Consider this hypothetical experiment:

You’re at a coffee house, and you intentionally drop a $10 bill on the floor in front of a cashier.  You sit at a table and observe how customers react (you also have plenty of replacement bills!).

I imagine a multitude of ways people may react:

• Some people wouldn’t notice the $10 on the floor.
• Some people would notice, but ignore it.
• Some would pick it up and buy themselves a coffee.
• Some may pick it up, and tell the next person in line that they just found $10!
• Some may pick it up and buy two coffees – one for themselves and one for the next person.
• Some may hand it in to the cashier.

What would you do?

When I think about “luck,” I think about people who know how to take advantage of opportunities and translate them into success.  The unlucky person doesn’t notice the $10 on the floor.  Though, maybe he does notice it, but doesn’t know how to gain mileage.

We are confronted with circumstances like these every day.  There are figurative $10 bills all around us.  Anybody can pick them up.  Why don’t they?

That’s complicated.

Recognizing and acting on opportunity is a creative endeavor.  It takes study and practice!

Something occurred to me the other day.

If you recorded and analyzed how I spend time during lessons, you would see that most time is spent talking and discussing.  Very little time is spent playing.

When I compare this to how my university piano teachers conducted my lessons, the observations are the same: lots of talking and less playing.

I know this isn’t the norm for all teachers, but considering my own university experience, and the nature of teaching music in academic settings, I think this is also an issue outside of my own private studio too.  We should be more mindful; the consequences run deep.  They’re at the heart of every student/teacher relationship and the cultivation of healthy learning environments.

When I write “playing”, I’m referring to any time the student and/or the teacher are physically playing music.  The student could be playing what he/she has been working on, the teacher could be demonstrating, the teacher could be performing, or the student and the teacher could be playing together.

Of course, there’s nothing wrong with talking and discussing.  But sometimes students need different inputs.

It may not be enough to simply say: “A G7 is G-B-D-F.”  Students may also need to hear the sound of G7, or feel a G7 on their instrument.  The sound, sight and feel of a G7 being played can fill expressive gaps left behind from talking.  Through playing, the connection is strengthened; the metaphor is enriched.

But playing has an even more important function.

Consider this:

Last year, I lost a contest to Keith Jarrett.  We were competing to make a point with my student. I got to the student first, but she was unconvinced when I tried to pass on this lesson.  A few days later, she heard Keith say the exact same thing and “Eureka!” – she got it.

Keith convinced her because he’s the stronger role model.  She grew up listening to his records, listening to him play.

On the other hand, if my student had grown up listening to Chris Donnelly, the outcome may have been different.  In fact, I’m sure my student hadn’t even heard of Chris Donnelly until she began studies at UofT.  Our relationship began with talking, not playing.

This is a problem.

The Importance of Role Models

Having role models is important for optimal learning. I wouldn’t be a jazz pianist today if it wasn’t for my first jazz teacher, Anthony Panacci.  Anthony played for me in every lesson.  We played together in every lesson.  I was nine.  He was my hero.  He established this role model dynamic through playing, not talking.

I may have become a classical pianist, but my teachers never played for me, ever.  Lessons weren’t as much fun as jazz lessons; too much talking, not enough playing.  I didn’t have role models in the classical world.

Everyone has superstar role models like Oscar and Keith, but generally, such artists are inaccessible.   It’s not enough to listen to their records and hear them play once a year when they’re passing through town.  Students need to see and hear their role models play frequently; they need to speak with them; they need to study with them; they need to live with them.

This is important: The proliferation of artists, art and arts education is dependent on role models on every level.  Every point on a hierarchy of accessibility should be filled with role models, from teachers in pre-schools, to professional musicians, and to beacon fires like Keith Jarrett.

Maybe you’ve heard of Anthony Panacci, maybe you haven’t.  What matters is that an artist like Anthony – someone who doesn’t have Keith Jarrett’s fame – can make all the difference.

The Importance of Playing

“Chris Donnelly is a professor at the University of Toronto.” For some, this looks like quite the distinction.  But in the jazz world…*yawn*…who cares?  Can Chris Donnelly actually play!?

Playing is the best way for artists to assert their experience.  Listening is the best way to measure it.  Unless your specialty is public speaking, no amount of talking can equal the value of playing and doing.

The strongest role model relationships are developed first through playing.  Hearing them speak can be a bonus, but it can also be disappointing.  We don’t listen to our role models speak because they’re good speakers.

