During the second half of the 19^th Century, rail transportation in the United States was a booming enterprise. Expanding to every corner of the land, this lucrative growth industry seemed unstoppable. Yet within 70 years of its heyday, rail companies tumbled. And today, their impact of is negligible (beyond Amtrak and lines of Thomas the Tank Engine toys).  What on Earth happened?

Well, the world changed. The advent of automobiles, trucks, buses, and airplanes simply made trains less necessary. Less relevant. So they faded away.

But what if these companies had maintained a broader vision? What if they hadn’t been here simply to support railway systems, but rather to solve transportation needs of all sorts? Had that been the case, these businesses might still be major players in air, land, and sea travel today.

The mistake of overspecialization has plagued virtually every industry, large or small. We’ve seen this sad tale play out time and time again.

In the arts, for example, consider record labels. So massive was their influence and power just 15 short years ago that the top handful of multi-billion dollar corporations were oft referred to as the “music industry.” But make no mistake. That’s not how they approached the game. Instead, they were the “sound-reproduced-on-physical-products-industry.” Which explains why the move from records to CDs worked so seamlessly. Yet when digital reproduction and distribution became reality, the consequences were devastating. Imagine how differently history might have been written had these companies truly seen themselves as the backbone of a comprehensive and ever evolving music business.

Or how about orchestras? These organizations boast a rich and glorious tradition. But even so, American orchestras today are declaring bankruptcy at an alarming rate. What business are they in? Serving as a cultural and creative hub? Transforming communities through music? Celebrating the unique artistic identity of a region?  Not even close. Instead it’s much more narrowly defined: “Large ensemble music featuring a combination of strings, winds, and percussion performing primarily Western classical music by dead Europeans.” Hmmm…During this tumultuous time of disruptive change, couldn’t these ensembles rescue themselves from extinction by thinking wider and re-imagining core purpose? 

What about your own career? Do you just do that one very specific thing (i.e. play classical oboe, choreograph ballet, paint landscape murals)?  Or is your mission open and flexible, ensuring that your work will remain necessary, valuable, and valued no matter how much the world evolves, in any direction?

True, you can’t be all things to all people. True, there are tremendous benefits to addressing a particular niche. Just be sure that the positioning you choose is broad enough to ensure there will always be demand for your art.

Successful artists, leaders, entrepreneurs, and innovators have the most interesting ideas. Not just because they’re somehow magically smarter or more creative. Part of the formula is that these individuals are voracious readers, impacted dramatically by the perspectives of thought leaders. They’re also experts at synthesizing information—taking something intended to address one situation and adopting it to another. Reading the right books challenges how you think, expands your horizons, and helps you imagine new possibilities for your art.

Below are 10 of the most influential books I read in 2011. This year, my reading list focused around the topics of institutional change, education, leadership, business models, and marketing. Notice that not one of the titles on this year’s list is written specifically for artists. But all are deeply relevant to the challenges faced by this sector in our quickly changing world. I hope you’ll find some of these helpful and beneficial to your own evolution.

1)      There’s a Customer Born Every Minute: P.T. Barnum’s Secrets to Business Success. By Joe Vitale. The world may be changing at a breakneck tempo, but what it takes to get noticed has not. This book examines the life and practices of the greatest arts entrepreneur of all times, circus mastermind P.T. Barnum. With engaging and powerful prose, this biographical account introduces ten “Rings of Power” that are spot on today for artists who hope to attract maximum attention. A great read!

2)      The E-Myth Revisited: Why Most Small Businesses Don’t Work and What to Do About It. By Michael Gerber. While several points addressed here probably aren’t the right approach for artists running the small business of their career (he often points to the fast food McDonalds model), I learned a ton from this book and so will you. Gerber explains how to methodically create a business model and life that works for you, rather than being overwhelmed by the frantic antics practiced by most artists and small business owners. This will alter your approach to creating a career in the arts.

3)      Linchpin: Are You Indispensible? By Seth Godin. When reading this, I was delighted to learn that “Our economy now rewards artists far more than any other economy in history ever has.” Wow!!!  As someone who has devoted much life energy to helping artists maximize professional and personal success, this assertion definitely caught my attention. But just because you’re involved with the arts doesn’t make you an artist. So are you indispensible? (Find more thoughts HERE.)

4)      Who Moved My Cheese? By Spencer Johnson. This short 94-page book takes literally less than an hour to read. It tells the story of two mice and two littlepeople who live off cheese in a maze. When their supply runs out, the mice immediate move on in search of new riches. But the smarter and more complex littlepeople have a much harder time adapting to their new circumstances. Throughout the evolutionary process, many valuable lessons are learned. Inspirational and vital words, especially during our industry’s current metamorphosis.  

5)      Buy In: Saving Your Good Idea from Getting Shot Down. By John P. Kotter. Let’s face it. No matter how good your idea, there will be scores of doubters and naysayers eager to tear it to shreds. Kotter urges that advocates of change initiatives welcome all feedback, even by the fiercest critics. He then outlines the four most common categories of idea squashing (fear mongering, delay, confusion, ridicule), and suggests appropriate and potent responses to the 24 most common attacks.

6)      Change the Culture, Change the Game: The Breakthrough Strategy for Energizing Your Organization and Creating Accountability for Results. By Roger Connors and Tom Smith. Though the writing style of this book is a little dry and academic, it offers specific and actionable steps for changing institutional culture. To do this, the entire results pyramid must be altered—from bottom to top—Experiences, Beliefs, Actions, Results. A must read for any leader hoping to help evolve an arts organization or institution.

7)      Catching Up or Leading the Way: American Education in the Age of Globalization. By Yong Zhao. Claiming that America’s pre-college education system is broken is about the least controversial claim one can make. For evidence, just consider our pathetic standardized test scores when compared with other first world nations. However, Zhao points out that China, South Korea, and other high scoring societies understand that their education system is also broken. Innovation, creativity, and leadership in these nations are disturbingly low. As they increasingly try to emulate aspects of American education, such as creativity and individualism, we ironically embrace ineffective measures that will not serve us well. A fascinating perspective, and one that suggests (among other things) the true potential of arts education.

8)      In Defense of Elitism. By William Henry. After hearing a provocative talk by Norman Lebrecht suggesting that classical music become more elitist (my reflections HERE), a colleague suggested I read this. Without a doubt, it is the most controversial text I’ve read in years. Henry, the late NY Times reporter, argues that America has made a clear decision to embrace egalitarianism (the notion that everyone and every idea should be equal) over elitism (celebrating excellence) across the board. In terms of art, he argues that classical music is simply superior to pop music, end of story—a position far away from the egalitarian view I tend to espouse. Addressing everything from educaction to the job market, many of his points didn’t sit right with me, but others were quite compelling. If you want to be challenged, this book won’t disappoint.  

9)      Start Something that Matters. By Blake Mycoskie. The founder of the for-profit company TOMS, whose business donates a pair of shoes to poverty stricken children for every pair they sell, argues that giving is good business. “If you incorporate giving into your business and life, you will see greater returns and rewards than you ever imagined. So many good things happen to you when giving is integrated into your business—and I’m not even talking about the wonderful results of the giving itself…I’m talking about the business.”  Inspirational, and a great position for artists.

10)  The 29% Solution: 52 Networking Success Strategies. Though not particularly high-level or groundbreaking, this book provides many helpful networking strategies. It reminds us just how important word-of-mouth marketing is, and urges that hours each week be devoted to this practice. He also stresses that it’s not “net-SITting” or “net-EATing” but “net-WORKing.”

Related article: 2010 Best Reads from the Savvy Musician

You may be aware that the New World Symphony is America’s leading training orchestra, boasting top rate talent. And you may have heard about their breathtaking new hall in Miami Beach. But did you know that members of this group are daring to re-imagine the business model of orchestras from the bottom up?

The fact that many American orchestras struggle to survive is no secret. In the past few years, top-tier ensembles in Philadelphia, Syracuse, Honolulu, Detroit, Louisville, Dallas, and New Mexico have cancelled concerts, issued pay cuts, declared bankruptcy, or closed their doors. Reversing this trend will likely require more than savvier social media use, fundraising efforts, or other one-dimensional potions.

I recently completed a two-day residency with the NWS focused around this very problem. Below is a summary of our journey.

PROCESS

As a starting point, we used the following scenario. The year is 2020, and almost every major full-time American symphony orchestra has since declared bankruptcy and closed its doors. (Obviously nobody desires this outcome, but imposing these “conditions” forced fellows to think creatively and challenge status quo.)

Confronted by that hypothetical, a group of NWS alum decides to found a new ensemble, Orchestra Future. For this organization, two priorities are non-negotiable:

1. We must produce outstanding art (an area where Orchestras Past excelled)
2. We must create a sustainable business model (an area where Orchestras Past were not ultimately able to succeed in the 21^st Century)

Beyond these two points, anything and everything was on the table. How might this new, alternate Orchestra Future look?

Magical solutions did not instantly appear. As with any meaningful strategic planning, the process benefited from thoughtful discussion and collective wisdom. Participants began by dissecting Orchestras Past (in other words, the 2011 paradigm), honing in specifically on three large-scale areas they deemed essential: 1) Event Design, 2) Institutional Culture, and 3) Relevance.

After considering both positive and negative aspects of Orchestras Past, attention turned to specific, actionable solutions for Orchestra Future. And even though our meeting time was limited, some fascinating conclusions were drawn.

MISSION

Our thought leaders turned first to mission. They decided that the purpose of Orchestra Future will be to:

1. Serve and celebrate local community
2. Function as an arts and innovation “fountain”

These essential priorities would impact every major decision, from programming and musician responsibilities to activities pursued and marketing tactics.

HIRING PRACTICES

With Orchestras Past, outstanding performance was the sole or primary criteria when auditioning new members.

Applicants will only be considered by Orchestra Future when they clearly bring a valuable secondary asset with them. That might mean being an extraordinary educator, great public speaker, good schmoozer, effective fundraiser, dynamic marketing visionary, freakish master of multiple artistic talents, etc. In other words, every employee must clearly demonstrate his/her value towards achieving both non-negotiable priorities (great art and sustainable business model).

CORE PERFORMANCE ACTIVITIES

Orchestras Past engaged in two primary types of performance activities. The ratio of time devoted and perceived importance between these areas was estimated at around 85/15.

1. Formal concerts-85%. “Masterworks,” “Pops,” or some other program variation. This area was the meat and potatoes for every full-time musician of Orchestras Past.
2. Engagement-15%. Educational and community outreach events. For members of Orchestras Past, involvement here was often optional.

Both of these activity categories continue to play a role in Orchestra Future. But their relative importance is reallocated to 50/50. And though all musicians will be required to participate on both sides of the equation, not all divide their time equally. Some are more focused on one side or the other, falling somewhere on the spectrum between 85/15 and 15/85.

EVENT DESIGN

In addition to outstanding performance (always important), concerts by Orchestras Past were characterized by several features. A partial list of conventions includes:

• Programming. Overture-concerto-symphony model. Multi-movement works always played in their entirety. Music by dead, white, European composers comprised 95+% of programs.
• Instrumentation. Only three kinds of instrumentations were permitted: full orchestra, orchestra with soloist(s), solo encore.
• Visual stimulation. Typically minimal.
• Verbal communication with audience. Nothing, or offered solely by the conductor.

While Orchestras Past delivered incredible art through these formats, Orchestra Future will vastly expand the palate of experiences offered. The NWS group imagined a number of initiatives that, at times, challenged each of these conventions.  In particular, they considered ways that event design could directly reflect their mission priorities of local community and arts/innovation fountain.

MUSICIAN RESPONSIBILITY

In Orchestras Past, musicians had the following responsibilities:

1. Performance. First and foremost, show up on time for rehearsals/performances, be prepared, and follow strictly regulated etiquette guidelines (85-100% of job).
2. Engagement. At a distant second, participate in educational and engagement events. Not always required (0-15%).
3. Service. Some musicians had roles on various committees (0-5%).

In Orchestra Future, not only will the proportion of energy dedicated to each of these categories change, but musicians have additional responsibilities including:

• Secondary skill. Every performer is involved with a secondary area where they have aptitude, interest, and ability to help the organization succeed.
• Marketing. All stakeholders play an active role in marketing and advocacy.

INSTITUTIONAL CULTURE

Sadly, Orchestras Past had a reputation for being resistant to change and sometimes unhappy organizations. Whether true or not, an infamous study by Harvard researcher Richard Hackman found that orchestral musicians ranked among the lowest in terms of overall job satisfaction compared to other professions, just under federal prison guards.

Though the NWS fellows did not have enough time to outline a comprehensive new cultural positioning statement, they did offer some reflections. Orchestra Future must be a place where creativity, innovation, and experimentation are celebrated at every level. Players should be actively involved with operations, vision, and major decisions of the ensemble. Ideas will be evaluated on the merit of the proposal rather than the rank of its originator. A respectful and supportive environment is key, with a prohibition placed on unconstructive complaining and negative attitudes. If orchestras are truly to serve communities, they must begin with a healthy, vibrant internal culture.

—-

Of course, we’re not yet in the year 2020, and thankfully all of the major American orchestras have not closed their doors. There is a lot these organizations can do now to avoid the heart-breaking scenario that NWS discussed. While specific solutions may vary, one thing is certain: Major innovation is surely a requisite ingredient (true for any sector in our complicated and quickly evolving world). If different results are desired, the model must change.

Thank you to the New World Symphony for being brave enough to tackle this crucial topic. It’s only a starting point—talk won’t save the industry, only action. But this conversation marked an important step, and will hopefully serve as inspiration and a catalyst for meaningful change.

Long live the orchestra!  Here’s to sustainable models that allow this culturally rich institution to produce outstanding art for many, many years to come!

Related articles:

• What Professional Orchestras Should Learn from YouTube
• Dumbing Down or Smartening Up
• The Working Musician: Full-time Orchestra Member
• Competitive Auditions

I spend a good deal of time dreaming up bold and unconventional success solutions for the arts. While these proposals typically receive serious consideration from some corners, there are others who emotionally shoot them down immediately without any rational thought whatsoever. It seems the closer someone is to a position, the more threatening a fresh alternative can feel. Even if the current model is clearly not working.

All too aware of this human tendency, I pride myself on considering the merits of any and every proposal. Even if my gut reaction is “NO!” Especially when that’s the case.

And so it was last week, while witnessing a keynote presentation by Brittish novelist and music critic Norman Lebrecht at the Dutch Classical Music Meeting. Author of Who Killed Classical Music? Lebrecht is renowned for thoughtful but provocative, controversial viewpoints.

In a talk entitled Reframing the Classical Music Experience, Lebrecht declared that one word that has been taboo for decades in the classical music world. We shy away from it at all costs. But as organizations look for new solutions that enable vibrancy and sustainability, we no longer need to fear this concept. In fact, we should embrace it:

E – L – I – T – I – S – M

Why shouldn’t we be elitist, he asked? Classical musicians represent some of the finest talent on Earth. They spend a lifetime working tirelessly to perfect their craft. We should celebrate that phenomenon, making classical events a special, elite experience.

I cringed. Designing more accessible classical music experiences was core to the “Artistry and Relevance” chapter in my book The Savvy Musician. My message is one of adamant anti-elitism. Or better yet, resolute pro-people-ism.

Is Lebrecht completely wacky, I wondered? Or is my violent resistance simply caused by a closed mind, too attached to personal viewpoints to imagine new possibility? Could becoming more elitist actually help classical music?

Forcing myself to stay open and logical, I pondered whether a valuable lesson could be gleaned from his shocking contention. And after a week of working through this puzzle, here is my epiphany-in-progress.

Elite Access

Without a doubt, there are times where feeling elite motivates. For example, I fly a lot, and cherish my status. Elite Access. That’s what the airline calls it. Going in a special line, getting bumped to first class, raking in miles faster than the other guys. It just feels special, and encourages loyalty. As bizarre as it may sound to a non-frequent flyer, elite status helps define a part of my identity. “I am an elite world traveler.” Spectacular!

Lebrecht suggests that the classical music experience become more selective. More tuxedo…More long pieces…More expensive tickets…Would adopting that paradigm help build loyalty and, in turn, revenue?  

Hmmm…

Maybe the problem is that classical musicians today are too much in the middle.

“Anti-elitist” proponents make their concerts more friendly by featuring unusual venues, introducing pieces verbally, permitting the audience to clap between movements, and substituting business casual for wedding formal. But from an event perspective, these shows still pale in comparison to their popular music counterparts. The audiences still listen politely. Performers still hide behind music stands, sit respectfully center stage, and disappear during intermission. There are no light shows, mosh pits, dance competitions, Lady Gaga outfits, or sing-alongs. Such experiences may be profound, but not particularly populist.

On the other hand, consider more “serious” events such as traditional orchestra concerts. The hall is still breathtaking. The pieces are still long and glorious. The musicians still look as serious as brain surgeons. But these otherwise high society events are made slightly more accessible by the availability of cheaper tickets, pre-concert lectures (lectures?), and a conductor who shares some words from the stage. Slightly more approachable for the uninitiated, but also less exclusive.

Splitting the Difference

One gargantuan challenge for most classical organizations is expanding their fan base. The current audience consists primarily of seniors accustomed to time-tested conventions. But they hope to attract younger folks as well, who have different expectations about what a concert experience should deliver. So, in an attempt to be all things to all people, ensembles design some type of middleground that isn’t particularly elitist or populist. Said another way: In an age where many people seek extreme, niche experiences, these groups split the difference.

