Recruiting

January is a packed month with the start of 2nd semester and with a series of festivals, conferences, and auditions.

We're not even one month into 2019 but I've already attended three festivals in three different states. First I gave a lecture for the Utah Theatre Association at Weber State University, then I gave a lecture and did some vocal adjudication in Reno, NV, for the Cal-Western Regional Conference of the National Association of Teachers of Singing, and I just got back from Boise, ID, where I gave additional lectures and did more adjudicating at the Idaho Thespian Festival.

Of course, at each of those events, I was also talking to lots of people about the Department of Theatre at the U of U. Technically, I guess those conversations would be classified as "recruiting," though I've never liked that word. I've seen lots of people recruit by bragging incessantly about their programs. I've seen other people recruit by disparaging every program but their own. I don't like to do either of those things.

Don't get me wrong, I LOVE to talk about our programs, our faculty, and especially our students. I'm both proud and humbled to be part of this department, so it's the easiest thing in the world to talk about it. But I don't think it's my job to convince people that they should want to join our program. Instead, I try to give potential students an honest, realistic picture of what we do and how we do it. Then, they can make an informed decision about whether what we have to offer is what they are looking for.

Although we're not a perfect program (no program is), I believe strongly in what we do and I am convinced that we do it well. I also believe that—despite being a good program—we are not the right program for everyone. And when we are not the right fit for students, I am the first to encourage them to choose a different school—and I wish them great success in that decision.

In my opinion, students should choose to attend a school where they will be challenged but supported, nurtured but not coddled, and encouraged to take risks without being unnecessarily overwhelmed. I also believe they should choose a school that will support and encourage their development into mature, kind, compassionate human beings.

At the U, sometimes we meet these ideals and sometimes we fall short. But recruiting season is always a good reminder to me to keep working to provide the education you all deserve. After all, when our students receive a quality education that prepares them for both a career as well as the challenges of life, that is the best advertisement and recruiting tool we have.

How has your singing been this week? One month in, do you have to make any adjustments to your goals or your practice schedule?

Now go practice.

Lesson plans

Happy 2019!

A couple of years ago, I reviewed a book called Voice Secrets: 100 Performance Strategies for the Advanced Singer by Matthew Hoch and Linda Lister. The book is made up of short essays designed to provide guidance to singers on a variety of subjects. Although I believe most of the advice reflects common sense rather than “secrets,” the essays are good reminders of how to organize our time and efforts in ways that support growing as singers and musicians. (And who says common sense is all that common, anyway?)

One of the essays is titled, “Be an active participant—go to your lesson with a plan.” In it, Hoch and Lister offer four techniques that will help you get the most out of your weekly lesson.

1. “Go to your lesson with a plan!” The authors suggest making a short list of goals for each lesson, which may include working on specific songs, identifying certain technical issues that come up in those songs, or asking questions that have arisen during your previous week of practice. Even if the list has more items than can be addressed in one lesson, it can serve as a guide for your next week of practice. 
2. “Come to your lesson with the attitude and realization that you have done everything you can possibly do on your own.” Here they discuss how it is a waste of your lesson time (and your tuition dollars) to have notes and rhythms plunked out when that could (and should!) be done on your own, especially if a practice recording has already been provided. As they say, “This behavior stifles learning, makes your teacher grouchy, and impedes your improvement.” I agree on all three points. 
3. “Record your lesson and refer to it throughout the week.” Again, this helps you make the most of your lesson time when you can frequently review that lesson via a recording. If a correction is made during your lesson, your job during the week is to implement that correction to make sure the same mistakes don’t happen over and over. 
4. “Arrive ready to sing. This means arriving warmed up, fed (if you don’t sing well on an empty stomach), hydrated, and well rested.” Of course, this is an ideal (Well rested? Ha!) but one for which we should still strive. At a minimum, it is helpful if you have already done some vocalizing before you show up for your lesson. That way we can skip the “warm-ups” and jump right into voice-building exercises and technical work. 

Remember that you spend way more time with your voice each week than I do. I am better able to provide guidance if you have done your part by working hard throughout the week to implement what is addressed in your lessons. That way, we can maximize our limited time together and help you achieve the next stage of learning and development more quickly.

What are your goals for this week of singing? What are your goals for the semester?

Now go practice.

My lesson plan? Head up to the mountains to clear my mind and my lungs!