I have to admit it. It usually takes me a while to go with the flow. Whether it is a new electronic gadget, a new restaurant, or whatever, I am definitely not the first person out of the gate to try it. However, I'm not the last person either. I do use email, have a blog, etc., which proves I am not in the dark ages. This week I finally gave in to one of the latest crazes (okay, I don't know how recent it is, but it seems that way to me).
After being invited to be "friends" by numerous people, I capitulated and created a Facebook page. For those of you who are even more behind the times than I, a Facebook page is a way to reconnect with old friends and to communicate with new and current friends. You can leave messages for one another, chat with them on line, post photos and a million other things of which I am not even aware.
You hip cats out there might ask: why did you take so long to join? Well, I guess I am wary of anything that is so attractive to people who are younger than twenty. Also, quite frankly, I don't have a lot of time to devote to something like this. However, I now see the value of Facebook. It is a great way to network with people, and that's important in the business world. Actually, it is a lot of fun, too.
So, if you haven't joined the latest craze, get on board. And, after creating your Facebook page, check out the Bowling Green Chamber Orchestra's group page (just like a normal page, but for people who have similar interests).
Saturday, July 19, 2008
Thursday, July 17, 2008
New web page!
Check out our new web page at www.BGCO.com. A big thanks goes to our official web provider, Hitcents. They do great work.
Thursday, May 29, 2008
Hiring from within
Jim Collins is the author of the business classics Good to Great and Built to Last. They are a must read for anyone in orchestra management. In a nutshell, Collins' books deal with why some organizations are "built to last" and how organizations can go from being merely "good" to "great". One of the common principals found in Built to Last is the idea that successful corporations recruit their CEOs from within the organization rather than looking elsewhere. The idea is that people within the organization understand the core values and culture of the organization that makes it great. According to a recent announcement of the League of American Orchestras, Collins believes that this principle is missing in the orchestra world:
In a forthcoming interview in Symphony magazine, Jim Collins, one of the NPAC keynote speakers, states that the big resource restraint for our field will be leadership: "I think the number one worry is: Do we have a West Point for developing leaders for arts organizations? And if not, why not? We need that, because it’s probably more important than anything else we can do. Great companies develop their leaders from within and move them into positions of responsibility." He goes on to say that arts organizations need to ask themselves what, for them, would be the sign that they were delivering results according to what they think is important.
I couldn't agree more. Instead of orchestras mining for executive directors in other orchestras, why not raise them up in their own organizations? Every orchestra has a different culture. What is important to one is not important to another. It is true that a good manager can make the transition, but when they move to a new job, they are immediately at a disadvantage. For example, it takes time to develop a relationship with donors, subscribers and musicians. If organizations promoted from within, those relationships could already be there. I believe this is true for other administrative type jobs, like marketing directors (who would have media contacts) or development directors (who would know the donor base).
I also believe the principle of recruiting from within applies to music directors. Imagine a world where assistant conductors are hired with the idea that they would someday move up to the principal job. The music director could groom them, perpetuating the culture of the orchestra. Some criticize the great orchestras of today, saying that they all sound alike and have lost their individuality. Had this system been in place over the past fifty years, we might still have the Philadelphia string sound or the Chicago brass sound.
Of course, there is nothing that would stop the apprentice music director from taking another job or, for that matter, being fired. But that's true in the corporate world as well. I think the benefits of such as system far outweigh the negatives. Like administrative staff, the assistant would know the donors and subscribers well, having attended fundraising parties and other orchestra events. This would also solve the problem of music directors flitting all over the world and not taking care of business at home.
In short, Collins advice might be key in turning around what ails modern orchestras.
In a forthcoming interview in Symphony magazine, Jim Collins, one of the NPAC keynote speakers, states that the big resource restraint for our field will be leadership: "I think the number one worry is: Do we have a West Point for developing leaders for arts organizations? And if not, why not? We need that, because it’s probably more important than anything else we can do. Great companies develop their leaders from within and move them into positions of responsibility." He goes on to say that arts organizations need to ask themselves what, for them, would be the sign that they were delivering results according to what they think is important.
I couldn't agree more. Instead of orchestras mining for executive directors in other orchestras, why not raise them up in their own organizations? Every orchestra has a different culture. What is important to one is not important to another. It is true that a good manager can make the transition, but when they move to a new job, they are immediately at a disadvantage. For example, it takes time to develop a relationship with donors, subscribers and musicians. If organizations promoted from within, those relationships could already be there. I believe this is true for other administrative type jobs, like marketing directors (who would have media contacts) or development directors (who would know the donor base).