The Problem

As I mentioned at the beginning of this post, I’m becoming more mindful of the function and importance of playing.  The role model dynamic depends more on playing than on talking and discussing.

But here we are, students and teachers, in formal academic settings, talking and discussing!

In addition to this, not one of my students attended my CD release in March. In fact, I’ve never seen any of my students at my performances. They don’t hear me play!  This is part of the problem.

I’ll grant that it’s becoming more difficult, with the shortage of performance venues, to hear me (and other musicians) perform live – this is also part of the problem – but we cannot let this unfortunate circumstance disrupt the role model dynamic.

Then again, why would my student want to hear Chris Donnelly play?  Who’s Chris Donnelly anyway!?

I currently have a student from Regina, Saskatchewan; I’ve never performed in Regina before.  I doubt anybody in Regina even owns a Chris Donnelly record.  My student was more likely to hear Keith Jarrett’s music than Chris Donnelly’s.  So it’s unfair to put sole blame on the student; he’s never had the opportunity to hear me play and the role model dynamic hasn’t had the opportunity to take hold.

But this student has traveled across the country and is now studying with Chris Donnelly; he should, in principle, be interested in my music.  It’s a cyclical argument, with deeper issues at play.

Solutions for Students:

Hopefully you understand, I’m using my name merely as an example to demonstrate the issues; this isn’t a cynical rant.  I’m actually optimistic about the future – I believe it boils down to playing and reinforcing the role model dynamic.

For students, here’s the thing: I’m teaching at the University of Toronto. I can play.  My fellow faculty members at UofT, my faculty cousins at McGill and elsewhere can all play too.  You should be milking every last note from our music.  If you’re not enthusiastic about our music, you shouldn’t be studying with us!  You should be studying with your role models.

I can’t tell you who your role models should be, but I can tell you that you need them for every stage of your life, for everything you want to accomplish.

I can also tell you that local artists are underappreciated. But compared to the superstars, they’re equally talented, equally deserving of recognition, and equally vital to the proliferation of artists and art.

Figure out who your local heroes are and seek access to them.

Solutions for Teachers, Performers and Artists:

Play’s the thing.

Here’s another point: You’re not a messenger; you’re the message.

Sometimes during lessons, I make note to play and talk only about my music.  “This is what I’m working on, this is one of my tunes, this is how I composed it, and this is what it sounds like.”  I have not yet implemented this approach, but it would be valuable for my students to transcribe my solos, learn my tunes and perform them.

Ultimately, when I talk or play, I’m communicating information about me.  Of course, I’ll play/talk about Monk, Bach and John Taylor, but really, any idea I communicate and put to use at this instant is nothing but a reflection of me and a reflection on now.

A community with a solid role model dynamic doesn’t need to worry about “teaching tradition.”  That will happen naturally. Learning about tradition is inherent in studying with role models.

We’re more than a lecturer; we’re living the music as our role models were.

Be the message.

- – - -

One last point: This problem encroaches on deeper issues with art, education and society.

If students are traveling across this massive country to study with artists they’ve never heard of, the problem extends to the function and efficiency of music institutions.

It extends further: Celebrating international superstars, while neglecting or exploiting local artists, is part of the problem.  Conversely, celebrating local artists, but presenting narrow incomplete programming, is part of the problem too.

Anytime art is distributed through concerts, performance venues, festivals, radio broadcasts, magazines, newspapers, blogs, recordings, and the like, the role model dynamic between audiences and artists is initiated.  This should be done responsibly.

As I’ve said twice already, the proliferation of artists, art and arts education is dependent on role models on every level.  The distribution of art should reflect this.

The entire community should reflect this!

This post is part of a series I’m writing about lessons that Music-in-Canada can learn from Hockey-in-Canada.

• Lesson #1: Hockey Brings People Together
• Lesson #2: Hockey is Anytime, Anywhere!
• Lesson #3: Hockey is Spontaneous
• Lesson #4: Hockey is Simply Structured
• Lesson #5: Hockey Creates Feedback Loops
• Lesson #6: There are No Undergraduate Degrees in Hockey
• Lesson #7: Hockey Supports Connection and Feedback

Here’s #7:

Hockey Supports Connection and Feedback

If I want to clap, I’ll clap.

If I want to heckle, I’ll heckle.

If I need to cough, I’ll cough!

