JumpstartDIGEST! Recent News Commentary, and Ideas


NEA Captures Data on Artists with Day Jobs
Hyperallergic: Jillian Steinhauer

A recent NEA study reveals that, in 2013, 2.1 million workers were employed as artists as their primary occupation. In addition, 271,000 workers held second jobs in artist occupations (around 12% of US artists) – and musicians make up the largest set within this group.

DIY Residencies: A Career In The Arts On Your Own Terms
The Guardian: Lisa Niedermeyer
As many artists rely on day jobs to make ends meet, it is not surprising then that more and more are taking matters into their own hands by organizing do-it-yourself residencies.


Jacobs School Alumna Among Winners Named in the Metropolitan Opera National Council Auditions
Arts Beat: Anthony Tommasini
Soprano Amanda Woodbury completed her undergraduate degree at the Jacobs School in 2010 and performed as First Lady in IU Opera Theater’s 2009 production of Die Zauberflöte.

Minesota Orchestra’s Michael Hensen to Replace Deborah Rutter’s as Chicago Symphony CEO
Adaptistration: Drew McManus
The Chicago Symphony Orchestra has announced that outgoing President Deborah F. Rutter will be succeeded by outgoing Minnesota Orchestra Association President & CEO Michael Henson. Beginning September 1, 2014, Henson will be the CSO’s new President & General Director.

Board Ponders Future of Cincinnati Chamber Orchestra
Cincinnati.com: Janelle Gelfand
Cincinnati Chamber Orchestra, celebrating its 40th anniversary season this year, is taking a hard look at its operations, with the goal of making changes that will help it survive another 40.

San Diego Opera Votes to Postpone Closure
UT San Diego.com: James Chute
The San Diego Opera board gives itself time to further examine finances and consider options.

Political Cacophony Challenges Musicians
New York Times: Anthony Tommasini
Do artists have a special responsibility to speak out about injustice? Or do artists contribute best to social welfare by the practice of their art, and that alone? This issue is pertinent in classical music, because the field is considered, for better or worse, a high art with a mystique of gravitas and enlightenment.

Culture Cannot Replace Foreign Policy
The Scotsman: Tiffany Jenkins
Since the announcement that 2014 is the UK-Russia “Year of Culture”, relations have broken down between Russia, the US and Europe, over the crisis in Ukraine. Jenkins writes that the justification for these artistic events is that they can bring us closer together and mend bridges. But it’s difficult to be confident about the role of the arts in improving international relations when they have deteriorated so dramatically.

The Changing Grammar of Community Engagement
Chorus America: Eric Booth
If arts organizations want to stay relevant, the time has come to get serious about building connections with the wealth of creative activity in our communities.

A Resurgence of Ballet in Opera
New Yorker: Joan Acocella
Dance is being given a place in opera, not so much in the form of the big, happy intermezzi of yesteryear but as the thing that everyone said it couldn’t be: a plot advancement.

Awaiting the Welcome Return of Performance to Art Museums’ Mission
Los Angeles Times: Mark Swed
Big spaces meant for displaying objects are also, in the modern world, places for making things happen. Let their available light shine in more ways than one.

Nothing Conservative About the S.F. Conservatory’s Big Plans
San Francisco Classical Voice: Janos Gereben
There is important news from the San Francisco Conservatory and the promise of more to come. At a gala event Thursday evening, the “Presidential Evening Celebration,” Conservatory President David H. Stull spoke both of impressive specifics and big ambitions.

N.Y. Philharmonic Makes Summer Plans in California as It Shifts Touring Strategy
Wall Street Journal Online: Jennifer Maloney
The New York Philharmonic has announced a new summer partnership in Santa Barbara, Calif., a move that is part of its shift away from costly “whistle-stop tours” in favor of a smaller number of multiyear residencies in cities where it can cultivate audiences and donors.


Holograms Are The Inevitable Future of Concerts
The CreatorsProject: Abdullah Saeed
Live shows might be the last vestiges of a music industry in the throes of a technological revolution: in the span of a single century, the advancements that brought us recorded music, captured it on evolving multitudes of physical formats. A recent bicoastal duet between MIA and Janelle Monae breathed new life into a latent paradigm shift that could forever change what we, today, define as “concerts.”

