The Parents' Role in the Development of Youth And

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THE PARENTS’ ROLE IN THE DEVELOPMENT OF

YOUTH AND COLLEGE-LEVEL MUSICIANS

A Thesis

Presented to

The Graduate Faculty of The University of Akron

In Partial Fulfillment

of the Requirements for the Degree

Master of Arts

Linda M. Florjancic

December, 2007 THE PARENTS’ ROLE IN THE DEVELOPMENT OF

YOUTH AND COLLEGE-LEVEL MUSICIANS

Linda M. Florjancic

Thesis

Approved: Accepted:

______Advisor Dean of the College Mr. Durand L. Pope Dr. James M. Lynn

______Committee Member Dean of the Graduate School Dr. Guy Victor Bordo Dr. George Newkome

______Committee Member Date Dr. Brooks Toliver

______School Director Mr. Neil Sapienza ii

DEDICATION

To Mom and Matt

“This was not your dream, but you always believe in me.” -Home (Michael Bublé)

iii ACKNOWLEDGEMENTS

To Randy Pope, thank you for your support and guidance for the past two years. It has been great working with you in the Arts Administration office.

To my committee members: Dr. Bordo, thank you for an amazing two years in The University of Akron Symphony Orchestra. I don’t think you will ever know how much I enjoyed being principal violist. Dr. Toliver, you have taught me so much over the three years I have been at Akron. Thank you so much!

My Arts Administration classmates: What to say? Our classes and working in the office would not have been the same without you.

To the four organizations I surveyed: Baldwin-Wallace Symphony Orchestra: Mr. Oltman, thank you so much for taking time out of your busy Bach Festival rehearsal for me to survey the group. Having a 100% response rate was amazing. The University of Akron Symphony Orchestra: Dr. Bordo, thank you for your assistance on survey day. It enabled the process to move along faster. Baldwin-Wallace Senior Youth Orchestra: Dr. Laycock, thank you for your help especially proctoring the survey for an additional week! Bryan Bowser, thank you for the opportunity to survey the youth orchestra. Cleveland Orchestra Youth Orchestra: Kevin Tan, Joan Katz Napoli and Jayce Ogren, thank you so much for allowing me to survey the COYO students. I had an extremely wonderful experience on survey day.

To my family, thank you is just not enough. Matt and Mom, thank you so much for all your help, especially when the computer had a mind of its own and it deleted the main body of the thesis twice!!!!! You have helped me so much in this process from proofing the surveys to the final read-through. I love you so much!

iv TABLE OF CONTENTS Page

LIST OF TABLES…………………………………………………………………………………….vii

CHAPTER

I. INTRODUCTION…………………………………………….……………………………..1

II. BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA……………………..4

III. CLEVELAND ORCHESTRA YOUTH ORCHESTRA…..…………………….13

IV. THE UNIVERSITY OF AKRON SYMPHONY ORCHESTRA..……………25

V. BALDWIN-WALLACE SYMPHONY ORCHESTRA…………………………..36

VI. CONCLUSION………………………………………………………………………………47

APPENDICES…………….……………………………………………………………………………50

APPENDIX A. INSTITUTIONAL REVIEW BOARD CONSENT LETTER…………………………………………………………………………………………51

APPENDIX B. BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA SURVEY QUESTIONS……………………………………………..52

APPENDIX C. BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA SURVEY RESULTS…………………………………………………55

APPENDIX D. BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA ADDITIONAL RESPONSES…………………………………….62

APPENDIX E. CLEVELAND ORCHESTRA YOUTH ORCHESTRA SURVEY QUESTIONS…………………………………………………………………..63

v APPENDIX F. CLEVELAND ORCHESTRA YOUTH ORCHESTRA SURVEY RESULTS……………………………………………………………………….66

APPENDIX G. CLEVELAND ORCHESTRA YOUTH ORCHESTRA ADDITIONAL RESPONSES…………………………………………………………..73

APPENDIX H. UNIVERSITY OF AKRON SYMPHONY ORCHESTRA SURVEY QUESTIONS……………………………………………..75

APPENDIX I. UNIVERSITY OF AKRON SYMPHONY ORCHESTRA SURVEY RESULTS………………………………………………….77

APPENDIX J. UNIVERSITY OF AKRON SYMPHONY ORCHESTRA ADDITIONAL RESPONSES…………………………………….83

APPENDIX K. BALDWIN-WALLACE SYMPHONY ORCHESTRA SURVEY QUESTIONS…………………………………………………………………..85

APPENDIX L. BALDWIN-WALLACE SYMPHONY ORCHESTRA SURVEY RESULTS……………………………………………………………………….87

APPENDIX M. BALDWIN-WALLACE SYMPHONY ORCHESTRA ADDITIONAL RESPONSES…………………………………………………………..93

vi LIST OF TABLES

Table Page

2.1 Baldwin-Wallace Senior Youth Orchestra Social Value Results…………………………………………………………………………………………11

3.1 Cleveland Orchestra Youth Orchestra Social Value Results………22

4.1 Age Range of The University of Akron Symphony Orchestra Members………………………………………………………………………………………27

4.2 Instrumentation for The University of Akron Symphony Orchestra…………………………………………………………………………………….27

4.3 The University of Akron Symphony Orchestra Social Value Results…………………………………………………………………………………………33

5.1 Instrumentation for the Baldwin-Wallace College Symphony Orchestra…………………………………………………………………………………….37

5.2 Baldwin-Wallace Symphony Orchestra Social Value Results…………………………………………………………………………………………44

vii CHAPTER I

INTRODUCTION

Each year, hundreds of children attend “Instrument Discovery

Day” at their elementary or middle school. The sounds of these instruments and the possibility of being a world-class classical musician enter their minds. However, two obstacles stand in their way: Mom and Dad. Sometimes when parents are confronted with the reality of paying for music lessons and listening to shrieks and squeaks, they discourage their children. Memories of this researcher’s musical beginnings peaked an interest in parental influence today. Are these young musicians fulfilling their parents’ dream instead of their own? Have parents encouraged or discouraged their child’s involvement in classical music? Were today’s parents fanatics with regard to practice time? These were just a few of the questions that emerged.