Can you imagine attending a hockey game, where the crowd made no noise except to applaud when the home team scored? Can you imagine everybody giving you a dirty look if you applauded at the “wrong” time?

Making noise is part of hockey culture.  But crowds don’t make noise for the sake of making noise; it’s more symbolic than that.  Hockey, and sports in general, are open to crowds connecting and responding in any manner that fits their needs.

Of course, there are limits – fans can’t bring their own skates and jump on the ice!  But it’s clear that the vocabulary available to hockey fans is massive compared to the vocabulary of symphony audiences.  This includes clapping, heckling, cheering, socializing, analyzing, eating, drinking, standing and leaving whenever and however they want.  And if this isn’t how you like to connect and respond to hockey games, you can always stay home and watch it on TV!

One of hockey’s advantages is in its ability to accept a diverse amount of feedback from spectators.  In fact, spectators are given so much freedom that they can be creative with their feedback.  Examples include fans showing up with signage and fans wearing funny outfits. Creative feedback strengthens the feedback loop (Lesson #6) even further.

Check out this short, hilarious video:

(Can’t see the video? Click here)

Compare this to music performances, particularly the symphony or opera.  If you’ve ever been to the symphony, you know that any kind of bodily movement is frowned upon.  Methods for giving feedback are few in number and rigidly structured.  Further, unknowingly breaking concert etiquette is a reason to feel embarrassed and “ignorant.”

The differences in audience feedback between hockey and music symbolize hockey’s cultural dominance over music in Canada.  Of course, music performances can still be wonderful, life-altering experiences.  There’s nothing inherently wrong with experiencing symphony concerts in this manner.

What concerns me is whether symphony concerts and operas are providing optimal experiences for listeners.

The issue extends to audience development as well.  If concert audiences are diminishing, and arts support is dwindling, and organizations want to support a healthy arts community, they should prioritize creative feedback from audiences – not just applause and $$$!

This post is part of a series I’m writing about lessons that Music-in-Canada can learn from Hockey-in-Canada.

• Lesson #1: Hockey Brings People Together
• Lesson #2: Hockey is Anytime, Anywhere!
• Lesson #3: Hockey is Spontaneous
• Lesson #4: Hockey is Simply Structured
• Lesson #5: Hockey Creates Feedback Loops
• Lesson #6: There are No Undergraduate Degrees in Hockey
• Lesson #7: Hockey Supports Connection and Feedback

Here’s #5:

Hockey Creates Feedback Loops

Hockey culture in Canada is one giant feedback loop.

When I was a kid, I remember skating at Maple Leaf Gardens when it was made available for a public skate.  Imagine my wonder, as a ten year old!  I was allowed to participate in the world of my hockey heroes.

This event was initiated because of feedback from millions of fans like me.  It was a gesture, a token of appreciation.  It was meant to say: “Thanks for supporting the Maple Leafs.”

In response, fans come to appreciate the Leafs and the hockey community on a deeper level.  They return the favour by continuing their support, and on, and on.

This is a subtle example of a larger system at work:  People want hockey; hockey is for the people (and vise-versa).  It’s a simple but powerful feedback loop.

How do you initiate this loop?

It starts with a gift – if given unselfishly and if received positively, receivers will show appreciation and give back.

I’ve been on stages where I could feel that I had everybody’s undivided attention; I had earned their trust.  So I dug deeper, took more risks and tried to give more.  Once I asked my friend to listen to a track from my favourite record.  He responded positively and played me one of his favourite tracks.  This went on and on…These are beautiful moments.

In order to have a strong cultural presence – like hockey in Canada – these moments of unselfish giving must be natural and customary.  They also must be present on every level from individuals exchanging with individuals, communities with other communities and professional organizations with fans and supporters.

Here’s another subtle example: It always impresses me that athletes allow themselves to be interviewed immediately after playing.  They’re dripping in sweat, catching their breath and an interviewer asks them to share their views about the game.  I’m sure they’d prefer to go straight to the dressing room.

But they do it.  They’re expected to do it; it’s built into the job description.  It’s all part of giving and receiving and the cultural feedback loop.

This post is part of a series I’m writing about lessons that Music-in-Canada can learn from Hockey-in-Canada.

• Lesson #1: Hockey Brings People Together
• Lesson #2: Hockey is Anytime, Anywhere!
• Lesson #3: Hockey is Spontaneous
• Lesson #4: Hockey is Simply Structured
• Lesson #5: Hockey Creates Feedback Loops
• Lesson #6: There are No Undergraduate Degrees in Hockey
• Lesson #7: Hockey Supports Connection and Feedback

Hockey is Anytime, Anywhere!

