Quote:
Originally Posted by ecarroll  The most compelling reason that I can put forward to pursue a performance degree is not for the lessons, course-work, and ensemble training that one receives, but to be surrounded by peers with similar skills and similar career aspirations. I suppose the same might be said about most any undergraduate degree. That said, a Juilliard degree (I have 2) hanging from the wall is useless. It's what you know, not where you trained.
|
That is most definitely a great benefit to getting a performance degree- probably the most compelling reason of all. At least assuming one is at a school that has really serious like-minded students. A similar benefit can be gained from summer programs, although we both know how much harder it is to access those from "outside the loop."
The resources available at a school with a performance degree are also a factor - access to an extensive listening and printed music library is a great help in preparing for auditions, chamber music, solo career.
But having access to real liberal arts classes and students in widely diverse disciplines can provide a great insight into how those outside the music world perceive music. The realization of just how completely music is a foreign language to many people makes you think differently about how to communicate about and with music. Of course it is easier to communicate with those who speak the same language, but as a potential performer or educator or promoter, it is especially critical to engage with those who don't.
At least from my perspective.... for what that is worth.
