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Recent news, commentary, and ideas.

Two postings by Arts Journal blogger Greg Sandow this week sparked our interest. The first is about the quality of relationships as classical musicians reach out evermore. The second, a conversation with alumna Caroline Gilbert, discusses the ‘creative class.’

Crossing Over
Greg Sandow (Blog)
Do those of us who work in classical music want to hear from the communities we go into? Would we involve them in our planning? And, most important, how much do we know or care — and show that we know and care — about the culture our communities already have?

Reaching the Creative Class
Greg Sandow (blog, with JSoM Alumna Caroline Gilbert)
“I’m not really sure how to make the orchestral concert-going experience more like the creative class experience. Orchestras are trying to do more pop or theme nights to draw different categories of people but to me it just seems like they are selling out a bit/going generic.”


Vienna Philharmonic: Facing its Past and Struggling with Diversity
Possibly no orchestra has prompted more hand-wringing and ambivalence than the Vienna Philharmonic. The 172-year-old orchestra is recognized the world over for a very specific sound that’s changed little over the decades, and a playing style that has been passed down from generation to generation.

Leonard Slatkin Invites Audience to Snap Photos During Encore
The Detroit Symphony Orchestra (DSO) director Leonard Slatkin surprised his audience Tuesday night. During the encore, he asked them to turn their cell phones on and engage during the performance.

Great Expectations: The Composers’s Progress
New Music Box
There are a number of composers who don't conform to the traditional model, and the truth is that there really is no typical career trajectory for a composer. The only way to navigate a career as a composer, I have found, is to be prepared for anything.

Why Musicians Don't "Like" Facebook Changes
Future of Music Coalition 
What once was a level playing field is now skewed by algorithms that favor the “haves” over the “have nots.” While it makes good business sense for Facebook, making artists, businesses and brands pay to “promote” content has taken some of the sheen off the Facebook experience.

The IMA Hires a “Curator of Audience Experience”
He’s leveraged the cat video niche to create a festival of 11,000 paying attendees. How will his innovation transform the Indianapolis Museum of Art?


An Insightful Review of Targeted Marketing
New Music Box
In an attempt to focus on specific audience demographics, artists often limit their potential reach. Here are some things to do while sharpening your aim but considering your whole target. 

Is Tech Creating Data "Cravability," To Make Us Digitally Obese?
Fast Company
Obesity is a huge global problem, costing an estimated $450 billion per year in the U.S. alone. But that's just physical obesity. The exact same processes that companies use to trick us into wanting to eat and eat are also being used to get us to spend more and more time online.

Minimum Viable Product
The Artful Manager
Andrew Taylor explores the trend of “lean startups” and how this approach has something to teach us all about the process of innovation in the arts. 

Cellist Zoe Keating Reveals iTunes, Spotify & YouTube Payouts For 2013
The Guardian
This is a clear and concise look at revenue streams for a successful independent artist. What it says about the value of streaming to one’s portfolio is up to you to decide. 


Is Music a Real Language?
At Johns Hopkins University, a team of researchers recently came up with a way to study the neurological basis of musical exchange by watching the brain activity of jazz improvisers. In one way, they found, music is exactly like language, but in another, it’s not similar at all.


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