by Gary Powell
Glenn Richter teaches this class of upper division students and has invited me to guest lecture October 5th. Glenn is a long-term ally of mine who actively searches out new experiences for himself and his students.
A Note to the Class of Mus 376C
Learning by appointment in the classic model of “here’s the information you need, learn it now” does not always work. Maybe this system is an effective way to study 18th century literature, however, any subject that is either dynamic in technology or highly personal and subjective is going to be bogged down under this archaic “non-method”.
“Just because something has always been doesn’t mean it should always be!”
Music is both technically dynamic and highly subjective. One could argue that anytime a lecturer leaves the student out of the process excepting examinations, it might be a good idea for her to look around the classroom for drooping eyelids, nodding-off heads, surreptitious text messaging and game boys. (If only my iPod earbuds were a little smaller and not so white.)
Here’s where you, the interactive, self-motivated and under-appreciated student, get to drive the subject toward your interests. I could talk about myself for several years (as well as any narcissist), but much of that data would not be beneficial to you. The remedy for this problem is for me to know where YOU are, not where I have been.
So, let’s use this cool blogging technology to do more than just rant. I suggest that you, the student, individually post a comment here that will help prepare me for visiting your class. I also suggest that you make comments rather than ask questions.
Why Comments Instead of Questions?
Sometimes when we ask questions, we as individuals are not aware of our own psychology behind the question. A comment, however, puts your brain on notice that you might have to defend your comment. Therefore, you might reveal to yourself more about yourself AND learn more about the responsibility you have for your own education. If you need help with not asking a question, try starting sentences like this:
I’m concerned about …
I’m observing that…
My experience has been that…
When I hear “whatever”, I feel that…
My hope is that…
My fear is that…
The music business is…
Dude, wait ’til you hear this…
I will assimilate your comments and try to facilitate a meaningful class for you.
Need more stimulation?
Check out my Lecture Topics and see if any of this has something do you with YOU. I look forward to both meeting and learning from you guys and hope we all enjoy this exercise. Thank you, Glenn Richter, for your brave soul and warm heart.
by Gary Powell
Glenn Richter teaches this class of upper division students and has invited me to guest lecture October 5th. Glenn is a long-term ally of mine who actively searches out new experiences for himself and his students.
A Note to the Class of Mus 376C
Learning by appointment in the classic model of “here’s the information you need, learn it now” does not always work. Maybe this system is an effective way to study 18th century literature, however, any subject that is either dynamic in technology or highly personal and subjective is going to be bogged down under this archaic “non-method”.
“Just because something has always been doesn’t mean it should always be!”
Music is both technically dynamic and highly subjective. One could argue that anytime a lecturer leaves the student out of the process excepting examinations, it might be a good idea for her to look around the classroom for drooping eyelids, nodding-off heads, surreptitious text messaging and game boys. (If only my iPod earbuds were a little smaller and not so white.)
Here’s where you, the interactive, self-motivated and under-appreciated student, get to drive the subject toward your interests. I could talk about myself for several years (as well as any narcissist), but much of that data would not be beneficial to you. The remedy for this problem is for me to know where YOU are, not where I have been.
So, let’s use this cool blogging technology to do more than just rant. I suggest that you, the student, individually post a comment here that will help prepare me for visiting your class. I also suggest that you make comments rather than ask questions.
Why Comments Instead of Questions?
Sometimes when we ask questions, we as individuals are not aware of our own psychology behind the question. A comment, however, puts your brain on notice that you might have to defend your comment. Therefore, you might reveal to yourself more about yourself AND learn more about the responsibility you have for your own education. If you need help with not asking a question, try starting sentences like this:
I’m concerned about …
I’m observing that…
My experience has been that…
When I hear “whatever”, I feel that…
My hope is that…
My fear is that…
The music business is…
Dude, wait ’til you hear this…
I will assimilate your comments and try to facilitate a meaningful class for you.
Need more stimulation?
Check out my Lecture Topics and see if any of this has something do you with YOU. I look forward to both meeting and learning from you guys and hope we all enjoy this exercise. Thank you, Glenn Richter, for your brave soul and warm heart.
What variables change when finding influence for writing for Disney productions versus ballet versus more mainstream efforts?
Gary-
First off, thanks for taking the time to come out and see us!
As a musician, I find myself constantly worrying about the future. I also find myself constantly being asked by family and friends what about your (my) future? I am not a live music performer, I don’t write music that often, and frankly I think sometimes I’m in over my head. I know that we all have this feeling of inferiority at some point in our lives, and I’m sure its going to pass, but right now its getting me down. I want to teach students (on the college level) about this amazing thing we are blessed to call a profession. While getting there involves multiple degrees, which I desperately want to attain, but I just want end up being able to do what I love. In the end I think I’m actually more worried about getting to the (my) future, than being worried about it coming at me – any advice or inspiration on things to keep the little guys like me going?
I am learning that fighting against this inferiority is building my character and strengthening my resolve, as well as my desire to teach. So is it the fight that must continue? Lastly, I don’t want to make a million dollars or be a rock star, even though both are very appealing, I just want to make a difference, preferably a big differnce in an educational way. Cheesy and “prophetic”, I know, but its the truth. Thanks.
Collen,
an excellent question and I know the answer. The Disney productions are so vast in musical styles and production techniques that we should partition this element into smaller units in class. Quickly, I consider: historical recordings and their orchestration choices, how the orchestras were “mixed”, the current project’s demographics, the direction as presented by the executive produer, product tie-ins, matching existing songs (if present) to maintain project continuity, and current trends in pop music. I NEVER draw from other sources of music for children.
My influences for more mainstream recordings are heavily influenced by sonic issues rather than musical ones. The “sound” takes center stage here.
The writing for my personal projects, like the ballet “Rhapsody of the Soul” is powered by a very personal emotional construct which allows me to use all the tools I have developed through experience and study.
I hope this helps start our conversation in class. Thank you for participating. –Gary
Andrew,
First of all, I don’t find your comments cheesy or prophetic in the least. Maybe reframe your “worry” about your future into a “focused intention” of your future. That feels better to me, because it suggests YOU have something to do with it!
Secondly, a broad understanding of all the professions of the music business coupled with the assessment of your own aptitude and skills by both your professors and yourself will help dissuade family and friends from only offering up an uninformed “NO”. You should be the expert of what’s out there and who you are! The path will become more apparent as you run into a few trees now and again.
We all need to understand our “payoff” for feeling a certain way. Your inferiority may belong to someone else, not you. Without the toxicity of all these negative feelings you might see the future as an enchanting opportunity instead of a “fight”. You sound and feel like a teacher to me. Don’t we have enough mindless and untalented rock stars contributing to the cultural noise already?
I hope this is not to fluffy and poetic, but it might hold a little truth in it. Thank you for opening this very important issue for our class. You are a brave human. Mush forward! –Gary
Hi Gary,
Thanks for providing these unique opportunities for us! I am a business student, but my love for music definately came first!
Musicians often bad mouth corporations in the industry and claim they are heartless. I can’t say that I blame them; however these businesses are in the industry for the same reason as the musicians: to make money and a living. The potential for both the musicians and business people is so vast. It seems just as hard to make it as a business person as it is to be a musician in the music business industry. What have you found? Are corporations really as heartless as they are made out to be? Is it hard to make your way up in the business aspect of the industry?
Thanks!
Kassie
Gary,
A group of my classmates and I have just finished a preparing a presentation for class that deals with the “Big 3” Performing Rights Organizations. Are you associated with either ASCAP, BMI, or SESAC? What are you opinions of them? Also, what is your experience with live music scenes outside of Texas? I am currently looking at graduate schools and one of my professors has advised me to consider seriously looking at schools in towns with active performing communities (i.e. New York City, Los Angeles, Chicago etc.) What is your opinion on this? Thank your sharing your time and knowledge.
Gary,
You have quite an impressive list of feats which you have accomplished and it will be exciting to see what you come up with next. Your website and accompanying blog is quite informative and has some great information on it, thanks. As a graduate of UT and an active musician, producer, composer , man-of-many hats etc I am sure you have seen many new graduates attempting to “break” into the business in some form or fashion. Dr. Richter’s course is one of the few offered that deals directly with the music business, it is always popular but in the grand scheme of things few people take the course. In your view do you think the University has a duty to help prepare students for success in their chosen field, even if it is at the undergraduate level? The blame cannot be placed on the University or students, but what does it mean when 300+ students graduate and have no earthly idea how to get a gig (they have practiced very hard on their instrument). As someone who as also taught at UT how does the institution, which in some instances is 20 years behind the “scene”, affect students and musicians?
Wade, I am a member of BMI as a writer and publisher. When I made my choice 25 years ago, BMI was a bit stronger in sampling theatrical and classical music which is why I chose them. My BMI checks are big enough now to buy you a kick-ass dinner once a year.
Choosng a graduate school? The live scene (which I know nothing about, btw) is one thing to look at. You might check out the school’s policies for a student playing off-campus gigues. Some don’t allow it.
You might want to choose a town that has support services for musicians such as writer groups or networking clubs. Also, does the town have a “deal-making” component? Austin does not. A town with real publishers and producers and record companies is going to feel much different than a town full of garage bands. Want to know the real live music capitol of the world? It’s probably Branson, Mo with 54,000 seats sold out twice per day. (The musicians are paid a nice living wage, btw, with health insurance and retirement)
Thanks. See you Wednesday. — Gary
Brad, thank you for the kind words about my work and blog.
This topic of “blame” for why schools continue to graduate students who have no earthly idea what to do next is huge for me. I suppose we’d have to really understand any school’s philosophy to learn how they view their responsibility to a graduate. It does seem that many schools take placement very seriously and work very hard to be responsible that way. Here’s the problem with the music business. Nobody knows how to do it! And placement??? Placement where?
How many full-time audio engineering jobs do you think there are in Austin, Texas the live mucous capitol of the world? I don’t know, but I doubt you could field a volley ball team with them. I do know this…..that wherever there is great confusion and uncertainty, there is opportunity for the great American entrepeneur. This is where artists can find a path, by forging it themselves.