This Amazing Interactive Site Lets You Create Symphonies With Your Keyboard
Wired.com: Kyle Vanhemert
The “portable animation and sound kit,” as creator Jono Brandel describes it, lets you conduct audiovisual symphonies simply by tapping your computer keyboard (or, if you’re on a phone or tablet, by tapping your touchscreen). Each letter of the alphabet gets mapped to a unique sound and a playful animation.


Neil Young’s Pono Kickstarter Approaching $5.5 Million
Digital Music News: Nina Ulloa
The huge amount indicates that high-quality audio on-the-go isn’t just for a niche audience.

Amanda Palmer Confronts the ‘Current Nightmare of the Modern Musician’ (Q&A)
Musician Amanda Palmer talks about how musicians can thrive on the Internet using Kickstarter and other crowdfunding strategies.


Neville Mariner’s 90th Concert With Joshua Bell
Classic FM
With Joshua Bell’s performance in Bloomington just a few days away, here’s a sampler of how amazing he is – At Neville Mariner’s 90th at the Royal Festival Hall, Joshua Bell kicks things off with his sparkling rendition of Saint-Saëns Introduction and Rondo Capriccioso, directing the Academy of St Martin in the Fields from the front of the orchestra.


Bridge: Worldwide Music Connection
Access to 3000+ music listings including job openings, festivals, and internships.

Log on at http://necmusic.edu/bridge.
Email jumpstar@indiana.edu for login information.

Musical America Careers Portal
Access to a large selection of jobs available in performing arts, post an anonymous resume, or create an alert to be notified of new vacancies.

Visit the Project Jumpstart website > Your career development and entrepreneurship program!

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RECESS Music & Ideas Festival April 7 at IU

A GREAT opportunity for Jacobs School students who are interested in music entrepreneurship.

RECESS is a music + ideas festival that brings together successful entrepreneurs, the coolest new startups and the hottest acts in music to inspire the next generation of world changing entrepreneurs.”  RECESS is touring 7 universities and IU was chosen. Mark Cuban is the main investor.

REGISTRATION AND EVENT INFO HERE: https://www.eventfarm.com/RecessIU

Check out the promo video >



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JMuseProductionZ opoprtunity for students next year

Hello all,

I am the President of a performing arts organization on campus.  Next year we plan to produce a new production to the campus.  We are looking for some students to help with the process.  We believe this will give students hands on experience with producing a show and introduce them to that process.  We are asking that this message be forwarded to any student(s) you feel may be interested in this project.  Thank you all so much and we hope you have a FANTASTIC day!

If you want more information about our organization please contact us at jmuseproductionz@gmail.com or reply to me directly.  Thank you!



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Interesting job opportunity at Columbia U: Director of its Music Performance Program

The Department of Music at Columbia University invites applications for a full-time position at the rank of Lecturer or Senior Lecturer to serve as Director of its Music Performance Program, beginning on July 1, 2014.

We seek candidates with artistic and intellectual accomplishments, with relevant teaching and administrative experience, and with broad interests in the musical disciplines. The appointee will manage the budget and recommend policies and priorities for the MPP, reporting directly to the Chair of the Department, and will work in consultation with the Department to frame and implement the activities of the Music Performance Program. The appointee’s responsibilities will also include coordinating auditions, forming student chamber ensembles, assigning appropriate coaches to these ensembles, scheduling concerts, student recitals, and other performances, and overseeing the teaching of private lessons. In addition, the appointee will teach one course per term, usually in the Core Curriculum, to be determined in consultation with the Chair.

This is a full-time appointment with multi-year renewals contingent on successful reviews.

Through Columbia University’s online system, please upload a letter of application (including a statement of teaching interests and experience), a curriculum vitae, and contact information for three references. For more information and to apply, please go to academicjobs.columbia.edu/applicants/Central?quickFind=59001

Review of applications will begin April 7, 2014 and continue until the position is filled.

Columbia University is an Affirmative Action/Equal Opportunity Employer.

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JumpstartDIGEST! Recent News Commentary, and Ideas

San Diego Opera
WHAT HAPPENED IN SAN DIEGO?San Diego Opera’s Sudden Demise
San Francisco Classical Voice: Janos Gereben General director Ian Campbell: “…It is not an expense issue. It is a problem on the revenue side. Drops in both sales and contributions over several years now mean that we doubt we will be able to complete the next season.”A Stirring Requiem for San Diego Opera’s Senseless, Premature Death
Los Angeles Times: Mark Swed
Who has ever heard of a major arts institution with a $15-million budget, one of the country’s top 10 opera companies, simply throwing in the towel over a deficit of a couple million dollars and not fighting to the end because there is no dignity in that?


