The Composer-Performer Debate

Periodically in our world of composition the topic of the composer-performer will come up, which invariably sparks a debate about whether or not the composer should also be an active performer. 

It is quite clear that someone who is an active performer will have a leg up economically (more gigs, etc.) and will undoubtedly use a lot of their knowledge of performance realities to inform their own writing, which can be a huge compositional asset. On the other hand, if you spend 100% of your working time coming up with musical ideas there is a strength in that, as well--a strength that might not be there if you have to devote a significant percentage of your time to practicing. 

More on Education, Debt, and Economics

NewMusicBox published a great article today by Ellen McSweeney about the twenty-something perspective on the financial realities of pursuing a career in music. I highly recommend reading the entire thing.

Of course it has always been difficult to be a musician, but today's economic situation really compounds the problem. McSweeney touches on many of the important facets of the issue, but I also think it's true that the whole economic picture is bigger and more complex than what we find in our field of music.

The Paralyzing Effect of Too Much Advice

Since I started composing seriously, I have accumulated a large amount of compositional advice. Sometimes each nugget of wisdom is worth something in isolation (and, perhaps, in specific circumstances), but when taken as a whole this barrage of do's and don't's is really quite hilarious. If you were to follow all of these guidelines in good faith (which, obviously, I do not recommend), I guarantee you would not compose a note of music.

I emailed Sarah and we came up with a list of several of the do's and don't's we've heard over the years. If you are in a state of writer's block, I urge you to leave this page immediately. If you are feeling less fragile, please enjoy: