“I am honored the Board of Directors has entrusted me with leading this distinguished organization and am eager to start working with members around the world to build on 55 years of amazing history. Together, we will ensure PAS continues to be the global leader in percussion and drumming, and as our mission states, inspire, educate, and support percussionists and drummers throughout the world.” (more…)
Over the past couple of months, I have been introducing snare drum rudiments at PercussionEducation.com. For the percussionist, rudiments are like scales. You should be practicing them everyday just like a wind player practices scales. In this video, I would like to introduce my snare drum warm-up that I wrote a year ago. This 12 minute warm-up includes all of the basic strokes to give you a well rounded warm-up. Please download a copy of my snare drum warm-up, get out your practice pad, a metronome and go for it. (more…)
Over the past several years I’ve noticed a fair amount of discussion about the relevancy of a college education, especially one in the arts. And this post by Ivan Trevino echoes many of the concerns recent graduates are having about their college music degree experience.
I was asked recently to serve on a committee of faculty from the College of Fine Arts at UT to look more closely at the offerings, or lack thereof, of our current curriculum and to suggest changes and/or additions to better help students cope with life after school.
I’ve been writing and thinking about these things for quite some time and I’m excited about the opportunity to help our college adapt to the changing needs of our graduates. So, the purpose of tonight’s post, is to try and get a better pulse on what we, the protectors and directors of higher education, need to be aware of as we develop our offerings to become more relevant to today’s college music student.
To that end: whether you are a current college student, or college professor, what are your thoughts on how higher education needs to adapt to better prepare our graduates for success. Please leave your thoughts below and be sure to check out Ivan’s post (link above). Thanks for your ideas in advance!
We live in a culture where things are either working or they’re not. And if they’re not working, we throw them away.
Apparently, there used to be these things called repair stores. These were stores that fixed your broken TV’s, washer and dryers and even blenders and toasters. The way products are made and purchased today, the vast majority of these stores have gone out of business. Our approach and feeling about the things we own has also driven these stores out of our lives.
We see this in the professional world all the time as well. A good example is the shelf life for professional coaches. An under-performing season for your team (maybe 2 if you’re lucky) typically means you’re looking for a new job. This is seen not only in sports but many professions including music. Fair or unfair, it’s just the way things work.
All this leads to some misunderstandings in the music world. Many students and teachers have the mindset of “this either works it doesn’t.” Students either get it or they don’t. This has also led to the belief that people are either naturally talented at something or they’re simply not. One of my favorite quotes about talent is this – I find it amusing when people tell me that they don’t have a talent for music. I tell them to go practice for two hours a day for the next year. Then, come back and tell me how untalented you are.*
This is also one of the reasons that I’m not a fan of talent shows on television like American Idol and America’s Got Talent. They seem to perpetuate this idea that a person is inherently talented and then is somehow picked and their life is changed forever. While that’s great for the very small percentage that it works for, this isn’t reality. Reality is more along the lines of practicing everyday for ten years and creating a career through learning and experience. There are plenty of other posts on this site about creating a career, so I won’t go into that here.
Thankfully, there are places in the music world teaching the concept of persistence. The first that comes to my mind are the lessons learned in the marching arenas of percussion. Showing up everyday in the summer and every weekend through the winter teaches students that nothing is handed out, it takes a large amount of time and dedication to get good at anything in life and that things can in fact be fixed. These are invaluable lessons that go against the grain of many things in our culture. If this lesson is learned early, it can have a tremendous impact in anyone’s life.
Don’t be fooled into thinking that things can’t be fixed. Teachers – be patient and take time with your students. Students – be patient and take time with yourself. Nothing will ever be able to replace hard work over a long period of time.
*I couldn’t find the origin of this quote. If you know where it comes from, please let me know!