Musical or Opera? Stage Companies Are Drawing on Both Art Forms
New York Times: David Belcher
The trend started as a way to increase box office income and get some new people inside the building, but now companies in both the U.S. and Europe are proudly mounting full-scale productions of Rodgers & Hammerstein, Sondheim and even Andrew Lloyd Webber. (Don’t worry, they’re not going to do Mamma Mia just yet!)

Baltimore Rock Opera Society’s ‘Gründlehämmer’ Rocks Out Medieval Style
Washington Post: Heather Keeting
Guns N’ Roses meets serious opera as the Baltimore Rock Opera Society presents “Grundlehammer” in Washington D.C.  In the review: There’s both a seriousness of intent and abundant appreciation for the form apparent in the work of The BROS, as the troupe calls itself.

The Met. Can it be Saved?
Parterre Box: Dawn Fatale
Following up on an incisive analysis of what’s really wrong at the company, Dawn Fatale says the Met needs to be more exciting – and makes some intriguing and inventive suggestions for just how to do that.

S.F. Opera Looks to the Future, Eyes Wide Open
San Francisco Classical Voice: Janos Gereben
Lamenting the folding of the San Diego Opera as “a tragedy,” the general director of the San Francisco Opera rallied his troops, but pulled no punches about the challenges ahead.

Indianapolis Opera Cancels Final Show of Season
Indianapolis Business Journal
In the statement issued Tuesday, opera officials said they “started the 2013-2014 season with a board-supported plan to return to producing four main stage productions, but decided to not to risk further financial strain by pushing forward with the final production of the year.


Fewer Americans Go to the Movies
Wall Street Journal: Erich Schwartzel and Ben Fritz
The number of tickets sold fell nearly 11% between 2004 and 2013, according to the report, while box office revenue increased 17%. With home-entertainment options improving all the time— whether streamed movies and television, video games, or mobile apps—and studios releasing fewer movies, people are less likely to head to their local multiplex.


Classical Music’s Shocking Gender Gap 
CBC Music: Michael Morreale
An article focused on the Canadian music scene with interesting data on the primary orchestras. Despite efforts to balance the equation over years, there’s evidence that talented women are being prevented from having the successful careers they deserve.

Equality Article Sparks Outrage from VSO’s Bramwell Tovey
Musical Toronto
Bramwell Tovey tweets back at CBC Music, blasting the article as inaccurate, sensationalist, Toronto-centric, plagiarized, and borderline liable. An interesting read!

1, 2, 3… Action
New Music Box: Monika Herzig
As Women’s History Month winds down, spring offers the perfect opportunity to sweep out the clutter from the past and move forward into a future that brings together the music of black, white, brown, male, and female individuals all over the world.

Girls-Only Course Aims to Tackle Shortage of Female Conductors
The Guardian (UK): Peter Walker
Hopefully a course like this will get younger women interested. It’s about celebrating role models and equal opportunities, but it’s also about putting that initial germ of an idea into a girl’s mind, that this could be for me.

Youth, Maturity, and Physicality in New Classical Ballett
The Atlantic; Judith Ohikuare
In 2007, Misty Copeland became one of the most recognizable figures in classical ballet when she earned a spot as the first black female soloist in two decades to perform with the American Ballet Theatre. She continued to make history as the first African-American woman to assume the title role in The Firebird. Not bad for a dancer from a single-parent household who put on her first pair of slippers at the overripe age of 13.


London Mayor’s New Cultural Strategy: More Busking?
The Stage: Nicola Merrifield
The Boris Johnson has unveiled his updated cultural strategy for the capital, which includes commissioning studies on the impact of public investment for culture, and how to better support busking.

‘Cultural hub’ proposed for London’s Square Mile
The Guardian: Mark Brown
The Barbican and the Museum of London want to create a cultural hub that will be as buzzy as those on the capital’s South Bank and in South Kensington.

Medellin’s Renaissance: What the Colombian City Can Teach Us About Urban Renewal
The Globe and Mail: Marina Jimenez
Twenty years ago, the Colombian city was a center of the worldwide cocaine trade, notorious for gun violence; even ten years ago the place was considered unsafe. Now it’s considered a hotbed of innovation.

