PG. 7
PG. 2
REMEMBERING CONDUCTOR SARAH KIDD 1986-2014
A CLOSER LOOK AT BETA BLOCKERS
PENGUIN SPOTLIGHT: ALLESANDRA CIONCO
PG. 10 PG. 18
PG. 14
PG. 3
BENOIT ROLLAND: A NEW ERA OF BOWMAKING
A NEW CONCERT EXPERIENCE AT NEC PG. 6
THE PENGUIN
ISSUE 57
FEBRUARY 6, 2014
N E C ’ S S T U D E N T- R U N N E W S PA P E R
WWW.NECPENGUIN.COM
Next week, somewhere between drilling our excerpts for Tanglewood and flying across the country for another audition, many of us will stop, panic, and remember that we forgot to buy a Valentine's Day gift for our significant other/family member/friend. We'll feel horribly guilty for being so selfish and unable to stop the "workaholic" syndrome that comes along with a life in music. Hang on a sec, though-- before you add yet another stressor to your life, remember that it's impossible to show love to anyone unless you take care of yourself first. Just as flight attendants reminds you to "put on your oxygen mask first before assisting others," if you take care of yourself, you'll be in a better position to care for those around you. So, in the spirit of V-Day, we dedicate this issue to helping you achieve balance in the crazy months known as "audition season."
We'll hear from several writers about their personal journey in music and how they overcame self-doubt. You'll find practical tips scattered throughout the issue for conquering your career goals. We've also included an in-depth article about beta blockers, that off-limits topic that often arises in the midst of audition season. And, if you'd rather forget about auditions for awhile, check out Nick Tisherman's story about traveling to Israel (it will give you hope for an adventurous summer!) Chin up, Penguins-- spring is just around the corner, and now you have lots of reading material to get you there! Please feel free to drop us a note at any time at thepenguin@necmusic.edu. We always love hearing from you, and we welcome new writers at any point in the year.
NEC Mourning the Death of Sarah Kidd BY ELLEN PFEIFER, NEC SENIOR COMMUNICATIONS SPECIALIST NEC is mourning the death of Sarah Kidd, 27, who had been
Her teachers and fellow conducting students were also
a student in the elite orchestral conducting program directed
impressed with Kidd’s inherent talent and her ferocious work
by Calderwood Director of Orchestras Hugh Wolff. A native of
ethic. Calling her death a “tragedy,” Hugh Wolff said, “I feel
Bloomington, Indiana, Kidd died of cancer, January 28. She
such loss at the notion that she came here full of promise and
had received her Bachelor’s degree in 2009 from the Jacobs
full of energy. She had that rare combination—that conductors
School of Music at Indiana University where she was a cellist as
need—of being comfortable and natural with authority, with be-
well as a budding conductor. In 2011, she received a Master of Music in orchestral conducting from the Juilliard School working under James DePriest. At NEC, she studied with Wolff, conducted the Conservatory Lab Orchestra, and assisted Associate Director of Orchestras David Loebel in a performance of Ives’ Holidays Symphony in 2012.
Although the first woman accepted into the highly selec-
tive conducting program and part of a persistent minority of professional women conductors, Kidd found the issue of her gender irrelevant, as she somewhat impatiently explained in an article she wrote for The Juilliard Journal in 2010. “What I mean is that a tall, skinny person and a short, fat person could not use identical gestures to get an identical response from an ensemble,” she wrote. “I view my gender as just another variable: because I’m female, my gestures will have a slightly different effect. Every conductor has to figure out what works for him or her, and in this regard, I don’t feel like my gender gives me any real disadvantage.”
Musicians who played under her seemed to feel the
ing in charge of things, but also of being very open to learning
same way. “Her own peers seemed truly inspired by her as
and realizing that there was potential and opportunity to really
a conductor and a person,” said Margie Apfelbaum, NEC’s
grow, to learn, to absorb things.”
Administrative Director of Orchestras. “People were jazzed by
her. The whole gender thing dissolved as soon as she was on
“it was clear that she was somebody who was going to have
the podium.”
a career. She had all the tools. There was also an indefinable
Loebel, remembering Kidd’s entrance audition, said
something that really fine conductors have. At her age, it was not fully developed but the seed of it was there.”
Apfelbaum, for whom Kidd worked in managing the
orchestra department, recalls her being “incredibly organized and someone who asked great questions all the time. And she studied like hell. In the morning conductors’ seminars, she came prepared every day and was so impressive. She definitely was getting every ounce of knowledge that she could extract from her study here.”
“Her death is a terrible loss,” Wolff said. “It’s a loss for
her family and loved ones, for the school, and the wider musical community. She’ll be missed.”
2
FEBRUARY 6, 2014
y r o t a v r UNconse
penguin CONCERT by Rebecca Sullivan
Music: Truth to Power | Unconservatory
WEDNESDAY, FEBRUARY 19, 8 P.M. | JORDAN HALL As part of the conservatory-wide festival Music: Truth to Power, a group of NEC students, including myself, has curated a multi-disciplinary concert on the theme of ‘difficult conversations’ – an important step toward understanding and working with differences of opinion, background, and values. Representing every major and discipline at the school, the program will cover everything from Western Classical to free improvisation and new student works. The EM Department facilitates a student-driven performance each year as part of a larger initiative to empower students to lead programming, production, and marketing efforts. Through a collaborative planning process that spanned several months, we responded to and interpreted the themes of the larger festival to create a unique statement about music’s power to draw attention to and create dialogue around social issues. A program for the conceptual and eclectic music fan, Unconservatory will include unconventional performances of the first movement of Shostakovich’s Violin Concerto No. 1 (Leo Marillier), Chopin's Ballade No. 1 (Tong Wang and Wesley Chu), and Rzewski’s Les Moutons de Panurge (Shane Simpson and audience). In the vein of upsetting expectation, classical violist Mathilde Geismar will perform David Dramm’s Smack Girl, a contemporary work that combines elements of dance and percussion in a one-woman performance, while jazz pianist Shane Simpson and saxophonist Billy McShane will take a page from Mingus’ book to act out an argument between friends through free improvisation.