Hockey is always just a few steps away, at least in Canada.

Even if you can’t get tickets to the Leafs game, you can always watch it on TV.  The NHL isn’t the only option either; you can easily find and watch regional hockey games too.  The St. Michael’s Majors, for example, is a regional OHL team based in Toronto; they play all around Ontario.  Their games are good quality, fast-paced and entertaining.

This is a plus for kids, who always need access to talented role models.  The hockey community seems to support a solid role model dynamic from superstars, to professionals, to regional players, to local players and coaches.

Further, if you want to play hockey, the door is wide open.  There are community ice rinks everywhere in Canada where anyone can skate, play shinny or play in an organized league.  Of course, if all these options were unavailable, particularly in the off-season, there’s always road hockey!

Hockey is available in such a way that people can engage with it on any level, from professional to amateur, from playing to watching, from hockey arenas to road hockey to video games to hockey pools.

Here’s another point: hockey doesn’t stop in the off-season.  Nor does it stop when there are no rinks, or when there’s no ice, or when there are no nets.  Even when we had no sticks, I remember playing foot hockey with other kids.  All we needed was a ball.

I would love to see the day when road-music becomes a familiar, celebrated, cultural activity.  Busking doesn’t count.  Street music festivals don’t count either.

When I can visit suburbia and expect to hear people playing music on their front lawn, I’ll know that day has arrived!

Canadians love to celebrate hockey.

Most would agree that hockey culture is embedded deep within us.  We’re pretty good at it too!  The Canadian music community can learn lots from the hockey community; many parallels can be drawn – especially where it concerns education and the maintenance of a strong cultural presence.

(Not that music in Canada is poor, but we celebrate hockey exponentially more than music.  Hockey then, is more connected to our Canadian identity.  We watch Hockey Night in Canada, not Music Night in Canada!)

For the next few posts, I’ll be writing about things that Music-in-Canada can learn from Hockey-in-Canada.

• Lesson #1: Hockey Brings People Together
• Lesson #2: Hockey is Anytime, Anywhere!
• Lesson #3: Hockey is Spontaneous
• Lesson #4: Hockey is Simply Structured
• Lesson #5: Hockey Creates Feedback Loops
• Lesson #6: There are No Undergraduate Degrees in Hockey
• Lesson #7: Hockey Supports Connection and Feedback

Here’s #1:

Hockey Brings People Together

Thousands of people will gather to watch hockey games, as if it has its own gravitational pull, but on people – this makes it special.

Hockey lovers don’t just gather at hockey rinks.  They gather at bars, restaurants, house parties and two-on-two road hockey games.  Its gravitational pull is built into the essence of hockey – you can’t play unless you have someone to play with!

Because of this, hockey education has inherent advantages.  From day one, when they start playing organized hockey, kids are interacting with other kids.  They play together, skate together, practice together, work together, learn together, learn from each another, and compete against each other.

I’ve never heard of private hockey lessons.  They probably exist somewhere, but they’re certainly not emphasized. Skills can be acquired without them.

Why should music education be any different?

Further, playing or watching hockey together creates a special bond between people – just as music does.  Kids who play hockey will grow up experiencing this culture on a very deep, personal level.  Those experiences will last for the rest of their lives.

Among my memories of playing hockey are the sweaty, smelly equipment, the rubber floors, the hockey moms, the zamboni floods, the cool arena air, the scoreboard buzzer and the sound of the skate sharpener.  Even these subtle things make powerful, positive impressions.  At the very mention of them, I hope I’m triggering your old hockey memories!

Millions of people in Canada share the same positive experiences of playing hockey.  These connections are so powerful, they can be felt between people who’ve never met before.  Hence, hockey brings people together.

Think about that next time your team scores and you high-five the stranger next to you!

Audition season is upon us! Are you getting stressed?

Having one or more auditions approaching means you’re opening yourself up to new opportunities and new possibilities. That should be exciting! But it also means you’re opening yourself up to rejection and ego bruising. That can be stressful.

Stress can lead to horrible auditions; I’ve seen many of those. I hope this post will alleviate some of that stress and shed light on what makes a good audition.