DreamWorks Animation Unveils $2.4 Billion Shanghai Complex
Variety: Patrick Frater
Due to open in 2017, the Dream Center will have a 500-seat Imax theater, an entertainment district modeled on London’s West End and a venue for red carpet and festival events. The project is backed by DreamWorks Animation, Chinese investment.

Dubai to Put Art Museums in Subway Stations
Gulf News: Shafaat Shahbanadri
In the first phase, four stations have been identified for the project, with each to be transformed according to one particular theme: Islamic art and Arabic calligraphy, inventions, contemporary art and [multimedia] visual art.


Detroit Symphony Dives Headlong Into Streaming
New York Times: Michael Cooper & Rebecca Schmid
No one is quite sure how the trend will end up, and whether it will succeed at making money or building audiences. But many music organizations say they believe such web streams will prove helpful, saying that they must find audiences.

I Was a Player in the Global Internet Orchestra
The Daily Dot: Blog post by Cassandra Khaw
“For one moment, we were performing together, as faceless to each other as we were to the audience. The Global Net Orchestra was about what we were doing together. It might not have been perfect or even pretty. But it felt like the beginning of something bigger.”

Why Wu-Tang Will Release Just One Copy Of Its Secret Album
Forbes: Zack O’Malley Greenburg
The complete upheaval of the music industry’s business model has been well documented, but you DID NOT see THIS coming. The notoriously esoteric hip-hop group Wu-Tang Clan has been recording a double-album in secret for several years. A single copy of the recording will tour museums, galleries and festivals like it’s King Tut’s sarcophagus—and listeners will pay $30 to $50 to hear it in highfalutin listening parties.

Au Revoir, Entrepreneurs
The New York Times: Liz Alderman
“France has been losing talented citizens to other countries for decades, but the current exodus of entrepreneurs and young people is happening at a moment when France can ill afford it.”


BBC Makes Push Into The Arts With Two Big Hires
The Stage (UK): Matthew Hemley
Director general Tony Hall has announced a range of new arts programs and strands which he said would put the arts at “the very heart” of what the BBC does.

Arts For Everyone On The BBC? Not with Opera, Ballet and Still more Shakespeare
The Guardian: Stella Duffy
In response to the announcement at the BBC, Stella Duffy asks Where is the experimentation? Where are the emerging artists? (And without BBC3 how will they find out what they can do?) Where are the companies that do make art for everyone?

How You Can Save Arts Journalism Starting Right Now
Howard Sherman (blog)
If you want to see intelligent, comprehensive coverage of the arts – features and reviews alike – then you’ve got to start clicking. Journalism is well on its way to being a numbers game for most outlets. It’s not enough to be happy that arts coverage exists, you have to actually engage with it to insure its survival and the job survival of those who create it.


Aerobic Exercise Helps Boost Mindfulness
Pacific Standard: Tom Jacobs
As Project Jumpstart presents a series of three Mind & Body workshops, this will help those who attend! For some people—especially men—the methods often used to cultivate mental stillness, such as yoga and meditation, don’t feel like a good fit. Fortunately, new research from Germany finds an alternative approach that action-oriented folks will find much more appealing.

What Does a $45 Million Viola Sound Like? Violist David Aaron Carpenter Gives You a Preview
Open Culture/ NY Times: Michael Cooper
This spring, one of the best-preserved Strads in existence will go up for auction at Sotheby’s. Built sometime between 1700 and 1720, during the very best period of Stradivari’s work, the viola is a real rarity, one of only ten in existence. Maybe that justifies the starting price of $45 million. What does that prized strad actually sound like, you might wonder?


Bridge: Worldwide Music Connection
Access to 3000+ music listings including job openings, festivals, and internships.

Log on at http://necmusic.edu/bridge.
Email jumpstar@indiana.edu for login information.

Musical America Careers Portal
Access to a large selection of jobs available in performing arts, post an anonymous resume, or create an alert to be notified of new vacancies.

Visit the Project Jumpstart website > Your career development and entrepreneurship program!

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Introducing Classical Revolution Bloomington

Jacobs School students Cayla Bellamy (DM, bassoonist) and Cathryn Gaylord (PD, bassoonist) are on a mission to revolutionize the way audiences experience classical music.

Their vehicle: Classical Revolution Bloomington.