Most of us have heard or read Malcom Gladwell’s 2008 book Outliers in which he lays out his “10,000” hour “theory” claiming that the key to success in any field is, to a large extent, a matter of practicing a specific task for a total of around 10,000 hours. I’ve read this book and I have to say that his theory, at least in the way it’s presented, is convincing. I’ve also heard other teachers refer to the “10,000” hour rule specifically. So much so that over the last several years I’ve made regular mental notes to myself noting that it seems to be catching on, this theory of his.
Many, many times, I’ve talked to my students about the importance of practicing… a lot. Blaming practice, and a relentless work ethic for a good part of the success I’ve had. But more recent research is debunking this theory (for some individuals). And, thanks to Greg Zuber for posting this article in my Facebook news feed, drawing attention to a New York Times piece drawing a similar conclusion.
To quote this article directly: “Driving another nail in the practice coffin, a different recent study suggests that even years of work may not make up for tone-deaf genes.” I think it’s common knowledge that there can be some genetic component to successful musicians (my Mother, Father, brother, and yes, 1st cousin are/were all professional musicians). This we’ve always known as being mostly true. But, as an educator charged with mentoring college level students I think it important to ask a few questions.
As educators charged with building up and teaching the next generations music performers and educators how can we better identify students who are more likely to be successful? This would surely involve evaluating not only talent (the main way we audition/evaluate currently), but work ethic and family history as well. All of us know how important a good balance of talent and worth ethic is, but, is there a better mechanism that we can use to judge a students overall work ethic and artistic family history? Don’t we as educators need to take more responsibility for supporting (or not supporting) a students future in music? It’s a can of worms, but I often struggle with the college freshman in Texas who has been so involved in band in high school and knows “that world” so well that that defines what being a musician is. When that student learns in college that he can’t necessarily make a living performing in marching band, drum corps, or a concert band his reasons for doing music often have to be redefined. But, when this happens, this individual is already knee deep in an expensive college experience.
Perhaps the system as it stands is somewhat self regulating; meaning that those who are really meant to perform or teach music find a way to sift through the murkiness of the high school and college system and those who aren’t simply drop out. I’m simply asking, based on more recent research (and theories), can we do our job better to help serve these students? What is the balance between talent and work ethic and family history? What, if any importance, do you put on these theories and studies? Leave your thoughts to the many questions below the post.
After spending several days hosting Gordon Stout at the 2014 Longhorn Marimba Intensive I couldn’t help but be impressed with his vigor and overall enthusiasm for playing and teaching. Gordon gave a marimba recital, clinic and master-class during his time at LHMI.
So how does he do it? He attributes losing weight (almost 20lbs!), a recent sabbatical, and more practice time; claiming he is currently playing his best. After his recital I can attest to that! I can only hope that in my 60’s I can be playing that well, and have as much zeal for playing and sharing my knowledge of the marimba.
Of course, In Gordon’s case, that knowledge is immense. The students (and yes, yours truly) constantly enjoyed many of Gordon’s stories and philosophies. After a serious update on the rosewood shortage Gordon made a statement saying “Breaking a marimba bar is a sin”. The students all laughed but, of course Gordon didn’t.
As someone who remembers earlier days for the modern marimba and it’s repertoire I find younger students don’t know enough about figures like Gordon Stout and what they’ve contributed to our art. To that end I know that Gordon is currently working on an iBook to help rectify this problem. We’ll keep you posted on that effort and be sure to let you know of it’s progress.
It’s refreshing to me to see how he has embraced technology. Gordon shared with me that along with his new ibook project he is also experimenting with video. Expect him to make the best use of the ibooks platform. You’ll also find Gordon on Twitter: @StoutGordon (I love his twitter profile pic). Gordon recently released a new CD entitled Welcome to Stoutland which will be released digitally soon. Hit the link above for more news and information about his new music and projects.
Want more Gordon? Be sure to check out our podcast interview from a few years back: Part I Part II.
Do you have any Gordon Stout impressions? If so, please share them below the post.