Two Classical Musics

Maybe we need two classical musics. Classical-A is exclusive, hardly available to the masses. For Elite Access, you must pony up, dress up, and pay up. Anyone who learns this club’s secret handshake is far above average. They are exceptional human beings with exceptional taste.

Classical-B provides hip, fun, interactive entertainment presented in user-friendly formats. The only audience these events discriminate against are ultra-snobby stuffed shirts, who eat caviar while wearing a monocle on their yacht. Of course, Classical-B still features extraordinary virtuosity, beauty, and many other unique dimensions its creators can access. But this is first and foremost an art of the people.

Cages & Rainbows

Norman Lebrecht may have rattled my cage, suggesting that expanded elitism might be good for classical music. It’s doubtful I’ll be joining that camp anytime soon. I’m too busy fighting for new audiences. For the opportunity to touch many more lives, not fewer.

But perhaps there’s a pot of gold on both ends of this rainbow.  The trick is committing to one side.

What do you think?

Today, as the world mourns the loss of visionary leader Steve Jobs—responsible for creating Apple, the Macintosh computer, iPhones, iPods, iPads, and Pixar Animation Studios—is an ideal opportunity to reflect and grow as individuals.

 Eric Jackson recently published an article in Forbes called The Top Ten Lesson Steve Jobs Can Teach Us—If We’ll Listen. Points below are taken from that publication, but the explanations are mine, showing how they are directly relevant to artists. 

#1: The most enduring innovations marry art and science – Isn’t it beautiful that the first point addresses art? The products of Steve Jobs married cutting edge technology with beautiful design. Not to mention that his creations redefined the music industry.

Of course, a good part of what artists do is science. Learning to play Mozart on the bassoon is science. Training as a dancer and mastering water colors are both science. It only becomes art when you do something creative, personal, and life-altering.

#2: To create the future, you can’t do it through focus groups – When most businesses envision new products, they interview consumers to see what these folks want. But not Steve Jobs. He relied on his own inner compass.  The masses were unlikely to imagine the phone or music playing device of the future. But he could.

Most artists also have a focus group, whether they realize it or not. It’s made up of teachers, colleagues, family members, and friends, who all have their own ideas about how life should look, what career you should have, and which art you should create. But what if they’re wrong? Innovators find their own way. Following conventional wisdom is rarely the best solution.

#3: Never fear failure – Jobs got fired from the company he created. But that didn’t stop him from changing the world. Here is an incredible quote from his 2005 Stanford commencement speech:

“No one wants to die. Even people who want to go to heaven don’t want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life…Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma — which is living with the results of other people’s thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.”

While many artists view mistakes and failure as the enemy, perhaps we should do the opposite. Celebrate both successes and failures. This is a topic I addressed in an article called You Fail!!! But Are You Doing It Right?

#4. You can’t connect the dots forward – only backward – Also from the Stanford speech. His point here is that things don’t always make sense in the moment (a terrible car accident, getting fired, etc.). In the future, you’ll be able to see how these important events helped shape you, but not always in the moment.

History is taught moving forward through time at most schools, but that doesn’t reflect reality. Life works in reverse chronology. How could you possibly know what you’ll be doing in 25 years? We don’t even know what major event (good or bad) might occur tomorrow. While it’s imperative for artists to have a plan and a direction, be prepared to change just about everything if need be. It’ll make more sense later. Trust that life will work out, and don’t get in its way.

#5: Listen to that voice in the back of your head that tells you if you’re on the right track or not – Steve Jobs believed in creating his own destiny, even if that meant changing the world. Especially when it meant that. Jobs was about challenging status quo.

How about you? As an art maker, are you simply trying to fit into roles that have been pre-determined? Are you just a powerless character in the drama of the world? Or are you brave enough to rewrite the whole play?

#6: Expect a lot from yourself and others – Steve Jobs was a control freak and perfectionist. So are most artists I know. They have grueling expectations, always striving to reach the moon artistically.

But creatively and professionally, some of these individuals let themselves off the hook. They accept living as a “starving artist,” for example. They look for easy answers and traditional paths when it comes to career development, rather than devoting the same rigorous expectations to professional prosperity and making a difference.

#7: Don’t care about being right.  Care about succeeding – This quote comes from an interview after Jobs was fired by his own company, Apple.  It describes a phenoenon that plagues many artists. We want to play the “right” notes in the “right” way with the “right” people using the “right” format. But what if you do all those things and they still don’t lead to personal, professional, artistic, or financial success? Such dogmatic priorities often place focus in the wrong place. Make success your top priority. If you do that, the other details will work themselves out in the process.

#8: Find the most talented people to surround yourself with – Jobs did not create his empire alone. He sought the greatest talent available, and built a fortress with them.

Artists can do the same thing. Forget about beating out the competition. Befriend these great minds, become business partners, work together to build your kingdom.

#9: Stay hungry, stay foolish – This great quote is also from Jobs’ Stanford speech.

Have you already mastered your art? Are you too old to acquire new skill sets? Is it too late for you to leave a legacy? Or are lifelong learning, growth, exploration, and idealism as fundamental to your existence as breathing and eating?  

# 10: Anything is possible through hard work, determination, and a sense of vision – Jobs was not a god. Just a human being, like you and me and eveyone else. But he changed the world time and time again.

His primary weapon wasn’t technology, contrary to popular belief. (Many people use technology, but their impact is limited.)  It was imagination and persistence. Anything is possible. You, your art, and your vision can indeed change the world. How? Well, a great start is embracing the points above.

Rest in peace, Mr. Jobs. Thank you for changing our world, and for all the lessons your example continues to teach. You were an inspiration, master teacher, and the quintessential artist.

Check out David Cutler’s

THE SAVVY MUSICIAN: Building a Career, Earning a Living, & Making a Difference

“Hands down, the most valuable resource available for aspiring musicians.”

— Jeffrey Zeigler, Kronos Quartet

This is part 3 on a series devoted to Portfolio Careers.

Part 1 of this series examined the kinds of work streams that might be included in your portfolio career. Part 2 unveiled 21 incomes models that can be integrated. Now it’s time to do the math, and determine your Portfolio Career Plan (PCP). As you’ll see, this process is quite logical. All you need is a pencil, paper, calculator, and a little creativity.

STEP 1: WRITE DOWN INCOME STREAMS

Determine all potential income streams that will play a role in your portfolio, as was discussed in Part 1.  For this hypothetical profile, let’s consider the income streams of musician Arty Q. Lation:

Stream 1: Private teaching

Stream 2: Gigs

1. Parties
2. Restaurants
3. Concerts

Stream 3: Commissions

Stream 4: Part-time “day job”

As you can see, Arty maintains four large-scale income streams, one of which has three sub-streams.

 STEP 2: PROJECT ANNUAL INCOME GOAL

When projecting a blueprint for your portfolio career, the first number to determine is your Annual Income Goal (AIG).  How much do you hope to earn in a year?  How much do you need to live?

“As much as possible” is an unacceptable copout. Be specific. And here’s a hint: Earn more than you spend.

Your AIG should take a number of factors into consideration: mortgage/rent, utilities, transportation, family expenses, health insurance, debt, savings goals, etc. And don’t forget Uncle Sam!  For suggestions on budgeting, click here.

For now, let’s suppose your AIG is $50,000.

 SteSTEP 3: PROJECT INCOME PER STREAM

How much Income Per Stream (IPS) do you project throughout the year?  Obviously, the total amount identified should equal or exceed your AIG. If they don’t, there are three choices?

1. Lower your AIG
2. Add new streams
3. Increase amount earned within various stream

At this point, you’re still guesstimating. What is a reasonable amount that could be earned from each activity?  For example:

• Stream 1: Private teaching                 $20,000
• Stream 2: Gigs                                         $22,000
• Stream 3: Commissions                       $3000
• Stream 4: Part-time “day job”              $5000

            TOTAL:                                                    $50,000

 STEP 4: DETERMINE PATH TO REACHING IPS

At this point, figure out what you need to do to reach your IPS targets. As you break down things further, numbers may need to be adjusted in one direction or the other. Here is what Arty eventually determined.

Stream 1: Private teaching                $21,600

Arty charges $45 per hour for private students, and the average student takes 40 lessons per year.  He will secure 12 hours worth of students.

12 hours x 40 lessons per year x $45 per hour = $21,600

Stream 2: Gigs                                   $19,800

As we saw above, Arty is involved with three categories of gigs. His wedding band plays around two private parties per month (24 per year), paying an average of $250 per engagement. He has a regular restaurant gig 2 nights per week, around 45 weeks per year when accounting for vacation and sick leave.  While compensation is just $100 per evening (plus dinner!), the work is steady and fulfilling.  He also performs concerts with various groups.  Though these engagements are sporadic, they average about $400 per month.