The program will be rounded out by several original student compositions—ranging from my piece Four Ways to
Look Hot While Singing in Public, an ironic critique of the damaging media messages to women, to A Person who First Met the Snare Drum (by Guang Yang, performed by Bryce Leafman) a theatrical piece about musical exploration and discovery. The group's staff advisor, Eva Heinstein, shares their excitement about the program. “It’s very gratifying to observe students taking ownership over a performance that reflects their interests, values, and experiences," says Heinstein, "especially with a subject as challenging and provocative as Truth to Power.”
The performance will take place February 19th at 8 p.m. in Brown Hall. We hope you can join the conversation!
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3
penguin CULTURE Resolution
by RALEY BEGGS Second-year MM Guitar
ACCEPTING TENSION AS PART OF MY JOURNEY IN MUSIC
“More tension! Accent the dissonances! The emotion of the
Our lives are led primarily by our ears, and sometimes logic
piece lies in the crunchy harmonies before tonic!"
takes a backseat to our devout services to music. What both-
ers me is seeing the world that encourages us to follow our
We know the principle well, if not from rehearsal then
definitely from theory classes. Whole symphonies flex their
passion turn cold on us as we travel so far down the road
abilities to avoid a serene, peaceful, and much anticipated
toward it. Some of that chill is our growing older; some of it is
resolution.
our economic environment. And some of it is us.
That’s where the music lies, anyway. If music were
about arriving at the tonic, operas would be considerably
I think our years spent accenting the dissonances has
informed our lives to do the same. Our years spent unsatis-
shorter. I think by now,
fied with our talents where
as conservatory students,
they lay, striving for just one
this isn’t breaking news to
metronome click faster, have
anyone. As members of a
made us anxious. We don’t
culture that eats, breathes,
strive for the resolutions; we
and lives music, it would
strive for the struggle that
be petty and naïve to
leads our listeners to it. I
point out a principle so
want musicians to be able
basic to our work. I will,
to see their music as their
however, point out our
work, and not let the tension
tendency to let our work
we pursue in our work lead
bleed seamlessly into our lives; more than might be emotion-
to tension in our shoulders. I think it’s okay to be content;
ally sound.
it’s okay to be comfortable with the musician you are today.
Living a life of music is so good to us in so many
When you stop singing or stop practicing, stop. Don’t let the
ways. When I tell people who are not artists or musicians
small details you work on during the day follow you to sleep.
about what I do, they heartily praise my vitality and bravery
to live a life so true to my heart and filled with passion. Being
want to spend my last semester at New England Conservatory
a musician is much more fun than being a “regional leader
enjoying the simple beauty of the tonic I have worked so hard
of sales," and they know it. Despite the late hours and chal-
to arrive at. I want to relax and allow myself to be comfort-
lenges a life in music throws at us, it still sustains our unique
able with the key I chose at the beginning of this journey as I
human need for beauty.
near the end of it. Because it's been informed and developed
by so much tension and dissonance, the end of this movement
But being a musician is thankless. Even among other
musicians, a job well done is not rewarded; it is expected.
4
FEBRUARY 6, 2014
My New Year’s resolution is just that: a resolution. I
in my life is arriving much, much sweeter.
by ANDREW NISSEN First-year GD Trombone
Failure: Things My Teachers Said I have incredibly wise teachers. This should be a given of
failure. I was deathly afraid of being rejected, as I thought
course, but just as a teenager makes the mistaken assumption
this meant I had failed myself. This resulted in a problem – if
that his parents have no idea what it’s like to be a teenager,
I didn't want to be rejected, then I didn't even apply in the
sometimes I forget that my teach-
first place! Obviously, that wasn't a
ers have "been there, done that,"
viable solution for a musician. I told
and probably know exactly what
this to another one of my teachers,
I am going through.
who responded with this:
In audition season,
“I took a lot of auditions
there’s usually a lot going through
when I was your age. According to
our minds. Statistically, almost all
your thinking, I failed. But to me, ev-
of you will be rejected at least
ery audition I took was a step in the
once. Even the greatest musicians
right direction. I learned something
I’ve met have lost an audition.
about myself at every audition, and
The key is not whether you suc-
eventually I stopped getting ‘no’ as
ceed, but how you approach the
an answer and started to get ‘yes’ all
situation if you don’t.
the time.”
College can be difficult.
Of course, he was right.
The path is littered with things you
Getting a ‘no’ at an audition is not a
can’t anticipate and problems you
failure at all. Sure, it’d be nice to win
don’t know how to handle. Once,
whatever you were auditioning for,
I told a teacher, “I feel like I’ve
but what did you learn about your-
made all the wrong decisions until
self in the process? You may have
now.” “No,” he said, “You’ve just
learned that you need more prepara-
made decisions of varying de-
tion time, or perhaps you learned you
grees of right.” I was skeptical at first, but on reflection it rings
don’t respond well to certain stimuli in the audition room.
true. All the decisions you made got you to here. Some were
good decisions, some not so good. But you wouldn’t be at the
didn’t get it? To be told your best is not good enough is hard,
school you are now if you didn’t do something right.
but it is a huge opportunity to grow. Perhaps next time your
best will be good enough!
Still, if I thought all the decisions I was making were
wrong, how could I decide to make right ones? I feared
Maybe you played your absolute best and you still
“Focus on the process,” one teacher told me. If your
goal is to get into this or that program, your process will be distorted to reach that outcome. Instead, if your goal is to become a better musician, and in the process get into this or that program, your journey will be elevated beyond success or “failure” at one junction.
Lastly – “Treasure what you do have. You can be
constantly be focused on what is just out of your reach (and it’s a great way to grow), but being content with where you are doesn’t mean you have to be complacent as well.” With all this talk, it’s a wonder I manage to fit in trombone playing in my lessons as well! I don’t mind, though. I have incredibly wise teachers, and so do you.
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5
A Note to Prospective Students
by SYD DONIELLE RVINSKY Vocalist '17
IT'S GOING TO BE OKAY, I PROMISE.