Before you get excited, I should mention that one thing I’ve learned about auditions is that it’s impossible to know for sure who will make the cut, and who won’t. There’s no such thing as a shoo-in, even if he/she gets verbal assurances from members of the audition panel!

The only thing that gives 100% certainty is an official letter of acceptance. Keep this in mind when you’re preparing for auditions and always aim to do your best.

That being said, here are three tips for increasing your chances:

1. Be the Best

When it comes to auditioning for music programs, your most valuable asset is your music. If you sound good, it’s more likely that you’ll be accepted.

Strive to be the best and keep your skills in check. How do your skills measure up to current and prospective students? I was 17 when I auditioned for UofT’s jazz program. By that time, I already had 13 years of piano instruction and 8 years of jazz instruction. How does this compare with the student who picks up his/her first instrument in high school?

Again, this doesn’t mean I was a shoo-in, or that the inexperienced students had no shot at acceptance, but it’s safe to say that I had a strong advantage.

Considering this, before auditioning, you should be asking: “Am I ready?”

There are a few ways to gauge this. One of the most popular is to contact a faculty member, ask for a lesson, and get his/her honest opinion on how your skills compare with other students. Faculty members can also be helpful in assisting you to prepare for an audition. Generally, they know what the panel is listening for and can guide you accordingly.

In addition, I would highly recommend you attend student concerts. Check out the school’s event calendars. Students are putting on recitals and ensemble concerts all the time. How do they sound? How do you compare? This is also a good way to connect with current students; ask them about their experiences and get feedback on the program you hope to attend.

If you’re really keen, I would explore the possibility of sitting in on some music classes. Before auditioning for UofT, I remember sitting in on a 1st year improv class. This was a very informative experience for me. Not all teachers will be open to this, but it’s worth asking. Contact the head of the department. For UofT’s jazz program, that would be Terry Promane or Chase Sanborn.

Getting this feedback will hopefully put your skills and your choice to attend a music program in perspective. If you find you’re not ready, it may be worth postponing your audition rather than risk a bad first impression with the audition panel. Practice hard and audition next year!

2. Be Prepared

The audition requirements for UofT’s jazz program are very clear and concise; know them intimately. If you’re preparing for an audition and you feel that the requirements are not clear, ask questions and make them clear!

Audition requirements exist for three reasons. The first is to establish benchmarks. The second is because it makes comparative analysis between prospective students easier. The last reason is to test how well you follow instructions.

If you hear yourself saying…

• “Oops, I forgot”
• “Sorry I’m late”
• “I didn’t know I had to do that”

…then you’re severely limiting your chances of acceptance. The more signs of professionalism you show, the better your chances.

3. Be Positive

In a way, auditions are very similar to job interviews. In fact, music auditions often incorporate personal interviews into the process.

Experienced interviewers will know if you’re a fit after 90 seconds. My dad claims to know after 15 seconds! The point is to be very aware of how your personality comes across; you may be a great player, but you’ll lose points if you’re a jerk.

People skills are invaluable. The audition panel will be asking themselves if you’ll mix with current students and faculty. They want to see how you communicate. They want to see confidence, but also humility and a desire to learn. Nobody likes a big ego!

Keep in mind that sometimes the stress of an audition causes people to act differently and create the illusion of an inflated ego. All the more to be conscious of how others perceive you!

Some general advice: Dress respectfully, have a firm handshake, make eye contact and most importantly, SMILE!

- – -

A final tip: When you’re in the moment, don’t let audition-stress get to you; the audition panel knows that you’re nervous. They can also tell the difference between nervous mistakes and inexperience. You’re best to be honest with what you know and with what you do. Don’t try to impress.

Funny enough, twenty years from now, whether you get accepted or not, you’ll look back and say: “That audition was no big deal.”

It’s true. These auditions, in the grand scheme of things, are no big deal!

Relax, have fun, do your best, and enjoy the music!

With all my writing on structure and creativity, I can’t help but perceive the world with these ideas in mind.  I can’t escape them either; the relationship between structure and creativity can be observed in everything we do.

One area that interests me particularly is “community.”

I live in the downtown core of one of the busiest cities in North America.  When you live and grow up in a city like Toronto, it’s hard to recognize and break free from the “big-city mentality” (or structure!).

Where the notion of community is concerned, the big-city structure isn’t healthy.  You know exactly what I mean.  Why is it awkward to smile and say hello to a passing stranger?  Why do we avoid eye contact?  Why is Starbucks the only option?  Put these observations in contrast to smaller towns and ‘communities’ where saying hello to a passing stranger is perfectly normal.  That’s healthy!

