I learned a lesson this week: The more I interact with music outside the music I am conducting/teaching, the more inspired I am to be a better musician and teacher on the music I am conducting.
Don't let me forget this.
Friday, November 6, 2015
Tuesday, November 3, 2015
Leadership
I'd like to talk about attitude.
Every once in awhile, I observe a conductor with a poor attitude. It makes me angry. It also saddens me that musicians have an experience with a conductor that is demeaning. Sometimes I get sassy when there are bad attitudes, because I have never observed a conductor that was so amazing they could afford to treat the musicians however they wanted. No one is that amazing. No one.
I grew into my musical adulthood partly under the guide of Weston Noble. And what does this mean? One of his tenant's is vulnerability. As a conductor, we should be vulnerable to the music. We should be receptive to the sound. This means we need to share that openness in front of the musicians. If it is a safe space, they can also be open and vulnerable to the music.
Have you ever observed choirs that are stunning? I mean, so stunning that you are transformed and lifted into the music. I have been lucky to hear those performances. And whenever there are choirs that good, they are vulnerable to the music. Now, sometimes I hear choirs that are really great. And when I say "they are great," I mean that as emphatically as possible. Perhaps technically they are just like the stunning choirs. Except it's mechanical, it's closed, it's... lacking something. And I'm not referring to warmth. Their performance is great, but it's as if you are listening to an awesome recording. You aren't in the moment of music making. You are in a moment of perfected technique. There is a difference.
I don't believe that choirs can be stunning without an openness to the music. And that requires an openness to the creation of music with others- the other singers, the conductor, and the audience.
So what happens when a conductor is harsh, constantly critical, prideful, and condescending? That destroys vulnerability.
Some conductors will think I take too much on myself, but if I am frustrated with my choir, it is my fault. I have not given them the tools to musically achieve the desired result or I did not plan the rehearsal well. Other conductors blame the singers. I don't understand this. While I agree that singers should be held to high standards and it is important to call them out on lack of focus, I don't think my singers just don't care. So if they care and they aren't doing what I want them to do, it's likely that I need to provide something else for them. And this takes good planning. And yes, it's a lot of work. It's a lot of TLC, and thinking about how to teach a concept using music. It's understanding all the basic skills that go into understanding a more complicated skill. And sometimes, one needs to have the patience to address the basic skill to build the complicated skills.
I get it. I get frustrated too. I get irritated when I have to tell my singers something three times. And do I sometimes say," Singers, this is the third time we've worked on this."? Yes. But I firmly believe that building something (a program, a choir, a community) takes time, patience, and a continual reminder of high expectations. I've seen my students make progress. I may get frustrated, but then I notice that some of them are using their pencils without me telling them to. Or I notice that they are keeping a subdivisional pulse because I say, "Tempo please." Or I hear them adjust their sound when I adjust my gesture, which tells me they are watching and paying attention.
So, attitude. And leadership. I believe in hard work. I believe in pushing my singers to be the best they can be. But I don't believe in condescension.
Every once in awhile, I observe a conductor with a poor attitude. It makes me angry. It also saddens me that musicians have an experience with a conductor that is demeaning. Sometimes I get sassy when there are bad attitudes, because I have never observed a conductor that was so amazing they could afford to treat the musicians however they wanted. No one is that amazing. No one.
I grew into my musical adulthood partly under the guide of Weston Noble. And what does this mean? One of his tenant's is vulnerability. As a conductor, we should be vulnerable to the music. We should be receptive to the sound. This means we need to share that openness in front of the musicians. If it is a safe space, they can also be open and vulnerable to the music.
Have you ever observed choirs that are stunning? I mean, so stunning that you are transformed and lifted into the music. I have been lucky to hear those performances. And whenever there are choirs that good, they are vulnerable to the music. Now, sometimes I hear choirs that are really great. And when I say "they are great," I mean that as emphatically as possible. Perhaps technically they are just like the stunning choirs. Except it's mechanical, it's closed, it's... lacking something. And I'm not referring to warmth. Their performance is great, but it's as if you are listening to an awesome recording. You aren't in the moment of music making. You are in a moment of perfected technique. There is a difference.
I don't believe that choirs can be stunning without an openness to the music. And that requires an openness to the creation of music with others- the other singers, the conductor, and the audience.
So what happens when a conductor is harsh, constantly critical, prideful, and condescending? That destroys vulnerability.
Some conductors will think I take too much on myself, but if I am frustrated with my choir, it is my fault. I have not given them the tools to musically achieve the desired result or I did not plan the rehearsal well. Other conductors blame the singers. I don't understand this. While I agree that singers should be held to high standards and it is important to call them out on lack of focus, I don't think my singers just don't care. So if they care and they aren't doing what I want them to do, it's likely that I need to provide something else for them. And this takes good planning. And yes, it's a lot of work. It's a lot of TLC, and thinking about how to teach a concept using music. It's understanding all the basic skills that go into understanding a more complicated skill. And sometimes, one needs to have the patience to address the basic skill to build the complicated skills.
I get it. I get frustrated too. I get irritated when I have to tell my singers something three times. And do I sometimes say," Singers, this is the third time we've worked on this."? Yes. But I firmly believe that building something (a program, a choir, a community) takes time, patience, and a continual reminder of high expectations. I've seen my students make progress. I may get frustrated, but then I notice that some of them are using their pencils without me telling them to. Or I notice that they are keeping a subdivisional pulse because I say, "Tempo please." Or I hear them adjust their sound when I adjust my gesture, which tells me they are watching and paying attention.
So, attitude. And leadership. I believe in hard work. I believe in pushing my singers to be the best they can be. But I don't believe in condescension.
Sunday, September 27, 2015
Great Expectations
Today I want to share some thoughts about expectations.
I have always believed that my students will rise to expectations. If too little is expected of them, they get bored. The don't feel as proud, they don't work as hard. Why work hard when the expectation is that you only achieve what's easy to achieve?
I have always found that my students WANT to be pushed. They want to achieve. If I give them the right tools, and they achieve skills they thought were just outside of their limits, there is growth and pride in our product and process.
I still hold onto the belief that I need to have high expectations, even of my top auditioned choir. On Thursday, I had my first "serious" conversation with Chamber Choir. It was brief. I didn't want to linger on anything. The previous three rehearsals had been too casual. There was not enough commitment to the music, to focus, to good musicianship. So I told them that. Then they had an awesome rehearsal- perhaps the best one yet.
I can't pretend the effect is going to last. It's up to me to remind them, through words and through my own actions, that they have high expectations put on them. I plan to move a little faster on the next set of music. I plan to push them even further. All the concepts I plan for them to reach? It is never out of their grasp. I may be able to find a better way to teach or present a concept, and I constantly think about that. But it is also their responsibility. I cannot make them focus or work.
The good news is that they know when they kick butt (musically speaking). They hear it. I always point that out- "Why would you want to sing that any other way?" or "That is the direction we need to go. Every time, we build on what we just sing. Write down what you need to remember this." Or some variations.
I am going to hold myself accountable. I am incredibly encouraging of my singers, which I believe is a good thing. However, I never want to give them impression of "That's okay if you didn't sing it the best today. Next time..." No, we are to think inside our rehearsal space- we should always be on our game NOW, not next time.
This may sound odd, but I am attempting to smile less. I have always run into this issue, since my first year of teaching: Students sometimes confuse my smiles with acquiescence to the level which they are performing. No- my natural disposition is full of smiles (much like my mother's- she is constantly smiling. It's warm, it's genuine, and I wouldn't want to trade my disposition for the world), but I want to be very clear about what I am communicating. I attempt to remind myself that just because I do not smile does not mean I am not being encouraging.
And expectations are a great thing. My expectation of myself is to always have expectations, and to stick to them. My expectation of my students is to reach the expectations I and the music has for them.
I have always believed that my students will rise to expectations. If too little is expected of them, they get bored. The don't feel as proud, they don't work as hard. Why work hard when the expectation is that you only achieve what's easy to achieve?