Grey skies. Harsh air. The endless swirling of fresh snow. With
There was no way I could ever be good enough to sing opera.
a tremulous heartbeat and clammy hands, I braved the arctic
It seemed farfetched and acutely unfeasible that I could even do
gusts and rushed inside the building. Removing my coat, I felt
well in theatre, but opera? Surely not.
the warmth of hundreds as petrified as I. The panicked footsteps
of those racing to their next appointment set the beat of the
voice teacher, Meg. As with Laura, Meg repeated the same
hall, and I found myself oddly comforted by the fact that I was
thoughts, but instead of simply telling me that I would do well
not alone in my anxious state. I glanced down at my packet
with more classical repertoire, she moved forward and dished
and found that I had thirty minutes before what my mum had so
out art songs and small arias for me to learn. To my great sur-
lovingly referred to as “go time.” Wiping my absolutely affront-
prise, I sounded better than I had anticipated. I began listening
ing hands on my dress, I nodded to mum, took a self-reassuring
to diva after diva and bought heinous quantities of classical
sigh, and strode off in what I hoped appeared to be a convinc-
albums. My passion for opera had ignited.
ingly confident pace.
A few years later, Laura transferred me to my second
I continued to study musical theatre as my primary
Minutes later, I arrived at the
career path, but now had a hobby on
final destination. My fever from the
the side of listening to as much opera
morning had not subsided, and I felt
as my busy schedule could afford.
the familiar waves of nausea invade
Meg saw this progression and sat me
my consciousness. Do not throw up
down in lesson one day to discuss
on the judges, do not throw up on
my future. I said I wanted to double
the judges, do NOT throw up on the
major in college in musical theatre
judges… Of all the mornings to catch
and writing, with a minor in some
the flu, this was most certainly not
kind of biology. She tilted her head
the most ideal. Alas, the show must
almost completely off her shoulders
go on. My practice session with the
and let out a kind of exasperated sigh
assigned pianist went smoothly, and
edged with desperation. “Sugar, have
despite my illness I forged through to
you lost your damn mind?” I laughed,
the best of my ability. He was kind
but then realized that she had a
and politely chose to ignore the fact
point. I had studied plenty of classi-
that my voice sounded remarkably
cal dance and acting techniques, but
like I had made a habit of swallow-
singing, my favorite part of theatre,
ing sandpaper for the past several
had somehow escaped classical
years. And so the minutes rolled past, and the time came for me to set aside
SYD'S EARLY DAYS AS A BUDDING PERFORMING ARTIST
training. In that moment I knew that I needed to eliminate my collegiate
any fears or expectations and do what it was I had always
goals of academia and theatre for the training I so desperately
done: perform.
needed. Only a year before school auditions, I was panicked,
but understood that if I was going to have any sort of shot at my
To set the record straight, I’m used to the stage. For
the past twelve years I have been performing musical theatre,
newfound love of opera, as well as better my current level of
and have spent the last year or so auditioning professionally in
musical theatre performance, I needed to get on this as quickly
the Seattle area. Nevertheless, this was a new avenue and the
as possible.
beginning to a new chapter in my life: classical voice, a venue
to boldly go where no me has gone before. In 2008 my first
ish, and riddled with anxiety about my impending audition at
voice teacher, Laura, told me quite plainly that my voice was not
NEC. It was terrifying. Usually, I skate through auditions with
built for jazz or R&B or classic theatre, but instead for crossover
ease and find myself my most comfortable performing, but this
musicals and even opera. I laughed it off and shook my head.
was different. I had barely had any training in the classical
6
FEBRUARY 6, 2014
Twelve months later, I found myself out of breath, fever-
genre and was mortified at the task ahead. Nevertheless, I did
hyperventilating and immediately transformed into the equivalent
what I had always done in these situations: power through it
of a pile of mashed bananas. And yet, here I am. If I was able
with a smile.
to make it into NEC, I guarantee that anyone with the right mind-
set and unyielding passion for music, regardless of their back-
As I write this, I find myself incapable of holding back
the grossest laughter in existence. I am now a vocal performance
ground, could do just the same. It is with a smile and the most
major and have had the best time of my life in a school that has
enthusiastic thumbs up that I bid thee many broken legs and
given me unlimited opportunity and invaluable help with my love
the most fulfilling of auditions. Above all things running through
of singing. If you had asked me a year ago whether or not I was
your head, keep in mind that you are worthy and valuable, and
well equipped to handle opera, I would probably have started
PLEASE don’t forget to breathe. Toi toi toi!
New Practice Room Policies
by TONG WANG Pianist '16
NEC ADMINISTRATION TAKES A STEP IN THE RIGHT DIRECTION One of the biggest challenges in finding a practice room during
high traffic hours is not knowing when one will become avail-
concern of pianists. "Often the pianist's stuff is there, but the
able. Oftentimes, the moment you walk past a room, it opens
person isn’t…such a waste!" remarked pianist Yuting Ma. "But at
up! Struggling to find space often becomes a gamble of chance
the same time, we feel like it’s rude to just walk in.”
and good luck.
from 15 to 10 minutes, giving pianists who are waiting outside
To ease the process of finding practice rooms and help
Additional guidelines also address another common
The new policy asks pianists to shorten break times
students plan and budget more
empty but "occupied" practice
efficiently, the piano department is
rooms a better chance.
putting forth a new set of regula-
tions.
lines received a variety of respons-
“These guidelines and
Of course, these new guide-
es. Some pianists such as Yoojin
procedures were developed to help
Noh have expressed that they
make access to priority rooms more
would like to keep the 15-minute
fair and equitable, and to improve
break, and others feel that the new
the experience of waiting for a free
restrictions could potentially limit
room,” according to a public NEC
freedom and creativity.
email sent on January 24th. In
accordance with the new policies,
lieve that these new guidelines only
sign-in sheets will be posted outside
serve to temporarily alleviate an
each room, on which students can
existing problem. “The new policies
write down their estimated practice
are the best yet," says Lana Suran,
session length. This will allow stu-
"but pianists are the problem. We
dents to preview availability when
are often selfish, isolated, and we
searching for a room. Even better? Students can also write down their
WHAT NOT TO DO IN A PRACTICE ROOM (IN CASE YOU WERE WONDERING)
Additionally, a few pianists be-
don’t want to share.
That being said, the majority of
name to reserve a practice session immediately after the pianist
the responses were positive. Yuting Ma feels that the new poli-
currently using the room.
cies will be effective, saying, “The policies are similar to those
that Shanghai Conservatory implemented, and they're much
“I think it’s great!” remarked pianist Pinshu Yu. “I’ve
been thinking about the practice room problems and this seems
more efficient than the current situation!”
like a practical solution. A three-hour maximum is a good way to
push people to be more efficient and productive – some rooms
can always improve on it if it doesn’t work, and I think finding
have the same people in them for the whole day."
practice rooms will be fairer this way. Let's go for it!"