PARTIES: 24 gigs x ca. $250 = $6000

RESTAURANT: 2 nights per week x 45 weeks per year x $100 = $9000

CONCERTS: ca. $400 per month x 12 months = $4800

TOTAL: $6000 + $9000 + 4800 = 19,800 

Stream 3: Commissions                     $3000

Arty has already lined up 3 consortium commissions for this year, paying $1000 apiece.

3 commissions x $1000 each = $3000 

Stream 4: Part-time “day job”          $5400

Arty has a part-time music store job, which pays $10 per hour.  He is employed around 12 hours per week, and will probably work the equivalent of 45 weeks throughout the year.  

12 hours per week x 45 weeks x $10 per hour = $5400

TOTAL:                                              $49,800

$21,600 + 19,800 + $300 + $5400 = $49,800

 Notice how several of the IPS numbers changed during this phase. That’s a common part of the process.

The nice part of breaking things down like this is that Arty knows exactly what he must do to make his AIG a reality.

 STEP 5: ANALYSIS

In this blueprint, Arty came pretty close to his AIG.  Just $200 under.  If nervous that this model cuts things too close, he might try securing another commission, getting another student, asking for an extra hour per week at work, or hustling gigs just a bit harder.

The model above doesn’t used hyped numbers or an unrealistic scenario for portfolio career musicians. If anything, it shows that making $50,000 annually in this field is absolutely possible with the right blueprint. Even in this age of unemployment.

Obviously, if your goal is $75,000, $100,000, or $150,000, the career puzzle becomes more complex. Will you add more streams? Charge more per hour? Work more hours in a given stream?

But whatever you do, figure out your PCP on purpose. Do the math and think things through. This is too important to leave to chance.

This is part 2 in a series devoted to Portfolio Careers. For Part 1: Imagining the Mix, click here.

If you have money to invest, any financial advisor worthy of their corner office will suggest you diversify the portfolio. In other words, don’t put all your eggs in one basket. Include a variety of investment types so that if one tanks, others will soften the blow. This balanced approach allows multiple ways to reach your financial goals.

The same logic can be applied to multiple-stream careers. Incorporate a number of income types in your portfolio.

Below are descriptions of 21 income models.

As you can see, there are quite a few categories of income available to artists. While few portfolio careers take advantage of all the options above, including a variety is often a key component to reaching financial goals.

Stay tuned for Part 3…

Portfolio career is the term used to describe a professional path involving multiple streams of income. This profile is commonly adopted by artists of all stripes. I, for one, have developed a portfolio career, and wouldn’t have it any other way.

Advantages of a portfolio career include:

• The opportunity to control your own activities and schedule
• A flexible framework for reaching earning objectives
• A variety of activities and challenges
• A structure that enables you to pursue passion projects
• Interaction with multiple communities, allowing for great networking
• Freedom from corporate politics
• If you don’t get a full-time job, this may be your only option

Assuming you enjoy variety, the primary disadvantage of a portfolio career is that most of this most work is self-employed. You’ve got to hustle, market effectively, and create a solid career model. After all, no one else will do it for you. You must also be extremely good at time management.

This series of posts will help you design a blueprint for a portfolio career that reaches your earning objectives.

Step 1: DETERMINE WORK CATEGORIES

With your skills, interests, attributes, and connections, begin by determining major income stream categories where time and energy might be divided. Limit this list to seven entries. Here are the large-scale categories of my career:

1. Composing
2. Performing
3. Teaching
4. “Expert services”

Expert services refer to activities built around a particular platform, or what I call a Powerhouse Topic. For more information, click here. My powerhouse topic is built around arts careers/entrepreneurship. 

1. Merchandise sales
2. Writing
3. Miscellaneous

Please note that there may be more than one way to group income streams. For example, composing and performing might be combined under the single heading Musician Services. The important thing is to organize categories in a way that makes sense to you.

Step 2: BREAK DOWN CATEGORIES

Within each large-scale category, go into more detail. What specific types of activities might you do? Since we’re just at the brainstorming phase, feel free to list as many options as imaginable, even if all don’t wind up being part of your eventual plan. Again, here is my list, with comments in boxes.

1. Composing/arranging
   • Commissions 
   • Royalties 
   • Prizes & grants 

While competitive awards like prizes and grants can certainly provide income, it’s usually unwise to depend on them as reliable revenue. 

1. Performing
   • Concerts (headlining) 
   • Gigs (background music)
   • Accompanying
   • Other playing work

Notice that concerts and gigs are separated here. Someone else might lump them into a single sub-category, which is fine. To me, they feel like very different activities, and require unique marketing to acquire.

1. Teaching
   • College teaching
   • Private lessons
   • Teaching artistry
   • Festivals & camps

I actually have a full-time college teaching position. Just because you have a job (with an external employer) doesn’t mean that a varied portfolio career isn’t possible or desirable for you.

1. “Expert services”
   • Speaking engagements
   • Consulting
   • Private mentoring

If your powerhouse topic is something people care about, a number of professional opportunities become available. Better yet, being known as an expert often leads to additional work in other categories.

1. Merchandise sales
   • Book sales (through distributors/wholesalers/dealers)
   • Book sales (through website/back of the room)
   • Musical score sales
   • Recording sales

Two categories of book sales are listed here.  That’s because the earning structure is quite different depending on where and how it sells.

Notice that score sales are listed under Merchandise. They could just as easily have been placed under Composing/Arranging. In your blueprint, place streams where they make the most sense to you.

1. Writing
   • Books
   • Blogs
   • Articles

It’s only the rare occasion when I get paid for writing blogs or articles. (The financial benefits are indirect.) But they play an significant role in my schedule. In a portfolio career, think not only about what will earn income, but also where time must be spent.

1. Miscellaneous
   • Investment income
   • Conducting
   • Other

We will discuss passive income sources, such as that produced by investments, later in this series. If this money is generated specifically for a long-term purpose such as retirement, you may not want to include it in your income model.

OBSERVATIONS

Here are a few observations when reflecting on the model above:

• Quantity. My Portfolio Career Blueprint includes seven large-scale work categories and 24 sub-categories.  Don’t feel pressured to have that many streams. A portfolio career may have as few as two to four focuses. On the other hand, some people do much more than I do.
• Variety. Most of my entries have at least something to do with music or the arts. But they don’t need to. Many artists pursue a much wider array of activities: playing music, cooking, website development, day care, painting, dog walking, etc.
• Brainstorm. Remember, at the brainstorming phase, you only need to determine areas where you might earn income. In the eventual model, some of these paths may ultimately disappear.

Stay tuned for part 2…

Here we are again, at the beginning of a new school year full of promise. Hopefully all of you involved with this academic ecosystem are rested, rejuvenated, and rearing to go.

Within a matter of weeks or days, urgent deadlines will start to emerge with ever increasing frequency. Stress levels will rise, your to-do list will grow long. All good stuff, mind you. But to cope with such demanding expectations, the time for imagining a better future, strategic career planning, and other entrepreneurial activity may grow short. Or wither away completely if you’re not careful.

So before that inevitable, relentless chaos takes over life, I challenge you to answer a question. For students and other art makers, it looks like this:

What one big, important thing will you do this year to advance your career, establish your platform, and make the arts world just a little more valuable?

For teachers and schools, the challenge is this:

What new, powerful initiative will be enacted this year within YOUR curriculum to better prepare students for professional—as opposed to simply artistic—success.

Most arts students, teachers, and schools won’t make much headway in these areas this year. Sure, they’ll improve artistic/training technique, continue taking/offering outstanding classes, and perpetuate conventional wisdom that’s been around for decades without batting an eye or daring to consider other options.

But I’m asking you to be a leader. Of your own life, and for the world around you. Write it down. Commit. And make it happen.

Otherwise, twelve months from now, you’ll simply have more technique and less time.

Related article: New (School) Year Resolutions

As part of a May 21, 2011 Facebook event hosted by the National Conference on Keyboard Pedagogy, I invited music teachers to submit their websites for observation and critique.  But most of this feedback is directly applicable to all kinds of artists. I hope these comments provide inspiration and direction for your own site.

OUTSTANDING FEATURES

The following section focuses on positive aspects of some submitted sites (occasionally with a proposal for making it even better in parenthesis). Each comment addresses a different type of issue. I hope these models and comments provide you with ideas that can be applied to your own site as well. Please visit the addresses to get the full impact. 

Velocity Music Academy

• Great student photos. This demonstrates that students are valued.
• The blog is wonderful. Definitely student-centric, and appealing to prospectives.

Oak Grove Piano Studio

• Home page provides some helpful text. I wonder which parts are most likely to grab someone’s attention.  The 6-foot grand? 
• The idea about paid trial lessons is interesting.  Does that work? How many people take you up on this offer?
• Policies and tuition are clearly stated. No ambiguity here.
• This calendar makes it very clear when lessons are offered.

