A catalyst for evolution and growth in the training and support of musicians.

Flutists amaze me. After all, there are so many of us, we soon realize that in order to build a career, it’s up to each of us to create it for ourselves. When I first attended NFA conventions years ago, I met so many people who kept the flute in their lives in ways that were personally meaningful and satisfying. Whether living in New York or Green Bay, Chicago or Charlotte, L.A. or Minot, flutists seem particularly adept at carving out flute-centered careers that fit their own personalities and talents as well as filling needs in their communities. Some of them even create an “authentic vocation” for themselves, discovering their true calling in life—a great fit for the individual joined with deeply meaningful service to others.

So while I was inspired by these clever folks, it was also clear there was little training and support available to help develop the non-musical skills so vital to musical success. So I began examining the gaps between the training/education of music students and the widely varying reality of the big world of music outside of school. Building on many years of creating programs, study, writing and speaking about it, and just living the life of a working musician, I founded The Elision Institute in 2003 inspired to focus on these issues and work toward career development growth and support for musicians.

This article shares ideas, observations and suggestions to launch the discussion. I’d love to hear your career/vocation stories and ideas as well. In what ways has your career evolved over time? How does your current path compare with what you thought you’d be doing when you first started out? Have you found your life’s calling? Please email me with your thoughts and stories—


Vertical versus Horizontal Careers in Music

It is a basic reality of life as a musician that most successful musicians create “horizontal” careers rather than the “vertical” careers we are trained to expect. Here’s what I mean by horizontal and vertical careers:

So-called “vertical” careers assume that there is one ideal job or career to strive for and if that one doesn’t happen, it’s a “failure” of sorts, and then you start looking around for a fall-back option. (“I’ll audition for orchestras and if that doesn’t work out, maybe I’ll consider teaching, and if I don’t like that…”). Traditionally, most higher education programs in music follow this model.

A “horizontal” career is a portfolio approach to work that encompasses a variety of different activities simultaneously. For example, a flutist might play principal with an orchestra, perform wedding gigs with a guitarist, freelance for concerts and churches, teach at several locations, play occasional recording gigs, and serve as administrator for a concert series. She draws on all these sources of income threads to create a career/make a living, and at times there may be a non-music day job in there too. With an open attitude and diverse skills and interests, the horizontal career is built around variety, options, and flexibility, not so-called fall-backs. This is the career path of most musicians, and there are as many variations on this theme as there are musicians making it all work.

Here are just a few examples of ways the culture and expectations of music school compare to the culture of the so-called “real” world—

• Get out of the practice room. Yes, you need to practice of course, but also get out into the world where you’re meeting people socially and professionally.
  
• For example, volunteer to usher at concerts and help with receptions. If you’re a student, get to know the professionals you admire—go to their performances, after-concert receptions and parties. Ditto for friends and colleagues.
  
• Organize your contacts (database, palm pilot, file cards, business card file, rolodex—whatever works for you) and stay in touch.
  
• Build an email list and send notices announcing upcoming concerts or recording releases.
  
• Set up occasional coffee or lunch dates just to reconnect with friends, colleagues, and contacts.
  

Broaden your Skills:

• Yes, you need to be a knowledgeable, solid technical and artistic musician. But that’s not enough by itself.
  
• Polish your communication skills: speaking—from one-on-one to large audiences; writing—from cover letters to press releases, bios to programs notes, grants to articles. Cultivate media savvy, negotiation skills and the like.
  
• Have some money awareness so others don’t take advantage of you. Grants, taxes, contracts, and fees are part of the business of music.
  
• Ditto for legal issues.
  
• Get organized—personally and professionally. You’ll save time and reduce stress.
  
• If you need a day job, use skills and aptitudes that come easily to you in order to save mental and physical energy for music.
  
  

Some “Intrapreneurship” Ideas—

Cultivate a Heads-Up Attitude:

• Expect a horizontal, portfolio career with lots of different income threads and a variable (and therefore, sometimes chaotic) schedule.
  
• No matter what style of music you play, you are in the entertainment business. That means you work when others play—evenings, weekends, and holidays. A surprising number of young musicians never consider this lifestyle reality.
  
• Your evolving career may be quite cyclical as opportunities develop and end, your interests and skills grow and change, your personal needs evolve, and the music market ebbs and flows.
  
• Are you energized by uncertainty? Do you crave variety and flexibility or does it make you nervous? Do you prefer a set schedule and regular paycheck or are you okay with ups and downs? What about health insurance? Retirement savings? Buying a home? How might your needs change at different stages in your life?
  

Make Time for Reflection:

• Take stock of yourself honestly and frequently because we all change constantly in some ways and are quite consistent in others. Reflection is vital for creating a satisfying career and life overall.
  
• Explore your personal mission in life. Do you have one? What do you really care about deeply? How might your talents best serve the world? What melts your butter or gives you goosebumps when you talk about/think about/do it? What do you really want to do? (disregarding what your parents, or teachers, or anyone else thinks about your career paths and options)
  
• Assess your real strengths and challenges both as an artist/musician and in your approach to the business side of your career.
  
• Read, journal, explore, and learn about yourself and your field. The music world is evolving and changing at a rapid pace these days.
  

There are opportunities in the music world for all types of personalities, with a range of talents and many lifestyle needs, but start by exploring what will enable you to lead a productive and happy life. Next, honestly assess your abilities, motivations, inspirations, and passions. After that, take a long hard look at opportunities and trends in the music field. Put it all together, and you have the beginnings of a career plan that can lead you towards your authentic vocation.

There are lots of ways to make music a core focus of your life, whether or not you make all or even most of your living at it. Developing your entrepreneurial skills along with ‘intrapreneurial’ insights will help guide your journey toward authentic vocation, the “place where your deep gladness meets the world’s great need.”



Janis Weller is founder/director of The Elision Institute (www.elisioninstitute.org). She teaches flute at University of Wisconsin—River Falls and MacPhail Center for Music. As part of her work with The Elision Institute, she teaches career development at the University of Minnesota School of Music and Music Business at the University of St. Thomas. As a flutist, Janis freelances in the Twin Cities area. She particularly enjoys working with living composers and has premiered over 100 new works. Janis also coaches individual musicians on career issues. Contact her at: jweller@elisioninstitute.org, and read more articles on these topics at www.elisioninstitute.org.

Copyright 2005 Janis Weller. All Rights Reserved


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