I also believe the principle of recruiting from within applies to music directors. Imagine a world where assistant conductors are hired with the idea that they would someday move up to the principal job. The music director could groom them, perpetuating the culture of the orchestra. Some criticize the great orchestras of today, saying that they all sound alike and have lost their individuality. Had this system been in place over the past fifty years, we might still have the Philadelphia string sound or the Chicago brass sound.
Of course, there is nothing that would stop the apprentice music director from taking another job or, for that matter, being fired. But that's true in the corporate world as well. I think the benefits of such as system far outweigh the negatives. Like administrative staff, the assistant would know the donors and subscribers well, having attended fundraising parties and other orchestra events. This would also solve the problem of music directors flitting all over the world and not taking care of business at home.
In short, Collins advice might be key in turning around what ails modern orchestras.
Wednesday, May 14, 2008
Robotic conductor
It seems that technology now makes it possible for a robot to conduct an orchestra:
Robot Asimo makes debut with Detroit Sym
In today’s (5/14) Detroit Free Press, Mark Stryker writes, "Asimo, Honda’s humanoid robot, made its conducting debut Tuesday at Orchestra Hall, leading the Detroit Symphony Orchestra in ‘The Impossible Dream’ of Broadway fame. Let’s say right away that the display was a technological marvel and as cool as all get-out. But it was conducting in only the most limited definition. … It lifted its arms and gave the downbeat, conducting waltz time with fluid, lifelike gestures. It deliberately slowed down for the big finish, shifting into 6/8 time and ending with a dramatic held note. … How did Asimo do it? Honda filmed DSO education director Charles Burke conducting the piece and programmed Asimo to copy his movements. Of course, true conducting is more than arm-waving. It’s shaping musical expression and communicating ideas. Asimo can’t think or react; it does only what it’s been programmed to do.” DSO Music Director-Designate Leonard Slatkin, who was in attendance, kidded the robot: “I’ll believe it when you conduct Mahler 7.”
I think this is an exciting development. Orchestras will save as much as $2 million dollars in music director's salaries. Also, orchestra members will be assured that the robot-conductor will not abuse them in rehearsals (unless, of course, conductors are involved in the progamming). I wonder if thge robot-conductors will develop huge egos like their human counterparts?
Robot Asimo makes debut with Detroit Sym
In today’s (5/14) Detroit Free Press, Mark Stryker writes, "Asimo, Honda’s humanoid robot, made its conducting debut Tuesday at Orchestra Hall, leading the Detroit Symphony Orchestra in ‘The Impossible Dream’ of Broadway fame. Let’s say right away that the display was a technological marvel and as cool as all get-out. But it was conducting in only the most limited definition. … It lifted its arms and gave the downbeat, conducting waltz time with fluid, lifelike gestures. It deliberately slowed down for the big finish, shifting into 6/8 time and ending with a dramatic held note. … How did Asimo do it? Honda filmed DSO education director Charles Burke conducting the piece and programmed Asimo to copy his movements. Of course, true conducting is more than arm-waving. It’s shaping musical expression and communicating ideas. Asimo can’t think or react; it does only what it’s been programmed to do.” DSO Music Director-Designate Leonard Slatkin, who was in attendance, kidded the robot: “I’ll believe it when you conduct Mahler 7.”
I think this is an exciting development. Orchestras will save as much as $2 million dollars in music director's salaries. Also, orchestra members will be assured that the robot-conductor will not abuse them in rehearsals (unless, of course, conductors are involved in the progamming). I wonder if thge robot-conductors will develop huge egos like their human counterparts?
Friday, February 29, 2008
Back to Bach
Ever wondered what Johann Sebastian Bach looked like? Forensic artists have reconstructed his face from a bronze cast of his skull and documents from his time.
Click on http://news.bbc.co.uk/2/hi/uk_news/scotland/tayside_and_central/7270795.stm to read the article and to see the image.
Click on http://news.bbc.co.uk/2/hi/uk_news/scotland/tayside_and_central/7270795.stm to read the article and to see the image.
Thursday, February 28, 2008
Are you amusia-ed?
I have often been amazed when I hear people say that they don't like music. I could never understand how that could be possible. It's one thing to not like a certain type of music. I, for one, don't like rap music--but that's another matter. But to not like music at all--that's hard to accept. Today, I think I found the answer for which I had been waiting.
Today's In the News, an electronic newsletter of the League of American Orchestras, included the following report:
Unlocking the mysteries of amusia
In today’s (2/28) Herald (Glasgow, Scotland), James Morgan writes about “those who suffer from a rare condition known as amusia—a complete inability to comprehend or take pleasure from music. Where once these people would have been dismissed as ‘tone deaf’, there is a growing recognition that amusia is a neurological condition, inherited through families. Professor Tim Griffiths listens to the experiences of amusia patients every month in his auditory clinic in Newcastle. … Griffiths is the UK’s leading expert on amusia. He was quick to recognise that those who ‘just don’t get it’ hold the key. By peering into their minds, we can begin to answer deeper mysteries—why do humans enjoy music, and what use is it to us? … Studies have shown that the brain has distinct systems for processing pitch, melody and rhythm. A further brain region creates the emotional effect of music, and this is the area in which Griffiths is most interested.”