Classical Revolution is an internationally-recognized performance cooperative with a network of of over 30 chapters across the United States, Canada, and Europe. The Bay Area-based cooperative’s goal is to perform “high quality chamber music in non-traditional settings” and to “create a support network for local musicians.” Members of the group enjoy the benefits of frequent jam (reading) sessions, an extensive network of like-minded chamber musicians, and exposure to a variety of musical styles and ever-changing and untraditional venues.

The Jacobs School’s Wasmuth Quartet performs at the first Classical Revolution Bloomington concert.

Last month, Classical Revolution Bloomington held their inaugural concert at Rachael’s Cafe.

When asked about the event Cayla noted, “We’re all Bloomingtonians — performers and audiences alike. Our first revolution [concert] featured almost entirely Jacobs students, but as we move forward, we hope to include members from the Bloomington Symphony Orchestra, IU String Academy, local school and youth music programs, and BEAD affiliates.”

  • Enjoy the upcoming Classical Revolution concert, Sunday, March 30, from 4-6pm at Bloomington’s Rachel’s Cafe. A free offering to the Bloomington community.

If you’d like to get involved, this growing movement is looking for performers, graphic designers, web development volunteers, creative ideas, and, most importantly, audiences ready to experience classical music in a revolutionary new way.


An example of innovative and entrepreneurial Jacobs School student performance will take place this Thursday, 8:30pm in the Neal Marshall Center.

Featured ensembles: Square Peg Round Hole, The Kenari Saxophone Quartet, and guest film maker Last Dot.


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ENCOUNTER – An Evening of Percussion, Saxophone, and Film

Enjoy a very special performance by Jacobs School students, alumni, and a special guest film maker in an evening of Percussion, Saxophone, and Film!

  • Square Peg Round Hole percussion ensemble
  • Kenari Saxophone Quartet
  • Last Dot

March 27 at 8:30 p.m. | Free! | Neal Marshall Grand Hall


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Playing (Less) Hurt & Musical LifeSmarts Thu & Fri this week!

Events-Header-HorvathJANET HORVATH
Playing (Less) Hurt  & Musical LifeSmarts Thu & Fri this week!

The Jacobs School Lecture Committee and Project Jumpstart invite you to two important and exciting events.

Alumna Janet Horvath, associate principal cello of the Minnesota Orchestra, will be giving a lecture on Thursday evening about injury prevention and will join Professor Jorja Fleezanis in a town-hall style discussion on career building on Friday afternoon.

Details are as follows:

7:00 P.M. in MC036
Playing (Less) Hurt – Injury Prevention Seminar Led by Janet Horvath

4:30 p.m. in Sweeney Hall (M015)
Musical LifeSmarts – Town Hall Forum Style A Q&A with Janet Horvath and Jorja Fleezanis, on building a career as a performer.

Janet Horvath, associate principal cello of the Minnesota Orchestra for more than three decades, is a soloist, chamber musician, writer and advocate of injury prevention. A trail-blazer in speaking and writing openly about the physical stresses experienced by musicians, Horvath has contributed importantly to improvements in working conditions and in awareness for musicians’ work-related ailments and their prevention.

She received a bachelor’s degree from the University of Toronto and a master’s degree from Indiana University. Her teachers have included her father, George Horvath, and Janos Starker.

“Playing (less) Hurt” is the culmination of 25 years of lecturing and teaching in the field of Performing Arts Medicine.

Visit Janet Horvath’s Website > 

See you there!
Team JumpStart

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JumpstartDIGEST! Recent News, Commentary, and Ideas


jumpstart-composite2-150New Economic Superpowers Seek Global Recognition for their Arts & Culture
USC Center on Public Diplomacy: Henrietta Levin
China, the United Arab Emirates, Indonesia, and Russia are now known globally for their economic strength. But what about their cultures? These states are much more than just their GDPs, and increasingly, they are attempting to gain global recognition not only for their rapid growth, but also for their rich cultural traditions.

Kronos Quartet’s 40-Year Adventure
New York Times: Vivien Schweitzer
As one of the most entrepreneurial ensembles of our time, Kronos has revolutionized the approach to string quartet repertory, performing experimental, jazz and tango (among other genres), and working with a broad range of musicians from disparate cultures.


The Met: What’s Really Wrong?
Parterre Box: Dawn Fatale
The 2012-13 season at the Metropolitan Opera was a financial disaster, with the company taking in only 69% of potential total box office revenue—a troubling 13 percent decline from the previous season and the lowest box office percentage in over a decade. Thanks to discounting, the Met did manage to sell 79% of total seats but that, too, was another low.

