I must interject a comment on this post. It is very difficult to earn a DMA
in applied music. Not only must a student earn a "B" level or higher in
many hours of musicology, theory, technology, and ethnomusicological
classes, but one must first EARN admission to the program in the first place
by performing either a recital or lecture recital that is at the doctoral
level in musical proficiency. At least, that was the case when I entered
the Michigan State program in 1995. The horn prof maintains very high
standards for both herself and her students, and I think that this is true
of other professors in other programs. In every doctoral program that I
investigated, one had to become doctors of performance, pedagogy, the unique
history of the instrument itself as well as a doctor of musical knowledge.
Then there is the series of 4 or 5 recitals one must perform before a panel
of highly discerning ears. After those recitals are passed, then there is
the dissertation or DMA document, which takes many forms depending on the
university program. Most require a presentation on the research before a
panel of professors, not only from the School of Music but from the
university as a whole. My outside reader took it upon herself to gain
knowledge of the horn and of jazz (she has an English doctorate) before
reading my 200+ page document on the history of the horn as a solo jazz
instrument. I also took 2 semesters of jazz performance to give my research
even more integrity.
Comprehensive exams in music theory and history are also required at
most schools. At some universities, one of the exams may be supplanted by
an additional graded recital. These comprehensive exams usually encompass
one 8 eight hour day, and often 2 or more days.
Most horn profs that I know also have performance careers. Not only do
they play in the university woodwind and brass quintets, but most perform
regularly as soloists with university ensembles. Many commission works that
expand the repertoire for their instruments and the ensembles they play in.
Many of these commissions come out of the professor's own funds. Most horn
professors also play in an orchestra, often as the principal of the section.
Their performances in these venues need to be of the highest quality because
their students (and prospective students) will be in the audience and their
colleagues are often present as either orchestra or audience members.
Mostly, however, the horn prof with the doctorate maintains a high standard
because it is the drive and commitment and dedication to the horn and to
teaching that led him or her to earn the degree in the first place.
I know of nowhere that one can buy a PhD that is worthy of the paper it
is printed on and I know no person who has earned a PhD or DMA who would
want one given to him or her. Most university music search committees will
choose proficiency on an instrument and pedagogical ability over a doctorate
if the Dr. cannot teach/play as well as or better than the candidate(s)
without the doctorate. Usually, if other qualifications are equal, then the
academic achievement comes into play and the highest degree wins. The
personality and attitude of the candidate is also a factor. If anyone
displays or even hints at having a supercilious attitude or disdain for
others, then that candidate has sealed his(her) own fate, whether the
perceptions of the committee member(s) are correct or not.
Sorry for the long post, but I saw an allusion that the doctorate is not
a worthy indication of ability. Like anything, there are some instances
when someone earns a doctorate and then does not maintain the standards
while on the job. These are the very few exceptions rather than the rule.
Ellen Manthe, D.M.A.
On 8/26/05 2:14 AM, "matthew scheffelman" <[EMAIL PROTECTED]> wrote:
> Hans you must write a book on musicianship and horn
> playing. Your words are spot on perfect and true for
> the future horn players of the world.
>
> What seems to be happening in the USA is more and more
> players are becoming PhD's of music rather than
> amazing performers and musicians in Horn. This maybe
> due to the fact that you can PAY for an education in
> music, but not a performing career. As I found out
> recently, a PhD held by a individual will win out
> against less lofty academic gains(on paper of course)
> for many university teaching positions. Some music
> performance professors I have heard can not hold their
> weight against their own students.
> One maybe two recitals a year, if that, as a
> professor, is not a performing career.
>
> Are potential musicians being told that the
> "standard" of performance is one of repeating a
> passage until it is interpreted boring (but quasi note
> perfect?), rather than the inspiration of performance
> and LISTENING with a characteristic horn sound?
>
> Matthew Scheffelman
> Horn
>
>
>
>
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