“It’s a wonderful idea!” exclaims Tingting Wu. “We
WWW.NECPENGUIN.COM
7
On Love, Non-Attachment, and Compassion
by JULIA DOMBEK Horn '14
As human beings, we are ruled by emotions. Joy, sadness,
empathy and kindness. According to Merriam-Webster Dic-
fear, curiosity, worry, jealousy... these exemplary emotions,
tionary, compassion is “sympathetic consciousness of others'
in combination with countless others, dictate our every move.
distress together with a desire to alleviate it." Fundamentally,
Though we humor ourselves into thinking we are rational
it is an empathetic desire to minimize negativity. It is from a
creatures, emotion almost always beats logic in determining
compassionate place that we are able to love most deeply,
our courses of action. Among the vast spectrum of emotional
genuinely and freely. To love compassionately is to love
states we experience, however, love may very well be consid-
openly, without expectation, for the sake of creating and shar-
ered one of the most volatile of all.
ing happiness above all else.
What other emotion has a holiday attached to its
In order to share true compassion with others, though,
sake? What other emotion has the absolutely devastating
we must start by feeling compassion towards ourselves. To
power capable of bringing us from extreme highs to lows (and
accept and love one’s self is one of the most valuable of all
everywhere in between)? It’s no wonder that some people
endeavors, and one that is especially pertinent during this
refer, in fear, to the word “love” as “the L-word," as if it were
time of year. Two events are looming upon us that often result
some spiteful god. But
in feelings of self-doubt:
love itself is by definition a
Valentine’s Day and audition
feeling of affection, right?
season. At a time when
Why, then, is it so capable
pressures and stressors
of creating such negative
overflow, learning to
emotional states? In my
embrace self-compassion
opinion, the answer lies
is absolutely essential to
within attachment.
achieve the confidence
necessary to thrive during
Love is often as-
sociated with attachment.
such occasions. Getting
When we love someone,
exercise, meditating, and
we often feel the urge to
eating healthfully are all
share our entire being with
extremely effective ways of
them: our time, our feelings,
doing so, and require only
our thoughts, and even
minimal amounts of effort.
our possessions. However, the feeling of attachment itself is a
precarious state. Attachment leads many to experience a fear
“May all beings everywhere be happy and free, and may
of loss; worry over potentially losing the elevated state that
the thoughts, words, and actions of my own life contribute
comes with love is a fear that keeps many from allowing them-
in some way to that happiness and to that freedom for all”
selves to love freely. In addition, attachment easily lends itself
(“Lokah Samastah Sukhino Bhavantu”). By emitting compas-
to creating discontent when we place unmeetable desires and
sionate love to all of those around us, one truly takes to heart
unreasonable expectations on those that we love. We become
the intentions of the above mantra. Through this practice,
blinded by fears, jealousies, and insecurities when the tyranny
one gains a greater sense of appreciation for the surround-
of attachment comes into play. These negative emotions take
ing world and its inhabitants; in addition, genuine bonds are
over our feelings of love until we are left largely with mixtures
more easily and strongly formed, and perspective is continu-
of anger, frustration, disappointment, and sadness.
ously widened. As musicians, one of our primary aspirations
is to connect and share with other human beings. By loving
Letting go of attachment is a difficult task, but one
There is an ancient Sanskrit mantra which translates,
worth the effort. To learn to love without attachment, we must
compassionately, we can move one step closer to achieving
practice compassion. Compassion is an emotion I have come
that goal and gain the potential to send some much-needed
to venerate above all other emotions, one that is rooted in
positivity into the world.
8
FEBRUARY 6, 2014
Strangers in Paradise
by NICK TISHERMAN Oboist '16
REFLECTIONS ON MY TRAVELS ABROAD
It was a calm night in Ein Gedi, literally an oasis on the edge
on the clarinet for a while. Benjy and I told our new friends all
of the Dead Sea in the beautiful and exotic land that is Israel.
the places we had seen, and we all agreed that their country
My brother, an undergrad clarinetist at Northwestern, and I
was downright gorgeous. The Israelis also shared our feeling
were staying in a hostel nestled between the sparkling water
that swimming in the salt-saturated waters of the Dead Sea
and the sandy mountains of the Negev desert, enjoying some
was fun once, but didn’t feel the way water is supposed to
rare downtime on our Birthright trip this past winter recess. All
feel.
was placid as dusk turned to twilight, when we heard a faint
sound we both recognized.
of the more outspoken of the group turned on his philosophi-
“Was that…a clarinet?”
cal side, and imparted us with some wisdom: “The next time
“Probably a radio or something.”
someone asks you where you’re from, tell them, ‘Planet Earth,’
We dismissed the noise, but half an hour later, we
because we’re all humans here.”
As we thanked the Israelis and stood up to leave, one
heard it again, like catching the sound of a Klezmer band
from afar. It sounded like live music, so we decided to search
our way back to our cabin.
the hostel to find the source. What we found was a group of
Israeli twenty-somethings outside one of the cabins drinking
across the untainted night sky, I realized that my experience in
wine and passing around a clarinet like it was a pipe.
Ein Gedi was a reminder that our art spans borders. Music is
a universal language, and music can take you to places across
We said we were drawn to the sound, and they of-
“That was so. cool.” I whispered to Benjy as we made Later that night, as I watched shooting stars streak
fered us seats on their couches. My brother Benjy explained
the globe and connect you with people of many different
his clarinet background, and soon they were eager to pass
backgrounds. The world of music is incredibly international, so
him the instrument. For some reason he defaulted to the
let your music take you abroad. Apply to that festival in Europe
clarinet excerpt from the first movement of Beethoven 6th. The
for which you’re on the fence about applying, or just spend
Israelis seemed to have an ear for it, and they started humming
part of a summer in a foreign country. Learn new languages,
and singing along. They even had a little wooden flute, which
discover new cultures, and hear how the rest of the planet
I made a semi-successful attempt to play.
makes music—it will broaden your horizons, musically and
otherwise.
