During my undergraduate years, I was often too stressed or dealing with mental health issues to take full advantage of the events going on around me. I tried joining clubs, but they weren’t that welcoming. I always felt like an outsider. It wasn’t until my senior year that I started going to concerts that I wanted to go to. I went to faculty recitals, I saw Gil Shaham perform the works of Bach, and I got to hear Kelly Hall-Tompkins perform Wynton Marsalis’ Violin Concerto which was really special for me. I even saw some of my peers' recitals and that was really fun, too.
This semester, it’s almost difficult to pick and choose what to attend because there’s so much going on every week! I really appreciate the weekly music events email that goes out because I am quite forgetful. So far I’ve gone to the David Rosenboom Residency concert in October, an electric strings DMA recital, one Illini Strings concert, two electric strings masterclasses, the electric strings studio recital and an artist diploma student recital. I also got to see the Chicago Symphony perform in Krannert Center for Performing Arts which was incredible!
I’m constantly amazed at how many opportunities there are not only to see others perform but to participate in things as a musician. For example, I’m currently in Dr. Koo’s studio and I’m working on a composer collaboration where we get to learn a piece written by a composer and record it. This is just a great learning experience because I’ve never done anything like this before. I wish my previous school had stuff like this to do with their students!
And, in February, I’m performing in a faculty-student side by side performance of ALL of Bach’s Brandenburg Concertos. That is literally a dream of mine to play the Brandenburg Concertos at such a high level! All in all, I’m learning so much from attending these performances, seeing performers of all levels play vastly different kinds of music. It’s so inspiring for me and I can’t wait to see what next semester has to offer!
It’s the day of your lesson. You get into your professor’s room, you start to play through your difficult repertoire, and it all goes out the window. For some reason, even though you practiced all week, it’s not showing in your lesson.
I know how soul-crushing this can be. As a graduate student, I’ve had my fair share of “bad” lessons in the 14 years I’ve been playing violin. Here is my advice to anyone going through something like this:
First, let yourself feel whatever you feel. If you need to cry it out, then do it! If you need a break from the practice rooms, take the break. Try not to beat yourself up. As musicians, I think we forget that music and performing is hard. It’s a lot of intellectual work; figuring out minute changes in our posture to improve our performance, trying to deduce what fingering or bowing works where and why, and listening to recordings of yourself playing to analyze what worked and what didn’t... It takes a lot of time, effort and energy to be a musician.
Second, decide whether you want to involve your professor or not. It is totally up to you whether you want to talk about this with your professor, but I always recommend being open about things like this because at the end of the day, your professor is there to help you out. We are musicians, but we are also human; we can’t be motivated 24/7 to practice and get everything done.
Third, make a plan for the next lesson. What made it a ‘bad’ lesson? Did you not feel prepared for it? Is the music you are learning overwhelming you? Are you sick and not feeling well? Once you can pinpoint exactly what went wrong, you can make sure the next lesson goes well.
I spent way too much of my undergraduate years being afraid of my violin professor and my lessons. It took me two years into my undergraduate studies to realize that my professors are there to help me improve my technique, and not to make me feel bad if I make a mistake in the lesson. And once I realized this, I improved much faster because I was no longer stressed at every lesson.
This semester, I’ve been trying to streamline my practice time, especially when it comes to orchestra music. Being in an ensemble is required for most music majors, and it can really take up a lot of your time, even outside of rehearsals.
Before I entered my undergraduate studies, I wasn’t the most active person out there. Gym class was my least favorite class I had to take growing up. Something about the competitiveness of sports was always unappealing to me (truthfully, it still deters me from playing sports today). When I began my undergraduate studies at UW-Madison, I started to take advantage of the gyms on campus, but I wasn’t consistent with it. This semester, however, I really wanted to take charge of my health, so with the help of a great friend I’ve been consistently going to the gym for over a month now.
As my freshman year nears its end, it has been and is a very busy time, with lots of end of the year activities! With all of the performance opportunities recently, it’s felt more and more like things are returning to normal. Within a two week span, there have been three major performances, with the last one 48 hours. Here’s the rundown.
My dress rehearsal for my undergraduate junior recital is coming up, and I’ve been preparing myself to make the best use of the time that I will have onstage before the night of the performance. Here are some quick tips and helpful things I’ve been thinking about regarding this part of the recital process:
Opening the violin case is a very hard process at times. It often means you are about to focus extremely hard for a long period of time. It is much more convenient to just swipe past the Google Docs tab I’m writing on, to stop on Netflix about two slots over, or go grab lunch with friends. In musical communities, these negatives exit the mind, because everyone else is going to rehearsal/practice as well. It’s inspiring, because you see the hard work and great music of your peers, and also competitive because odds are the person you are listening to will be competing for a job or ensemble seating in the future. However, that practice room inspiration got taken away recently due to the epidemic. For a long time, there were no ensembles, no summer camps, no concerts, and no trips with friends to the practice rooms. How does a musician gain the motivation to practice during the pandemic?
If you’re like me, practicing at home for you is, at times, difficult. I LOVE the peaceful nature of a blank, quiet, room at the music building, with no distractions but the sound of my colleagues practicing. It’s taken me a while to adjust to practicing at home during this difficult time, but it just has to be done. Here are some things that have helped me figure it out along the way:
Winter Break was extra long this year. For me, this meant more practice time, which I found to be, depending on a variety of factors on any given day, both a blessing and a curse. On one hand, more time to practice = more time to study the repertoire I was preparing for the annual Paul Rolland Violin Award Competition. On the other hand, more time to practice = more time playing the violin alone, without anyone to structure my day except me. While I do appreciate a slow, meditative practice session, I find it a difficult lifestyle to maintain without the routine expectations provided by a “normal” weekly schedule of playing in lessons, studios, and chamber groups, and orchestra rehearsals; all of which I am lucky to experience in-person this year. I think that’s why I felt all the more grateful at my first in-person orchestra rehearsal experience of the second semester.
Hello readers! This is my first post, and I wanted to start with something simple: my typical Thursday. It’s more entertaining than it sounds, I promise.
Like the teenager I am, I woke up at the early hour of noon and grabbed some classic chicken and rice from the dining hall. After freshening up and a short walk to the Krannert Center, it was time for rehearsal! I’m a member of an ensemble called Chamber Orchestra. However, violins are not needed for the opera we are performing, so on those rehearsal days, we also get to play in the String Orchestra. Both are super fun and high-performing groups. We played two different pieces, Serenade by Josef Suk, and Starburst by Jessie Montgomery. A fun bit of information, Josef Suk was the great-grandson of the highly esteemed composer Dvorak. I originally met him when I was 6 years old during a violin trip to Prague.