Learn to be the calm in the storm

We live in a last-minute, frantic world. Much of the time we’re rushing from one thing to the next, trying desperately not to drop all the plates we are spinning. No wonder then that we are attracted to people who move calmly, act deliberately, and refuse to panic.

Calmness - A Characteristic of Attractiveness

It’s grounding to be around someone who seems to inherently know what they have control over, and what they do not – someone who works to manage what is within their realm, and leaves the rest to turn out as it will. After all, in any given situation or environment, there is very little we can actually control. We are in charge of our contributions and our reactions, but the outcome is almost entirely out of our hands.

The calm performer

Music is a journey, and the performer is the driver. Our job then, when we play, is to do our best to allow our audience to be swept away by what they hear, without fear that we will run them (or ourselves) into a brick wall.

It’s impossible to relax and be transported by music if we are nervous for the performer – constantly worried that they will crash and burn. It’s like trying to watch an amateur figure skater, all the while knowing that they don’t really know how to stick the landing on a triple turn. We’re too busy holding our breath, feeding off of their panic, to really enjoy the experience. They are not calm, and so we are not calm.

Preparation goes a long way toward creating a calm, confident performance. If you’ve successfully played a piece a hundred times in practice, you are much less anxious about pulling it off in front of an audience. Still, life is unpredictable. Things do not always turn out as we hope they will. The trick to remaining calm is to learn to manage your reactions when things go sideways.

Keep calm and carry on

Pause, breathe, and consider the next right step. Don’t allow yourself to be carried away by fear or impulsive reactions. The modern world seems to praise busyness. We wear our franticness like a badge of importance, constantly running around putting out fires as though it all depends on us. After a while, that attitude becomes habitual. But habits are just the result of repeated choices, and they can be changed.

Choose to remain calm in the face of all the noise, and you’ll be able to offer something to others that very few can – peace of mind.

This is part of our series on the characteristics of attractive people. If you would like to hear the live discussion about this characteristic, head on over to ClassicJabber.com now.

If you are ready to learn more about how to build a profitable, fulfilling career as a performing classical musician, check out Concert University, and the free webinar that outlines 5 strategies for success.

A sample of the new concerto

 

British American Conductor Composer Stephen P Brown writes a concerto for bass clarinet and stringsMy next composition isn’t quite ready yet.

But I really like it and want to share it with you NOW.

So, there’s a sample below!

It may seem my 7 year #PsalmQuest has been on hiatus and maybe you even thought I’d given up already.

Well, I was ahead of schedule so after all the Christmas performances I did take some time off over Christmas and New Year to visit lots of people up and down East Coast USA, and then I embarked on my long-awaited Concerto for Bass Clarinet and strings.

It’s almost ready and we all have to be thankful to Calvin Falwell and Diana Hessinger for commissioning this piece upfront, as well as all the bass clarinet players around the world who are signing up for first year rights to perform – it’s very exciting being involved in such a forward-thinking, risk-taking consortium. Thank you!

So, without further ado, click on the video below for a sneak preview:

What do you think? Tell me below… if you dare!

Would you like to be part of the commissioning consortium? It’s very easy: promise to perform it at least once and send us some proof, basically.

Let me know in the comments below if you’re interested and I’ll make sure you and Calvin are connected – he has all the details.

Thanks for listening, and here’s looking forward to the full monty in the next week or two!

12 books for the growing career

ReWork everything you doI’m working hard on my next #PsalmQuest piece – a concerto for Bass Clarinet and Strings, and it is going well, but with the holidays and lots of travel it’s been hard to keep up. Should have something to share with you in a month or so.

In the meantime, here is a list of 12 books all budding/ growing… people should read (At first I wrote “musicians” but realized there is a great deal of info here that is relevant for anyone trying to grow a business or even just their own career, even in the music-related books!).

If you or someone you love is trying to build a [music or other] career, these books will come in most useful. And if they say they have no time to read, unsubtlely mention that reading 10 pages a day (about 10 minutes) takes about 20 days to read an average size book. All 12 of these recommendations can be read in 2014!