I’m scratching the surface, but you get the idea.

I asked Pier Giorgio Di Cicco about this once.  Giorgio wrote a book called “Municipal Mind: Manifestos for the Creative City” which targets architects, politicians, urban planners and the like, and encourages them to reflect on the importance of community and how to optimize it.  I asked: “How do we re-energize that ‘community feeling?’”

Needless to say, it’s a multi-faceted problem with deep issues and deep consequences; one can’t help but feel cynical about the future.

But I’m still curious!  So, I’m conducting a little experiment.  Your feedback and participation are most welcome!

Lately, I’ve been spending more time reading and writing at the local coffee shops (Second Cup and Starbucks).  We all know that starting up conversations and making connections with strangers in public places has become unnatural and awkward.  This isn’t healthy; how do you break this pattern?  Here’s what I’ve been doing:

When ordering, I tell the cashier that I’m going to buy the next customer’s coffee (they always look at me funny, but I’m insistent).  If the next customer is right behind me, I ask them if they’re ordering a coffee and I buy it for them.

My goal is to prompt natural, genuine exchanges with strangers – a characteristic of healthy communities.  I don’t expect this to improve the big picture, but maybe it’ll start a trend.  At the very least, I’ll get some personal insight and somebody will get a free coffee.  I think it’s well worth the two bucks.

Try it; let me know how it goes!

Someone asked me the other day: “I haven’t read your blog – what’s it about?”

I admit it was difficult to convey a good answer; I like to write about many different things.  So I’d like to reflect on it here:

This blog is about music and musicians!

The essence of music is more significant than words like “piano” and “jazz.”  On one level, I’m indifferent to these words; they represent a small chunk in a much bigger picture.  I try to encapsulate that in my writing.

Ironically though, I don’t ignore the fact that I’m a jazz pianist!

So the content in my posts ranges from the very practical to the very general.  I write about everything from “Double Note Scales” to “Using Music to Instill Positive Experience.”  Performing, composing, teaching, learning, aesthetics and the music business are all common topics in my writing.

But here’s an idea: Just as I’m indifferent to the word “jazz,” I’m also indifferent to the word “music.”

This blog is about art and artists!

Music is also a small chunk in a bigger picture.  There are many ways to instill positive experience; music is just one of many.

You may be thinking about the other arts like dance, drama, visual arts, poetry etc.  But I don’t only think only about what art is; I like thinking and writing about what art does, and how we can interact with it most effectively.

The idea of art doesn’t apply only to “the arts.”  The iPod is a work of art.  The toothbrush is a work of art.  Henderson’s goal in the ’72 series was and is art (see video below!).

We can learn from these things.  Likewise, I think the ideas expressed on this blog can be applied to business, entrepreneurship and marketing. It’s all connected to what art is and what art does.

This blog is about relationships!

I think this theme truly ties this blog together.  The fact that I have a blog – one that is open for people to read, reflect and comment – is indicative of an aim to cultivate relationships and build a community.  Most blogs and the web in general are indicative of this.

But I like to write about these interactions too; this blog is actually about relationships.

It’s about giving and receiving; it’s about sharing and growing through music and art.  It’s about the culture bubble.

It’s also a conversation; please comment and share your thoughts!

If you can’t see the video, click here.

Wikipedia has an entry for bebop scales.

I bet that everything you would learn in a post-secondary jazz history class could be found online, for free.

What else can you find online?  How will it change in 10 years?

Music schools have a problem; teachers have a problem:  So much information can be found with technology, and students are becoming more reliant on it.  Many teachers, with their current curriculums and methods, are becoming obsolete.

Of course, this isn’t exclusive to music teachers or music schools.  Every discipline has to make serious adjustments.  How else are they going to compete with free online education?

Side note: Here’s a related article from the Telegraph: Why free online lectures will destroy universities – unless they get their act together fast (Link).  Also, check out Michael Sandel’s Justice lectures from Harvard University. (Link)

Fortunately for music schools and teachers, music is very right-brained and communal.  It can’t be wholly taught through the internet (yet!). This makes a good excuse to ignore technological trends, but teachers should be striving to optimize their methods and not shy away from the benefits technology brings to education.

Here’s a promising start: The jazz department at the University of Toronto now has a blog!  We expect it to evolve over the next few years, but this is the first step!