Sigma Alpha Iota

sai-national.org • WINTER 2016 • PAN PIPES 25 Question 2: How would you describe your career in classical music? Jonas: I am a performer and educator. I teach applied horn, horn ensemble, brass pedagogy, a course in music appreciation, and also one in music of Western cultures at Wright State University. I am involved in planning and participating in many professional clinics and conferences and have played with many chamber and symphonic ensembles in Cincinnati, Dayton, and throughout Ohio and Kentucky. Sonja: I have spent the last ten years in operations for a symphony orchestra. at means that I help to manage all the logistics of what happens onstage to make the concert happen. is involves assessing the needs of each program, collaborating with stagehands and technical staff, problem solving and supporting the needs of musicians and staff alike. I spent almost nine years working on planning tours for the Pittsburgh Symphony, which was a complex project involving bringing an orchestra of 100 players on the road in the USA, Europe, and Asia. I am now with the Nashville Symphony. Jason: My career currently, in addition to being the dean of arts and sciences at Concordia College-New York, includes being the director of choral activities and conducting four different ensembles. I also work as an assistant conductor for a church and other organizations, perform as a professional chorister and soloist with high-level professional ensembles, and serve as a professional adjudicator for state ensemble competitions. In addition, I also write and arrange music for ensembles I participate in and have had a number of my compositions published. Question 3: What are the goals that you have for your life in classical music and where do you see yourself ending up when you reach the height of your career? Jonas: I would like to continue to teach at the college level and to frequently perform with a variety of high-level chamber and symphonic ensembles. I could see myself sustaining my current place in my career or attempting to move up. e opportunities to move up are limited and, in some cases, geographically unappealing. Sonja: I would like to continue to facilitate excellent live performances that inspire all people in the community. I am constantly trying to improve my skills in leadership and communication. I suppose I have achieved a great deal and really value the place I am right now. As long as I am contributing in an excellent way, I want to stay in the field. Jason: I would like to conduct choirs that receive invitations to state, regional, and national conferences, perform with ensembles that have been nominated or have won Grammys, train and mentor students who will make an impact on the musical lives of others, write music that is performed by other ensembles on a national level, and, finally, always have fun, look for new and different music that affects audiences. I believe that I am very close to the height of my career. I hope that I can remain there for an extended period of time, and that as I grow and change as a musician I will do it with excellence and high standards. For me the most important thing is not where I'll be but how open, creative, and hardworking I will be. Question 4: Whose lives do you affect each day by the music work that you do, and how do you feel that you are changing their lives by the music work you do for and with them? Jonas: As I work as a performer and educator I affect students, fellow performers, and music patrons. For my students, I lead by setting an example of professionalism. For my fellow performers, I try to work with them in a spirit of camaraderie to complete the projects we undertake or the musical performances we engage in on a regular basis. For music patrons, I provide musical entertainment that they will enjoy. Sonja: As part of a symphony orchestra, I have always had to produce two to four concerts per week, for 40 some weeks a year. Audiences have ranged from 500-2,000. at is a lot of ticket buyers, elementary/middle/high school students, and general public. A symphony orchestra should be for the community and seek to play excellently for all people. I find it very rewarding to hear the audience enjoy a performance. at is really the fuel that keeps me going. It doesn't matter what the content is—classical, pop, film—there is something for everyone (and not everything is for everyone). I think embracing the diversity and unity in music is very important. Jason: First, I do music for my family. I am a fourth generation musician and the goal is to pass that interest and the skills necessary on to my own children, the fih generation of music makers. It is also most important to support family members in their musical endeavors. Second, I do music for my students, college, and audiences. I try to help these groups understand the importance, joy, and meaning of music, hopefully, inspiring them to pursue more musical styles, genres, and performances on their own. ird, I do music for my church by singing, conducting, and writing music so that God is lied up, above my skill, providing music and performance with a higher meaning. As a choral director I am always making sure that the quality of music performed is high, with great texts, solid musical language, and authentic character. I want my singers to pay attention to the importance of texts and how they are expressed. My goals, though mainly rehearsal related, help singers realize that they must spend time with the details, spend time exploring the texts, and understand what makes good music. ese goals, hopefully, will also translate to other parts of their lives including studying, working and connecting with family and friends, requiring concentrated and detailed work and planning. Question 5: What evidence do you get from those who you do your music for that you are affecting their lives? Jonas: From my students I do not get immediate feedback, but feedback based on development over time. From my fellow performers, I get occasional immediate feedback through conversations based on the quality of performances. From the patrons I serve, very little feedback, but occasionally patrons will speak to me aer a performance about how much they enjoyed a performance. Sonja: Applause is a connection between performers and patrons. at connection can be affirmation of beauty, appreciation, joy, sorrow, and happiness. ere is a special kind of happiness in seeing a program produced and performed well. Jason: I always tell my students that our only goal is "to make old women cry, but if we make an old man cry then we are doing really well." is is not to say that we try and manipulate emotions, but with my choirs it is our goal to teach the students important anthems, songs, and texts which will resonate throughout subsequent years. What is interesting to me is not only when old people cry because of the beauty or memory attached to the music, but when our students have an emotional reaction to something we do. ey might have tears in their eyes when they realize that a song MODERN MUSICIAN SURVEY SURVEY continued on page 26

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