  1. Where’s Your Wow? “When was the last time a product or service made you say, ‘Oh Wow!’? This wonder of a book will show you how to create that same magic in your own business.” Ken Blanchard, coauthor of The One Minute Manager® – I love making people say “wow” and try to make everything I touch wow-able.
  2. Savvy Musician “As a music professor, this book has become required reading for all of my students. In fact, I recommend this book to everyone- professionals, amateurs, and students alike. The vignettes are fantastic, the writing style is enjoyable, and the content is superb.” James W. Doyle – It’s important to be savvy in any career. This is worth reading for both interest and gleaning ways to boost yourself in your own industry.
  3. Crush It! “The most important takeaway I found in the first read through is that honesty always wins in an established market that’s playing by an old set of rules.” Daniel, Ottowa – Just take it for what it is: a quick read with some motivational prowess.
  4. EntreLeadership “Full of excellent anecdotes and practical tips on entrepreneurship, hirings and firings, and leadership at its best.” Stephen R. Covey, author, The 7 Habits of Highly Effective People – Yes!
  5. The Indie Band Survival Guide “Finally! A comprehensive and practical guide for musicians that explains how to navigate today’s music world without a label. A must-read!” Derek Sivers, founder of CD Baby – Detailed info for anyone interested in how media and marketing work, as well as lots of help for people traveling.
  6. ReWork “The clarity, even genius, of this book actually brought me to near-tears on several occasions. Just bloody brilliant, that’s what!” Tom Peters, New York Times bestselling author of IN SEARCH OF EXCELLENCE, THRIVING ON CHAOS and LEADERSHIP – It’s time we revisit everything we do, especially in the orchestral field. Whatever your industry, go ahead an re-invent the wheel. I am! (see: http://sunfonia.org)
  7. Do The Work! “The gloves come off! Do the Work explains who and what your allies are and how to embrace and utilize them in your creative life or in your day-to-day situations” Robert T. Kiyosaki – Totally in line with my motto since being a classroom teacher in the UK: “Just Do It!”
  8. How to be your own Booking Agent “Goldstein’s book takes a career from oblivion to stardom, on one’s own terms, while maintaining artistic integrity.” RAVI, singer/songwriter, former guitarist of triple GRAMMY nominee HANSON – Extremely useful insight for anyone speaking, selling, traveling, consulting, performing, etc.
  9. Word of Mouth Marketing “A primer chock-full of great stories, tips, and exercises to make you a better word of mouth marketer, no matter what size company you work for. Read it, and you will increase your influence with your customers and make yourself more influential in your company.” Ed Keller and Jon Berry, authors of The Influentials – Not everything is implementable by everyone, at least not immediately. Very useful for career ladders as well as small businesses.
  10. Artist Management “The book lays out all the facts, techniques and pitfalls involved in managing entertainers. I would say this book is very comprehensive and would allow a beginner in artist management the ability to get up and running in the business with ease.” J. Garton – Essential reading for anyone who manages people, whether for their own careers or within a corporate heirarchy. You won’t necessarily need the contract templates, but still…
  11. Ownability “Britton’s new book demystifies the complex world of intellectual property in a simple, approachable voice that’s both comprehensive and soulful.” John Maeda – If anyone ever has an idea, here’s how the US (and global) ownership rules work.
  12. Structural Hearing “This is the best book to help anyone understand the tonal coherence in classical music. It takes you through counterpoint, harmony and analysis.” Lan Qiu – Specifically musical, you may just find yourself a) more interested in live classical music, and b) able to transfer many of these skills, approaches and techniques to your own industry.

That’s a list of my favourite most useful reading over the past year (I read a total of 32 books). It’s one book per month if you want to take it slow during 2014. Or you can plow through the list and finish them sooner. The choice is up to you.

Question: What book would you recommend reading this year? Please share your recommendation in the comment section below and help out your fellow readers.

 

 

What is Classical Music?

violinist

Enjoying live [classical] music concerts could be one of the most exciting relationships you’ll ever develop.

 

But here’s one thing any valuable and interesting article or document shouldn’t start with: a definition.

The term “Classical Music” is difficult to embrace for three reasons:
– It conjures up images of rich elitism, boringness and dead white men.
– It actually refers to a specific period in musical history (1750-1830)
– Much of society is prejudiced against anything associated with it.

The enigmatic Founder and Artistic Director of The Discovery Orchestra, George Marriner Maull, visited two inner-city schools one week and worked with young children on “listening.” The heart-warming outcome is that every child was fully engaged, improved their communication skills, and loved the music.

Interestingly, when Maestro Maull starting working with the music he deliberately did not mention the composers’ names or when the music was written or give it a stylistic label, which is the normal practice when giving a workshop or lecture (heck, I even did it when giving this post a title!). The children just thoroughly enjoyed the music which happened to be written by some chaps named Bach and Vivaldi some 300 years ago. To them, it could have been last written last year.

George Marriner Maull and the Discovery Orchestra

Fascinating. And we have a problem.

Unfortunately, by the time these children become adults they may very well be turned off of the “Classical Musicgenre or style they’ve come to appreciate and enjoy, just because society tells them to.

We could explore the sociological and psychological reasons why that might be, and perhaps that should be the topic of a future missive, but it’s not this one. Instead, let’s recognize that the term “Classical Music” has, despite it’s actual reference to a specific period in history, come to refer to anything not in the popular mainstream realms of music, or which has another generic label.

Jazz is jazz, rock is rock, and so on. Many styles of music have their own sub-styles, but as far as you and I are concerned, let’s define Classical Music as:

Audio entertainment that is constructed around in-depth formulas and functions of sound presented with the intent of active and engaged listening and feeling, mostly using instruments that do not require electricity to function.

Sounds boring? Maybe.

Audio entertainment that is constructed around in-depth formulas and functions of sound presented with the intent of active and engaged listening and feeling, mostly using instruments that do not require electricity to function.

Have you really actively listened at a concert and engaged with what you hear? If you’re relatively new to classical music, probably not. Usually your mind wanders to problems of the day, what you’ll have for dinner later, or the lovely dangling earrings of the person sitting three rows in front of you.

It takes a certain amount of effort to listen to and engage in anything worthwhile, and classical music is no exception. But it’s hard for us when everything is so physical and instant these days. Instant gratification = surface material. Those who want more, who want meaningful relationships, who want something solid, grounded, stable, reliable, a cornerstone… can thoroughly enjoy classical music.

What do you think? Am I close? Is that definition too broad or too technical or just too plain… “huh?” Let me know in the comments below what you think of my definition, and if you have a better one – I really want to know!

Why the next 20 years of classical music will smash the last 20

OPINION. That’s all this is. Totally unmerited, unfounded, unresearched, unverified 🙂

I’m in the UK right now, where I spent my childhood and early professional career. My teens and current professional career were/are in the USA. My college life was mostly spent up & down the UK, throughout East & West Europe, and later a sojourn in a couple of countries in the Southern parts of Africa. Next stop? Ah well, wouldn’t you like to know!

Conductor Composer Stephen P Brown grew up and lived in both the USA and the UKBut as I’m sitting here for a few moments, pondering the extraordinary life I’ve lived split primarily between two continents, cultures and languages (yes, I’m bilingual: I speak English and American), I find it remarkable how much our environment has changed but our enterprise has not. For example, in the late 1980s I predicted that orchestras would start dying out in 20 years or so if they didn’t radically change, and I was correct.

So what about 20 years from now? Hmmm…

“Keep classical music live!”

First, I still believe that acoustic/ unplugged performance affects us in so many more ways than anything reproduced through loudspeakers (click it to tweet it) if only we can be bothered to listen & allow ourselves to fully engage in it, and it cannot be replaced.

From that perspective, I wonder what was I doing 20 years ago that I’m still doing now? Am I doing it differently? How will I be doing it in the future?

Classical Music

  • “Classical music” was an art form studied by many, performed by a few, and enjoyed by a multitude.
  • No-one wants to call “Classical Music” Classical Music anymore. It has a stuffy reputation and technically only refers to the period in history in which Mozart and Haydn lived. We are confused.
  • “Contemporary Music” will be only a [major] part of intimate and huge all-encompassing events that remind us there’s a form of communication that isn’t verbal or visual, but emotional.

 

The Towaco Story by Conductor Composer Stephen P Brown

Composing

  • Manuscript paper could be bought or drawn, and music was created & shared by using a pencil, ruler and eraser/ rubber (see? I told you I’m bilingual).
  • Computer software is readily available, both audio-based used primarily for output such as films, and visual-based used primarily to print music for live performers to read.
  • Even without Steve Jobs around, composition technology will continue to grow and astound those of us born before 2009.

Music Theory

London Sinfonietta Postcard Score Event

The music score of “One for Vonnegut”

  • Musical rules and regulations developed over 400 years were studied and followed rigorously prior to being broken and expanded upon.
  • Sometimes musical rules and regulations are followed, sometimes not, sometimes they don’t even apply, especially in graphical scores.
  • People will like music that affects them, whether it is disturbing, pleasing or in-between, and the rules and regulations of multiple cultures’ musical traditions will be meshed together to create new musical theories.

Commercialization

  • Specific performers were adopted by a benefactor such as the aristocracy, a publisher or a record label, who paid the performer to perform or the composer to compose in order to entertain themselves & their staff, or make money.The Three Tenors became a commercial goldmine
  • Anyone can self-publish, self-record, and self-promote. Many consumers are getting fed up of hearing the same financially viable repertoire pumped into their ears time and time again.
  • Private enterprise will promote performers and composers through hosting or advertising at large live events and online, kind of like Pepsi and Verizon have been doing with (currently-commercialized) female pop stars. Consumers will favor living composers but still occasionally wallow in the music of Dead White Men.

Funding

  • As above, musicians struggled or were adopted by a benefactor. In the Olden Dayes of Classical Music, there was no public government funding.
  • Musicians still struggle, but many are supporting themselves handsomely through ‘entrepreneur-like’ activities such as teaching, producing (live & recording), publishing, retail, and performing all combined. Some governments still spend as much as 0.5% of their nonviable budgets on all the arts.
  • Musicians will still struggle and many will be a part of larger organizations and co-ops. But, administrators will support not direct, and Boards will over-see not make decisions. Public funding will still be a hot topic but far less influential.

 

One thing I can assure you about classical music in 20 years’ time: it will still be here. It is not dying. There will always be someone scraping a wooden violin, someone tooting down a metal tube, and someone banging on an array of so-called ‘instruments’ (aka Percussion). It may morph, shrink and grow, expand and minimalise itself to 1 note (or nothing, in the case of John Cage’s 4’33”), but it will still exist.

After all, the community and youth orchestra scenes are enjoying unprecedented success and are clearly still on the upswing (if not just reaching their height).

What YOU think “Classical Music” will be like in 20 years…

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