Following is a transcription of a presentation in an On-line Panel at Griffith University Queensland Conservatorium - Activate - Project Week 2020: New ways of doing beyond the pandemic: Being an adaptable, flexible musician. Dr Diana Tolimie (moderator), James Harvey (tuba) and Stefanie Smith (conductor) Aug 27, 2pm-3.30pm - Delivered online.
As musicians we are pushed and pulled in all directions - we have our dream careers ahead of us, mixed with the expectations of others. What is your ultimate goal? In the end there is no definitive pathway for any career in music - you may walk a long and winding road to find your dream or you may take a different path entirely and end up somewhere completely unexpected. As a panel of musicians in various careers, we will discuss our own accidental careers in music and the arts - our dreams, the paths travelled and where we have landed.
Music performance practice research and concert production can/will be challenging at the best of times. Projects must take on lives of their own and this can be when we know that we're onto something. Throw in a global viral pandemic and all bets are off, provoking new questions, digging deeper and trusting one’s instincts in finding ways through evolving circumstances. What was it we were thinking of ... when the egg breaks, make an omelette.
James Harvey – COMMENTS (transcribed):
This is a most important and relevant topic within the context of today’s world pandemic; with its accompanying clinical and health consequences, global economic implosion and growing political tensions. This novel, unique, phenomenon had direct and immediate effects for all of the Arts, Live Performance, Humanities and Philosophy. IT/IS potentially existential.
We need to talk about this. It is a privilege to have this opportunity to share our thoughts, experiences and ideas together. In speaking to this topic, I can offer a perspective from what has become a long career in, out and back into classical music performance and production. My fifty-year musical-artistic path became singular and unique; my own. The renewal of my artistic performance practice in later life a revelation of embodied performance and symphonic ensemble practice. Covid-19 consequences has provoked yet further, deeper philosophical reflections upon instrumental performance practice, its relevance and power. The importance of instrumental music practice within community and a revision of my thesis methodology; which will be the better for it.
We can pursue these experiences and insights and many other questions together. My own point of view has been to imagine how I would now advise my own, younger, conservatory trained self, entering into a career of music. In having that opportunity with you I am looking forward to generating questions for you in this discussion. Some of these notions you may not appreciate or agree with, other thoughts may seem obvious, but some of these concepts could help you revaluate basic assumptions we take for granted. Questions! Questions are good, necessary and inevitable.
“Eat that Question” Frank Zappa, The Grand Wazoo, 1972
The pre-Socratic philosopher Heraclitus expounded a basic cognitive principal over 2500 years ago in proposing that the only constant of (to) reality is Change. Occasionally Change is Catastrophic. Frequently it “happens” (sic) to the psychological “Other”. To a someone, somewhere else, at some-time outside our present experience. But not to ourselves. We are the passive viewers, consumers, sympathizers of these “News Events”. These important ongoing Changes. NOW we are participants. Living within an enormous experiential continuum of possibilities and outcomes in a global viral and economic pandemic phenomenon. This is Novel. It demands consideration. Changes in the assumed Order of our personal and collective Reality perspectives requires acceptance, stillness and a recognition that:
'Not only is the universe stranger than we imagine, it is stranger than we can imagine.'
Sir Arthur Eddington, English astronomer (1882 - 1944) and many others ...
Art is unique and so are artists. You are Singular and unique. No one else does IT like you.
In any career there are Known Knowns and Known Un-knowns. You will also encounter those surprising and mysterious Un-known Un-knowns.
Good News: Trust the Process / Trust Yourself
As musicians we possess highly developed, finely-honed cognitive and emotive talents:
Form/ Structure
Time / Space
Focused Attention
Deep Listening
Improvisation
Progression
Imagination
Empathy
Intuition
Courage
Flow
Commitment under Psychological Pressure
Showing Up On time - To the Gig - In the Music
Being Prepared, Ready and Open to the Musical Process
Make your own list. There are many competences that music can engender. These are strong, valuable and mighty gold-plated Skills and Abilities. Important and relevant talents to most any, if not most every situation that life throws us; beyond any perceived natural or conceived genius. No one can take these experientially earned attributes away from you
“Genius gives birth, talent delivers.”
Jack Kerouac, The Portable Jack Kerouac
I can only speak from my own personal experience and trust that it may provoke reflection in hopefully stimulating both positive attitudes and your own ideas in going through these strange times. None of us have done this before. We all feel confounded, confused, constrained. Then there also remains the Known Un-Known of there being a No-Known conclusion to this global pandemic.