After 49 Years, San Diego Opera to Call it Quits at End of 2014 Season
Los Angeles Times: David Ng
In a surprising move, the company announced Wednesday that it will cease operations at the end of the current season, citing financial reasons including a tough fundraising environment and weak ticket sales.

New US Laws Banning Sale Of Ivory Snares Owners Of Pianos, Guitars
New York Times: Tom Mashberg
If someone attempts an interstate sale of a 100-year-old Steinway piano with ivory keys, the new regulations would prohibit such a sale unless the owner could prove the ivory in the keys had entered the country through one of 13 American ports authorized to sanction ivory goods.

Michael Henson to Step Down as CEO of Minnesota Orchestra
Star Tribune: Kristin Tillotson
Michael Henson, president and CEO of the Minnesota Orchestra, will step down in August. Some viewed Henson’s departure as setting the stage for the return of former music director Osmo Vänskä, who resigned last October but has indicated he might wish to come back.

But, Can She Play?
New Music Box: Monika Herzig
The likelihood of a female teenager volunteering for an improvised solo in front of her peers that includes the option of failure is certainly smaller than her male band mate stepping out to show off his unique personality.

Music Streaming Breaks Through $1bn Sales Barrier
The Guardian: Juliette Garside
Streaming and subscription revenues rose by more than 50% over the past year to reach $1.1bn, helping overall sales of recorded music in Europe grow for the first time in 12 years.

After Brief Stability, Global Music Sales Resume Their Downwards Plunge
The Independent: Adam Sherwin
The Digital Music Report published by industry body IFPI shows that a 0.3 per cent growth in the piracy-decimated industry has been reversed, with total revenues falling from $16.5 to $15 billion in 2013. Total recorded music sales have shrunk by 45 per cent since 2000.

Join A Choir, Become A Better Human Being?
The Globe and Mail: Leah McLaren
Singing in a choir is a transcendent experience – and there aren’t many of those in life. It instills gratitude and bliss without the contortions of yoga or hangovers of alcohol. British scientists have recently found that choirs boost the mental and physical health of their members.

The Rise of Anti-Capitalism
The New York Times: Jeremy Rifkin
We are beginning to witness a paradox at the heart of capitalism, one that has propelled it to greatness but is now threatening its future: The inherent dynamism of competitive markets is bringing costs so far down that many goods and services are becoming nearly free, abundant, and no longer subject to market forces.


New “Smart” Cities Reimagine How We Interact
The European: Anthony Townsend & Matthew Claudel
New “smart cities”, built from scratch, are sprouting across the planet and traditional actors like governments, urban planners and real estate developers, are, for the first time, working alongside large IT firms — the likes of IBM, Cisco, and Microsoft. The resulting cities are based on the idea of becoming “living labs” for new technologies at the urban scale, blurring the boundary between bits and atoms, habitation and telemetry.


How Disney Theatrical uses Dynamic Pricing: “We’re in this for the long haul”
The New York Times: Patrick Healy
How did The Lion King turn around its once-shaky fortunes and become the top-grossing show on Broadway in 2013, an unprecedented feat for long-running musicals, which usually cool after a few hot seasons.

Why Your Entertainment Venue Should Consider Cost Certainty
Ticketing Today: Troy Kirby
With dynamic and variable pricing — not just for tickets but also concessions, parking and merchandise — venue operators need to ensure that their prices aren’t creating a budget barrier for potential customers.

The Price of Music
recode.net: David Pakman
The data tells us that consumers are willing to spend somewhere around $45–$65 per year on recorded music, and that the larger a service gets, the lower in that range the number becomes. And these numbers have remained consistent regardless of music format, from CD to download.


Bridge: Worldwide Music Connection
Access to 3000+ music listings including job openings, festivals, and internships.

Log on at http://necmusic.edu/bridge.
Email jumpstar@indiana.edu for login information.

Musical America Careers Portal
Access to a large selection of jobs available in performing arts, post an anonymous resume, or create an alert to be notified of new vacancies.

Visit the Project Jumpstart website > Your career development and entrepreneurship program!

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The Future of The Orchestra: A Conversation with Henry Fogel and Gary Ginstling


A converstion with
Henry Fogel & Gary Ginstling

Are you planning a career in the orchestral world?
If so, this event is for you!