We sat around talking, joking, and squeaking around
WWW.NECPENGUIN.COM
9
the musician's
UNDERGROUND drug A Closer Look at Beta Blockers
by KATE LEMMON Second-year MM Flute
Beta blockers. Just mentioning those two simple words to another musician can spark any number of reactions ranging from disdain to fascination. The controversial nature of the topic has caused musicians to fear public discussion of beta blockers. However, just because no one is talking doesn’t mean that the drug isn’t a very real issue in the music world today, especially during these wonderful months lovingly referred to as “audition season.” When I posted online asking for my friends’ opinions and experiences with the drug, only two people dared to comment publicly. However, within five minutes, my private inbox was flooded with people’s experiences. In the following pages, I’ll present the most basic facts about beta blockers and share experiences and opinions from all ends of the spectrum. This article is not meant to force an opinion upon you; rather, by offering varied information for you to consider, I hope I can enable you to come to your own personal conclusion.
THE FACTS • If you decide to try beta blockers, you should consult a doctor first. You could be at risk for harmful side effects, particularly
if you suffer from asthma or heart disease. • When you experience physical anxiety, you are experiencing your body’s “fight-or-flight” response, which is a natural
physiological response to stressful situations. • Beta blockers counteract this effect by blocking the effects of norepinephrine and epinephrine, hormones secreted by the
adrenal glands that increase blood circulation. Beta blockers cause the heart rate to slow and the blood vessels to relax,
which in turn helps to reduce blood pressure. Other physical effects include reduced sweating and shaking. • Beta blockers only affect physical responses to anxiety—they will do nothing to help the mental anxiety itself. Beta blockers
by themsevles cannot make you a better player, but they can allow you to play at your personal best. • If you experience stage fright, you are NOT alone! Famous musicians such as Glenn Gould, Pablo Casals, and
Van Cliburn have suffered too.
• By 1987, the International Conference of Symphony Orchestra Musicians reported that 22% of its members had tried beta
blockers for performance reasons (an additional 5% took them for medical conditions) • The International Olympic Committee has prohibited athletes from using beta-blockers since 1988 (they were deemed to
give an unfair advantage in sports such as pistol shooting, in which a steady hand could affect the accuracy of a shot).
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FEBRUARY 6, 2014
View #1: Beta blockers have helped me. Please note: comments are anonymous to protect the privacy of the musicians. Experiences with beta blockers differ from person to person; as a reminder, you should always consult a doctor before trying any medication. “Beta blockers took away the physical manifestation of my nerves (shaking, shallow breathing, etc) wonderfully, and just let me do my thing as a musician. I didn't notice any negative affects, but I only used them probably twelve times during a year. Those few auditions on beta blockers really boosted my confidence. The drugs didn't make me a better musician, they just made me less anxious, and nailing a few auditions made me realize that I don't have any reason to be anxious at all.” “I've played horn professionally for over thirty years and given thousands of public performances without ever freaking out on stage. Less than a year ago, after about 18 months of occasional moments of anxiety on stage, I had a disastrous public performance. I was THIS close to stopping and walking off---afterward, I swore that I'd never play in public again if I ever felt or sounded that way on stage again. I got a prescription for Propanolol a few days later and have subsequently given some of the best performances of my career, including winning an orchestra audition at age 51. I haven't used it every time I perform, but it's been nice to have the option.” “I made the leap after hearing that [a member of a prominent orchestra] encouraged her students to take beta blockers. I started off by taking half of a 10mg pill, which is the amount that I still take before important performances and auditions. One time I took a full pill, but I felt out of touch with my body and made more mistakes because I didn’t feel totally in control. Every person is different, so it might take a bit of experimentation to find the dose that works right for you. For me, beta blockers have made a world of difference in the physical manifestations of performance anxiety, but I’m still glad I spent 10 years learning how to perform without them. The combination of personal mental preparation assisted by beta blockers have helped me to feel more comfortable on the stage.” “I went through a confidence fall-out with my playing; suddenly I became insanely nervous just to play in studio class. Beta blockers helped to control the shaking and heart thumping, which helped me get my confidence back. I think they can be a powerful learning tool as well as a form of "rehab" for students who haven't built the confidence to control their nerves and have tried everything else. "I started using them in Austria, where you could obtain them without a prescription. I use them at most auditions I take now. I take them to smooth out any physical reaction I'd rather not experience-- short breath, jitters, exhaustion. The mental side will always be there, but the beta blockers sort out some of the physical isssues caused by nerves."
View #2: I didn’t enjoy my experience with them. “Beta blockers really helped me get over my problem with nerves like shaking and self-doubt. But the new boost of confidence made performing less exciting over time. I began to notice that I didn't have that performance energy that makes everything sound so charismatic. I also noticed that I made more mistakes just because I wasn't really in "the zone.” After I stopped taking them I noticed a big improvement in my performances.” “I took beta blockers for the first time right before I performed in a concerto competition. In retrospect, this was a bad idea because I feel like it made me lose my edge. I was certainly calm for my performance, but I was lacking my fire, which was a bigger part of my playing than I knew at the time. I should have tried them a few times before I just walked into a competition on them for the first time.” continued on the next page
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(View #2 continued) “While I definitely noticed a calming effect, beta blockers made me dizzy, forget words, and actually caused the fight mechanism in my basal fight-flight mechanism to kick in. I was only taking half of the smallest possible dose.” “I always got nervous to play in studio class, and I took a beta blocker for the first time before a particularly stressful studio class performance. I don't remember playing. Nothing. But [my studio mates] told me it was the best I ever sounded. What upsets me is that I couldn't achieve success like that without it. I never took one again because I didn't want to miss a moment like that. It was such a great and sad moment all at once. I had finally played my best studio class and I didn't remember it. My brain robbed me.” “I used to get quite nervous before auditions/solo performances - common symptoms were dry mouth (death to a wind player!), uncontrollable shaking of my leg, difficulty getting a relaxed breath, and a generally accelerated heart rate that was beyond what I'd get during strenuous exercise. So, I thought I'd try beta-blockers, as one of my close friends swore by them, and was willing to share his supply. I used them for two auditions in which the result did not matter; I figured it'd be safer testing them on inconsequential performances. For the first audition, I took one 20mg pill and felt no nerve issues whatsoever. However, this seemed to almost be to a detriment, as I felt disconnected from my playing. I felt like my excerpts were on auto-pilot (in a bad way); it was almost an out-of-body experience. I felt like I couldn't control what I was doing. I definitely remember feeling slightly woozy the whole time I was on stage. The second time I used them, I tried splitting twice the original dosage over the two hours before the audition. Once on stage, some of the previous symptoms came back, but with less severity. I didn't feel as removed from my performance, but I did lack the acuity to fix things as they were happening. I felt as if I forgot many of the things that I had practiced during the weeks prior. Ironically, the audition panel felt as if it was one of the most inspiring performances they had ever heard from a student, and rather enjoyed my stage presence, saying I looked very relaxed, yet commanding. Unfortunately, my intonation and rhythm suffered from being so relaxed.”
