Undergraduate and graduate academic catalog

144 Pages·1994·11.9 MB·English

by  New England Conservatory of Music

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THE
ARr& SOUL
NEW ENGLAND ODNSERVAIDFy BOSTON
•

Themusiconthecoveris
LeeHyla'sTheDreamof
InnocentIII foramplified
cello, piano, andpercussion.
AmemberofNewEngland
Conservatory'scomposition
faculty, HylaisaRomePrize
fellow. Heiscomposinga
settingofAllenGinsberg's
Howl fortheKronosQuartet,
tobepremieredatCarnegie
Hallin 1994.
Formoreinformationcontact:
OfficeofAdmission
NewEnglandConservatory
Box321, 290HuntingtonAve.
Boston. AAA 02115
16171262-1 120, ext. 430
PhotographybySteveDahlgren
©1993NewEnglondConservoioryolMusic
Music a calling
is
YOU DON'T CHOOSE CHOOSES YOU
IT, IT
Ifyou are "chosen," makingmusic itselfbecomes the highest reward,offering
you the means toexpress thedeepestcurrents ofyourbeing. No wonderithas
always attracted the passionate, thegifted, and thecommitted.
Butpassion, talent, and dedication may notbe enough to securea prominent
placeinmusic today. Fromconcert stage toopera house to avant-gardeclub,
the music world is changing, and no one is certainwhere tomorrow's
opportunitieswill lie. Consider:
Although sales ofclassical recordingsarehigher than ever, many
orchestrasare infinancial trouble,andsomearecuttingback
theirschedules.
Musichas neverbeen soculturallydiverse, butaudiencesare
fragmented,hard to reach.
m The numberofopera companies has increaseddramatically, but
competitionforroles isfierce.
Jazz,long themostprogressivemusic, has becomedominated by
the commercialvalues ofthe recording industry.
m Publicsupportforthearts has declined, leaving the marketplace
todeterminewhoandwhatgets heard.
To excel in this world, you mustbeawareoftheforces shaping it. Your musical
education ought to reflect that awareness, too. That's whywe haveasked six of
—
America's finest musicians instrumentalists, composers, and vocalists from
—
theclassicaland jazzworlds tolookahead and offer theiradviceon the skills
you'll need to face the future.
Theseartists all teach atNew England Conservatory,but theydon'tall think
alike. They presenta diversity ofopinions, notan easy formula forsuccess.
Theydo agreeon one thing, however: tomorrow's musician will need broader
trainingand greatermusical flexibility than ever
before. They present somestimulating ideas on
how to achieve thesegoals.
Who will make our music in theyear2000 and
beyond? You will, ifyou prepare now to master
change. We at New England Conservatory offer
these thoughts to help you begin.
EnglandConservatory.
Hewasatopprizewinner
inthe 1966Tchaikovsky
CompetitioninMoscow
andhasbeenasoloistwith
theBostonSymphony, the
LondonPhilharmonic, the
LosAngelesPhilharmonic,
andothermajororchestras.
Hehasperformedatthe
Casals. Spolelo,Marlboro,
andSantaFefestivals
andisassociatedwith
^okyo's TohoCokuen
SchoolofMusic.
LAURENCE LESSER
The music yours to make
is
Who given. Itdoesn'texistyet. Young
the yeawril2l0m0a0k?e our music in musicians will create it. Though it's
hard to keep this in mind whenyou
LAURENCE LESSER: That'seasy: arepracticingandworrying about
those who have a solid musical competitions and job opportunities, -
background and the depthof you control your musical destinytoa
conviction topersist. The music world largedegree.
that today's students will enter isnot a