Gustav Mahler ones said, “If the world goes down, I’ll move to Vienna because everything happens fifty years later”. I think, after visiting an average today’s concert hall, he would not move to Vienna, he would move straight back into his grave.
Job? Future musician? Learn to compose?
Where and with whom?
It’s about the approach to compose and perform music, about “education”, even further education, lifelong learning and: making a living from work.
The “normal” composer/musician, the “common” composer/musician, usually studies with an older colleague called maestro/professor, who also usually has a rather comfortable professorship/teaching position at a conservatory.
To be accepted and succeed is very much depended on the maestros, style, taste and his “attitude”. The student usually stays until the first, second, third premiere in the concert hall… in Munich or Boston. All this sounds like a sorcerer apprenticeship training in the nineteens century, personal fixation, a bit like family cliques with a slightly incestuous noble taste.
On the other hand, there are now composers who have never seen a university from inside. Naturals? Marketing clever computer freaks?
Question? Can creativity ever be promoted academically? What role does the master-student relationship play? Does the study of music and composition, at the “intellectual” not very flexible conservatoires, need a complete makeover? What role plays the Information Technology and all contemporary, and for the foreseeable future, changed communication structures? The changed social and musical impact of possible “target groups?
and… How – can a reasonable remuneration of the “creatives” be regulated.