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[DMA]

A few years ago I completed a DMA (Doctor of Musical Arts) degree. I have been fortunate enough to get a few adjunct positions, and last year had a one-year visiting professor position. However, I wasn't successful in landing any sort of teaching position this year.

I've been contemplating the option of a career outside of acedemia, and have been reading as much as I can about doing so. I've found plenty of accounts of Historians and English PhDs successfully jumping ship, but no mention of DMAs.

I'm not looking to leave because I've become disgruntled with acedemia. It's just that reality is starting to set in: in a given year there will be only 3-6 full-time openings for my speciality. Not necesarliy tenure-track, just full-time. In the nation. The odds just aren't good. So, I'm starting to consider Plan B...

I'm wondering if there are any DMAs out there who have found rewarding work outside of teaching and performing? If so, I'd love to hear what you do and how you got to where you are.

[%sig%]

[anon]

In short, nothing. Not for getting the "first job" anyway. I opted out of attending such a program, having come to the conclusion that a dma is basically just a cash cow for the degree granting institution with no job prospects.  

One thing I've noticed about real world job interviews is that while being able to explain why your credentials could benefit a company, or show that you have "transferable" skills, this will never be as good as not needing to explain, no matter how good your explanation is.  The employer will just see that you have no work experience in their field and a degree that doesn't make any sense. You will more than likely have to even explain the acronym of your degree name. Definitely get ready to see some puzzled expressions followed by awkward silence.  One interviewer regarding my BM asked, "so is this a degree?"  She wasn't trying to offend, just didn't recognize what a conservatory was.
 
Since you obviously didn't choose to enter their field, you will constantly be questioned regarding why you are not doing what you studied so long to do. Why, after all, should they hire someone unproven in their field who failed to enter their own field of choice with ten years of training?  At least be prepared to answer these types of questions because they came up constantly for me with just an mfa.  I'm sure you'll have much more explaining to do.

You should look at some of the salary schedules for public school music programs. You'd make, in most states, about 10k more than a starting assistant professor anyway with a doctoral degree, with more predictalbe raises yearly. Nearly anything you do will pay more than an academic music position.  One of the jobs that came open in my area last year paid a substantial 25k.  Probably 50 applications for this one.

I've found, however, as have many of my friends in the same boat, that while an arts grad degree of any kind is basically worthless with no experience in whatever field you try to enter, once you do have experience it will no longer be something to explain away but an interesting conversation starter on an interview and potentially a bonus.

[Dept Chair, DMA]

That's a tough one.  I have had my degree in hand since 1998 and am beginning my third year in this, my first tenure track position.  Between finishing the degree and landing tenure track I taught at the high school level, worked for a public school system, adjuncted, and did a two year visiting position in the music department at a large state university.  

All of that said -- Jobs are scarce in every field of academia.  Tenure track music listings routinely draw 100+ candidates, even at less-than-prestigious schools.  

It is hard to give much advice not knowing your instrument. However, I would suggest that you keep looking and, by all means keep performing.  Don't discount the mid-year replacement positions.  Attend the conferences in your field (I know they are expensive, but they are worth it).  Many jobs in academia are filled at the last minute by people who you meet at conferences.  

Not much advice, I realize.  But, if you want to stay in academia, there are jobs out there.  I wish you all the best.

[%sig%]

[Another DMA]

Obtaining a DMA is a huge accomplishment.  A DMA is good for marking a lifetime of work and discipline in an unsung field of study.  I went for the DMA becuase I loved teaching and being part of an academic institution.  That said, I left a tt job after three years because of the location.  I am going back on the tt search this year.  I suggest you do the same.  You never know where a break might come.  In the meantime, it is important you find something you can enjoy doing.  You can take an entry level job ANYWHERE and prove yourself for promotions and salary upgrades.  Good luck to you.

[Artsearch]

I am also a DMA and find myself in a different sort of situation, but also seeking a job. I am one of those who had a full time, and eventually tenured teaching spot in a very small school, and I chose to leave that post after more than a decade there.

My problem has been getting back in following a work hiatus. My specialty has more than a half dozen openings a year, but it is still a relatively narrow field, and grad schools are cranking out a new supply of newbies every year to add to the large numbers of applicants. Now I am searching for work within the academy but in nonteaching jobs such as advising, and also nearly any staff job that opens  up in the arts and is within my expertise. I've had one or two indications of interest thus far, but no job yet.

My thinking in staying at university level is that here is a place where at least one's advanced degrees just might earn some respect, even if all those DMA skills are not put to direct use. The Chronicle was helpful in doing things like turning my c.v. into a nonteaching resume, and I am finding that more and more print is being devoted to job crossover issues.

One thing about having an extremely narrow area is that, when there ARE openings, the pool is smaller from the outset, so it still may happen for you; you have to decide when the search is netting "diminishing returns" that suggest it is time to move on. Having a Plan B is certainly warranted for those of us in this position and in this market.

Best to you in your quest!

[Another MM turning away]

Hi,

I am finishing my MM this year and also have come to the realization that a DMA is not for me.  Some of the things that have been posted thus far seem very viable.

A) transferable skills- Try to focus on the things in your CV that can be used in other disciplines/fields

I am applying to new programs and I'm currently looking at my CV to see what I can use to make myself look more attractive as an applicant.