I have always found that my students WANT to be pushed. They want to achieve. If I give them the right tools, and they achieve skills they thought were just outside of their limits, there is growth and pride in our product and process.
I still hold onto the belief that I need to have high expectations, even of my top auditioned choir. On Thursday, I had my first "serious" conversation with Chamber Choir. It was brief. I didn't want to linger on anything. The previous three rehearsals had been too casual. There was not enough commitment to the music, to focus, to good musicianship. So I told them that. Then they had an awesome rehearsal- perhaps the best one yet.
I can't pretend the effect is going to last. It's up to me to remind them, through words and through my own actions, that they have high expectations put on them. I plan to move a little faster on the next set of music. I plan to push them even further. All the concepts I plan for them to reach? It is never out of their grasp. I may be able to find a better way to teach or present a concept, and I constantly think about that. But it is also their responsibility. I cannot make them focus or work.
The good news is that they know when they kick butt (musically speaking). They hear it. I always point that out- "Why would you want to sing that any other way?" or "That is the direction we need to go. Every time, we build on what we just sing. Write down what you need to remember this." Or some variations.
I am going to hold myself accountable. I am incredibly encouraging of my singers, which I believe is a good thing. However, I never want to give them impression of "That's okay if you didn't sing it the best today. Next time..." No, we are to think inside our rehearsal space- we should always be on our game NOW, not next time.
This may sound odd, but I am attempting to smile less. I have always run into this issue, since my first year of teaching: Students sometimes confuse my smiles with acquiescence to the level which they are performing. No- my natural disposition is full of smiles (much like my mother's- she is constantly smiling. It's warm, it's genuine, and I wouldn't want to trade my disposition for the world), but I want to be very clear about what I am communicating. I attempt to remind myself that just because I do not smile does not mean I am not being encouraging.
And expectations are a great thing. My expectation of myself is to always have expectations, and to stick to them. My expectation of my students is to reach the expectations I and the music has for them.
Friday, September 25, 2015
How to Connect by Disconnecting
Sometimes I think the best way to reconnect to music is to reconnect with something other than work. I become more inspired to make music by taking a step back from the analysis, the gesture, the rehearsal planning, the administrative "stuff" of music...
I have been working very hard. And almost non-stop. This weekend is a work weekend, but it will include things other than "work." I hope go hiking (if the ground allows me to after all the rain we have had recently). I will bake pumpkin muffins (and eat far too many of them). I may watch a movie.
And after I spend time doing other things, I will work on my dissertation, write my paper for the presentation I am giving at an upcoming conference, rehearsal plan, and start preparing Winter Concert music.
I'm twenty-one pages in to my dissertation. I now need to start smoothing out the edges of the first chapter and fill in a few holes. I go back-and-forth with trying to decide if I want to continue dissertation writing or if I should write my presentation paper. Both cover the same topics, but I would love to write my dissertation and then take my presentation from that. However, I do not know if it's practical to get as much writing done in the next week as I would like.
I don't always know what is reasonable anymore, at least regarding the amount of work I do. I would love to be done with my writing, so I'm left with doing a job I enjoy and being a human being trying to enjoy life. In less than six months, my time will not be my own anymore. So, there is not much time to relax if I want to get stuff done.
I think my goals need to be: Decide on the next steps for writing my dissertation and then write my presentation. And go hiking, eat pumpkin muffins, and watch a movie.
I have been working very hard. And almost non-stop. This weekend is a work weekend, but it will include things other than "work." I hope go hiking (if the ground allows me to after all the rain we have had recently). I will bake pumpkin muffins (and eat far too many of them). I may watch a movie.
And after I spend time doing other things, I will work on my dissertation, write my paper for the presentation I am giving at an upcoming conference, rehearsal plan, and start preparing Winter Concert music.
I'm twenty-one pages in to my dissertation. I now need to start smoothing out the edges of the first chapter and fill in a few holes. I go back-and-forth with trying to decide if I want to continue dissertation writing or if I should write my presentation paper. Both cover the same topics, but I would love to write my dissertation and then take my presentation from that. However, I do not know if it's practical to get as much writing done in the next week as I would like.
I don't always know what is reasonable anymore, at least regarding the amount of work I do. I would love to be done with my writing, so I'm left with doing a job I enjoy and being a human being trying to enjoy life. In less than six months, my time will not be my own anymore. So, there is not much time to relax if I want to get stuff done.
I think my goals need to be: Decide on the next steps for writing my dissertation and then write my presentation. And go hiking, eat pumpkin muffins, and watch a movie.
Sunday, August 16, 2015
Beginning of a list
Tomorrow is the first official day of school for a faculty member. It consists of all-day meetings, starting at 8 AM and ending at 6 PM. And when Tuesday arrives, I plan on spending many hours on music. And- spend time on my dissertation again on Tuesday.
Today I spent four hours on my dissertation. It does not sound like a lot of time, but it's amazing how much time four hours of intentional focus takes. Every time I went to the bathroom or took a walk, I shut off my timer. So the four hours of focus took more like six hours.
At any rate, upcoming this semester: Debussy, Wolf, Elgar, Howells, Vaughan Williams, Schubert, A. Scarlatti, etc.
More on that later. It's going to be a good semester.
Today I spent four hours on my dissertation. It does not sound like a lot of time, but it's amazing how much time four hours of intentional focus takes. Every time I went to the bathroom or took a walk, I shut off my timer. So the four hours of focus took more like six hours.
At any rate, upcoming this semester: Debussy, Wolf, Elgar, Howells, Vaughan Williams, Schubert, A. Scarlatti, etc.
More on that later. It's going to be a good semester.
Thursday, August 13, 2015
Will it be Approved?
There is quite a bit to say right now, but I'll keep this short for now. Later, I will post about how I have the best students. I will also talk about how my Chamber Choir is going to reach amazing heights this year. I may also talk about the hip Omaha music scene. But first, dissertation. No, first, social media.
Social media is hard. I keep meaning to stay on top of blog posts. And I will continue to try. But I have added a Twitter account. So, Facebook, Twitter, and Snapchat all take some effort. I don't try to double-up on what I post. So each has to be unique. And each have their own niche. Facebook is mostly professional, but a little personal. Hey- a professional HAS to seem like a person, right? I do things such as hang out on my 8th floor patio, and cheer on the Minnesota sports teams. Facebook's audience is widest, for now. Snapchat has the smallest audience, so I know I'm posting mainly for friends. I love receiving snaps from friends, and I even enjoy looking at my friends' stories. I care about what they are doing. Snapchat is an odd mix of some professional pictures and some odd, random pictures of me making faces. And then there is Twitter- the newest edition. This is 99% professional. Now, add on top of that this blog. I want to do all of it. I will do all the social media.
Now, dissertation. My proposal is due at the end of this month. This is a self-imposed date. However, the route I wanted to take with my dissertation has been re-routed. While I am still talking about my composer, I am no longer going to focus it on an edition. Since he's unknown in the States, but truly a great composer and has wonderful choral music, I am going to do a bit more of an overview of his life and his choral works. I want to include where one can find most of his manuscripts, as well as talk about his stylistic features. And if this topic isn't approved? I have to pick a different one. And that would be terrible.
So, this weekend, I'm going to work hard on my proposal. Because now it has to be good. It has to be worth sharing. I have information in my head that is not anywhere else in English (that I can find), and I think it would be worth other conductors having access to it.
I don't plan on this not getting approved, but if it does, I am taking suggestions for other interesting topics that I can pound out in a year. And if I have to choose a new topic, I am staying away from a composer or edition.
Social media is hard. I keep meaning to stay on top of blog posts. And I will continue to try. But I have added a Twitter account. So, Facebook, Twitter, and Snapchat all take some effort. I don't try to double-up on what I post. So each has to be unique. And each have their own niche. Facebook is mostly professional, but a little personal. Hey- a professional HAS to seem like a person, right? I do things such as hang out on my 8th floor patio, and cheer on the Minnesota sports teams. Facebook's audience is widest, for now. Snapchat has the smallest audience, so I know I'm posting mainly for friends. I love receiving snaps from friends, and I even enjoy looking at my friends' stories. I care about what they are doing. Snapchat is an odd mix of some professional pictures and some odd, random pictures of me making faces. And then there is Twitter- the newest edition. This is 99% professional. Now, add on top of that this blog. I want to do all of it. I will do all the social media.
Now, dissertation. My proposal is due at the end of this month. This is a self-imposed date. However, the route I wanted to take with my dissertation has been re-routed. While I am still talking about my composer, I am no longer going to focus it on an edition. Since he's unknown in the States, but truly a great composer and has wonderful choral music, I am going to do a bit more of an overview of his life and his choral works. I want to include where one can find most of his manuscripts, as well as talk about his stylistic features. And if this topic isn't approved? I have to pick a different one. And that would be terrible.
So, this weekend, I'm going to work hard on my proposal. Because now it has to be good. It has to be worth sharing. I have information in my head that is not anywhere else in English (that I can find), and I think it would be worth other conductors having access to it.
I don't plan on this not getting approved, but if it does, I am taking suggestions for other interesting topics that I can pound out in a year. And if I have to choose a new topic, I am staying away from a composer or edition.
Tuesday, July 28, 2015
Music, themes, and collaboration
141 titles. That's what my librarian pulled a single copy of and placed in binders. I have dedicated the first week of August to music selection. This is what I'm most anxious about getting started. Once music is selected, I can begin preparations. I will sit at the piano in my office, I still sing in each part, I will play the music while singing, I will wave my arms, and then I will sit in silence and hear the music in my head.
Conductors are crazy. We wave our arms to the voices we are imaging in our heads. And we convince people to trust our ideas of the music. I'm so grateful for singers. Of course, without them I would not have a choir. But people love to sing, and then they join choir. And they want to sing well and want to learn.
Choir auditions are in less than a month. It's a fairly normal audition process, with sight reading and singing a solo selection and pitch recall. They will also each prepare a excerpt from the Gloria in Haydn's Harmoniemesse. The collaborative artist faculty member is going to play, and she invited one of her students to play as well, which means I will get to also work with a young collaborative artist. I enjoy that!
A few other things I know will be on the docket this fall: Stanford's "Beati Quorum Via," Haydn's "Der Greis," Elgar's "My Love Dwelt in a Northern Land," Eberlin's "Christus factus est," Senfl's "Das G'läut zu Speyer," and I'm hoping a Czech madrigal. I'm looking at some English choral/organ stuff for my non-auditioned choir. I have a huge list of potential pieces, but I'd like to narrow down a theme. I am finding it difficult to pick a theme, mainly because I do not know my choirs and want to make sure the music I select is appropriate. I think I will likely come up with two programs for the October concert: One program will be "safe" music I know that each choir should be able to do, and the other program will be what I hope the choirs will be able to do according to what I think they should be able to do. Unfortunately, because the program needs some TLC, it might limit the first concert.
I am more and more convinced, however, that it is going to be a great year. The students seem eager to learn. They want to do well. They want to have expectations placed on them. The head of the voice department is also doing great things, so I also think that what the voice teachers are doing will work in tandem with the growing choral program.
It's a good time to be a Maverick. (The UNO kind, not the Sarah Palin kind).
Conductors are crazy. We wave our arms to the voices we are imaging in our heads. And we convince people to trust our ideas of the music. I'm so grateful for singers. Of course, without them I would not have a choir. But people love to sing, and then they join choir. And they want to sing well and want to learn.
Choir auditions are in less than a month. It's a fairly normal audition process, with sight reading and singing a solo selection and pitch recall. They will also each prepare a excerpt from the Gloria in Haydn's Harmoniemesse. The collaborative artist faculty member is going to play, and she invited one of her students to play as well, which means I will get to also work with a young collaborative artist. I enjoy that!
A few other things I know will be on the docket this fall: Stanford's "Beati Quorum Via," Haydn's "Der Greis," Elgar's "My Love Dwelt in a Northern Land," Eberlin's "Christus factus est," Senfl's "Das G'läut zu Speyer," and I'm hoping a Czech madrigal. I'm looking at some English choral/organ stuff for my non-auditioned choir. I have a huge list of potential pieces, but I'd like to narrow down a theme. I am finding it difficult to pick a theme, mainly because I do not know my choirs and want to make sure the music I select is appropriate. I think I will likely come up with two programs for the October concert: One program will be "safe" music I know that each choir should be able to do, and the other program will be what I hope the choirs will be able to do according to what I think they should be able to do. Unfortunately, because the program needs some TLC, it might limit the first concert.
I am more and more convinced, however, that it is going to be a great year. The students seem eager to learn. They want to do well. They want to have expectations placed on them. The head of the voice department is also doing great things, so I also think that what the voice teachers are doing will work in tandem with the growing choral program.
It's a good time to be a Maverick. (The UNO kind, not the Sarah Palin kind).
Sunday, July 26, 2015
First Tweet
I emailed L.K. (the retired musicologist in Russia). She responded and said she would be happy to help me locate any manuscripts. I am incredibly inadequate as far as expressing my gratitude in Russia, as well as my appreciation for her informative research within the field. She did thank me for the kind words, so I think she understood.
My proposal is written. It's terrible, but it is written. Revisions and clarifications come next. I'm taking volunteers for whoever wants to read my proposal and give me feedback on clarity. I will provided the suggested layout and what the proposal needs to cover. Any volunteers? ... I don't know if I would volunteer to read 15 pages double spaced of a dissertation proposal either. I do have some people I trust completely to read and give wonderful feedback. I am grateful that I know such intelligent people.
Tomorrow begins a month of preparation work. Now that travels have finished and all that stands in front of me and the beginning of the next semester is a month of time, I will continue my four-hours-a-day on dissertation writing. I will intersperse that with about four hours of work on school prep, which will mainly consist of emails and music study. I have this wonderful choral librarian at work who has already pulled all the music I requested. To be fair, I don't know how wonderful he is, but I was so impressed with his "go getter" attitude, how could he not be wonderful? I've seen this focus in other students of mine, as well. Already. I haven't even met them, and I can already tell they are some of the most focused, hard working students. No bias, of course.
In other exciting news, I have posted my first tweet.
My proposal is written. It's terrible, but it is written. Revisions and clarifications come next. I'm taking volunteers for whoever wants to read my proposal and give me feedback on clarity. I will provided the suggested layout and what the proposal needs to cover. Any volunteers? ... I don't know if I would volunteer to read 15 pages double spaced of a dissertation proposal either. I do have some people I trust completely to read and give wonderful feedback. I am grateful that I know such intelligent people.
Tomorrow begins a month of preparation work. Now that travels have finished and all that stands in front of me and the beginning of the next semester is a month of time, I will continue my four-hours-a-day on dissertation writing. I will intersperse that with about four hours of work on school prep, which will mainly consist of emails and music study. I have this wonderful choral librarian at work who has already pulled all the music I requested. To be fair, I don't know how wonderful he is, but I was so impressed with his "go getter" attitude, how could he not be wonderful? I've seen this focus in other students of mine, as well. Already. I haven't even met them, and I can already tell they are some of the most focused, hard working students. No bias, of course.
In other exciting news, I have posted my first tweet.
Saturday, July 18, 2015
The Process of Long-Term Research
Exciting news: I was given the email address of a woman who has written a lot about Taneyev. She is a Russian scholar and I don't think she speaks English, so I wrote her an email. I would like to find out if she knows where any other Taneyev manuscripts maybe be located. I am looking forward to when she responds. Hopefully she will. Her writing is very helpful, concise, and new. She does not recycle the same information. I'm having a lot of her scholarship translated into English so I can use it. If only my Russian skills were developed enough... but they are not.
Dissertation researching is a long process. I move quickly, but when I consider the amount of research to be done, it seems slow. There are days I feel like I am on track, but most days I have concern about getting everything done to a degree that my committee will approve. These are the hoops we must jump through. By calling it a "hoop," I am not saying it is not important, but that there is a lot of "i" dotting and "t" crossing.
Each new discovery, no matter how small, is important. An email address, other potential archives, a new scholarship translation, an email from a colleague who studies Taneyev piano music, etc. This is all important. Through this research, I have discovered what a rabbit hole research can be. There is always more to be done, another lead to follow-up, more questions to be asked and other questions that are unanswered.
In a way, research is similar to music performance. When we perform, the music is never perfect. There are always musical ideas that can be changed or improved. It is a never ending quest for more musical involvement. Yet, at some point there is an end. Normally it's a performance. We sing, then we put it away. We research and then we have to start writing so we can turn in a dissertation and become the doctor we have always dreamed of becoming.
Onwards and upwards!
Sunday, July 12, 2015
More Leads
I received an email today from a musicologist in St. Petersburg with a few more tips on where to find Taneyev manuscripts. I had already looked into some of her suggestions, but it did prompt me to write a few emails (in Russian) to some institutions. I'm running out of time.
I feel more stressed than I should about this. Mainly because I think I'm fine as far as documents go, but just in case... just in case I find more manuscripts of works I haven't found yet, or some sketches, or something... anything.
Doing this research has really made me realize that I have to narrow the scope of my dissertation a little bit. While I will give a background on the pieces in my editions, I cannot recount Taneyev's entire history. Not for my dissertation, at least. I want to do it all, but I want to finish my dissertation. This will give me a beginning platform for more research. And this beginning platform will have to be extremely solid.
Thursday, July 9, 2015
Glinka Museum Research
So, I finished the majority of my research at the Tchaikovsky Museum yesterday. I may have to go back next week to pick up the images, or we'll find some other way to get them to me. I downloaded the first set of images yesterday (they gave them to me on DVD). I have to go through and label all of them yet. Hopefully I'll remember which is which.
I spent some time looking at the electronic Glinka catalog (online). I could have protentially done this before, but I didn't have the Russian or research skills. Even after just three days at the Tchaikovsky Museum, I know so much more. When I was on the Glinka Museum website, I realized a couple of things:
1) Their research room is open, but all they can pull is printed sources, no manuscripts. This is because the archivists are all on vacation. I was told the reading rooms might be closed, and I emailed and asked two months ago. I was told they would be open. Well, it turns out they are, but it doesn't do me any good since the archivists are not there. Beyond that, I have to order in person (at least, that's what they told me today). And when I come back (hopefully I will), I have to have a new invitation from the director of the Museum.
2) They really don't have a lot of hand written documents. I still want to look at what they have, but they don't have a lot.
3) I went to the Glinka Museum. I signed in. I looked at their card catalog, and there were a few things there that were not listed on the website. However, they are even working on getting some things digitized. Taneyev stuff, however, probably doesn't take priority. At least that is my guess. So, I made a list of things I would request. They gave me their email, and when I come back to Russia, I can email them ahead of time with my requests, and they will be ready for me when I arrive.
Now... I'm in a bit of a pickle. There are works by Taneyev for which I cannot locate a manuscript. When I originally did research, I was told the Tchaikovsky Museum at the majority of them, and the Glinka Museum had the rest. That's just not true. First, there is more music out there than New Grove lists (darn New Grove... never trust it! Just kidding. Do trust it, but know it might contain incorrect information). There is no complete list of Taneyev choral works. I don't know if I will be able to create one, but this will be the beginning of a lifelong project. There are works that have not been considered choral works but were intended to be considered for choirs. There are loads of canons, but I think most are still in manuscript form.
I checked the Moscow Conservatory Research Library, and they don't have anything I need. Maybe some stuff I could check out at a later time, but nothing at the present. So where are the manuscripts? I read some Russian scholarship that said the manuscripts are missing for some of his Opus 35, which is a cycle of 16 choruses for men's voice. Could they be in private collections? In other museums that have not been listed or mentioned? Could they be destroyed? The answer is "yes" to all of these- but I just don't know.
So here is my recourse: I hope to schedule a meeting with the head conductor of the conservatory for Monday. I don't know if that will happen. I am going to email a Taneyev scholar. She's retired and living in Moscow. If I could meet with her, that'd be wonderful. Even getting her knowledge over email would be great I will also speak to the archivist at the Tchaikovsky Museum again- she would likely know where other manuscripts might be. Additionally, one of my contacts in England has introduced me to a friend of hers in St. Petersburg that might be able to lead me in another direction.
It's a bit like being a detective.
I spent some time looking at the electronic Glinka catalog (online). I could have protentially done this before, but I didn't have the Russian or research skills. Even after just three days at the Tchaikovsky Museum, I know so much more. When I was on the Glinka Museum website, I realized a couple of things:
1) Their research room is open, but all they can pull is printed sources, no manuscripts. This is because the archivists are all on vacation. I was told the reading rooms might be closed, and I emailed and asked two months ago. I was told they would be open. Well, it turns out they are, but it doesn't do me any good since the archivists are not there. Beyond that, I have to order in person (at least, that's what they told me today). And when I come back (hopefully I will), I have to have a new invitation from the director of the Museum.
2) They really don't have a lot of hand written documents. I still want to look at what they have, but they don't have a lot.
3) I went to the Glinka Museum. I signed in. I looked at their card catalog, and there were a few things there that were not listed on the website. However, they are even working on getting some things digitized. Taneyev stuff, however, probably doesn't take priority. At least that is my guess. So, I made a list of things I would request. They gave me their email, and when I come back to Russia, I can email them ahead of time with my requests, and they will be ready for me when I arrive.
+++++++++++++++++++++++++++++
Now... I'm in a bit of a pickle. There are works by Taneyev for which I cannot locate a manuscript. When I originally did research, I was told the Tchaikovsky Museum at the majority of them, and the Glinka Museum had the rest. That's just not true. First, there is more music out there than New Grove lists (darn New Grove... never trust it! Just kidding. Do trust it, but know it might contain incorrect information). There is no complete list of Taneyev choral works. I don't know if I will be able to create one, but this will be the beginning of a lifelong project. There are works that have not been considered choral works but were intended to be considered for choirs. There are loads of canons, but I think most are still in manuscript form.
I checked the Moscow Conservatory Research Library, and they don't have anything I need. Maybe some stuff I could check out at a later time, but nothing at the present. So where are the manuscripts? I read some Russian scholarship that said the manuscripts are missing for some of his Opus 35, which is a cycle of 16 choruses for men's voice. Could they be in private collections? In other museums that have not been listed or mentioned? Could they be destroyed? The answer is "yes" to all of these- but I just don't know.
So here is my recourse: I hope to schedule a meeting with the head conductor of the conservatory for Monday. I don't know if that will happen. I am going to email a Taneyev scholar. She's retired and living in Moscow. If I could meet with her, that'd be wonderful. Even getting her knowledge over email would be great I will also speak to the archivist at the Tchaikovsky Museum again- she would likely know where other manuscripts might be. Additionally, one of my contacts in England has introduced me to a friend of hers in St. Petersburg that might be able to lead me in another direction.
It's a bit like being a detective.
Tuesday, July 7, 2015
Exciting Discovery!
Here's what I learned about researching today: When you request a copy of a document, you might have to wait a little bit before you receive it. When you request a copy of many documents, you might have to wait weeks or months. Make sure the research institution you are working at can accommodate. Thank goodness- I think mine can.
Today I looked at MANY excellent manuscripts. I think I will see many great manuscripts again tomorrow. They likely won't be able to get them all copied for me while I'm here, so we will have to work out other arrangements.
There is a slight chance I could be done tomorrow at the Tchaikovsky Museum. Then, either on Thursday or Friday, I will get started at the other museum. I'm hopeful that I won't need to ask for as many documents at the Glinka Museum. I'll be more selective, mainly because I have to be realistic- I only have a few weeks here. I could order some documents and potentially wait around for two weeks, and miss John's family vacation. Or, I could be more selective in the documents and only order things that are on my "top" or "second" list. That way, I could fly home earlier and get some relaxation in. I have things I can use for my dissertation. I'd love to find a few more things, but I won't be able to take everything with me. I wanted to take everything, but I won't be able to. Not this time.
I mentioned my "top" and "second" list. I have four lists. I'd love to find ANY manuscript on my top list (there are four pieces). I have found a few on my second list- and that is very encouraging. My "second" list is a larger than my top list, but not as large as my other two lists. This helps me prioritize what I am looking for and how much time I will spend on a manuscript.
Ready for something exciting? I also found some other pieces that are not listed in New Grove (that source always leads me astray) that Taneyev listed both as "quartet" and for "хор" (choir). So I'm getting some copies of some of his quartets. These could easily be sung by a choir. This was an unexpected and delightful surprise.
I still have a lot of work ahead of me, but this is all excellent.
Today I looked at MANY excellent manuscripts. I think I will see many great manuscripts again tomorrow. They likely won't be able to get them all copied for me while I'm here, so we will have to work out other arrangements.
There is a slight chance I could be done tomorrow at the Tchaikovsky Museum. Then, either on Thursday or Friday, I will get started at the other museum. I'm hopeful that I won't need to ask for as many documents at the Glinka Museum. I'll be more selective, mainly because I have to be realistic- I only have a few weeks here. I could order some documents and potentially wait around for two weeks, and miss John's family vacation. Or, I could be more selective in the documents and only order things that are on my "top" or "second" list. That way, I could fly home earlier and get some relaxation in. I have things I can use for my dissertation. I'd love to find a few more things, but I won't be able to take everything with me. I wanted to take everything, but I won't be able to. Not this time.
I mentioned my "top" and "second" list. I have four lists. I'd love to find ANY manuscript on my top list (there are four pieces). I have found a few on my second list- and that is very encouraging. My "second" list is a larger than my top list, but not as large as my other two lists. This helps me prioritize what I am looking for and how much time I will spend on a manuscript.
Ready for something exciting? I also found some other pieces that are not listed in New Grove (that source always leads me astray) that Taneyev listed both as "quartet" and for "хор" (choir). So I'm getting some copies of some of his quartets. These could easily be sung by a choir. This was an unexpected and delightful surprise.
I still have a lot of work ahead of me, but this is all excellent.
Monday, July 6, 2015
Russian Research, Day 1
Today was a great day!
It was stressful and slow in the middle- but it turned out
wonderfully.
I woke up this morning at 4:30 AM. I had meant to wake up at 5:30 AM, but the sun rises just
before 4:00 AM. There must have
been a noise or something jarring, because I woke up early and had a
difficult time getting back to sleep.
I was extremely tired, because I couldn’t fall asleep until after 1:00
AM. Okay, this is a long
enough paragraph about waking up and sleep.
We took the metro to the bus stop, and the bus was waiting at the station when we arrived. We boarded immediately and paid the 340 rubles for two tickets (a little over $6 for the two of
us... about $3 for a one way, one person). I said “Tchaikovsky Square” in Russian. Kind of. I
actually said, “Of Tchaikovsky square” in Russian. But the driver understood.
The bus ride out was easy enough.
Some farm land. It actually
looks a lot like the Midwest as far as landscape. A lot of green, a lot of trees.
We got to Klin a little over an hour early. The Tchaikosvky Museum was not open,
and we went to a café that was selling pastries and coffee (espressos
and Americanos) in a BP. Yes- a
BP. Like we have in the states. We then traversed over to the
Tchaikovsky Museum, read some signs, and took pictures. At about 9:45 AM (it
opens at 10), we went in because the main hall was open. I spoke to security- who asked
me fairly quickly if I needed to see the exact woman I needed to see.
After a few minutes, we were led through a back hallway,
into the basement, around some corners, down a hall, around to the right, and
at the end of the hall, there was a small research room. They call it a reading room. I washed my hands, was given some forms
to fill out by the only woman who speaks a little English. I filled them out (although I didn’t
know some of the words. I had no
internet access so I couldn’t look it up.
I felt so silly). Then they
brought me the fond (Фонд) in which
I was to look up opis (Опись) and write down the number. This was an order form, of sorts. So, I filled out every line on the
order form (maybe 25 different manuscripts). I still want to order
more documents. I asked the lady
if it was a lot. Actually, I didn’t
know how to ask that, so I simply said, “Много?“ And she told me it was normal (in Russian).
I was quite frustrated at my lack of ability to communicate
in Russian. I’ve been studying for
just over a year- and I can communicate some, but trying to do scholarly work
and answer questions can be very frustrating. It's harder to understand when people speak fast.
I received my documents about 40 minutes later. Actually, I only received about half of
them. Not even. I looked through them, and then asked
to make copies. This was the business- I had 42 pages I needed copied.
And it cost 150 rubles- or 6300 entotal. I’m not going to tell you how much that is in dollars. It’s quite a bit of money, and I’ll have to
get more copies. But they can
charge me because I need it (I was told 100 rubles per copy via email about a
month or two ago, but I don’t want to argue. I don’t know Russian well enough and I want them to help me, not hinder). So I paid. I will get the documents tomorrow. I returned the manuscripts and will get
the other manuscripts I ordered tomorrow. I suppose this is the cost of research.
In preparation for tomorrow, I will need to make a list of
the other documents I need. They
will try to pull them for me tomorrow.
I’m hoping I can get two loads of documents looked at tomorrow- plus get copies made. I’m also taking notes on the
documents (their physical qualities).
So, a lot of work needs to be done tonight.
There was a lot of writing involved. I couldn’t take the list of documents
with me (it was in a book I was looking through), so I copied it by hand. I asked about taking a picture, but they said no. Over 500 documents in this one book of
Taneyev. There are many, many
more books, too, but those contain other works- not his choral music. I’m very grateful I had the
foresight to start copying the list by hand while I was waiting for my
order.
The women working in the reading room are very kind. One of them knows a few English
words. However, she mainly
communicates in Russian. By the
end of the day, I was a little less frustrated with my Russian. I don’t know if I got any better as the
day went on, but I became more strategic with the words I used. I have to simplify all my
thoughts. It’s very humbling. The archivist I am working with speaks
English, and she told me I could come Wednesday, even though the sign to the
Tchaikovsky Museum says it is closed on Wednesdays and Thursdays.
I spent a lot of the day working, focusing, and
waiting. It wasn’t until the end
of the day that I felt like I made progress. I have some music I can use in my dissertation! Once I transcribe it, at least. This was quite an experience.
The other thing I need to do is make a list of manuscripts I
haven’t found which I need to find.
I will look for these at the Glinka Museum.
Overall, this was a very successful day. I felt like I was communicating better
at the end. People were kind and
helpful. I will hopefully receive
my first batch of photocopies tomorrow.
And... I had the opportunity to look at, to touch, and to examine
Taneyev manuscripts.
Sunday, July 5, 2015
Almost Ready to Research in Archives
I begin research tomorrow in the Tchaikovsky Museum. The past few days, I have done prep work for this research. I have been to the bus depot that will take us do the Tchaikovsky Museum. I have also been to the Glinka Museum. Today we went and looked at their exhibits. Everyone was so kind. I didn't understand most of what the lady at the desk told me, but I understood bits and pieces. The main exhibit was that of musical instruments around the world. It was incredibly interesting. The ladies who worked in the gallery were very helpful, and quite resourceful in the way they could communicate. With my limited Russian, I was able to understand most of what they said.
The exhibit was also quite neat because whenever a child was there with his/her parents, there was a designated tour guide for them. The tour guide allowed them to play different instruments, asked them questions, and involved their parents.
Last night I made a list of the music I wanted to look at in the museums (prioritized list). Today I will write out what I will say the guards at each museum, so they will let me in to the reading rooms to research. My father-in-law is going to help me, although I hope they will let him in- I have letters of invitation and he does not. I hope to explain this to the guards and/or librarians and/or archivists. These are the things I must write out. Also, I will put my papers together this evening.
Also, last night my father-in-law and I went out to dinner with a man named Vladimir, and his wife. Vladimir is a faculty member at the Moscow Conservatory. He is extremely kind, he loves music, and he is extremely interested in collaborative partnerships between musicians in Russia and the US. This is right up my ally!
Overall, I have been extremely impressed with people and music the last 24 hours.
Friday, July 3, 2015
Arrival and Elevator Music
Today I arrived in Moscow. Now, I will attempt to comment very little on things outside of music or those things unrelated to my research. This is, after all, a music blog.
However, a few observations:
- Drivers rarely use their horn.
- Food, especially street food, is cheap.
- Don't exchange your money at an airport if you can help it. Exchange it at a bank.
- I need more time to process things in Russian than I do in English (no duh, right?).
- It's difficult to find the name of the subway station when the metro pulls up to the station. I think I'll have to count how many stops we make every time, or learn to read faster in Cyrillic.
and finally...
- I heard street musicians today! In the subway. And it was actually a string trio playing "Time to Say Goodbye." Despite the elevator music choice, I was very impressed with how they sounded!
However, a few observations:
- Drivers rarely use their horn.
- Food, especially street food, is cheap.
- Don't exchange your money at an airport if you can help it. Exchange it at a bank.
- I need more time to process things in Russian than I do in English (no duh, right?).
- It's difficult to find the name of the subway station when the metro pulls up to the station. I think I'll have to count how many stops we make every time, or learn to read faster in Cyrillic.
and finally...
- I heard street musicians today! In the subway. And it was actually a string trio playing "Time to Say Goodbye." Despite the elevator music choice, I was very impressed with how they sounded!
Monday, June 29, 2015
Month Long Trip
I'm sitting in my favorite coffee shop, thinking about all the things I should/need to accomplish yet before I go to Russia tomorrow.
Let me start with the first clause of that sentence: My favorite coffee shop in this area is how I should qualify it. I have another favorite coffee shop in southern California. And what does this tell me? It tells me that no matter where I go, I will always find a community I enjoy being a part of. This is important, because I believe it is partly my calling to help create and guide community. I have always felt this. I want people to feel welcome and loved. It just so happens that my career field (choirs!) is one that creates community. And I have been a part of ensembles that create amazing community... and create bad community. My goal is always to create a support, positive community of people coming together and doing "good" things- spreading joy and love through music. And in a tiny way, finding a coffee shop I frequent is a way for me to develop community for myself. This happens in many other places too, but there is something very special about places where people gather. I will find a coffee shop in Omaha. And I will create and promote a support community among my choirs.
Next thought in the opening sentence: All the things I need to or should accomplish! Sometimes, I joke around with a friend of mine about "we can do all the things!" We laugh about this, but in a way, this is how we really feel. We believe we can accomplish all the things- but it also puts a large amount of pressure on us. There are little things I have to do today to finishing preparing for my trip, but none of them will ruin my trip if I don't get them done. And it's nice to be at that point.
And the last bit of the opening sentence: I go to Russia tomorrow. It is going to be an excellent trip. I plan on seeing ensembles. Aside from my research, I am very excited about listening to music in Russia. What an amazing opportunity! And this goes to a larger point: music is music (perhaps that is like saying "love is love"). Music is likely to be a unifying force all over the world. And I am ready for good music!
Tuesday, June 16, 2015
Latin!
Gloria in excelsis Deo.
How many ways are there to pronounce this?
I actually don't know the answer to that question. Ecclesiastical Latin, German Latin, French Latin, other Latins, all the dialects of the stylized Latins...
I think it's possible to make a decision and be clearly wrong. But I also think there are multiple options that could be just fine. I don't want to say the "right" choice, because what does that mean? Let me give an example.
My students, as a part of their choir auditions, will prepare the first two (short) sections of the "Gloria" from Haydn's Harmoniemesse. If I were to ask my students to prepare this using French Latin, that likely could be considered a wrong choice. Or at best, a bad choice. Now, if I were to ask them to prepare the piece using German Latin, there is no longer a clear line that this is wrong (or bad). There have been many people who choose to have their choirs sing German Latin on this piece. However, due to the information I have at my disposal, I'd likely choose Ecclesiastical Latin. I wouldn't call this the "right" choice, but I think it is a "good" one.
And why all careful language about "right" and "good" and "correct" and "bad" and "wrong"? (Sorry, I know that the question mark is supposed to be inside the parenthesis, but it just looks wrong). Because even IF you could say the HIP (Historically Informed Practice) is the "correct" way to do something, the issue is that we don't truly know how any choir pronounced it during the time period. So, let's pretend we came across an authentic Haydn-document that said, "Haydn's Harmoniemesse rehearsal 1: Tell Choir we are singing in German Latin." Even this document would not be clear, because it may still include stylistic nuances we do not know.
The larger point, which can be applied to many choices, is this: what is "fashionable" changes. It was, at one point, really cool to sing most things by German composers in German Latin. We know now that likely didn't happen, but we can't be sure there weren't some German-language influences. I would never scoff at someone who made a choice to sing a Mozart work in German Latin. I may or may not make that choice myself, but it doesn't require any sort of pretentious response from me. The same idea can be applied to tempo, phrasing, or a variety of other musical ideas. Thoughtful choices are all that are required for me to be engaged with the music.
Monday, June 15, 2015
Nervous or not to Nervous
Two weeks tomorrow. That's when I leave for Moscow. To be exact, two weeks from tomorrow morning around 7:30. That's when I leave for Moscow.
I have had many people ask me if I'm nervous. That's a difficult question to answer. Nervous of going to a country where English is not primarily spoken? No, not really. Many people speak English. On top of that, I plan to have my own Russian speaking skills vastly improved. I speak a little now. I hope to speak a lot better in six weeks. Am I nervous about being in Russia? No. I have not met any Russians I dislike. I doubt anybody is going to ask me for my political or social opinions. I am there to study the manuscripts of a composer, and I am thrilled to learn about the culture and history. And I hope to see some musical events- opera, ballet, symphony.
I could share many other things about which I am not nervous. But instead I'm going to share two things that have given me a slight pause (because to call it "nervousness" is giving it too much weight): 1) Less smiling. I have been told by a couple of people that smiling a lot around strangers is not really the norm. Smiling with friends is fine- but I won't have many friends there. So maybe I'll try to give myself time away from people so I can smile. By myself... no, that's lame. Who am I kidding? I'm too extroverted to be AWAY from people. At least I am aware that I should not smile at people in the subway. I can make that sacrifice. 2) I'm nervous about getting the research done that I need. I have time to do it, but I hope that the people I meet are helpful. If they aren't, this will make for a long month. However, I do think that it is wasted energy to worry about that. I have the appropriate documentation stating the museums will help. And I know friendly people in Moscow who are happy to help me regarding transportation.
I am at a bit of an impasse with my dissertation writing. I can continue to write, and I will do some writing tomorrow. But I now need Russian scholarship translated into English. I could attempt to do it myself- at which point my dissertation would take me 11 years to complete. Or I could spend the money on translators and get it done. I started reaching out for help with translating about a month ago. It was not a priority for me then, because I thought it would be easier to find translators than it has been. To be fair, finding a translator is easy. Finding a translator that doesn't cost me an arm and a leg? I don't think that's possible.
I think my next blog post will be about music. It's way more interesting than blogging about logistics. But I can't help myself...
I have had many people ask me if I'm nervous. That's a difficult question to answer. Nervous of going to a country where English is not primarily spoken? No, not really. Many people speak English. On top of that, I plan to have my own Russian speaking skills vastly improved. I speak a little now. I hope to speak a lot better in six weeks. Am I nervous about being in Russia? No. I have not met any Russians I dislike. I doubt anybody is going to ask me for my political or social opinions. I am there to study the manuscripts of a composer, and I am thrilled to learn about the culture and history. And I hope to see some musical events- opera, ballet, symphony.
I could share many other things about which I am not nervous. But instead I'm going to share two things that have given me a slight pause (because to call it "nervousness" is giving it too much weight): 1) Less smiling. I have been told by a couple of people that smiling a lot around strangers is not really the norm. Smiling with friends is fine- but I won't have many friends there. So maybe I'll try to give myself time away from people so I can smile. By myself... no, that's lame. Who am I kidding? I'm too extroverted to be AWAY from people. At least I am aware that I should not smile at people in the subway. I can make that sacrifice. 2) I'm nervous about getting the research done that I need. I have time to do it, but I hope that the people I meet are helpful. If they aren't, this will make for a long month. However, I do think that it is wasted energy to worry about that. I have the appropriate documentation stating the museums will help. And I know friendly people in Moscow who are happy to help me regarding transportation.
I am at a bit of an impasse with my dissertation writing. I can continue to write, and I will do some writing tomorrow. But I now need Russian scholarship translated into English. I could attempt to do it myself- at which point my dissertation would take me 11 years to complete. Or I could spend the money on translators and get it done. I started reaching out for help with translating about a month ago. It was not a priority for me then, because I thought it would be easier to find translators than it has been. To be fair, finding a translator is easy. Finding a translator that doesn't cost me an arm and a leg? I don't think that's possible.
I think my next blog post will be about music. It's way more interesting than blogging about logistics. But I can't help myself...
Wednesday, June 10, 2015
Less than Three Weeks to the Big Trip
The next few weeks are going to be very busy. Less than three weeks until I leave for Russia with my father-in-law. I'm very excited about this trip for many reasons: a trip to a new country, exploration of a new culture, knowledge gained from research, bonding time with my father-in-law, practicing my language skills... the list goes on and on!
What happens before I leave for Russia? The apartment will get packed up into boxes. I will finish the first draft of my dissertation proposal and start my first chapter. I will begin the process of getting scholarship translated (and hopefully some of it will be read). A couple more trips within driving distance. Picking up cleaning supplies for the apartment. Packing for Russia. Solidify the repertoire lists for this upcoming fall.
I am already looking forward to some of the music I have chosen. I'll bring some of it with me to Russia so I can prepare it. I will look forward to discussing these repertoire lists once I make decisions.
I know one large work, however, that my choirs will be singing in a joint concert with the local symphony and other choirs: Dvorak's Stabat Mater. I am quite excited.
What happens before I leave for Russia? The apartment will get packed up into boxes. I will finish the first draft of my dissertation proposal and start my first chapter. I will begin the process of getting scholarship translated (and hopefully some of it will be read). A couple more trips within driving distance. Picking up cleaning supplies for the apartment. Packing for Russia. Solidify the repertoire lists for this upcoming fall.
I am already looking forward to some of the music I have chosen. I'll bring some of it with me to Russia so I can prepare it. I will look forward to discussing these repertoire lists once I make decisions.
I know one large work, however, that my choirs will be singing in a joint concert with the local symphony and other choirs: Dvorak's Stabat Mater. I am quite excited.
Wednesday, June 3, 2015
Dissertation-gate: Not sure what day
Maybe day 14?
I started my outline of my proposal today. Kind of. I typed my name in a word document, put a couple headings down (that were given to me by the proposal syllabus), and copied and pasted the bulk of the information I plan on using from old essays about my project to this new document. I will likely spend just a little more time working on this tonight.
It's difficult. I feel as if I have written my proposal (or some version of it) twice now. This would be my third time. I have had to gather and shape this information into a proposal for two different grants. The trick is not making sure I have the correct information down, but rather that the information is typed up in the correct order according to what the thesis syllabus requires.
Also: it strikes me as odd that we switch prepositions based on verb usage. "I typed my name in a word document" versus "I wrote my name on paper." "I typed up the information" versus "I wrote down the information." Prepositions are fascinating.
I started my outline of my proposal today. Kind of. I typed my name in a word document, put a couple headings down (that were given to me by the proposal syllabus), and copied and pasted the bulk of the information I plan on using from old essays about my project to this new document. I will likely spend just a little more time working on this tonight.
It's difficult. I feel as if I have written my proposal (or some version of it) twice now. This would be my third time. I have had to gather and shape this information into a proposal for two different grants. The trick is not making sure I have the correct information down, but rather that the information is typed up in the correct order according to what the thesis syllabus requires.
Also: it strikes me as odd that we switch prepositions based on verb usage. "I typed my name in a word document" versus "I wrote my name on paper." "I typed up the information" versus "I wrote down the information." Prepositions are fascinating.
Monday, June 1, 2015
Dissertation-gate, Day 12
It's day 12 of dissertation researching/writing/thinking. I know this because I counted the days on my calendar and excluded the days I took off. I spent 3.5 hours this morning organizing all the Russian scholarship I have into a handful of categories: Biography, Scholarship with significant information on choral works, scholarship with limited information on choral works, Scholarship that I am unsure what it is talking about, Scholarship I probably don't need translated, and Scholarship I don't have yet. From this last category, there are perhaps only two pieces of scholarship I don't have yet: A journal article about the tonal characteristics of Taneyev's figues and a journal article about his chorus cycles. I need to re-evaluate the list and eventually I'll send it off to another scholar on Taneyev for her help with translating. In addition, she gave me a heads up about a Taneyev event happening next year in her area of the world. More to come when I know more.
Speaking of more to come when I know more, I was offered a job. I took that job. I am very, very excited about said job, which I'm not publicly sharing until it's officially announced. I do have to write a bio, though. Next week we are heading to the town that the job is in and looking at apartments. I'm busy planning for that job!
Here are some ideas I brainstormed earlier today (when I should have been working on my dissertation, which is why I don't have 4 hours of work in yet): My large, non-auditioned chorus will sing something with organ, likely Festival Te Deum by Britten. I want to program some Taneyev and Martinu with my Chamber group. I'd like to try my hand at a Bach cantata with my chamber group, too. I'm interested in doing a double chorus piece (maybe Rheinberger or Pachelbel) with my large, auditioned group. Also, I'm very interested in doing some Michael Haydn. Perhaps Franz Haydn Mass of St. John with the large-auditioned group. Oh, and maybe the Cherubini Requiem with my large, non-auditioned choir! I could do this all day... really I could.
But, I have at least 30 minutes of dissertation thinking to do. Likely longer. My goals for today, then: Write my bio and send to my new job (with a picture) so they can update the faculty page. Read an article and take notes on Taneyev. Read a chapter in a book about Russian choral music (take notes). Look at the handful of pieces that we do have access to and make some notes of characteristics, idioms, motives that Taneyev uses. And maybe try to find someone to translate some of this scholarship.
I better get to work...
Speaking of more to come when I know more, I was offered a job. I took that job. I am very, very excited about said job, which I'm not publicly sharing until it's officially announced. I do have to write a bio, though. Next week we are heading to the town that the job is in and looking at apartments. I'm busy planning for that job!
Here are some ideas I brainstormed earlier today (when I should have been working on my dissertation, which is why I don't have 4 hours of work in yet): My large, non-auditioned chorus will sing something with organ, likely Festival Te Deum by Britten. I want to program some Taneyev and Martinu with my Chamber group. I'd like to try my hand at a Bach cantata with my chamber group, too. I'm interested in doing a double chorus piece (maybe Rheinberger or Pachelbel) with my large, auditioned group. Also, I'm very interested in doing some Michael Haydn. Perhaps Franz Haydn Mass of St. John with the large-auditioned group. Oh, and maybe the Cherubini Requiem with my large, non-auditioned choir! I could do this all day... really I could.
But, I have at least 30 minutes of dissertation thinking to do. Likely longer. My goals for today, then: Write my bio and send to my new job (with a picture) so they can update the faculty page. Read an article and take notes on Taneyev. Read a chapter in a book about Russian choral music (take notes). Look at the handful of pieces that we do have access to and make some notes of characteristics, idioms, motives that Taneyev uses. And maybe try to find someone to translate some of this scholarship.
I better get to work...
Friday, May 22, 2015
Dissertation-gate, Day #4
I skipped yesterday, so today is the fourth day of working on my dissertation as a full-time occupation.
As of today, I have in my possession eight books written in Russian on my topic. I have spent the past few hours going through the books and using my knowledge (plus an online Russian-to-English dictionary) to decipher what some of these books are discussing. I still have no clue as to what a few books are saying, such as the picture posted below. The index does not list any specific choral works, and the Table of Contents reads "Глава 1 (Chapter one)... Глава 2 (Chapter two).... Глава 3 (Chapter three)..." Not terribly helpful. But, I'm starting to narrow down what scholarship I need translated in other books. I am grateful to have enough knowledge to eliminate some scholarship, although there are a few chapters I need to understand a bit better. This understanding will come from understanding the titles of chapters syntactically or from glancing through the chapter and picking out some key words.
Over the next week, I will make final determinations about what will need to be translated. And then I will need to pay for a translator. This dissertation is not cheap. This gives me a greater incentive to really share this research once I am finished.
As of today, I have in my possession eight books written in Russian on my topic. I have spent the past few hours going through the books and using my knowledge (plus an online Russian-to-English dictionary) to decipher what some of these books are discussing. I still have no clue as to what a few books are saying, such as the picture posted below. The index does not list any specific choral works, and the Table of Contents reads "Глава 1 (Chapter one)... Глава 2 (Chapter two).... Глава 3 (Chapter three)..." Not terribly helpful. But, I'm starting to narrow down what scholarship I need translated in other books. I am grateful to have enough knowledge to eliminate some scholarship, although there are a few chapters I need to understand a bit better. This understanding will come from understanding the titles of chapters syntactically or from glancing through the chapter and picking out some key words.
Over the next week, I will make final determinations about what will need to be translated. And then I will need to pay for a translator. This dissertation is not cheap. This gives me a greater incentive to really share this research once I am finished.
Monday, May 18, 2015
Dissertation-gate, Day #1
Today is the first "official" day of not being a student who takes classes. I am ABD, a doctoral candidate, and... I arrived at the coffee shop this morning at 8:15 to begin work on my dissertation. To be fair, I began my dissertation last summer, but now it's serious. Last week I was finishing up the semester and I was released into the wild, with all the other ABD birds and with very little guidance.
I do not have many qualms about writing my dissertation, however. I'm not at a loss for what to do. So with that in mind, here is my to-do list:
- Finish taking notes on the resources I have in English
- Look up a handful of resources in the library that I am fairly certain are not helpful
- Updated my annotated bibliography as I go
- Prepare to go to Russia to research in archives
- Get the necessary Russian scholarship translated (I only have the skills to loosely understand what it is addressing, not to understanding the finer points of scholarship)
- Begin my proposal, creating a timeline, honing my methodology, etc.
Each of the above the has many small steps. My ultimate goal is to have my dissertation proposal approved and a rough draft of my first chapter in by the end of the fall semester, with more being written but not submitted.
I also am going to pick a few pieces to study this summer. I want to keep working on what I love. I will likely choose Brahms for one piece, since I have a better idea of how I want to approach him now. I will look at my other scores at home and also figure out what I want to study. Perhaps Schütz or Bach. And then I'm interested in studying Amy Beach's Mass in E flat.
I do not have many qualms about writing my dissertation, however. I'm not at a loss for what to do. So with that in mind, here is my to-do list:
- Finish taking notes on the resources I have in English
- Look up a handful of resources in the library that I am fairly certain are not helpful
- Updated my annotated bibliography as I go
- Prepare to go to Russia to research in archives
- Get the necessary Russian scholarship translated (I only have the skills to loosely understand what it is addressing, not to understanding the finer points of scholarship)
- Begin my proposal, creating a timeline, honing my methodology, etc.
Each of the above the has many small steps. My ultimate goal is to have my dissertation proposal approved and a rough draft of my first chapter in by the end of the fall semester, with more being written but not submitted.
I also am going to pick a few pieces to study this summer. I want to keep working on what I love. I will likely choose Brahms for one piece, since I have a better idea of how I want to approach him now. I will look at my other scores at home and also figure out what I want to study. Perhaps Schütz or Bach. And then I'm interested in studying Amy Beach's Mass in E flat.
Friday, May 1, 2015
Weeks of Inspiration
Even though I have not posted here, I have been blogging the past two months. Except, my blogs are in Russian and under a different blog name.
I'd like to mention a few musical endeavors and inspirations from the past few weeks. A little over a week ago, I had the opportunity to be in a performance of the Monteverdi Vespers. This was a wonderful experience, and I shared the stage (albeit as a chorister) with some famous early music musicians, both singers and instrumentalists. The experience of singing this work, knowing the history, understanding the style... it was amazing. I was so unbelievably proud to be a contributor. I was impressed with the other members of the choir and their commitment to text and style.
I had the opportunity to have conversations with the soloists. One of the soloists is also a choral director- and we had inspired conversation about music and education. Another soloist sings in a group I have recently spent more time listening to, which is called "A Room Full of Teeth." (I highly recommend checking them out). By the end of the week, I was incredibly inspired.
Then last night, I attended a concert of a group called Cantus. I have a few friends who sing in the group, and I love being able to sit back, listen, and watch my friends do what they do. I am proud, impressed, and so grateful that I can hear such wonderful music.
And last, I have been so inspired by the choir with which I am working. They are attentive, and more over, they grow as musicians every week. It is humbling and awe-inspiring to be involved in this growth.
I'd like to mention a few musical endeavors and inspirations from the past few weeks. A little over a week ago, I had the opportunity to be in a performance of the Monteverdi Vespers. This was a wonderful experience, and I shared the stage (albeit as a chorister) with some famous early music musicians, both singers and instrumentalists. The experience of singing this work, knowing the history, understanding the style... it was amazing. I was so unbelievably proud to be a contributor. I was impressed with the other members of the choir and their commitment to text and style.
I had the opportunity to have conversations with the soloists. One of the soloists is also a choral director- and we had inspired conversation about music and education. Another soloist sings in a group I have recently spent more time listening to, which is called "A Room Full of Teeth." (I highly recommend checking them out). By the end of the week, I was incredibly inspired.
Then last night, I attended a concert of a group called Cantus. I have a few friends who sing in the group, and I love being able to sit back, listen, and watch my friends do what they do. I am proud, impressed, and so grateful that I can hear such wonderful music.
And last, I have been so inspired by the choir with which I am working. They are attentive, and more over, they grow as musicians every week. It is humbling and awe-inspiring to be involved in this growth.
Tuesday, February 24, 2015
ACDA Conference Post #1
Tomorrow I fly to the National ACDA convention in Salt Lake City. It's going to be an excellent time! I downloaded the application for my iPhone... except that it won't let me log in. So, there's that. But I have the paper copy of the conference schedule!
I am ready for 3 days of learning, singing, and making connections!
Tomorrow night is the King's Singers concert.
But first, on the plane there, I will need to be writing a recital paper and researching for my comprehensive exams. And crossing my fingers the snow that is coming won't hit hard until after the plane has taken off.
I am ready for 3 days of learning, singing, and making connections!
Tomorrow night is the King's Singers concert.
But first, on the plane there, I will need to be writing a recital paper and researching for my comprehensive exams. And crossing my fingers the snow that is coming won't hit hard until after the plane has taken off.
Thursday, January 1, 2015
Last Recital? Music Approved.
Recital music for May was officially approved. I don't have much to say about it now, as I am just beginning to do my score study. However, let me say this: Yes, there is a piece in Russian. We do begin and end with two of my favorite pieces. And there is a very large work in the recital. In fact, most of my recital is this large work. By "large work," I don't mean something with colossal instrumentation and a huge choir. Bt it is about 25 minutes long. And it is a work by a composer that I love.
So, now I start score study. One of the pieces I've done quite a bit of score study on already. But I will spend a lot of time researching and studying over the next few week on the rest of the scores. Since my recital is not until May, I will not be starting my music at the beginning of this semester. I hope to be somewhat ready to begin it when the semester starts, however.
The last recital of my educational career. Wow.
So, now I start score study. One of the pieces I've done quite a bit of score study on already. But I will spend a lot of time researching and studying over the next few week on the rest of the scores. Since my recital is not until May, I will not be starting my music at the beginning of this semester. I hope to be somewhat ready to begin it when the semester starts, however.
The last recital of my educational career. Wow.
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