Emily Lau Piano Studio

• The audio recording on the home page is quite effective (and great playing!). This is the only submitted site that included an audio recording. I imagine that offering actual music is an effective sales point for music studios.
• I particularly like the Studio Guide page. Discussing parental expectations as well as student ones is a good idea.
• The fact that you have an HD video camera and digital mic to record is fantastic!  It distinguishes you from most studios. In fact, this aspect alone could help you recruit students. (That said, too bad it’s buried in the middle of a page packed to the gills with prose. Most people will never find it. How about a page focusing on “Why Emily Lau’s Piano Studio?”)

 King Music Studios

• This is one of the few submitted sites with a philosophical statement. A statement of philosophy, priorities, or methodologies is much more compelling than a bio.

 Vahl Piano Studio

• Location is quite obvious when shown in top line of each page.
• At the beginning, the kind of people that might want to study with you are described.  This is a good idea.  I can see someone reading it and thinking…hmmm, that sounds like me.  (The only problem is that it’s all buried in a mammoth sentence with semi-colons. People don’t read lots of text online.  Try breaking this up by using bullet points, so people will be more likely to read it.)
• Of all the submitted sites, this was the only one that shared videos.  And videos of STUDENTS playing nonetheless. Not only are these kinds of videos helpful for recruitment purposes, they also build pride in the studio. And if you build up the idea of filming one, they can encourage students to practice more. 

 Etudes and Encores Music Studio

• I love this list of “Top Ten Reasons to Take Music Lessons.” The last point is “It’s fun.”  Since your list is also fun, that claim seems credible. 
• Incidentally, a claim I’d love to see on someone’s site is “Top Ten Reasons to Join the _____ Studio.”  This way, you’re not only claiming that music lessons are great, but that your studio is special and unique.
• The registration form here is good.

 Orpheus Academy

• The “Music Studio Comparison Checklist” is powerful marketing. (Not sure if it’s all true, however. Are there really no other studios where all teachers have advanced degrees of that offer age appropriate experiences for all?)
• Nice clear calendar. The best example I saw from submitted sites. Will clear up a lot of questions
• Powerful testimonials. (Though most are too long. Would it be possible to extract highlights of each?)

 L. Scott Donald

• I loved that the first word was WHY…”Why do I teach?”  Much more interesting than “What do I teach?”!
• Good prominent quote from Frances Clark: “There is music in every child.”

 Rebecca M. Calissi

• Excellent clean design.
• Though a lot of information is included here, it is much easier to read through than many of the other sites.  Look at the “policies” page, for instance.  Observe the bullet points, short paragraph, bold headers. Easy on the eye.

Fountain Music Studio

• Love your graphic of the horn playing woman! (Be careful about including too many photos. It overwhelms. The eye should always know where to focus.)
• The group keyboards page may provide some inspiration for teachers who are considering the possibility of group lessons and classes.

Taylor Piano Studio

• Check out the Kid’s Links page. Not only helpful for her students, but for teachers as well.  Great resource list.  (I hope she participates in the Savvy Music Teacher Scavenger Hunt!)

SUGGESTIONS

This section is offered without referring to specific sites, since I didn’t want to embarrass anyone, and several trends were noted. These comments are posted in no particular order.

• Clarity. Keep in mind, the average visitor may spend 3-20 seconds on your site before deciding whether to stay or leave. Anything that’s really important should immediately pop out.
• Location. Make the location of your studio easily visible. After some hunting, I couldn’t even determine where a few were located. One displayed a street map, but didn’t indicate what city, state, or country was depicted.
• Amount of information. Many sites include way too much prose. Most people are not willing to read novels online, or even long paragraphs. Ask if every word/section is absolutely crucial.
• Font. Several sites had text that was way too small, hard to read, and fatiguing on the eye.  A couple had text that was too large, which looks unprofessional. And some were too cutesy.  Use standard fonts at reasonable sizes for best results.
• Teacher content. Just about every site has a bio. And from those bios I learned that most teachers had gone to school and done some impressive things. OK…But what about your teaching. What do you value? What are your priorities? What makes your studio amazing and different?
• Student content. Some sites had no references to students whatsoever. If you’re a teacher, hopefully your first priority is students!  Let’s be clear–people should join your studio because it will help them in some way, not because you’re a great teacher. Celebrate your students more than yourself. And just watch. When that happens, students will be more committed and more likely to spread the word. In addition, visitors to your cite will be impressed by how much you care about students. Win-win.

SOMETHING MISSING?

Finally, here are 10 things I didn’t see on many or any of the submitted sites. Imagine the benefits:

1. Teaching demonstration video
2. Student tools and resources
3. Blog featuring articles by students
4. Composer of the month
5. Any mention of creativity
6. Social network for students
7. Featured videos of professional performers on the instrument taught
8. Links for purchasing music (which can be through an affiliate program)
9. Practicing/wellness tips
10. Music jokes/puzzles/games, or other fun and engaging activities

CONCLUSION

This topic is obviously huge. I could write a book on it (oh…actually I have ). But hopefully this feedback will get you thinking. 

If you do change your website as the result of these suggestions, please let us know by leaving comments below. Doing that will also drive some traffic to your site.

When reading Seth Godin’s latest book Linchpin: Are You Indispensable?, I was delighted to learn that “Our economy now rewards artists far more than any other economy in history ever has.”

Wow!!!  As someone who has devoted much life energy to helping artists maximize professional and personal success, this assertion definitely caught my attention.

Of course, the word artist has many meanings.  In some cases, it refers just to visual artists: painters, sculptors, printmakers, etc.  Taking a few steps back, it can also describe anyone involved in “the arts”— those who produce music, dance, theatre, or visual art.  Some expand that definition even further, including the “culinary arts,” the “fashion arts,” the “hair arts,” and so on.

But what does this sacred term—describing an indispensible class of human beings—mean to Godin?  He explains it in a section entitled “Artists Who Can’t Draw”.

“What makes someone an artist?  I don’t think it has anything to do with a paintbrush.  There are painters who follow the numbers, or paint billboards, or work in a small village in China, painting reproductions.  These folks, while swell people, aren’t artists.  On the other hand, Charlie Chaplin was an artist, beyond a doubt.  So is Jonathan Ive, who designed the iPod.  You can be an artist who works with oil paints or marble, sure.  But there are artists who work with numbers, business models, and customer conversations.  Art is about intent and communication, not substances.”

According to Godin, it doesn’t matter if you’re a musician, salesperson, or postal employee.  Artistry is possible regardless of career path.

And what is it that qualifies something as indispensable art?   Throughout the book, he  provides many clues:

• Art is a personal gift that changes the recipient
• Art is anything that’s creative, passionate, and personal
• Great art resonates with the viewer, not only with the creator
• Art is a personal act of courage, something one human does that creates change in another
• If there is no change, there is no art
• Art is not related to craft, except to the extent that the craft helps deliver the change
• Art is unique, new, and challenging to the status quo
• The safest job belongs to the artist, the linchpin, the one who can’t be easily outsourced or replaced

Ah….now I see.

Pursuing a career in the arts doesn’t inherently make you an Artist.  Being a piano player doesn’t elevate you to the level of an Artist any more than an MBA is automatically crowned an Entrepreneur.   The first terms are about what you do.  The second ones describe how you do it and the impact it makes.

My dear violinists, modern dancers, Shakespearian actresses, and painters—you may have the title of being an artist.  But are you truly creating Art?  If so, there’s a lot of good news.  Society needs you.  What you do is valuable.  Indispensible, in fact.

If not?  Well, lots of luck…

It’s been an exciting week!  Since my article What Professional Orchestras Should Learn from YouTube was posted, many conversations have erupted, debating the question of whether initiatives embraced by YouTube’s Symphony Orchestra are appropriate and helpful for professional groups.

As is the case when any significant institutional change is proposed, reactions ranged wildly.  Many were enthusiastic about suggestions; others dug in their heels, insisting that alterations to the current paradigm are merely capitulations, disgraceful, or even apocalyptic.  Wherever you stand, engaging in the conversation marks an important step. 

One recurring question is whether adopting my suggestions compromises artistic integrity. For example, Evanston Symphony Orchestra conductor Lawrence Eckerling wrote this thoughtful response to the suggestion that a greater variety of shorter works be programmed on some concerts, possibly including individual movements:

While in principle I agree…this is an apparent “dumbing down” of the art. The “greatest hits” mentality is akin to iTunes and tracks vs. albums. Performing just favorites or the most accessible movements is fine to do on an occasional concert, but when done as the regular diet is not doing the art form any service.  

To frame my views on the issue of dumbing down, here is an excerpt from a chapter in The Savvy Musician called “Artistry and Relevance”:

It seems that many musicians are squarely positioned on one side or the other when it comes to music and audience. Are there just two extreme, polar-opposite options: interactive user-friendly formats with shallow expressions, or intimidating academic presentations with depth? Whether musicians offer profound statements but fail to connect with their audience, or dumb down their product in order to attract one, they are making sophisticated music less relevant.