Wednesday, April 2 | 2:30-3:30pm | Sweeney Hall
An invitation to all JSoM students and faculty.

- Please Sign Up Here to Attend this Free Event -


Enjoy a conversation between Henry Fogel — past president and CEO of the League of American Orchestras, president of the Chicago Symphony Orchestra, executive director of the National Symphony Orchestra, and orchestra manager of the New York Philharmonic — and Gary Ginstling — CEO of the Indianapolis Symphony and past general manager of The Cleveland Orchestra.


Fogel-155Henry Fogel was appointed Dean of the Chicago College of Performing Arts at Roosevelt University beginning in July, 2009, a school at which he has taught a course in orchestral studies since 2002.  In addition, he continues to provide a limited amount of consulting for musical organizations, working as a part of the Catherine French Group. He has been an artistic consultant to the Sao Paulo Symphony Orchestra in Brazil since 2008, and has consulted for the Royal Scottish National Orchestra and the Edinburg Festival. He is also a Visiting Professor at the Xinghai Conservatory of Music in Guangzhou, China.

Mr. Fogel has had a long and varied career in music administration. From 2003-2008 he was President and CEO of the League of American Orchestras. He retired from that position in 2008, but remained as a senior advisor through 2009. During his seven years with the League, he visited over 190 orchestras in America, and over his career he has visited and heard at least one orchestra in every one of the fifty states. Under his leadership the League attained fiscal stability, fully paying off a $1.2 million accumulated deficit and operating in the black for each year of his Presidency.

From 1985-2003, Mr. Fogel was President of the Chicago Symphony Orchestra, leading the organization through a period of enormous change. Under his leadership the Orchestra’s endowment increased from $19 million to over $160 million, and he oversaw the $125 million renovation of Orchestra Hall. In addition to maintaining its artistic supremacy, the Chicago Symphony during Mr. Fogel’s term dramatically strengthened its community engagement and educational programs. Fifteen of the eighteen years in which he served saw balanced budgets or surpluses, and during his time there attendance to classical subscription concerts increased by more than 20%.

From 1981-1985, Mr. Fogel was Executive Director of the National Symphony Orchestra of Washington, D.C., and from 1978-1981 he was Orchestra Manager of the New York Philharmonic. From 1963-1978, he was Program Director and Vice-President of WONO, a full-time classical music commercial radio station in Syracuse, New York.

Mr. Fogel has served on non-profit boards virtually without interruption since 1967, when he was elected to the Board of Directors of the Syracuse Symphony Orchestra. Boards on which he currently serves include the Executive Committee of the Avery Fisher Artist Program, the Institute for the Study of Black Music at Columbia College, the Chicago Opera Theater, and the WFMT Committee of the WTTW Board in Chicago, and the Chinese Fine Arts Society. He currently chairs the Board of the Cedille Chicago.

Mr. Fogel has also been a reviewer of recordings for Fanfare magazine since 1986, and for many years he wrote a column for South Korea’s leading classical music magazine Auditorium. He has contributed several entries to The Harvard Dictionary of Music. He has been a judge for conducting competitions in Europe, Asia, and the US, and he was the President of the Jury for the Music Competition of the Montreal Symphony Orchestra.

He has received honorary doctorate degrees from Roosevelt University, Northwestern University, the Curtis Institute, and Columbia College in Chicago. In 1999 Mr. Fogel received a Cultural Leadership Citation from Yale University for service to the cultural life of the nation. In June, 2009, he received the highest honor in the symphony orchestra field, the League of American Orchestras’ Gold Baton Award. In 1997 he received the Top Chicagoan Award from Chicago Magazine, and in 1990 was named by Business Week magazine as one of the five best managers of cultural organizations in the United States. In 2003 he was honored by the Illinois Arts Alliance as an Illinois Arts Legend. He has also received the Dushkin Award for his service to music by the Music Institute in Chicago. In 2007 he was cited for “outstanding contributions to and accomplishments in the field of Music Education” by the National Association for Music Education. In 1986, the Chicago Chapter of the Brandeis University National Women’s Committee established a Collector’s File in his name in the Brandeis University Library.

Mr. Fogel has also served as a narrator with a number of orchestras and has recorded a speaking part in Paul Salerni and Dana Gioia’s opera Tony Caruso’s Last Broadcast on the Naxos label. He has also produced a number of internationally syndicated radio programs for Chicago’s Fine Arts Station WFMT, including currently Collectors’ Corner, which is derived from his extensive personal collection of over 20,000 classical recordings.

Mr. Fogel lives in River Forest, Illinois with his wife Frances. They have two children, Karl and Holly, and five grandchildren. In addition to music, he also has a passion for cooking Chinese food, and he studied over three years with Virginia Lee, who wrote the New York Times Chinese Cookbook.


Ginstling-155Gary Ginstling joined the Indianapolis Symphony Orchestra as its Chief Executive Officer in March 2013. After nearly a year in the role, Mr. Ginstling has formed a new senior management team; balanced the FY13 budget; raised nearly $10 million, the most ever raised by the ISO in a single fiscal year; reinvigorated the classical and pops subscription model which has resulted in the highest subscription revenue total in the past five seasons; overseen a record year of Marsh Symphony on the Prairie revenue in summer 2013; broadened the ISO’s reach in the community by increasing the number of free summer parks concerts around Indianapolis this past summer; and launched the first ever “Community Day” open house and free concert to be held on Sept. 21, 2013 at the Hilbert Circle Theatre.

Mr. Ginstling came to Indianapolis from The Cleveland Orchestra, where he served as general manager since September 2008. In Cleveland, his duties included overall executive responsibility for operations of Cleveland Orchestra activities, including artistic planning, concert production, touring, orchestra union contracts, education, electronic media, and the operation of the two Cleveland Orchestra-owned facilities:  Severance Hall and Blossom Music Center. Under Mr. Ginstling’s leadership, The Cleveland Orchestra launched several new initiatives aimed at attracting new audiences, including the return of staged opera to Severance Hall after forty years; an annual fully-staged ballet production at Blossom; a pops concert series; and several new concert formats.  He oversaw an extensive electronic media program that included the release of three DVDs and five CDs, including one recording which received a Grammy nomination in 2010. In 2010, he led the team which successfully completed a $10 million transaction with the federal government for 600 acres of land surrounding Blossom Music Center.

Prior to joining The Cleveland Orchestra, Mr. Ginstling served as Director of Communications and External Affairs for the San Francisco Symphony from 2006-2008. He was a member of the SFS senior management team and his responsibilities encompassed the oversight and direction of public relations, public affairs, publications, and the organization’s education/youth orchestra and community engagement activities. Mr. Ginstling oversaw the promotional efforts of the San Francisco Symphony’s Keeping Score project, which launched in November 2006 and has been viewed by nearly five million people around the world. Coverage of the project was secured in twelve of the top twenty major media markets.  He also created and planned the San Francisco Symphony’s first-ever family concert celebrating Dia de los Muertos, the Day of the Dead celebration, in 2008.

Mr. Ginstling served as Executive Director of the Berkeley Symphony Orchestra from 2003-2006. At the Berkeley Symphony, Mr. Ginstling was responsible for a number of initiatives that helped enhance the orchestra’s reputation for creative programming and innovative projects. During his tenure, the orchestra gave six world premiere performances, received three ASCAP Awards for Adventurous Programming, and was a recipient of the inaugural “Bank of America Award for Excellence in Music Education,” a national award presented by the League of American Orchestras. These artistic achievements were accomplished in a fiscally responsible manner, as Mr. Ginstling oversaw three consecutive years of balanced budgets, the elimination of all outstanding debt, and a 30% increase in ticket sales.

Prior to joining the Berkeley Symphony, Gary Ginstling spent three years as a Marketing Manager for multimedia and emerging markets with Sun Microsystems. He also spent many years as a professional orchestral musician, performing regularly with orchestras including the Los Angeles Philharmonic and San Francisco Symphony, and serving for twelve seasons as principal clarinetist with the New West Symphony in Ventura County, California.

Mr. Ginstling holds a Bachelor of Arts degree from Yale University, a Master of Music from The Juilliard School, and a Master of Business Administration from The Anderson School at UCLA. He currently serves on the board of the Electronic Media Association, representing over seventy orchestras from around the country in negotiations with the American Federation of Musicians on symphony orchestra electronic media activity.  He has served on the board of the Association of California Symphony Orchestras, and recently served as a member of the grants review panel for the Maryland State Arts Council.  Mr. Ginstling lives in Carmel, Indiana with his wife Marta Lederer, and two children – Teddy (age 7), and Marlena (age 5).



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