The musicians and visual artists I know seem to feel that any job that allows an artist to do their art is a good job, but maybe that is only the impression they give and they are feeling something else inside. Because of their anonymity, these First Person columns show thoughts and feelings of their writers that are probably unseen by most people.
Yes, and that's a very valuable thing in these columns. That's why I'm disheartened when some First Person authors are dragged through the doo and assumed to have vile attitudes and behaviors that they never showed (and probably never had). I think all these authors should be cheered for their honesty,
especially when they admit to things that are
not admirable.
Any fool can come across as saintly. I've even done it myself, once or twice.
The Fiona
This is very true, and I think the reaction we have to these is partially relating to the author. I know I have felt similarly as the author of this particular article, but my objection is less to her, but to the ingrained musical cultural assumptions she appears to be making about herself and the music industry. Kedves makes an excellent point about the enforcement of cultural norms within school as to career expectations, work ethic, etc. In my training, I was considered an outsider because I was interested in things other than practicing 5 hours a day (which I also did) and the students - and profs - made it a point to punish me for non conformity. It wasn't that I was doing anything unusual, either - I was interested in musicology, theory and performance practice. I was also the only one of my class to know exactly what I wanted to to, and be realistic about my chances. I saw that those students who majored in education or were interested in teaching were often viewed as not being "real" musicians by their peers. They were the ones who got jobs, however, or went on to the doctoral level.
There are a very few TT jobs in music performance, and not many orchestral gigs. This has been the case for quite some time. Plus, for every group of very talented people, many have better connections when it comes to landing a job. The music world is still small enough that connections and school name can help get a job, no matter how talented one might be. (I've known some pretty scratchy musicians who got jobs based on where they went to school or teacher name and were disasters)
I think my primary reaction to the article is not so much to the author, but the the lingering assumptions within the music community about the job scene which she represented, and I am amazed these stereotypes regarding education, etc. are still being fostered. With cuts in the arts, the jobs are just not there so musicians need to get ever more creative. I know a number of musicians who were successful getting away from more traditional career paths and found good jobs as a result. Clearly, the author of the article came to this point and has found a place, but I think my reaction stems from being an insider weary of fighting the very cultural institutions from which she seems to be coming.