Music exists within society, performing as a cultural marker of civilizations. Music and performance, in the Western World (sic) have been immersed in civil and religious politics since at least the times of the Medieval Jugglers and Troubadours, the rise of Guilds and later Unions. Some experts (Simpson, Rahe) also attest to the moral corruption of “music” by its traditional exploitation in public spectacle and social-political propaganda by Authority (sic.).
Music has also been a medium of satire and political commentary (Beethoven 3rd Symphony, Weil Three Penny Opera, Bernstein Mass , Britten War Requiem, Husa Music for Prague 1968 etc.al.). We currently are not, and never were, excluded or immune from the ways of politics. Classical musicians mostly just pretend not to be involved. It being more important for us, as artists, to simply get “... on with the show.” Covid-19 restrictions, with its political agendas, has shown the Arts and Humanities just how irrelevant we actually are to certain political persuasions. It behooves us to constantly ‘track the Beast’. To become aware, informed and politically active. It has been an unavoidable task and social responsibility in my lifetime as local, national and global events repeatedly effected changes and dynamic adjustments within both the status quo and one’s personal plans. IT/ IS - just how - IT/ IS ... Get use to this. Come forth and Activate; or remain impotent in the face of politics and power.
“Real politics is what you do day by day.”
Norm Chomsky
I have seen regular economic recessions (11) in my life (I was born into one); seven of them in my 50+ years of freelance artistic performance, production and education. Symphony Orchestras that went out of business. A university that watered down its admission standards (to keep student numbers up) while also under-paying its tutorial faculty (a practice exposed again recently in Oz as well). Gigs that were part dinner and part cash-in-hand. It has all happened before. But the Covid-19 phenomena is the most challenging event in my experience so far. In thinking about this IT comes down to simple things:
Data -> Information -> Knowledge -> Wisdom
Beliefs -> Bias -> Bad/ good Habits
In reflecting upon a musical career resilience and innovation I shall actually dare to offer a few empirical thoughts, strategies and principles that, hopefully upon reflection, could be of help and encouragement. Pragmatic and idealistic attitudes and approaches - to possibly take seed and grow for you - in approaching an artistic career. Presented in no particular order, in the spirit of: Take the best and leave the rest ...
Being an Adaptable, Flexible Musician
You are not your “Work” or Career ...
You identify as a musician. That identity is more essential to who you actually are than anything you will Do as we are Human Beings, not a Human Doings.
Personal Development/ Self-Knowledge of your Singular Mind-Body-Spirit is Essential.
There are no short cuts or prescriptions to replace the challenging work of personal development.
Ambition – Two-edged sword - Who? What? When? Why? How? - Overt/Covert
Agendas
Discipline – Active/ passive – Implied/ Embodied – Accepted/ practiced
Passion – Energy – Charisma – Leadership - Collaboration – Colleagues -
Community
Endurance / Burn Out – Dark Side of a Portfolio Music Career
Control – Take responsibility for yourself - don’t play the blame game or offer
excuses
Authority – Look to your Life Experiences and your Inner Knowing – You Know You
Know
Security – Experience leads to Intuitive Trust – Trust Yourself/ Trust the Process
Enjoy/ Celebrate the music making process as a progressive example to who you
Become.
Know thy self - Nothing to Excess - Do as you wish – Temple at Delphi 2500 BCE
Follow Your Bliss – Accept and appreciate the consequences
Gratitude – Kindness (self and others)
Generosity (A smile cost nothing ...)
Presence / Dignity – Essential Process – Patience - Practice
Respect – Self/Other(s) – It’s about the Music (stupid)
Play – Instinctual, Cross cultural/ Trans-species – Primordial, Singular, Collective
Be Curious -> Expect Opportunity
Motto: 'We do the impossible daily, while miracles take a little longer'
Create Vitreous Cycles of Reflection, Revitalization, Regeneration, Renaissance
Conclusion:
''The small man builds cages for everyone he knows While the sage, who has to duck his head when the moon is low, keeps dropping keys all night long for the beautiful rowdy prisoners.”
Hafiz - 14th century Sufi poet
It is an ideal of mine that music seminars should also include some listening to music.
A musical meditation by Peter Gabriel (US, 1992) Contemplating his own Process Philosophy of Being-Becoming
Fourteen Black Paintings
From the pain come the dream
From the dream come the vision
From the vision come the people
From the people come the power
From this power come the change
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