Studying Music Online

Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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Structure – the one word that musicians across the world shudder to think about when it comes to their daily schedule. Whether you are working 9-5 and gigging whenever you can, or you are a full-time musician and wearing all the hats you can possibly imagine, establishing a consistent structure to your day seems nigh on impossible.

Recently, I find myself completely absent of any time to write and create music. This is not to say that I don’t have any down time – we all have down time that we use to surf the web, catch up on TV, or have a drink with friends. It has taken a while, but the realization is dawning that the reason I don’t feel like I have time to write is because I have not carved out a consistent time to write.

My schedule is like everyone else’s – I’m over-committed to after-work activities, and I always take on more collaborative projects than I can comfortably handle. Currently I’m singing in a choir, working 4-6 hours a week on a collaboration with an artist, and trying to rehearse for a gig in June where I’m sitting in as a keyboard player. O yah, and I’m planning a wedding as well. Congratulations aside (assuming you’d congratulate me right? anyone? Bueller?) my weekly schedule is anything but predictable.

What finally drove the point home was this simple image at the end of a Kickstarter video:

I realized that I don’t do that – it is not that I CAN’T do that, I simply don’t. I imagine that I am also not alone in this. Carving out a time when you can turn off the internet, turn off the phone, turn off all other obligations and simply focus on the creative process is crucial. This is not something you can just sit down and spend 15 minutes on here and there. This is something that takes time to get into the creative mind-set, to get in touch with all those ideas bouncing around, and to get them down in some tangible form. It is unreasonable to think that you will do your best work when you are more focused on a) you haven’t written in a while and b) you only have ‘x’ amount of time RIGHT NOW to get something done before you have to go do that other thing.

Certainly this is not going to be easy – I would have to wake up early, and my sign would say ‘Do not disturb – writing until 7AM’. Still, what is waking up early versus pursuing what is important? Take a long hard look at your own schedule – when would your ‘Do not disturb’ time be? What is preventing you from taking this time? We always blame outside factors – the job, the tour, the many hats we all wear. However, the blame always falls on us, and our inability to turn off the outside world and focus. This is important – I should do it. You should do it. So go write something already.

-Brian J

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New Berkleemusic’s next term begins on June 25th, 2012.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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A common phrase I hear is ‘organized people are simply too lazy to look for things’. While this is amusing, and perhaps true, the flip-side to this statement is ‘disorganized people often can’t find things they are looking for’.

As a musician, I feel like I have about the same odds of winning the lottery as getting organized. For years it has been this unattainable goal, this ideal sitting high above me on a lofty pedestal.

The problem about getting organized is that, if you don’t start out organized, it can seem like an insurmountable task. I’ve been trying to dig myself out of a hole ever since moving to Boston 5 years ago, and while I’ve gotten started a few times, I’ve ultimately fizzled out. Being organized is not simply something that keeps you from finding an important document come tax time (although we’ve all been THERE). It has gotten to the point in my musical career where being disorganized is literally keeping me from moving forward, making connections, and potentially making money.

I’ve realized that there is no silver bullet to getting organized – it will take time and hard work. However, I’ve been working on a few steps that can be applied to anyone who is in my position. So far, it seems to be working out, and while I’m only on step 2 it is certainly better than doing nothing!

Step 1: Identify the areas of your life and career that need to become organized. For many, it could be finances – self-employed musicians need to track everything in order to not pay through the nose come tax time. For me, it is compositions – being a composer, it is important for me to have a comprehensive list of works with all of the relevant information in once place.

Step 2: Choose one of the areas identified in Step 1, and create a system that you can use to organize this area from today forward. For me, it ended up being a google document – it’s something I can update easily, quickly, and it’s always accessible. It also means I don’t need to worry about having multiple files and versions sitting around. By creating this system, you provide a way to start getting organized simply by inputting everything that is new. Don’t worry about the old stuff yet – establish good habits by updating this system regularly and not falling further into the ‘disorganization hole’.

Step 3: Start working through the back-log. This is the scary part, the part I’ve been avoiding. It’s also the most difficult part to tackle first, which is why my previous attempts at organization have failed. Most people who try to get organized think they have to have everything caught up before they can move forward with ‘being organized’. By pushing this bit to step 3, it allows you to form good organizational habits while actually making less work for yourself by the time you get around to this step.

At the beginning of this post, I mentioned that being disorganized is potentially costing me money. In terms of being a composer, I want people to buy and play my music. However, because I have never been organized I am missing critical pieces of information for every piece I’ve written. This missing information prevents me from registering music with performing rights organizations, from getting them copyrighted, and finally from getting them up on a website in order to make them available for other musicians to find/purchase/perform.

How is being disorganized costing you money? Remember, time is money – stress is money – missed opportunities are most definitely money. If you have other techniques or strategies to get organized, I’d appreciate you sharing below – I need all the help I can get!

-Brian J

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New Project Management for Musicians online course is enrolling now

Berkleemusic’s next term begins on June 25th, 2012.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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SOPA and PIPA – two acronyms that were made infamous on Jan. 18th 2012 as thousands of individuals and dozens of websites took part in what is now being called “Blackout Day”. The Stop Online Piracy Act and Protect IP Act were originally drafted to allow US Government agencies to bring criminal charges against, and to subsequently shut down, overseas websites illegally hosting copyrighted content. The broader Internet community, including giants like Google, Wired, and Wikipedia, became involved because these bills contained wording that was dangerously vague and open to interpretation and abuse. With these two bills now essentially dead in the water, it will be months or even years before another piece of legislation is in place to combat the piracy of copyrighted content.

A major portion of pirated content is media, which includes television, movies, books, and music. While this attempt at legislation was intended to punish those websites which provide pirated content, very little attention has been given to why pirating websites are so problematic in the first place. The true issue here is one of access. When creators do not make media available, consumers will search for, and find, other ways of acquiring it.

While governments need to step forward and create laws to protect copyrighted content, and in turn the copyright holders, no amount of legislation will be able to stop piracy. World-wide, the expectation of consumers is shifting to one of immediate and complete access anywhere at any time. The biggest piracy deterrent will be media companies catching up to the ‘access race’, thus making pirating websites obsolete and unnecessary. It is incumbent upon these companies to make their product easy to find and affordable to acquire. The average consumer will only turn to piracy websites if/when the company refuses access. By making the content available, the creator not only discourages piracy, they also control the medium in which it is distributed, which in turn allows them to control any and all revenue streams.

Independent musicians have been following this trend, and capitalizing on it for the past few years. It is common now for musicians to give music away for free to build a fan base, and to build a social media following. This trend actually allows independent musicians to capitalize on music piracy – by encouraging the sharing of their music, they are able to reach more people and build a larger group of fans. Once consumers become fans, they are more likely to have a vested interest in an artist and to support them by purchasing what the artists is selling, whether it be music or merchandise.

Established artists have also found ways to catch up in the ‘access race’ by allowing the sale of their music via sites such as iTunes and CD Baby. There are now also streaming sites such as Pandora, Rdio, and Spotify that offer access without ownership. If Sweden is to be any indicator, this increase in access directly leads to a decline in music piracy. According to Media Vision, a Swedish polling firm, illegal downloading of music is down by 25% since 2009. Considering that Sweden was the origin of some of the world’s largest pirating services, such as Pirate Bay and Pirate Party, this is a clear indication that legal avenues of access directly result in a decline in piracy.

One would expect the large, established organizations to take advantage of this trend. They have a captive audience that is clamoring for access to their product. A study released by telecommunications giant Ericsson indicates that over 70% of consumers are streaming, downloading, or watching recorded content and 36% of consumers are watching streamed on-demand movies. With access to the Internet now widely available through televisions, this trend is only expected to increase.

If content creators, especially the creators of major motion pictures, were to invest in direct-to-consumer access portals, their potential for profit due to monthly fees and advertising revenue is immense. Copyright holders, and the organizations that represent them, know that the content is out there and available already, so there is nothing to be lost in such a venture. In fact, there is everything to gain. Netflix, the predominant television and movie streaming company, currently claims more than 20 million subscribers globally, and they don’t even have the rights to stream the latest blockbuster films. Major networks like NBC, PBS, and Fox stream full episodes online. Consumers are starting to expect that their media will be available to stream online, and if it is available legally or illegally, they will find it.

The discussion surrounding copyright-protected material and how to best protect the creators of such material in a digital age will continue long after this blog is written. While SOPA and PIPA have been tabled, comprehensive reform is needed that takes into account all of the concerns raised in the recent debate. Whatever regulations are finally passed, it is up to the people involved in media creation to recognize and capitalize on all forms of distribution. It is also up to the people consuming this media to respect the work that has been done, and to recognize that these artists deserve be paid for their efforts.

Brian

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Berkleemusic’s next term begins on April 2nd, 2012.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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With our next term just around the corner, I thought I would take a moment to share a few ‘survival tips’ for jumping back into the learning environment.

Most of our students here at Berkleemusic are adults with active careers, whether in music or in another field. I was in the same boat as many of you not long ago. I experienced my ‘term of firsts’ last fall: my first online class, my first Berkleemusic class, and my first time back at school since attaining my degree. Through my experience, I’ve learned a thing or two about how to get the most out of these courses, so I thought I would share a few of them here.

1) Read early and often. As our veteran students know, and our new students will discover, there is a lot of material to absorb each week. Many students (myself included!) bolt through the lesson reading and get to the assignments as quickly as possible. While this may seem time-effective and efficient, you are really doing yourself (and your education) a disservice. I had this realization when I got to my first quiz at the end of my first week – I had read through the material, but I found that I had not absorbed nearly as much as I had hoped! Thus, I recommend reading the lessons at least twice: once before your major weekly assignment, and once after you have completed it. This will allow you to revisit the concepts you were introduced to with new insight, whether it was gained through your own assignment, or through viewing your fellow classmate’s assignments.

2) Be active within the course! Berkleemusic has designed these courses so that you don’t have to be online at any given point in time. However, it does not excuse you from being online! The network, and these courses, have been created with the intent that students will be learning as a community, and making connections within the learning environment. This is the purpose of having assignments viewable by every student within your specific course section. I know it’s sometimes intimidating to look at other assignments, and realize that perhaps others in the course have more experience and expertise than you. In my fist course, even in lesson one, I realized that most students had more experience, equipment, and knowledge than I. Use this to your advantage – ask questions, post feedback, or start a forum thread. Where else will you have the opportunity to learn not only from your instructor, but also from colleagues around the world?

3) Stay in touch. This applies to everyone within the Berkleemusic community. You can create contacts within the network, you can send a message to your instructor, and you can call your advisor. Instructors within our online courses are teaching because they enjoy sharing their knowledge with students around the world! They are there for you if you need clarification on an assignment, or on feedback that they have given. Take the time to get to know your instructors, as they are taking the time to get to know you and your work. Also, take advantage of your Berkleemusic Advisors! We are here as your resource, whether you have questions about technology, academic policies, or the next steps within your educational journey.

These are just a few techniques that I picked up during my first course, and I have been using them to survive and thrive ever since. I hope our new students find this helpful, and can’t wait to hear feedback from our veteran students as to what has worked for them! I look forward to working with you all this Summer, and participating with you as I continue my own academic journey.

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Berkleemusic’s online summer term begins June 27, 2011.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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“Collaboration” is a scary word. It doesn’t matter if it’s a complete stranger or your best friend, when someone asks to collaborate, it raises all sorts of red flags. In many ways, collaborating with someone is like taking them on as a ‘significant other.’ It’s a very intimate, exposing, and delicate relationship that takes work and faith to develop. It can either go very right, or very, very wrong. In this post, I endeavor to relate a ‘best practices’ that have helped me keep my collaborations, if not sparklingly amazing, at least on an even keel and successful.

1. Agree on a goal: Having a well-defined goal is crucial to any collaboration. Whether you are forming a band, working with a lyricist, or hiring a publicist, everyone involved must be working towards the same vision. Before the collaboration begins, you yourself should have in place a solid idea of what you want to accomplish. Going into a collaboration with an unformed idea leaves you open to being hijacked by your partner(s) and their interpretation of your request. They may not realize that they are doing it, and you might not catch it at first, but nothing kills a collaboration quicker than realizing the project you end up working on is not the one you started out wanting to do.