View #3: I’ve never tried them, but here’s what I think. “I have never used beta blockers, and I have nothing against [people who use them]. But personally, I feel it's best for me to just not go there because I don't want to depend on any outside sources. I'm working hard to cutting out other addictions (coffee, smoking) because my playing and persona is affected and influenced from the inside out.” “I've never personally used beta blockers, but what I've witnessed in friends and colleagues is a belief in their ability to lessen the detriments of "stage fright." I think the drug is counterintuitive to a performer’s purpose, yet I also believe that the popularity of its use is symptomatic of the stress associated with the highly competitive environment of classical performance. The expectations of technique and musical delivery have set a standard that thousands of students and performers struggle to meet every single day. This is not to say that they are being set up for failure, but I do believe that the introduction of beta blockers has become an easy solution to what should be developed through natural practice and experience. By relying on a drug that hinders natural impulses, an artist sacrifices their ability to develop the very survival skills they need to become successful. Beta blockers have become a mirror of societal expectations – the belief that a flawless performance is a “good performance”. Listen to Jascha Heifetz or Jean-Pierre Rampal or even Miles Davis – none of these musicians were perfect, because they were human. Take away the human mind, and what’s left is a machine. Of course, there will be scenarios where the use of beta blockers is appropriate (and necessary) to give the performer a fighting chance. Yet on the whole, a musician should be able to stand “as is” before an audience or panel of judges. It is in this state that a musician’s voice is truly their own."
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FEBRUARY 6, 2014
ALTERNATIVE SOLUTIONS TO PERFORMANCE ANXIET Y
EAT MORE BANANAS.
READ A BOOK.
According to Lori of HealthExtremist.
There are many books about performance
com, bananas affect your body in a
psychology in all kinds of fields, not just
manner similar to beta blockers. Down-
music. The Inner Game of Music by Barry
ing a banana (or two, or three) half an
Green was adapted from a book for ten-
hour before your performance can help
nis players, for instance! Audition Success
counteract the body’s natural response to
by Don Greene is another popular title
anxiety—a drop in potassium levels due
within performance psychology, and the
to a rising metabolic rate. Bananas also
addresses musicians specifically.
contain tryptophan and high levels of Vitamin B, both of which can help calm your nervous system.
ATTEND A WORKSHOP.
EVALUATE THE PROBLEM.
MANAGE YOUR BREATHING.
Led by Jeffrey Nelsen, horn professor at
Says one NEC student: “I used to get sick
You can achieve this in a number of
Indiana University, the two-day "Fear-
to my stomach before concerts so I tried
ways—popular methods include practic-
less Performance" workshop takes place
beta blockers, which took away a lot of
ing yoga, learning to meditate, or learn-
at various locations across the country.
the fire in my playing. Soon after, I went
ing Qigong. The most effective breathing
Information about performance anxiety is
on Celexa for my general anxiety prob-
techniques originate from your belly so
tied together in a directed, comprehen-
lem. Now I don't use beta blockers, and
that the breath resonates throughout your
sive methodology for practicing meaning-
I can stop a lot of the negative thoughts I
body. When you are able to slow down
ful interpretive strategies, allowing for
used to have. I'm still nervous for perfor-
and deepen your breath, your mind will
enlightened focus during performance.
mances, but in a better way—it’s more
slow down, followed by your body.
Check out www.jeffnelsen.com.
manageable and more like excitement.”
RECOMMENDED ONLINE READING 1
“Beta Blockers Help Some Musicians Fight Stage Fright” by Sarah Bryan Miller, www.stltoday.com
2
“Better Playing Through Chemistry” by Blair Tindall, www.NYtimes.com
3
“In Defense of the Beta Blocker” by Carl Elliott, www.theatlantic.com
4
“3 Reasons Why Beta Blockers Could Ultimately Be Holding You Back” by Noa Kageyama, www.bulletproofmusician.com
WWW.NECPENGUIN.COM
13
A RENAISSANCE IN BOWMAKING
by ROB CINNANTE BM '11, MM '13
In 2012, Benoit Rolland decidedly raised the profile of his
RC: How would you say your background as a violinist impacts
art form after becoming the first bowmaker to win a fellow-
your work, even to this day?
ship from the MacArthur Foundation, typically referred to as a
BR: As a violinist, I can really understand the interaction be-
“MacArthur Genius Grant." While many achievement awards
tween the violinist and the violin through the bow, and the bow
in this country are given on the premise of recognizing past
to me is the most important part. The bow is the object that will
accomplishments, MacArthur bestows this honor with the
create the music.
intention of “continued and enhanced creative work.” From his workbench in a modest Boston-area studio, Rolland lives up to this expectation with work that is not only creative but evolutionary. Born in Paris, Benoit Rolland’s musical journey began as a young boy in the salon of his grandmother, Germaine Thyseens-Valentin, a contemporary of Messiaen. He showed no lack of virtuosity in his own musical studies, winning a prize in violin at the Versailles Conservatory, and another in music theory at the prestigious Paris Conservatory. But it was the sight of a beautiful, ornate bow that first drew Rolland to the
"A VIOLIN WITHOUT A BOW IS NOT A VIOLIN."
– BENOIT ROLLAND BOSTON BOWMAKER
art of bowmaking. RC: What was it about this particular bow that attracted you to
RC: What’s the process when someone comes to you and
bow making?
commissions a bow?
BR: I loved violin making and jewelry. This bow gathered both
BR: I ask them what kind of instrument they currently play, what
things.
kind of bow they like, and then, after a small talk, I ask them to play several excerpts of several different kinds of music in order to have an idea of what kind of sensitivity and sensibility of playing the musician is showing. The current wait time for a Rolland Bow stands at around 18 months, making a non-string player such as myself wonder: What is it that sets Benoit Rolland apart from the rest? I’m drawn to the impressive roster of those who play or have played with his bows, running the gamut from Yehudi Menhuin, one of his earliest clients, to Anne-Sophie Mutter and Kim Kashkashian (see the complete client list at www.benoitrolland. com/clients.php). But these names and the many others are only a testimony to Rolland’s craftsmanship. Instead, I find the answer to my question by recalling an old adage that intelligence is measured by curiosity. With Rolland, it is the ability to
THE 'GALLIANE' FROG. PHOTO COURTESY OF BENOITROLLAND.COM
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FEBRUARY 6, 2014
act on that curiosity that has served as the impetus for mastery.
BENOIT ROLLAND AT WORK IN HIS BOSTON STUDIO. PHOTO COURTESY OF THE MACARTHUR FOUNDATION
Looking back to his days as an apprentice, Rolland was
the natural movement of the string player’s arm, allowing for
warned about diminishing availability of pernanbucco, the
greater ease and stability.
wood used to make most bows. So, in 1982 he left Paris and set sail for the Isle of Bréhat. In this secluded environment he
RC: What is the most important thing that you would want
worked with composite materials to invent the first carbon fiber
someone to know about Galliane?
bow of concert quality, Spiccato®. The success of Spiccato
BR: This is something that the musician can try without dam-
paved the way for a career marked by innovation rooted in
aging their bow. It’s a new experience. If the experience is
tradition. Therefore, it should come as no surprise that Rolland
negative, if the musician doesn’t like it, we can come back to
recently introduced one of the most significant innovations in
the original frog.
classical bow making: the Galliane™ frog. Although, according to BSO Concertmaster Malcom Lowe, RC: Can you talk about how Galliane came into existence?
“Is there any reason why we should revert back to the
BR: In bowmaking, nothing has changed in 250 years. I
conventional frog?”
wanted to shake tradition and propose something new. I knew if only changed the design, it would not introduce anything
Galliane received one of its earliest presentations here at NEC,
new. So, for this particular frog, I knew I had to change not
and is currently being played by several faculty members,
only the aesthetic, but the functionality. This is what led me to
including violinist Miriam Fried. To learn more about Benoit
the creation of the Galliane frog.
Rolland and Galliane, visit www.galliane.com
The Galliane frog sets the hair ribbon at an angle, allowing
Robert Cinnante (BM ’11 MM’13) is an independent arts
it to have greater traction with the strings, thus producing an
management consultant and the General Manager of Music for
increase in sound power, something I’ve witnessed in both live
Food, a musician-led initiative for local hunger relief. He can
and recorded demonstrations. Furthermore, its design follows
be reached at rcinnante@gmail.com
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15
penguins GET CREATIVE FOUR SHORT POEMS TO THE RESIDENTS OF FORT LAUDERDALE, FLORIDA
by NATALIE ALPER-LEROUX Violist '16
HOLIDAY DETOX HELL oatmeal, cantaloupe,
so
lentil soup, cabbage salad...
about that sunshine
just this for two days?!
you know the one that sends a rush of gold down the waves of your hair and flares in the rearview mirror of that Trusty Steed
THE FIRST DAY BACK IS PRETTY MUCH UNIVERSALLY TERRIBLE: A BRIEF NARRATIVE IN RHYME
it is really until april
your face blurs
that i have to watch the ground crusted white with road
your voice fades
salt
on the pages your notes roam free
from my frozen dorm window
my heart stops
that i have to wait in agony
my brain melts
until i can feel that sunshine spreading blooms of heat
over break I did not miss TP
across only one layer of clothes?
SO WHERE ARE YOU GOING THIS SUMMER? PMP PMF MAW NAVI Bowdoin Banff Verbier Ravinia Prussia Cove Keshet Eilon Domaine Forget Kneisel Hall back to China back to Korea to Argentina to Belgium on to grad school to med school to teach school traveling sleeping reading missing you all so much going back going forward going places going?
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FEBRUARY 6, 2014
The 2014 Oscars
by ISABELLA DAWIS First-year UD Voice
EVERYTHING YOU NEED TO KNOW!
Movie music often makes a bigger contribution to a film than certain actors do—which is why Best Original Song and Score are the most highly discussed and anticipated Oscar categories. Here is everything you need to know about the 2014 music nominees, in order to sound intelligent at cocktail parties...or whatever.
BEST ORIGINAL SONG “Happy,” Despicable Me 2 (Pharrell Williams): Makes you happy. “The Moon Song,” Her (Karen O, Spike Jonze): Makes you sleepy. “Let it Go,” Frozen (Kristen Anderson-Lopez, Robert Lopez): Idina Menzel. Fractals. “Ordinary Love,” Mandela: Long Walk to Freedom (Paul Hewson, Dave Evans, Adam Clayton, and Larry Mullen): Sounds like U2. “Alone Yet Not Alone,” Alone Yet Not Alone (Bruce Broughton, Dennis Spiegel): …What’s this movie?
BEST ORIGINAL SCORE Her (William Butler and Owen Pallett): Arcade Fire/Reflektor. Gravity (Steven Price): Long, held notes. The Book Thief (John Williams): Basically Schindler’s List. Philomena (Alexandre Desplat): Approximately 98% glockenspiel. Saving Mr. Banks (Thomas Newman): “Chim Chim Cher-ee?!” That’s definitely the Sherman Brothers. Thomas Newman didn’t write Mary Poppins. I just hope everyone in the Academy is taking that into consideration. We wouldn’t want to have to dispute artistic integrity at the Oscars. I need to go find out what kind of belly button Jennifer Lawrence has.
ILLUSTRATION BY TONG WANG
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17
o c n o i C a r Allesand
penguin SPOTLIGHT by Andrew Nissen
What you do as Director of Residential Life?
here. I was a lot more shocked at San Jose State. They were re-
Since I am the only full-time staff member, I'm responsible for all
ally…creative. Music students are tame in comparison.
aspects of Res. Life including staff training/management, budget management, housing assignments, conflict mediation, etc.