A third archetype exists—one that seeks a happy medium between accessibility and integrity. The more foreign, complicated, or out of the comfort zone an experience is for observers, the more essential audience-engaging tactics become. On the other hand, when extra-musical elements and accessible formats are embraced, programmers should not cower at the incorporation of profound adventurous musical offerings. Perhaps this hybrid can engage proponents of both sides, submitting a middle ground that can be embraced by both the musical bourgeoisie and the masses.

In response to Eckerling’s concern…Suggesting that some events embrace the variety show model in no way implies that works chosen should be limited to the most accessible and well-known. 

Au contraire.  This model permits programmers the option of incorporating more adventurous programming than typically occurs: lesser known works, obscure composers, new music, even the avant-garde.  When the goal itself is eclecticism, many contemporary audiences are willing—even eager—to explore new terrain. At least for a few minutes.  This structure actually provides a vehicle for smartening up programming.

Whether we like it or not, we live in the iTunes Era.  Many people buy tracks, not albums.  Selling only albums scares off potential fans. Which brings us to someone else’s comment:

I don’t agree that other orchestras should take this approach. YouTube is interesting fluff, but not comparable to a real, live concert experience. As for performing parts of pieces, would you read parts of novels, see parts of plays or movies, eat part of your dinner, and call it a complete experience?

The analogies here are interesting.  Let’s explore:

• Food.  Restaurants specializing in tapas are all the rage.  My favorite, Café Tu Tu Tango, serves only appetizers from around the world.  (Incidentally, they also display/sell work by local artists, with the catch phrase “Food for the Starving Artist.”) 
• Love. Since speed dating was introduced in 1998, hundreds of thousands of singles have participated.
• Travel. Just about every travel company offers tours featuring a wide variety of experiences and locations in a short amount of time.  These packages are exponentially more popular than those limited to the same city or activity for extended periods.
• Education. Every university offers survey courses.  Typically, students only enroll in specialty classes after completing the survey. 

The assertion that no professional orchestra should consider a variety show format is just as preposterous as one arguing that every event must adopt this approach.  Some audiences today are drawn to deep and consistent encounters; others prefer to spend their valuable time experiencing an assortment; still others are excited by both models. 

And let’s not forget, the YTSO did offer a “real, live concert experience.”  It was sold out, and viewed 33 million times worldwide.  How can that possibly be a bad thing?

Another comment:

It is indeed true that we face a short attention span…But the reason why is sad – a simple lack of education. America is growing dumber by the hour and taking the whole world with it.

We could certainly debate this claim.  But for now, let’s assume the statement is true.  What if Americans are, in fact, getting dumber?  Orchestras have a choice. Should they:

1. Spend time and energy bitterly complaining about how dumb the world has become?
2. Dismiss anyone who isn’t interested in the “smart” work they do, continuing business as usual and appealing only to the elite few who “get it”?
3. Work pro-actively to find new solutions that engage the larger population, creating innovative, appealing offerings that meet people at their level while smartening them up?

What do you think orchestras should do?  I know my choice.

SUMMARY

In a week where the Syracuse Symphony disbanded, New York City Opera suspended its Fall season, and Detroit Symphony remains on life support, it is apparent that most arts organizations have little choice but to change in significant ways to remain relevant, impactful, and fundable.  Denying this is the surest path towards extinction.  Please don’t wait until it’s too late.

The question, then, is how to best evolve.  I believe that the YouTube Symphony Orchestra provided some possible clues. 

When modifications are implemented, however, artists/administrators have a responsibility to ask whether they dumb down or smarten up offerings.  Proposed initiatives themselves could go either way; it will take savvy visionaries to ensure that better engaging audiences doesn’t mean cowering to them.   Consider the potential:

• Building relationships between players and audience.  When trust and personal relationships are strengthened, audience members become more invested, willing to stretch, and experience even the unfamiliar. 
• Varied programming.  Including more works on a given concert provides the opportunity for adventuresome programming, at least for some pieces. 
• Visual elements.  Visual elements that support the music (as opposed to superficial gimmickry with little artistic meaning) provide audiences with an entry point, allowing for more sophisticated music to be showcased.

Maybe, just maybe, the affect of modifying symphony orchestra models will do more than attract new interest.  Perhaps savvy visionaries can find solutions that smarten up our fans and offerings as well.

These days, when symphony orchestras make national news, the topic is usually not a happy one. Yet one group has received a very different kind of coverage: the YouTube Symphony Orchestra (YTSO). Culminating in a performance at Australia’s Sydney Opera House on March 20, 2011, this experiment has generated unprecedented buzz and excitement.

True, when considering professional orchestras and the YouTube version, we’re not comparing apples with apples. Nonetheless, struggling orchestras can—and should—learn valuable lessons from YouTube about what it may require to remain viable and relevant in the 21^st Century.

AUDITION PROCESS

With traditional symphony orchestras, applicants audition behind a screen. This system was implemented to ensure that players would be selected based on the single criteria of outstanding performance.

The YTSO took a different approach. Initially, candidates applied via video. The conductor whittled down a short list of players who were outstanding enough to participate in the group. But then, finalists engaged in Internet campaigns, where fans were encouraged to vote for their favorites. Those with the highest ballot count were likely to get the gig.

This process has understandably received some criticism. Will people with better marketing and social media chops be more apt to advance, even if their playing isn’t quite as strong? Perhaps. But isn’t that exactly what orchestras need? More members actively advocating, cultivating a following, and motivating their own networks.

Imagine the institutional transformation that would occur if orchestras broadened their audition process. After selecting a small group of qualified finalists, what if candidates were asked about their ideas on marketing, connecting with audiences, and building a following? Or if local communities were encouraged to decide who they wanted to represent them in their orchestra?

The reason more people don’t patronize the local orchestra isn’t because they aren’t good enough. It is because they’re not relevant enough.

RELATIONSHIP BUILDING

During the YTSO show, video profiles of several members were projected. These montages explored the lives, backgrounds, challenges, and joys of members. In other words, musicians weren’t simply interchangeable cogs who happened to sit on a stage together. They were real human beings with unique personalities and amazing talents.

People become more excited about art when they feel connected to artists. Professional orchestra members can: speak at concerts, interact during intermissions, be featured in videos, become media personalities, blog, lead pre-concert talks, offer engaging outreach activities, etc.

Eliminate anonymity and watch interest grow.

PROGRAMMING

Conventional wisdom for orchestral programming contends the following:

1. People only want to hear the classics they already know and love.
2. Long or multi-movement works must be programmed in full.
3. People come to orchestra concerts for the sole purpose of hearing orchestral music.

The YouTube event blew gaping holes through these theories. One of the best received works was the premier performance of Mason Bate’s “Mothership.” Isolated movements of several works were included. This made it possible to program no less than a dozen works on this program. And nestled in the program was a solo organ Toccata by Bach and a didgeridoo feature with percussion accompaniment.

Some individuals, myself included, can be excited by hearing just a few wonderful extended masterworks on a concert. But many people today are more inclined to enjoy a greater assortment of musical experiences and traditions—new and old; familiar and unfamiliar; solo, chamber, and full ensemble.

VISUAL ELEMENTS

The YTSO event was stunning visually. Projections accompanied almost every piece, including live streaming, lighting extravaganzas, and even the work of a sand animator. Clearly, the YTSO spent months and considerable financial capital ensuring that this event looked amazing.

Such visual spectacle is impossible to expect from orchestras with different shows on a regular basis. But a little attention goes a long way. The incorporation of even small amounts of dance, video, slides, lighting, or staging can make an enormous impact, especially if done tastefully. In fact, just having musicians smile and physically connect to the sound produced can move an audience.

Some folks argue, “great music should stand on its own.” And perhaps that’s true. But in this visual age of YouTube, it’s simply not the reality for many young and middle-aged audiences that orchestras so desperately need to attract.

And despite expert suggestions to the contrary, visual elements aren’t inherently distractions. On the contrary, they can be the key to drawing people towards your music.

TECHNOLOGY

Not surprisingly, this YouTube event had a heavy emphasis on technology.

• All players were given a website and smartphone app, powered by InstantEncore.com.
• All players were given a Samsung Nexus S phone, enabling them to easily capture and upload video.
• Thousands of YouTube videos—auditions, video diaries, rehearsals, concerts, reflections —are publically available.
• Every member contributed online content.
• Their event was available for free viewing via YouTube, the YTSO app, and every individual member’s website.
• In total, there were 1.8 million unique live viewers; within two weeks, it had been streamed over 33 million times to 189 countries!

While technology alone can’t solve all of the challenges facing symphony orchestras today, it can be an enormous instrument for cultivating audiences and generating excitement.

With this in mind, symphony orchestras should post video content regularly. All members should be encouraged to maintain a visible web presence and contribute to the organization’s blog. Fans should find ample opportunities to post comments, network, vote (favorite pieces?), share concert photos, and download recordings from events attended (gratis or for a small price).

Use the tool of technology to help build something great: an audience for the future.

A FRESH LOOK FORWARD

In several ways, the YTSO event embraced traditional orchestral rituals. It incorporated standard literature featuring standard instrumentation in a standard concert hall setting. But it also built upon these traditions in innovative and forward-looking ways. These unique, and sometimes controversial, solutions clearly generated a buzz.

We must face the obvious truth: It takes more than great art to thrive in today’s world. In order for professional orchestras to avoid extinction, re-invention is necessary.

Yet I remain optimistic. Professional symphony orchestras already provide outstanding and powerful art. And now they have a new role model that offers a possible path forward: the YouTube Symphony Orchestra.

Dr. David Cutler balances a varied career as a jazz and classical composer, pianist, educator, arranger, conductor, collaborator, concert producer, author, blogger, consultant, speaker, advocate, and entrepreneur. His book The Savvy Musician (www.savvymusician.com) helps musicians 1) build a career, 2) earn a living, & 3) make a difference.

Most artists and arts organizations truly hope to make a big impact.  And why wouldn’t they?  The potential benefits are numerous: more money, opportunity, reputation, personal fulfillment, and meaningful legacy bestowed upon the world.

But many of us buy into the false equation that big numbers equals big impact.  The more people, the better. 

As a result, bands spam their e-newsletter out to thousands (even if only 137 people care). Artists obsessively add “friends” to Facebook accounts. Schools pack in students by the hundreds on the rare occasion when a teaching artist is invited.  I just learned about a cultural diplomacy effort whose funders explained they would only give money if future initiative affected new regions and populations, rather than returning to old ones.  They insist that support be put to good use, “impacting” as many people as possible.  Been there, done that.  Isn’t it time to expand? 

But that’s not how impact works.  If you really want to make a difference—and reap the accompanying rewards—think small-scale.  Make profound connections with the handful, rather than superficial ones with the masses.  Changing fifteen lives dramatically is much more valuable than barely making an impression on 3000.  Find ways to create relationships that are personal, deep, meaningful, and ongoing.   

Consider education.  Can a teacher with a class of 200 make a tenfold impression over one with a roster of twenty?  On the contrary. As someone who has been in both of these situations, I can definitively attest that smaller course sizes trump larger ones.  In fact, the overall composite impact may be 10 or more times greater for the reasonably sized gathering.  How can you change lives if it’s not even possible to learn people’s names?  Massive and impersonal usually can’t compete. 

Of course, when your influence is strong and significant, affected individuals may well become advocates, teachers, and thought leaders who trumpet your message.  In this way, impact spirals outward and grows exponentially.

As an artist, you certainly already have one or two specialties: playing the violin, contact improvisation, charcoal drawing, Shakespearean theatre.  But no matter how skilled you are in these types of areas, you are likely just a small fish in a large ocean competing to be noticed. For those desiring more work and opportunity, imagine how your career might be transformed if you had a powerhouse topic.

A powerhouse topic is a subject on which you become known as a local, national, or international expert.  This is accomplished through blogging, writing books, offering presentations, releasing videos, consulting, becoming a media expert, or other activities that clearly establish you as an authority.

The number of ways in which a powerhouse topic can transform your life is astonishing:

• Your expertise can lead directly to numerous professional opportunities: presentations, workshops, residencies, key note speeches, classes, media coverage, books, consulting work.
• Those opportunities can add, perhaps significantly, to your income.
• Your presentations around the powerhouse topic often lead—directly or indirectly—to additional work in your primary area(s).  For example, perhaps someone who sees your talk is so impressed by the way you interact with the audience that they book your group for a concert. 
• As an established authority, your network will increase appreciably, often with people trying to connect to you (instead of the other way around).
• Being an expert in a particular area impacts the way you approach your art.
• Having a powerhouse topic will keep you motivated and growing as a lifelong learner.

 Not all subjects have the potential to reach powerhouse proportions.  A topic will only help you significantly if the following conditions are met:

1. Passion.  You will spend a lot of time close to this topic, so be sure you’re passionate about it.
2. Relevance.  People should be interested in your topic.  Become the leading scholar on the Breviarium de Musica by Frutolfus of Michelsberg (12^th Century) might be fascinating, but probably won’t get you far.  As sad as it may be, not many people care.
3. Problem solving.  The best topics help solve real problems.  That’s why people will be interested in your message.
4. Not overcrowded.  If there are already mountains of experts on the topic, look elsewhere.  Standing out will be tough.  The secret is discovering a field that people truly care about (or could be compelled to care about), but there is a dearth of specialists.
5. Niche. Your message should be directed specifically towards a kind of audience: trombonists, private teachers, arts administrators, college students.  To quote a friend who is a serial entrepreneur, “find the biggest, littlest niche possible.”
6. Unique.  Your take on the issue should be somehow different and thought provoking.  Develop your own personal theories.
7. Communication. Only messages that are communicated clearly, accessibly, and in a way that connects with others will prove helpful.

Keeping these points in mind, brainstorm possible subjects that could work for you.  The best ones are specific but broad, with the possibility of digging deep.  Here are some general categories of powerhouse topics possible for musicians:

• Physical wellness (injury prevention, yoga for musicians, lifelong performance)
• The psychology of performance (conquering stage fright, finding spirituality through art, overcoming creative blocks) 
• Artistic techniques (fiddling for non-fiddlers, dancing in rhythm, how to practice, improvisational theatre games)
• Art history (Beethoven string quartets, jazz traditions for dummies, Russian choreography, why old plays matter today)
• Producing events (multi-media events, staging for musicians, crafting cohesive events, engaging new audiences)
• Teacher training (arts integration, group lessons, teaching improvisation to non-improvisers)
• Career skills (entrepreneurship, social media for artists, personal finance for artists)
• Life skills (time management, setting goals, becoming an artist-leader)

Most artists don’t even consider the possibility of a powerhouse topic.  But imagine the potential.  It may just be the key to the next door of your career.

So what’s your topic?

David Cutler is the author of “THE SAVVY MUSICIAN: Earning a Living, Building a Career, & Making a Difference.”

Below are five essential questions every arts school should be asking. And answering. 

1.  How is our school training excellent musicians (and what exactly does that mean)?

• Technical/artistic ability?
• Analytical skills?
• Historical perspective?
• Ensemble contributors?
• Other artistic areas of emphasis?
• Multiple artistic skill sets?
• Holistic artists?

 2.  How is our school developing artists with the potential to succeed professionally?

• Ability to develop vibrant careers (fulfilling, recession-proof, plan B’s, any circumstances)?
• Aware of full array, potential work options?
• Understanding of market circumstances and trends (threats and opportunities, audience expectations, technology)?
• Entrepreneurial mindset?
• Opportunity creators?
• Chance takers?
• Multiple skill sets (musical and nonmusical)
• Product development (differentiated)?
• Marketing (branding, PR, internet/social media, buzz, permission, interviewing)?
• Communication skills?
• Networking skills?
• Collaborative skills?
• Financial literacy (earn income, personal finance, basic accounting, fundraising)?
• Versatility and flexibility?
• Transferable skills?
• Wellness?
• Emotional intelligence?
• Lifelong passion?

 3. How is our school directly cultivating new arts audiences?

• Performances heavily attended by variety of demographics?
• Student, faculty, and school-based initiatives?
• Engage non-music aspects of university?
• Add imperative voice to life of city/region?
• Work with local arts organizations?
• Research projects that help solve challenges of local artists/arts organizations?
• Community engagement programs (local businesses, organizations, underserved)?
• Educational initiatives (k-12, family, adult, senior citizen, interest groups)?
• Community leader awareness?
• Advocacy?
• Relevant, engaging, interactive performances?
• Opportunities for non-musicians to create art (rather than just witness)?

 4. How is our school contributing positively to the community and world?

• Emphasize need for artist-citizens?
• Cultivate social awareness?
• Solve real problems?
• Fill gaps?
• Make world a better place in some way?
• Outward artists (care about audience and world, not just me, me, me)?
• Leave legacies?

 5.  How is our school’s culture, curriculum, student body, and faculty different from other music programs?

• Regional/national/international leader?
• Curricular/skills/ideological bias?
• Unusual majors/requirements/ensembles/faculty specialties/electives/resources?
• Unique skills/values that our students possess (i.e. what makes our graduates different than those from other schools)?
• Compare mission statement with other institutions
• Can include “excellence” and “location” in explanation, but not exclusively
• Differentiation, when addressing real needs and marketed effectively, is a powerful recruiting and PR tool
• Substantiate all claims

These days, we hear a lot of gloom and doom about the state of the music industry:  Major record labels are going the way of the dinosaurs! Many orchestras are struggling financially; some have closed their doors! Arts funding is drying up! Old career models are fading away! The ship is sinking!!!  Surely these are dark signs for the future of music, no?  

