelland Thomas
Discussions & Recommendations outline:
Core habits in all economies:
• Resume: digital: for small corporations, those using recruiters
— Keywords: competition, prize, acumen, manage, written/verbal, comm. Skills, use job description as a guide, 1-2 pg. resume ok
— For cover letters: use job description as a guide, address qualifications
— In helping students, first address the purpose of the resume
— Video resumes, web portfolios, “designed” resumes: not necessary, employers say keep it simple, maybe link to a website or Youtube video
— Employers want to receive resume as email: Word Document/PDF
• Idea: send resume electronically and also via US mail. Acknowledge that sending through various media
• Follow-up with phone call to confirm app. materials received
— Knowledge of self and organization!
— Hand deliver resumes: handwrite thank-you notes (but it depends, in some instances, it might take too long)
• Idea: brief email followed up with US mail note
• Key is there is no standard- cover all your bases
— Most employers like skills/qualification section instead of objective, but not all. If it can’t hurt you, why not include it? Maybe helpful for students seeking summer/internship opps. Make it meaningful.
— In working with students, think about what questions might be raised for employers and encourage students to proactively address names of teachers/coaches on resume with header “teacher/coaches”
— Think about what’s relevant w/in cultural/metro area ex: Eagle Scout in some places key, in others, not applicable
— Ways to stand out:
• “Other skills” in resume, quirky, interesting
• Performances: if undergrad, diversify (w/in school, community, etc) and dates (esp. for grad students). Don’t include anything before college. Think: is this adding to a positive image? Know your audience
— Brainstorm with students, trans. skills, use active verbs as a guide
• Demonstrate strong interpersonal skills
— For practice: mock interviews, practice cocktail questions, note: Artists are trained to respond emotionally, need to think about that!, pull job description and have students dissect it as a group: what does this mean?
— New “Blue Ocean” ways to stand out:
• Sr. who wanted to teach voice lessons, used Craig’s List and posted multiple adds to various audiences through services
• Playing in non-traditional spaces
• Business card on them at all times
• Hang around after concerts
• Web presence
• It’s normal to be rejected: will need to get “no’s” to get to “yes” Failure is normal and ok. Can learn from it
• Play for an audience: do a survey, ask for ideas for other clients: mailing list
• Donate services as a silent auction prize, show up at auction and playing during bidding process
• Play for tips to raise $$ for non-profit organization: may make connections
• At recitals/performances, give prize of your talent for another event (great way to get contact info)
Convener: Kip Cranna
Participants: Alana Jardis, Andrea Davison, Rosie, Dorothy, Aya, Margaret Thomas, Emily Weingarten, Laura Keegan, Katy Hemingway
Discussion & Recommendations outline:
Convener: Emily Weingarten
Participants: Midge Thomas, Rosie Perkins, Andrea, Mary Loiselle, Katy Hemingway, Jan Bottomer, Laura Keegan, Holly Marland, Kitty, Liam Abramson
Discussion & Recommendations outline:
From a follow-up conversation with Chris Marshall about using books for career classes that detail creative artist’s lives:
Composing a Life by Mary Catherine Bateson. Includes 5 or 6 autobiog sections written by artists in different media--you could ask students to choose one, read it, and write about it?
Essays by creative artists on their motivation to do the work
George Orwell's Why I Write?
Joan Didion also has a similar essay:
Senior Journal/Why I write, Joan Didion.doc
Letters to a Young Poet by Rainer Maria Rilke
Malcolm Gladwell's New Yorker piece on late bloomers and genius: