The Musician's Challenge of Saying "NO!"

The status of being a Musician, more often than not, suggests a "million dollar" contract to oneself.  Included in this contract would be the calculations of the myriads of monetary funds spent in pursuit of accomplishing one's musical goals, as well as the "lend-lease" program financing one's instrument of choice.

This "self-driven" contract has no legal precedent which might explain when and under what circumstances a negative response or "NO!" is, in fact, appropriate.  There is neither contract small print, nor the representation by Talent manager to speak in behalf of "self".

So, what is one to do when approached to perform - whether it be Solo, Vocal, Instrumental, Accompanist - and you strongly wish to decline the invitation?  Perhaps one is justified in refusing, or maybe the negative response is based upon a somewhat more obtuse or irksome reason (What? No "harmonious 'vibes'"?) Whatever the cause, it is exactly at that moment when "self" realizes it is at the mercy of the fickle, yet powerful "Court of Opinion" should a "NO!" be stated.

Many realities are available with persons who were once asked to substitute for a Principal musician, who had said "NO!" for a certain performance, and subsequently gained exposure and stardom.  But, what of the Principal who refused?  Very few words are ever said about the aftermath of losing one's place; knowing that it is irreversible in light of the substitute receiving even greater reviews with this big "break", and thus leaving the Principal's career at stake.

It may be safe to conclude, for a musician at any level, whether  "A" lister to "Z", a "NO!" is a word that might easily be defined as a condundrum or paradox that only "self" may be in a position to solve.  With the realities of life, a timely or an untimely "NO!" may leave one with either a lifetime of regret, or the beginning of a lifetime of great joy.


Elevator Photo:  "Kaufhaus des Westens", 1907; Public Domain via Wikimedia Commons.

"For the Love of Music": Subjective Investments

     Writing about "financial wizardry" as a strong suit is rather questionable on my part.  However, in seeking to discuss the time in which one might purchase that "perfect" instrument,   I chose to delve into a 2016 book entitled, "Investing 101" by Michele CAGAN, CPA to take a hard look at the terminology of what is currently at issue: the meaning of the word "Investment".
   
     The kit-and-caboodle of the purchase is a huge financial undertaking that includes not only the desired instrument, but also music lessons, music score purchases, transportation to and from practices or performances, proper recital or performance attire; not to mention any unforeseen incidentals, as well as your personal time away from home or employment. Therefore, one should consider both "long-term", as well as "short-term" goals in answering the question of "expected outcomes" once the investment has "matured".

      Both Investor and Investee must take into account their own subjectivities as they consider the possibility that the final investment outcome may end up being in another area due to life choices. Therefore, it is not solely about the instrument's monetary value, but its reciprocal value seen when one participates in a Community Orchestra... Hearing the joy expressed while playing, performing; reminiscing about times past; and seeing the beaming faces of musician and audience member alike. It is this reciprocal value that grows from the love of the instrument, and the impact that music has - from the beginning music student to the "matured" music enthusiast.



Photo: "Kaufhaus des Westens", 1907; Public Domain via Wikimedia Commons.

Repetitions

     Today, a proverbial "switch" has been flipped on that allows for an immediate feeling of accomplishment.  With this new year, forgotten are the seemingly endless hours spent repeating scales to achieve that "satisfactory" success; whether having smooth hands, or no voice "cracking" into another tessitura.

     In today's technology, one can perform as soloist with a recording, and even add concert audience approval to the extent that an obligatory "encore performance" is required (Cue "Applause" here.)  It does beg the question:  with all this technology at the whim of the budding music student, where have the honored standards of "time, sacrifice and effort" gone?

     When our children do not practice, we as parents prod, and cajole...promising future success in their endeavors with "you name it" support.  Growing up, I, too, remember my parents' faithful unending support in my own musical efforts.  However, my practice session results were varied - Mostly NOT!

     Technology has so rapidly increased, when is there enough time to include pedagogical studies with the appearance and  inaccurate perception of "success" available at the touch of a button?

     It is not about the named music teacher that one has, but the "grass roots" instructor who loves to teach and spends endless hours hearing that Bach Fugue that the fledgling music student can't seem to get his or her head around...

     Private music teachers should be greatly admired and applauded for their tenacity and intense efforts to combat the ever present technology time interference that can lead to a false sense of success and accomplishment in their music students.  Therefore, for this new year...

Happy 2016 to all Music Teachers everywhere!