Since you’re a Boston transplant, what do you appreciate here? It’s very different from California (my home), and I like living in
What’s it like to live in the empty residence hall in the summer?
a city much more than the burbs, where I grew up. I like being
Creepy. Building operations and the cleaning crew come in and
able to walk everywhere and live in a place filled with culture,
do some work, so that adds to the
art, and history. The West Coast is very fresh
creep factor. Sometimes they’ll come
and new, which is cool in its own way, but
in and lights will be on and a door
I’m really intrigued by American history, and
will be open that wasn’t before,
I love being in the birthplace of it all.
and I'll hear creaks and noises from somewhere else in the building. You
Do you have any advice for students who
just have to assume that everything is
have upcoming auditions?
because of workers, and not because
Keep everything in perspective. You’re at
of anything else! But there are weird
one of the best music schools in the coun-
noises in the middle of the night that
try – in the world, arguably – and you have
I would normally blame on people;
an incredible community at NEC. All these
when no one is there, I have no idea
auditions are great and you should take
what they're coming from!
them and enjoy them. But you’ve done a lot of hard work to get here, so take the time to enjoy it before you skip on to the next thing.
You were a vocalist at NEC, so how did you end up in Residential Life? I did a lot of work for Residential Life
PHOTO COURTESY OF ANDY HURLBUT
Any advice for new/incoming residents?
in my undergrad. Throughout that period I was an office man-
Take advantage of this style of living. You are living with people
ager and personal assistant to the community relations person.
now that you are going to work with for the rest of your lives,
When I came to NEC I worked in the Student Activities Center
potentially. Make friends with the composer down the hallway,
as well as Admissions. I found I still wanted to be involved in Res
or whatever the case is. Make strong connections with the
Life, so I applied to come back as a graduate assistant. And then
people you’ll be at school with for the next for years. Ten years
I decided not to return to school and apply to the director posi-
from now, that composer could be one of the most in-demand
tion, and now here I am!
composers in the world and they'll remember how awesome you sounded in the practice room and that you were a nice person
What unusual situations do you have to deal with?
and they'll say, “I want this guy to play in my new piece." Get to
Nothing’s shocked me. Coming from a state school, there was a
know them. Hang out with them. Play music with them. These are
wider range of students, so I’m not really surprised by anything
your colleagues.
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FEBRUARY 6, 2014
Health Checklist for New Grads BEFORE YOU LEAVE • Obtain prescription refills. • Request copy of your medical or immunization record. (For future requests, download form on NEC Health and Counseling Services web site.) • Have your insurance card (copy available from GK site if NEC plan). • Call 617-585-1284 (or come by SB112) for any questions.
HEALTH INSURANCE AFTER GRADUATION • If enrolled in NEC’s insurance plan:
o coverage continues until August 24, 2014
o referral not required to obtain care after graduation
o for questions about coverage: www.gallagherkoster.com
o contact Stephen Hagen for questions about insurance claims or
medical bills: (800) 457-5599 x6458 or stephen_hagen@ajg.com
THE PENGUIN N E C ’ S S T U D E N T- R U N N E W S PA P E R
PENGUIN PENMEN Kate Lemmon, editor Suzanne Hegland, faculty editor Sophia (Sophie) Adickes, writer Natalie Alper-Leroux, creative Raley Beggs, writer Isabella Dawis, writer Luci Disano, writer Stephen Garman, webmaster Andrew Nissen, writer Akenya Seymour, writer Nick Tisherman, writer Liz Tobias, writer Tong Wang, illustrator
• If enrolled under your parent’s insurance or in another plan:
o check with the insurer for continuation of coverage
o some plans end on day of, or 30 days following, graduation
• If you will be resident in Massachusetts:
o health insurance is mandatory (penalty for no coverage)
o check options: www.mahealthconnector.org/portal/site/connector
• If you will be living in United States:
o and changing to a new insurance plan
SUBMIT SOMETHING! If you'd like to contribute an article, illustration, or idea, email a 1-2 sentence proposal to: thepenguin@necmusic.edu Please limit articles to 650 words.
• read the fine print to understand all of the benefits & requirements – co-pays, network providers, etc. • know when it becomes effective
o know importance of insurance, compare cost of premium to cost of care for injury or hospital stay o newly legislated Affordable Care Act (ACA) -- dependent coverage (under parent’s insurance) until age 26
LOCAL RESOURCES AFTER GRADUATION
SUBMISSION
DEADLINE FOR
J A N U A R Y:
SUNDAY MARCH 2ND
• Call 617-667-9600, Health Care Associates (HCA) at Beth Israel Deaconess Medical Center (BIDMC) • Leah McKinnon-Howe, MS, ANP-BC, can be reached during the summer by calling HCA and leaving a message • Fenway Community Health Care -- 617 367-0900 • Massachusetts General Hospital MGH) Walk-in Clinic -- 617-726-2707
EXCELLENT resource for insurance/healthcare information: Toolkit for Graduating Students: www.YoungInvincibles.org
WE'RE ONLINE! JOIN US ON FACEBOOK: www.facebook.com /penguinnewspaper READ PDF ARCHIVES: www.NECpenguin.com
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penguin PHOTOS by Andy Hurlbut 1
2
3
5
4 6
7
1) Natasha Brofsky and Roger Tapping perform in recital on January 13th. The players in Pintscher's Janusgesicht are asked to sit back-to-back in performance. 2) David Charles Tay, tenor, with NEC's Contemporary Ensemble. 3) Puppeteer Jamie Moore performs in Triangle, a multimedia play that explores the legacy of the 1911 Triangle Shirtwaist Factory fire. 4) Anna Patton ('14 M.M.) and Daniel Pencer ('14 M.M.) perform in Triangle. 5) Jessica Zhou, BSO harpist and NEC faculty, performs Philippe Hersant's Choral. 6) Patricia Au and Julia Yang share the stage with John Harbison after performing his piece, Abu Ghraib. 7) Elizabeth Burns, James Coyne, and Moe Winograd perform in Britten's Serenade for Tenor, Horn and Strings.
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FEBRUARY 6, 2014 | WWW.NECPENGUIN.COM