blog article by TubeNet member

[MTFULRUTUBA]

+1
I miss Mr. Phillips dearly.

This article reminds me of aspect #487963 of the greatness of Harvey Phillips: He realized fully that artistry and practicality were not mutually exclusive and were indeed synergistic. He lived that throughout his professional life and stressed that to his students.
Thanks, Harvey.

I might add that I have tried to take lessons with several "artists"--privately and in workshops--and the experiences were less than pleasant. Many "artists" simply can't/won't work with people such as myself who do not desire to play "serious low brass music." Some of us just want to become better players in the styles of music we like, but many "artist" types can't understand that. Their world of musical concepts is limited in scope to what they do, and their skill allows them to thrive in that world.

Having said that, there are enough "aspiring low brass artists who want to play serious low brass literature" that these "artists" will have a constant flow of students and don't have to deal with any other type of student.

Though I maintain a constant desire to improve, I will not attend a "low brass workshop or symposium" again, nor will I consult with an "artist" again.

I had one short lesson with Doug Elliott as he was driving through my area, and I appreciated his approach, especially since he didn't begin my lesson by telling me "that's not what a euphonium is supposed to sound like" or "you really shouldn't play that kind of stuff in public." I'd put him in the "artistic and practical" category.

[Mudman]

"I'm just a blue collar musician."

That's as far as I can go without naming names. To the author of the blog, I feel your pain.

[Voisi1ev]

I might be missing the big fish here, but I guess I'd like more specifics on Art v. Practical? I have some ideas, but want to make sure I'm reading this in the correct mindset of artistic practicality.

[Mudman]

Reading between the lines (with firsthand knowledge of certain programs), there are ensemble directors who train educators in a given part of the US. Some of these directors are so closed minded as to poo-poo any high-falutin' ideas of artistry, phrasing, tone production, embouchure function, or almost anything having to do with real music. Expression that has the ability to move a listener? Fuggedaboudit. In some cases they perpetuate a cycle of mis-education that spreads to the public school teachers.

On music education, literally a direct quote, "we need to dumb things down" so that people will understand it. (How about learning to explain complex ideas in a way that raises the musical standard?)

From a former colleague mired in a similar position, one example is the idea that the 3rd mvt of the Larsson Trombone Concertino played with wind-ensemble accompaniment would be too esoteric for HS audiences. "They won't get it." (This is the one that sounds like the theme song from the Jetsons.) Seriously!!???

I prefer the idea that there are two kinds of music. Good and bad. Everything we do should be to serve and improve the art form, even if it means expecting our audiences and students rise to the challenge.

But . . . I can appreciate the idea that there is value in being "the CEO of your band program." Great organizational skills are important in education. The best teachers pair that with true artistry, not just a blue-collar work ethic.

Enough from the mud zone for one post. Bloke succeeded in eliciting conversation from his post.

[Leland]

I still don't understand why people need to say that "serious" means "you can't have fun" or "it's not 'real' music unless it makes you cry."

Gee whiz.

All I want to do when I'm working with a kid or a section is to figure out how they can improve their technique so they can play the music that they want to play.

I keep wondering if it's because my family -- mom, dad, aunts, and uncles -- played music and sang almost entirely for kicks. Besides family get-togethers, they've performed in public-facing groups for longer than I've been alive, and they're continuing to play today. They never pressured me to play a certain way or to run with a certain flavor of musicians.

Add my own +1 to snorlax's remarks about Harvey Phillips. And +1 about Doug Elliott, too; I took a work-issued horn to his house so we could try to figure out a mouthpiece combination that would make it play right. It took a couple hours, but he was able to work his magic, as expected.

[Mudman]

I agree that music should and can be fun. Doesn't always have to be art music.

But when faculty at a major institution of higher learning dismiss new or artistic ideas, there is a problem. They are training future educators to suck.

[Micah Everett]

The author of this blog is known to lurk on TubeNet periodically but post rarely. I can say with good authority that Mudman's between-the-lines reading was exactly correct.

I've been writing this blog for five years now, and have learned that little over 1,000 words is ever read. That--and the desire to provoke thought without being an a$$--is why so much was left between the lines....