2. Establish ground rules: How long should this project last? How should profits or proceeds be distributed? How should the division of responsibilities be handled? Should any additional people be recruited to help and, if so, who decides when/how they are brought on-board? The list of potentially contestable issues that could arise is too long to be published here, and I would most likely miss many important points. The thing to take away from this step is to think ahead, and anticipate conflict. I’m not saying you need a formal contract, but by agreeing to ground rules, you set yourself and your collaborators up for a successful and open relationship. Also, by discussing and establishing these ground rules, you learn a lot more about your partner(s) than you would otherwise—you may get to this step and realize that the person you are talking with is not the right one for your project. That’s ok! It’s better to find this out now and keep looking then to try and force things along with the wrong people. I liken it to putting one square tire on a hotrod—it ruins the entire machine. This brings us to step three:

3. Pick the right partner(s): This is, perhaps, the most difficult step in the collaborative process. I must admit, my first instinct is to reach out to my immediate circle of friends when I get a new idea, need a second point of view, or need someone with a particular skill set. This is self-defeating in two very major ways. The first is that you have a pre-existing relationship. This makes establishing ground rules and agreeing on a goal particularly difficult, as you are more likely to compromise your vision. Think about how many times a friend has talked you into doing something that you’re not entirely comfortable with. Now imagine that, instead of that extra drink at the bar, you’ve agreed to alter a portion of your project that can affect your entire musical career. Secondly, by recruiting your immediate friends and acquaintances, you limit your connections. The music business is all about fostering relationships, and meeting new people. Collaborations are one of the best ways to self-promote, but it does no good to show off your skills, ingenuity, and drive to the people who already know you! Ask your social network, reach out to friends of friends, join a local musician’s group—any of these options will allow you to meet new people and make new connections.

4. Begin: I know, this one is obvious. However, I can count on both hands the truly successful collaborations that I have completed. These are exactly equal to the number of collaborations that I have started. On the flip side, I have a drawer full of ideas half-formed and filed away for “another time”. I have logged hundreds of hours discussing potential projects with potential collaborators. All of your work on steps one through three are for naught if you and your group never take the first step. It’s scary, it’s nerve-wracking, but by following these steps you give yourselves a much higher percentage of success. You have a shared vision, you have a structured working environment, you have the right people by your side—now get out there and start doing what you love!

Brian John is a Student Advisor at berkleemusic.com. He has a Bachelors in Piano Performance from Miami University of Ohio, and a Masters in Composition from Longy School of Music. Brian’s background is primarily in Classical music, but a 4 year stint in a home-grown jam band gives him a unique perspective on both genres. He continues to compose and perform for people across the US.

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Alright, it’s time to come clean—we all feel the same way about music theory: who wants to study a bunch of stuffy old dead-guy music to learn what people did 200 years ago? There are so many other things to study that are more interesting, helpful, and fun, right? Well, not exactly. Even if you don’t find music theory fun, it’s our history, our tradition, and in essence, the platform upon which all of what we do is built.

Whether we realize it or not, music theory is essential to being a successful musician. It is all around us, built into the core of the Rock, Blues, Jazz, and Classical styles. What makes these styles distinguishable is how they utilize the basic elements of theory. What would Blues be without the 12 bar form? What would Classical be without the big V-I cadence? Our culture is steeped in these traditions, and our ears have been trained to listen for, and even expect, music that follows these rules.

Now, here is why I think music theory is fun, and even exciting (yes, yes I know—bear with me). Because our music follows these rules, and even casual listeners unconsciously expect these conventions, we can create a unique musical experience by messing with the rules. Musicians playing with, stretching, and even breaking musical convention goes back to those stuffy old dead-guys. (If you don’t believe me, check out Haydn’s Surprise Symphony—the guy had a sense of humor!) They realized that keeping the audience engaged was important, and since they did not have fancy flashing lights, background projectors, or fireworks, they used theory.

The clever songwriter, composer, and even soloist learns the rules and conventions of music so that, at the precise moment, they can break the rules and do something so surprising, so unexpected, that they command immediate attention. It doesn’t matter if the audience realizes that the artist threw in a tri-tone substitute dominant, or switched modes, or even just pulled a deceptive cadence—they just know that, instead of the same old patterns, something new just happened. That, my fellow musicians, is the beauty of music theory.

So, the next time you listen to your favorite artist, whether it’s B.B. King, the Beatles, or even Franz Joseph Haydn, think about the moments that really catch your ear and draw you in. Odds are that it’s no accident—that surprising, unexpected, attention-grabbing moment that is the crux of every classic piece has its genesis in music theory.

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Berkleemusic’s online summer term begins June 28, 2010.

Find out more at berkleemusic.com or contact a Student Advisor:

1-866-BERKLEE (USA) | +1 617 747 2146 (Intl) | advisors@berkleemusic.com

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