More in class because it’s a big topic. Thanks for bringing it up. –Gary
Kassie, no doubt there is greed and abuse within any corporate structure. However, I find life uncovers a similar sampling or percentage of misbehaviour across most human organizations.
Most large record companies spend 7 times the actual recording budget to try and sell an artist. It’s no wonder that the artists begin to seem like the smallest part of the process to record executives. It would do all artists well to learn about this corporate structure, governance and psychology if they choose to be a part of it. Personally, I prefer to depend upon my skills, intellect, work ethic and individuality to survive. I grew up as a tennis player (not a team sport) which may be at least one component of my decisions whether they are conscious not.
Is it hard you ask? I was the golden child, gifted and talented where everything fell into place…..UNTIL age 27 when I matured into being only the competition. Nothing has fallen into place easily since then in 1978. See the above paragraph on how to prosper. After the shock of adulthood or after leaving one’s unmastered ego behind, one’s career can create a wonderful sense of adventure. And there it stays for me now.
See you Wednesday. Thanks for the insightful comment! — Gary
Gary,
A few of my classmates and I had a presentation in class today about music in the environment. My part of the presentation was on Music Therepy and the effects music has on mood and attitude. This topic intrigued me and I was wondering if songwriters thought about this effect while writing a song or if the effect occurs naturaly because of the theme of the song. When recording and mixing a song, is this a thought of the engineers also? Also, does this same effect occur regardless of if the music is heard live versus recorded?
Also, as an aspiring recording engineer, I was wondering how difficult it is to generate a clientell. Also, what path is the best path to walk, the corporate one, or that of an indy-label?
I am looking forward to meeting you in class and would like to thank you for speaking with us.
Hi Gary. I am a music and human learning student with a background in public school teaching. I would like to work in the private sector or for myself. I would like to develop educational materials for music students, (i.e. documentaries, interactive listening guides using flash). This course has opened my eyes to the possible trouble I could encounter along the way, legally. What does an individual do to start producing educational materials based on the music and recordings of others? Is there a step by step guide somewhere that I’m overlooking?
Hey Gary,
Like Ann, I too presented in the topic of enviromental music, only I researched more on the stereotypes music creates. For example, you won’t hear a mellow Celine Dion song when shopping at a youth-oriented retail store. So my question for you is this, when writing a song, do you always have a clear vision in your head of who the listener will be? Or is it more beneficial to write a song that may cross genres depending on backup music/vocals. Thanks for taking time to answer my question as well as lecture for us!
Leitchae, I’ll be interested in learning exactly what “music in the environment” means. Music theory and it’s effects on mood and attitude is a fabulous subject. The complexity of musical ingrediants that effect our mood would be great fun to study. I doubt a piece played on an oboe effects us the same way as the exact same piece played on a gutar. Tone has as much to do with our response as does music theory. I talk about this some in a lecture topic called “The Shiver Quiver Chill and Thrill”. I would say most popular music songwriters don’t know enough music theory to make these kinds of determinations. Audio engineers sweat bullets over this stuff. They become well attuned to how different relationships of frequencies effect us. Do they have a chart? Probably not. Are they consciously concerned with it? Yes, the good ones are!
Recorded vs live music? Recorded music comes out of two speakers. Even if recorded in 5.1 surround it’s only six speakers. Live music ricochets off every skull, couch, chandelier and wine bottle before getting to your ears. I prefer the control of the studio. That is simply my preference. Others love the excitement of live audio and the wonderful “accidents” that occur
Remind me about your clientele question. It requires more group discussion rather than insight from one person. Thanks for participating. See you tomorrow. — Gary Powell
Hello Human Chad, great idea about producing educational materials. You might find an even better market by producing materials for teachers as well. Teachers are easy to identify and market to. I have found music teachers very open to new pedagogical tools especially given the great divide between what they were taught in college 25 years ago and what their students are acutally listening to.
Your step by step guide is out there. It won’t be in a book or online, but you should be able to divine your method from the experience of others. Trouble? Every entrepreneurial venture is replete with legal issues. Keep your eyes open and try not to step in anything along the way.
After a year of research and the vetting of every known aspect of your business, then ask your question again, “Am I overlooking anything?” It’s such a great question or all of us and I ask myself the same thing daily. Mine is, “What am I missing?”
Be brave and mush forward. See you in the morning. — Gary Powell
Cory, conscious appreciation of one’s audience is a very important component of being a “commercial” composer and producer of music. It is helpful information when beginning to set parameters for one’s work. Without some creative parameters it would be impossible to get anything done which is a common occurance with some artists. Personally, I prefer to have as many consicous parameters as possible before starting the creativity.
When it comes to my personal work, I define the parameters of what I want to communicate both emotionally and lyrically, but I do not take the listener into consideration at all. Let loose the shackles of focus groups!
I live in both these worlds equally well because I love eating so much. See you manana. Thanks for participating. —Gary Powell