I started seriously pursuing music in my mid-teens. I was lucky to find myself in an environment where I had support and guidance to do this. I have not ended up quite where I expected to. There are lots of reasons for this. In my case one of those reasons is my mental health and how long it has taken me to begin to understand the role that has played (and is playing) in my life. In the 2013 UK Wellbeing Survey, nearly 1 in 5 people in the UK aged 16 and older showed symptoms of anxiety or depression. Its impact can vary greatly and it is a daily struggle for all sorts of people. I have found that there are some elements of living with depression that make working as a musician particularly complicated.
I went from working very intensively on music in high school to an undergraduate composition program. I only completed two years of the course. There were lots of good things about being there and I learned a great deal from many of the teachers and my fellow students. In the end I felt I was in the wrong place and following the wrong path. I saw no future for me in studying classical composition.
After leaving I worked in technical theatre as a rigger and sound operator. Music followed me around and eventually that lead to work producing music and sound design for plays. Again, this was not a comfortable fit for me. I worked at this sporadically but without conviction before drifting away and ending up working as a web designer, back before that endeavour required a formal set of skills.
After a few years of this I took, what at the time felt like, a last throw of the musical dice by enrolling in a music for film and TV graduate course. This seemed promising at the time, but again I didn’t feel comfortable in the role the course was steering me towards. I did manage to complete the course this time (yay!) but I knew I didn’t have the energy or motivation to successfully take this role up professionally. I tried to find work in ancillary and technical roles related to film music, but without success. I didn’t have the right skills to be a good fit and by this point I was too old to be an easy choice for entry-level positions.
It was clear that much of the problem was within me, but I didn’t at this point have a simple label for the what and why. Lots of the elements of depression were apparent to me, but it took a while to knit this into a whole cloth and even longer to get (at least some) effective help. Confidence was definitely a problem and in some lucid moments the link between that and self-esteem was clear. Continue reading Making Music With Depression
In the past couple of weeks, I have been asked twice about my opinion on studying composition as an undergraduate. First by friends of mine who have a son that is developing into a fine young musician and once on Reddit. Studying music is a tricky thing, and studying composition is even trickier. You are putting your development as a creator of music in the hands of a few people. This is a big decision, but I haven’t seen much useful advice about it online so I thought I would add my opinions as something to ruminate on if you or someone you know is orbiting this decision.
My story starts in high school in New York. I started out playing in the school jazz band as a bassist and started writing some tunes for the band. A couple of the music teachers at the school encouraged me to try writing more formally organised music for the school’s various ensembles; wind band, recorder consort and string ensemble. There wasn’t any formal instruction but the high school music teacher guided me and I studied harmony and counterpoint from books.
Over my four years at the school I learnt a huge amount. I was very fortunate indeed to be supported by the staff and even my fellow students who were willing to have a go at playing my music. It was exciting to hear my music realised. There was a wide variety of talent levels and experience in the school’s musical people from professional level players on the staff to young middle school recorder players. This placed all sorts of different constraints on me in writing for different people, which was incredibly valuable in making me think about how music conveys complexity. Much of what happened to me was simply good luck, the experience worked for me and I developed a naïve but enthusiastic approach to writing music.
In my last year of high school I put on an evening of music that I had composed. I put my head down to write and rehearse an hour and a half of music. Making something like that, at a young age, was very cool indeed. Marshalling all the people involved was perhaps harder than writing the music, both were valuable experiences. I developed a very strong sense of authorship, both of the music and of the evening as a whole.
Applying to Conservatory
While this was all playing out I decided to apply for a place on a conservatory composition programme. I assume one of my teachers suggested this as a possibility at some point. I am no longer sure of the genesis of the idea. I do remember feeling excited that this was even possible. Going to conservatory was intoxicating stuff. That was what really good musicians did. I had come to this game fairly late by traditional standards and had little formal training so that good adult musicians were encouraging me felt intoxicating.
Applying for composition programmes was my only option to go to conservatory. I definitely was not a good enough player. At this point my main instrument was bass guitar. I played piano but in a rudimentary way. The keyboard was a tool for getting music out of my head rather than an instrument I could perform well on. I had played double bass for a year and a half and trying to teach myself clarinet for about the same amount of time. There was no way I was getting in as a player, but looking at the composition entry standards for the conservatories in New York City where I was living, I had a shot. Continue reading Don’t Study Composition (yet)
Modern music production software is brilliant stuff. It gives us the capability to do so much that was previously only possible in expensive studios and with the help of several musicians. There is even the potential to sync to picture and even some (pre-)mastering capability. In the words of Harold Macmillan, “[we have] never had it so good.”
Power brings responsibility though and one area where this capability can introduce friction is in writing music. The problem is that there is just so much to tinker with, synth patches, eq, effects, bussing, display colours… It just never ends.
Most of this capability has little to do with creating music. It falls firmly in the realms of editing. The problem for me is that writing can be a difficult process and the desire to procrastinate huge. There may never have been a better procrastination tool for me than ProTools.
At the other extreme when I was at music college in the 1980s there was an ongoing debate among the composition students as to whether one should even use a piano or other instrument while writing music. The idea was that the purity of the music was better served by creating it only in your head and jotting it down on paper immediately. There is a certain purity to this idea, but it was only taken seriously by us students. The professors, being more experienced, stayed well clear of such matters and just stuck with whatever worked for them. Continue reading The Two Hemispheres of Music Production and The Struggle to Keep Them Separate