B) There really are other jobs out there!  Consider adjuncting while opening a private teaching studio and possibly make some connections to join a local performing group that has consistent paying gigs.  I know people that do this and do very well.  And it looks great on your CV a few years down the road when that perfect tt position opens up.

C)  The high school thing can definately be a good gig, although you'll have to get some more training.  Also consider administrative work for now and possibly do an evening or online MBA while working.

Hope this helps!
David

[%sig%]

[yes, another DMA]

Don't forget that if you have been actively performing for these many years, you have valuable experience in the workings of whatever performing groups you've been a part of. Have you been in a chamber music group? Did you help program concerts and run the group? Management experience.

Have you ever worked with a composer on a new work? Collabrative working experience. How about a career in arts administration? You would either have to go back to school and take some classes, or get an entry level job with an orchestra in administration. What about studio teaching? If you recruit well enough, there is good money in this, no matter what size town you love on, or your instrument. If you are a pianist, violinist, flutist or vocalist, there are endless numbers of students to draw from-just make sure to charge what you are worth. The DMA is so different from school to school (mine was far more academic than many people I've talked to), so you have to define to people what exactly your specialty really is. There is also music editing, if that is your forte. I know several DMAs who edit for scholarly and non-scholarly music publications, and make a decent living to go along with their performing careers.

As far as public school teaching goes, if you do not posess an education degree, don't even bother, unless you live in an area desperate for music teachers. Like another poster, I have taught in the middle and high school levels in the past, and it is a completely different beast in every respect. Doing it for the paycheck will be the most miserable experience of your life. You should only consider public school teaching if you truly want to be there and do it. It's not that the students are bad, necessarily, but the red tape and babysitting is frustrating, to say the least.

Anyway, this ended up much longer than I anticipated. I hope something I wrote was useful. Good luck!

P.S. Check out the book Making Music in Looking Glass Land-it's published by the Kennedy Center and is very useful.

[DMA]

Thanks for all the input. Much of it I have already considered.

I don't play one of the "popular" instruments (flute, trumpet, piano, violin, etc.), so building a private studio large enough that it would net me a substantial income is unrealistic.

For a few years I did play in a few regional orchestras while teaching adjunct and teaching privately. I made enough money to live, but just barely. I left that to take the one-year visiting position last year. It's not a way of life I am eager to return to.

I've considered public school teaching. I think I could be happy doing this if I was in a good district where the band had the support from the board, parents, etc. However, none of my degrees are in music ed. To get certification I would have to go back to school for a Master's in music ed plus a semester of student teaching. I'm not sure I'm ready to take that plunge. I'd be curious to know how previous posters "Dept Chair" and "Another DMA" handled this and their experiences while  doing it.

Like "Artsong" I'm currently looking into nonteaching jobs in the arts. I've also gotten some nibbles, but no offer yet.

Anyways, thanks again for the input!

[%sig%]

[Prytania]

I'm not a DMA, but I did return to school to get my certification and do the student teaching thing, and really, it wasn't that bad, and it went really quickly.

[Another DMA Part Two]

In my experience, and I live in a big city on the east coast, private schools do not require certification for music teachers.  There is a website that posts jobs, I think it is the National Association of Indenpendent Schools.

Having said this, public schools do require certification usually, but you could get around this by taking one class towards certification, but not really intending to complete the coursework in hopes that you would have a college job within a few semesters.

Also, being proactive and emailing music chairs at private schools can sometimes get you into the loop and hook you up with all kinds of work.

Good luck!

[Antoher DMA]

I forgot to say that you would be teaching for the public school while you were "pursuing certification."  They will be satisfied with your making the effort and you may be able to get certain things waived since you have a top degree.

[anon]

Just a quick note before you jump into a public school.  If you are not yet certified, but "taking a class towards certification" per semester, you will be eligible for employment in "some" states. However, most of these states will hire you at the salary rate of a "provisional" contract, which is usually around the same rate as someone with a bachelors and no experience.  In Maryland, for example, you'd start at 32k with a provisional contract (regardless of your degree/experience), as opposed to around 46k for the first year on the job with a doctorate of some kind.  In short, you "can" be hired, but it probably won't be worth it in most states. Be sure to check with the specific state that you still get credit on the salary scale, no a reduced rate if not certified.

The good thing about public schools, and CCs for that matter, is that the salary is predictable beforehand.  All of them have salary tables available online.  You have x degree and y years of experience, you make z.  Of course this leads to a lot of deadwood once employed since there's absolutely no incentive for performance, but good for job seekers shopping the market for the first time.

[Prytania]

There are also programs like Teach America, which place you in schools and pay for the certification process; however, it's a bit like the Peace Corps--they can send you to some very poor schools--inner city or Appalachia.

The provisional certification programs, in general, are used to put teachers in schools that no one else wants. I started in a provisional certification program and got a terrible school. It wasn't just the kids--but I had no books and I taught reading. But I could be much more picky in terms of positions after I was certified.

You  may want to try community colleges. Chances are you will teach things like music appreciation and possibly things that aren't music, per se, but teaching at a CC is more fun, imho, than teaching HS--don't even think about middle school.

[Artsearch]

If you are seriously considering public school, and are a conductor, you might consider teaching strings; one hears that at least in some parts of the country, there is a major shortage of people for that. And you don't have to mess with marching band, if that is an issue for you.

I did a year of middle school band right out of my BM, and I quickly confirmed my suspicion that it was not for me, and that those who last a career at that age level really must have a "calling".