| I've been on a bunch of search committees in my career. I would generally have to say that each is different. I would also qualify my experience by saying that all of my time in academia has been at large, relatively prestigious schools, so that colors my experience. We generally were not considering people straight out of grad school. To make the first cut for a gig at CCM or IU you had to be coming from success at another teaching position or transitioning into academia from a successful performing career. I have helped mentor a lot of students through the process of getting that first gig, however.
I would have to say that it is the "resume" that gets you past the first cut. In saying that I don't necessarily mean the printed curriculam vita you submit (although that is certainly crucial). I mean the reputation one has developed as a player and teacher through previous experience. References and recommendations are also part of this. If you are a David Hickman student and he calls a friend who is on the search committee and says "J-C is the greatest thing since sliced bread" then you will get a more serious look than someone with a similar C-V. Of course, if someone passes along the word that you are a great player but no one in the orchestra gets along with you then the opposite effect will occur.
As far as the recording, most people on a search committee will not listen to everything on your CD/tape. Lead with the best stuff. They might skip around to listen for certain things. How do you handle picc repertoire, for instance. Can you play jazz?
If you have a commercial CD available that seems to have a bit more credibility for the committee. Send that. However, one caveat...if that CD is narrowly focused (it is all "new music", it is all chamber music on little horns, etc) then you should probably enhance that with other recordings from recitals, etc. that give a more balanced view of your playing.
I would also try to sleuth out the scene at a given school. What is the school's focus and how do they perceive their mission? Are they looking for someone who can play jazz, commercial, as well as classical stuff or is it really a "legit" conservatory model they are seeking? Who is on the committee and what is their agenda?
I would not necessarily send the same cover letter or recordings to every place I apply...or I might sequence the material differently according to who will be listening.
Good luck!
Pat |