Well, there are two sides to every coin.  True, the realities of the music world are changing at breakneck speeds. But the contention that music is in trouble is one with which I could not disagree more vehemently.  In fact, in some ways, perhaps we are living in a Golden Era of Music. Consider the following:

• Access.  For the first time in the history of the world, just-about-anyone just-about-anywhere can access just-about-any kind of music just-about-any time of day.
• Mediums.  There are now more ways to experience music than ever before.  No longer are we limited to concerts, TV, FM/AM radio, and CDs.  Today, people can hear music through Internet radio, TV radio, XM radio, instant downloads, artist websites, social media, video sharing, iPods, iPads, iPhones, ringtones, video games. And the list goes on.  And on.  And on.
• Taste.  Twenty years ago, most of us identified primarily with one style of music.  “I love country.”  “Hip hop’s my bag.” “Consider me an opera fanatic.”  “I’m a jazz man.”  But now, in this iPod Shuffle generation, many people are open to just about any musical experience (with perceived relevance).  The hippest folks are cultural omnivores.
• Stardom.  Never again will we see a musical super-duper-megastar the likes of Michael Jackson.  That was possible only in an environment where few channels of musical access controlled public taste.  Our new paradigm leaves much more room for mid-level artists—of all genres—to cultivate their fan base.
• Participation.  Many audiences are no longer satisfied with a passive role when it comes to music.  They demand interactive concerts.  They’re excited to post comments or photos on their favorite group’s blog.  They want to vote for the next members of the YouTube Symphony Orchestra.  They love to remash tracks from interesting groups. Heck, they’re ready to make the music themselves (even if it’s through a video game like Guitar Hero.  How about Bassoon Hero…).
• The artist perspective.  It is now easier and less expensive to record music, disseminate music, and market music than ever before.  No longer necessary to have the backing of a major record label or management to create an international reputation, savvy musicians can do this largely from their own home.

Music is everywhere.  Music is healthy.  Music is thriving.  Music is celebrating. 

But what does all this mean for musicians?

Well, the paradigm’s shifting, that’s for sure.  Whenever that happens, there will be new winners, and new losers as well.  The people who come out on top will be those with the entrepreneurial foresight to spot and act upon new opportunities.  Finding them may not always be easy, and requires imagination. But surely, in this Golden Era of Music, they do exist. 

So the next time you feel depressed about all the gloom and doom, take that energy and focus it on finding positive solutions.  Look for the bright spots. 

Does it ever seem like your impassioned pleas to secure support for an arts organization are falling upon deaf ears?  This tongue-in-cheek video, created by the vocal group Octarium, demonstrates how difficult this conversation can sometimes feel.

1)    Buzzmarketing: Get People to Talk About Your Stuff, by Mark Hughes. The most successful artists are not necessarily the most outstanding ones.  Instead, they’re the people who can get others talking and generate a buzz.  This book provides an arsenal of powerful ideas relevant to artists hoping to increase their celebrity.

2)    Free: How Today’s Smartest Businesses Profit by Giving Something for Nothing, by Chris Anderson. You’ve probably heard the phrase, “there’s no such thing as a free lunch.”  Well, it’s true, according to this book.  In it, he proves how many of the strongest businesses today generate tons of profits from free stuff. As a musician, it helped me imagine multiple ways that giving away recorded music and other services can help propel a career and generate income.

3)    Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers, by Alexander Osterwalder.  This book is a piece of art in itself.  If you don’t have a lot of business background, much of the material may seem vague and “business-y.”  But it is consistently built around a business model canvas which is brilliant in it’s simplicity and depth.  Whether you are a freelancer, private teacher, presenter, or arts administrator, this canvas will prove an indispensable tool for having your determine your business (career) model.  In fact, we used it during the inaugural IAE Boost Camp. 

4)    Rework, by David Heinemeier Hansson and Jason Fried.  This book, which can be read in a matter of hours, features a series of short (1-3 page) chapters challenging conventional wisdom and offering prescriptions for success. A lot of great tips here are applicable for artists of all stripes and artistic aspirations.

5)    The Music Teaching Artist’s Bible: Becoming a Virtuoso Educator, by Eric Booth.  In the past decade, a career field of growing influence and potential is teaching artistry (teaching and integrating art forms into arts and non-arts curricula through residencies).  Though this book is a little academic and dense in tone, it lives up to it’s title.  Absolutely inspirational and instructional, it should be required reading for every performer and arts educator, whether or not teaching artistry is in your career profile.  It will change your life and perspective.  One of the best music books I’ve read in years. And this is definitely applicable to artists of all disciplines (in face, Booth is an actor by trade).

6)    Crisis on Campus: A Bold Plan for Reforming Out Colleges and Universities, by Mark C. Taylor.  This year, I read quite a few books about higher education, and recommend you do the same if you’re a current/aspiring college professor, student, or anyone else interested in the future of academia.  In  all readings, consider how the views expressed relate to the arts. In the past few years, stacks of books from both the left and right have been published, calling for major reform and making dire predictions about the future of America’s second largest industry if significant change is not realized.  Among other things, Crisis on Campus calls for more interdisciplinary collaboration, greater integration of technology, the end of tenure, mandatory retirement, a reconsideration of “research,” and other radical suggestions.  While you may not agree with everything written here, it offers a fascinating perspective.

7)    DIY U: Edupunks, Edupreneurs, and the Coming Transformation of Higher Education, by Anya Kamenetz.  Another book higher ed book.  The first half examines how academia arrived at its current state, while part two explores new educational options and the ways they will impact current institutions in the near future.

8)    The Global Achievement Gap: Why Even Our Best Schools Don’t Teach the New Survival Skills Our Children Need—and What We Can Do About It, by Tony Wagner.  This important work focuses on secondary education.  It argues that even the “best” high schools in American (translation: those with the highest test scores) are failing our youth by not providing them with “Seven Survival Skills” they’ll need to thrive in life.  Listing issues such as critical thinking, problem solving, collaboration, initiative, entrepreneurship, curiosity, and imagination, it struck me that the arts are ideal forums for cultivating these underdeveloped areas, at least if teachers are willing to restructure their curricula.

9)    Delivering Happiness: A Path to Profits, Passion, and Purpose, by Tony Hsieh.  This book exceeded expectations. Written by the founder of Zappos (an online shoe company with whom I have never dealt), the most inspiring aspect was learning about the culture developed within this company.  Not only is their top priority WOWing customers, but they create an environment where creativity, honesty, team spirit, innovation, risk taking, and fun are celebrated.  We often hear of orchestral musicians who are miserable in their position, despite the fact they’re playing some of the greatest music ever written alongside world class colleagues.  Applying Hsieh’s principles could transform this kind of organization.  These guidelines are also valuable for chamber groups and other types of arts organizations.

10) Leading Change, by John P. Kotter.  The best book on leadership I read this year, Leading Change outlines an 8-step process for leaders to make transformational change.  These lessons are valuable for leaders within orchestras, arts departments/schools, and any other arts organization that hopes to redefine itself for maximum success and impact on our quickly changing world.

Please let me know the great reads you’ve discovered on your own.  Happy reading, and happy new year!!!

Check out David Cutler’s

THE SAVVY MUSICIAN: Building a Career, Earning a Living, & Making a Difference

“Hands down, the most valuable resource available for aspiring musicians.”

— Jeffrey Zeigler, Kronos Quartet

Here are some fun and unusual music videos for the Christmas season that you probably don’t know.  Happy Holidays, and please enjoy!!!!!

An iBand Christmas

A group of musicians from North Point Community Church perform Feliz Navidad on iPhones and iPads.

Dan the Unwise Man

My good friend Lance LaDuke, trombonist and euphonium player for the Boston Brass, became convinced that the Christmas Story was lopsided.  ”With all these wise men parading about, surely there must have been at least one unwise dude,” LaDuke pondered academically.  And then he uncovered a papyrus detailing the amazing story of Dan the Unwise Man.  Lance and I created a song about this incredible story, which is shown in the video below.

Toast

One of the great Christmas traditions is all of the wonderful food treats we get to devour: X-mas cookies, fudge, eggnog,  fruit cake, pumpkin pie, gingerbread.  In this video, Jeremiah Franks describes his favorite meal: toast.  Accompanying himself on a toaster, he tells the story of his relationship with this powerful carbohydrate.

Multiphonic Silent Night

Trombonist Wes Funderburk, a freak accident of nature by any measure, performs this trombone duo by himself in real time.  Here, he sings the melody while playing the accompaniment.  I know, I know, he’s just not right…

Groovin’ on the Nutcracker

This video features beat boxing flutist Greg Pattillo along with cellist Eric Stephenson and bassist Peter Seymour playing their groovin’ version of the Nutcracker. 

Pomplamoose

Finally, if you haven’t heard Pomplamoose yet, you’re in for a real treat.  Plus, at the end of this video, they show you an amazing and charitable way to get their music.  Tis the season.

Happy holidays!  Wishing you joy, success, and savviness in the new year!