When a problem presents itself, we have a few options. 1) We can complain, lamenting that we have the problem in the first place, that the world is out to get us. 2) We can ignore it. 3) We can work to find a solution. There are different ways to do each of these, but they cover most responses. Sometimes, we confuse 1 with 3. And sometimes we “work” a little too much to find a solution, instead of strapping in and doing the work we already know we need to do.
In short, if there are words without a plan of action, there’s nothing. Think, talk, come up with a plan, and then do the plan. Doing, after all, is the only way to get things done.
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As musicians, we spend most of our time alone in our practice space. Likewise, being a founder can mean that you do a lot of things alone, but that’s never really the case. Other musicians want to help. Sometimes a quick ask works. They see you doing something they believe in. So, don’t go it alone. Talk to people. Get out of your head. Music is collaborative both inside and outside the concert hall.
Founders have to do more than everyone else. It’s true regardless of what field you’re in. In music, you’re probably a PR, marketing, finance, operations, conducting, and legal person. Of course, you have to find help for what you don’t know, but having a small staff (maybe even just you) means that there simply aren’t the people (and the funds) to pay for those other roles during the startup phase. Co-founders can share responsibilities. Proficiency rather than excellence becomes the standard for most things, or even survivability. If you choose to be a founder, embrace the multiple identities. The voices will help you.
Musical entrepreneurs make art out of the possible. They use musicians who could be used but aren’t. Composers who could write but don’t. Audiences who could come but haven’t. They transform the possible into the actual by activating networks, by building infrastructure, and by inspiring and helping those around them to push against the ceiling of impossibility. Musical entrepreneurs are musicians who make their truest, life-affirming art with the lives and talents of the people around them. Their work is judged by those they empower and the lives that they change.
We desperately need more musical entrepreneurs--people willing to grow the classical music ecosystem. Musical entrepreneurs create jobs for performers, composers, and support staff, while also building relationships with new audiences and patrons. The innovation that musical entrepreneurs bring to the ecosystem keeps it relevant for the audiences of today. Traditional musicians finish school and find jobs that already exist. Entrepreneurs make jobs and art out of what’s possible rather than what has been. We need people like you. It’s the only way for the classical music ecosystem to survive--and to thrive.
At its core, musical entrepreneurship is about having a vision and the courage to work to make it happen. You have to know what kind of music you want to do and what you want to do with your musicians. Then, you need a plan that will allow you to bring those musicians together. Sometimes, you’ll ask for help. A lot of times, you’ll do things by yourself with sheer possibility as your only carrot. Whatever you do requires the courage to start in the first place, to ask “What if I…” and then “How do I…” Following through requires work and dedication, and a little bit of courage goes a long way.
At its core, musical entrepreneurship is about having a vision and the courage to work to make it happen. You have to know what kind of music you want to do and what you want to do with your musicians. Then, you need a plan that will allow you to bring those musicians together. Sometimes, you’ll ask for help. A lot of times, you’ll do things by yourself with sheer possibility as your only carrot. Whatever you do requires the courage to start in the first place, to ask “What if I…” and then “How do I…” Following through requires work and dedication, and a little bit of courage goes a long way.
When you practice, there’s an expectation for mistakes and experimentation. You miss a run because of a tricky fingering, so you slow it down and do it various ways until you can play it in the desired manner and tempo. Making a mistake in a practice room costs virtually nothing. For performances, the stakes are higher. How high depends on the performance. If you make a bunch of mistakes, people might not come the next one.
The same is true for entrepreneurship, where the stakes are nothing but high. Once can practice with a group of friends by inviting them to play once a week or so. Once paid musicians (with their livelihoods at stake) become involved, however, the costs of failure become, trust, time, and attention. These are the real currencies of musical entrepreneurship. Mistakes are forgivable but require forgiveness. There is no such thing as a zero cost endeavor in musical entrepreneurship. Everything matters from the beginning, so guts and integrity--to themselves and to their musicians--are musts for founders. We can cultivate these qualities. We can invest in time, attention, and trust. Little by little where every little bit matters. |