When musicians think about the orchestra, they typically think that orchestras are dying because of the lack of interest from younger generations. This is a major crisis for the future of classical music. I would like to propose a different angle to look at this issue. If the organization blames the problem on their consumers, then they have an impossible problem to solve. I believe that they should focus on the issue at a different angle in order to have a problem that prese

Whether you’re a solo artist or in a band, all musicians experience an initial struggle upon bouncing onto their respective local music scenes. Some venues won’t book you because you have no music out, while others might be fine with you playing cover songs for hours. If you have no music out, how do you get good music out? How do you know if your music is good enough for a venue to accept it and book you? There are lots of little details that musicians must deal with, many w

After attending my first music festival, I truly could not get enough. The long lines to get through the front gates. The various stages my friends and I are constantly running back and forth from. The colorful and elaborate outfits festival-goers wear. The abundance of food stands ranging from fresh fruit smoothies to delicious island noodles. The booths selling beautiful jewels and unique artwork. And, most importantly, the phenomenal community of people that attend music f

During my freshman year at Miami I participated in a drumline that competed in World Guard International (WGI) called Rhythm X. For the unfamiliar, WGI is a non-profit organization that hosts competitions for indoor color guard, drumline, and winds across the world. I had participated in WGI events since I was a freshman in my high school indoor drumline. Those events and the activity of indoor drumline had a big impact on me as a high schooler, so I knew I would want to stay

When the board of the Miami University Symphony Orchestra learned that we would be performing Modest Mussorgsky’s Pictures at an Exhibition, we knew that we wanted to do something special. The Russian composer originally wrote a suite of 10 pieces, interspersed with movements titled Promenades, for piano. The piece depicts a journey through an exhibition of paintings, inspired by the paintings of Viktor Hartmann. Each promenade is a depiction of the viewer or listener walkin