So, if you know of people who are not attending concerts of their local orchestra, tell them that they just might suffer from amusia. After wondering what you are talking about, they will either call their family doctor or order tickets.
Today's In the News, an electronic newsletter of the League of American Orchestras, included the following report:
Unlocking the mysteries of amusia
In today’s (2/28) Herald (Glasgow, Scotland), James Morgan writes about “those who suffer from a rare condition known as amusia—a complete inability to comprehend or take pleasure from music. Where once these people would have been dismissed as ‘tone deaf’, there is a growing recognition that amusia is a neurological condition, inherited through families. Professor Tim Griffiths listens to the experiences of amusia patients every month in his auditory clinic in Newcastle. … Griffiths is the UK’s leading expert on amusia. He was quick to recognise that those who ‘just don’t get it’ hold the key. By peering into their minds, we can begin to answer deeper mysteries—why do humans enjoy music, and what use is it to us? … Studies have shown that the brain has distinct systems for processing pitch, melody and rhythm. A further brain region creates the emotional effect of music, and this is the area in which Griffiths is most interested.”
So, if you know of people who are not attending concerts of their local orchestra, tell them that they just might suffer from amusia. After wondering what you are talking about, they will either call their family doctor or order tickets.
Thursday, January 31, 2008
Just a Little Respect
As Aretha would sing, "R.E.S.P.E.C.T." That's exactly how I feel about by colleagues in the opera field.
A few weeks ago, I had the privilege of conducting a concert, featuring tenor Dan Snyder (check out his website at www.dansnyder.com). He joined my two orchestras, the Bowling Green Chamber Orchestra and the Murfreesboro Symphony Orchestra, is an evening of Neapolitan songs. He sang great tunes like Mattinata and Core 'grato. Now, before you musical snobs say anything, let me clarify. These songs are not from operas. Although many were written by opera composers, they were composed as stand-alones. However, the style of the songs have a lot in common with their operatic cousin, the aria.
The primary similarity between Neapolitan songs and opera arias is that they contain much rubato (flexibility in tempo-another way to think of it is stretching of time). This makes sense since Leoncavallo, for example, wrote opera arias like the famous Vesti la giubba from Pagliacci and the Neapolitan song Mattinata.
My respect comes from this similarity. The rubato and flexibility of the music requires the conductor to follow the tenor soloist's tempos at all times. This requires a type of sixth sense from the conductor. The conductor must anticipate whether the soloist will linger on a certain note for a while, take time with a certain passage, or press forward. Although the soloist, orchestra, and conductor rehearse in preparation for the concert, details change a bit with every performance. Dan and I rehearsed and performed the same program twice, but some things were different each time, as they should have been. After all, we are human beings who, as musicians, have the right to express ourselves differently, depending on how we feel the music.
So, hats off to my colleagues who do this full time. You have my respect. And, by the way, hats off to conductors of Broadway shows. You are made from the same cloth.
A few weeks ago, I had the privilege of conducting a concert, featuring tenor Dan Snyder (check out his website at www.dansnyder.com). He joined my two orchestras, the Bowling Green Chamber Orchestra and the Murfreesboro Symphony Orchestra, is an evening of Neapolitan songs. He sang great tunes like Mattinata and Core 'grato. Now, before you musical snobs say anything, let me clarify. These songs are not from operas. Although many were written by opera composers, they were composed as stand-alones. However, the style of the songs have a lot in common with their operatic cousin, the aria.
The primary similarity between Neapolitan songs and opera arias is that they contain much rubato (flexibility in tempo-another way to think of it is stretching of time). This makes sense since Leoncavallo, for example, wrote opera arias like the famous Vesti la giubba from Pagliacci and the Neapolitan song Mattinata.
My respect comes from this similarity. The rubato and flexibility of the music requires the conductor to follow the tenor soloist's tempos at all times. This requires a type of sixth sense from the conductor. The conductor must anticipate whether the soloist will linger on a certain note for a while, take time with a certain passage, or press forward. Although the soloist, orchestra, and conductor rehearse in preparation for the concert, details change a bit with every performance. Dan and I rehearsed and performed the same program twice, but some things were different each time, as they should have been. After all, we are human beings who, as musicians, have the right to express ourselves differently, depending on how we feel the music.
So, hats off to my colleagues who do this full time. You have my respect. And, by the way, hats off to conductors of Broadway shows. You are made from the same cloth.
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