This book “Music, Talent and Performance – a Conservatory Cultural System” is making me think that there are some very unhealthy aspects to the way in which “music” (in comma, as oftentimes this is framed as the place to study music in its totality) in conservatories has been taught.
One person who has recently caught my attention is Dion Flores. He was a classmate of mine, and has recently begun blogging on the idea of oppression. This blog in particular may be of interest to those in this class:
https://www.critiqueblog.org/the-profile-and-pathology-of-the-oppressed-musician/
I am not sure what to think. For now, it seems as thought it is a strong reaction…something which overgeneralizes experiences at Laurier, as well as Memorial University (where Dion studied music). However, I am starting to think there may be a connection between this sort of thinking, and that of the conservatory culture. There seems to be a demographic of people who react very strongly to the conservatory system, perhaps for some reasons that will be outlined in my book.
For now, thoughts, anyone? It’s a longer blog that he wrote than this, but worth reading and thinking about. I just hope I’m not a obeying the dominant elite by playing Chopin!
By blog, I think you meant “book”, lol. There’s an audio link too for people who could maybe listen while they do other things.
https://soundcloud.com/dionflores/the-pathology-and-profile-of-the-oppressed-musician-audiobook
Here are some questions to consider. Do you enjoy playing Chopin? Does it say something to you or express something in your inner being? If it does, then why not play it then? If it doesn’t, then could you explore a different composer or write something of your own?
I’m reading about the spiritual connection of music, and sometimes the Great Composers do make a connection with our inner being. Even the author of Musicking, Christopher Small, recognized his hypocrisy in being unwilling to give up certain composers’ works, while being totally opposed to the concert symphony culture for many reasons.
Those are just some initial responses, Keenan, but I will probably have more to say later once I’ve listened to the idea of the oppressed musician.
Keenan, you’re making me question everything! I have always struggled with self-doubt and being my own worst critic. Even when I’m thriving in my career, for some reason I am never satisfied with what I produce. This is something I’ve recently really been trying to find the source of, and now I wonder if perhaps this does stem from my time in ‘classical’ training? I certainly felt that heavily throughout my degree at Laurier-I was never good enough at the flute.
And then there is the questions of if/how I’m perpetuating the cycle with my students at school. I THINK I’m doing a good job in making everyone feel successful and just enjoy music, but now I feel like I’ll be paying extra close attention to this.
Wow. I have some serious thinking to do! Thanks!