Parents can have a major effect on their young musician’s classical path. In order for some of these musicians to succeed, they have to be forced to improve their talents. Parents even

turn into “stage mothers and fathers” so their children can be successful. Research and even reality television have explored parental effects on young athletes and scholars; however, little data has been gathered with regard to parental impact on young musicians.

In order to uncover the reality today’s young musicians’ encounter, four orchestras were surveyed.

An attempt was made to question approximately 200 youth orchestra and 150 college musicians. For the youth orchestra sector, the members of the Cleveland Orchestra Youth Orchestra and the

Baldwin-Wallace Senior Youth Orchestra were chosen. At the college level, the Baldwin-Wallace Symphony Orchestra and The University of

Akron Symphony Orchestra were surveyed. Two youth orchestras were because these students are at the beginning of their musical endeavors, while the college students are approaching the start of their professional careers.

The surveys consisted of 24 questions for the youth orchestra members. These questionnaires focused on demographics, practice hours, a decision to pursue a music major in college, and most important, parental involvement, financially and emotionally. Each survey was distributed with the intent of keeping the participants’ identities anonymous.

Since college students are more independent of their parents, their survey contained either nineteen or twenty questions. Issues such as forced practice and outside concert attendance were removed.

The University of Akron Symphony Orchestra answered nineteen questions, while the Baldwin-Wallace Symphony Orchestra completed a twenty question survey. This ensemble consisted of undergraduate students only, thus leading to the additional question about pursuing music in graduate school.

The goal of this research is twofold: first, to determine the nature and intensity of the role parents play in nurturing or discouraging a child’s interest in music; and second, to determine the affect of parental attitudes on the development of young musicians.

Parents have influence-though not total control-over their child’s musical experiences. However, if parents do not support their children, it is hoped the students provide more information as to why not. Each orchestra will have its own chapter. A comparison will then be made between the like ensembles and conclusions drawn from their responses.

CHAPTER II

BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA

Due to legal ramifications, research involving children below the

age of eighteen requires following stringent guidelines set forth by the

Institutional Review Board. Since a majority of the members of the

youth orchestras were under the legal age of eighteen, not only must

the orchestra members agree to participate in the research, their

parents must also sign the consent form. If a parental consent form is

not secured, the students cannot be surveyed.

The Baldwin-Wallace Senior Youth Orchestra is one of four young

ensembles run through the Conservatory Outreach Office, a division of

the Conservatory of Music at Baldwin-Wallace College, a private liberal

arts college in Berea, Ohio. The ensemble meets on Saturday

mornings for a two-hour rehearsal session. In March, 2007, at a

meeting with Bryan Bowser, Associate Director of the Conservatory for

External Affairs, a survey date of April 28th was selected. Due to the

Easter weekend and the 75th Anniversary of Bach Festival, an annual

event presented the third week of April, the ensemble rehearsed only

one Saturday in April prior to survey day. It is because of this erratic schedule that consent forms were difficult to secure. The orchestra had not rehearsed for two weeks prior, resulting in many students forgetting the parental consent form. At the start of survey day, only eight of the eighty-six member ensemble had submitted written permission to participate. At this particular rehearsal, the orchestra was divided into three groups for sectional work, in order to address any problems within their sub-group, such as the strings. After visiting these various sectional rooms, the number of respondents increased to twelve. The multiple rehearsal spaces contributed to a small attendance causing a reduction in responses. In order to increase the number of participants, the decision was made to have

Dr. Randolph Laycock, conductor of the ensemble proctor the survey an additional week in order to obtain more responses. By the end of the second week, the number of participants grew to eighteen, a 21% response rate. While the percentage was disheartening, the number and quality of responses were informative.

The first group of questions focused on demographics. The respondents’ ages ranged from 13-18 (grades 8-12), with a majority of the responses coming from students between the ages of 14-16.

Most of the participants were string players: four violins, two

violas, and four celli. The other musicians spanned the remainder of the orchestra: two flutes, one bassoon, one trumpet, two trombones and two percussionists. Question four asked the number of years students had played their instrument. Three respondents each had played for four and five years, respectively, while four students had played for six years. Roughly, forty-four percent of the musicians have played for seven years or more, with three having studied for three years. The remaining five have played for eight years or more.

Eight students studied an additional instrument. Their responses were the most varied of the four groups. Three play the piano, while several study multiple instruments. Student #6 plays both piano and baritone. Respondent #13 studies piano and organ. Student #14 pursues voice and violin. Other instruments being studied include trombone, saxophone, and even the hammered dulcimer. To study one instrument is difficult enough; however, to pursue two or three showed the level of commitment of these young musicians.

Eleven students replied yes to the question: Have your parents ever played an instrument? Several instruments received multiple responses. These include piano (6), guitar (3), clarinet (2), and flute

(2). Perhaps the most interesting response to this question came from student #10, whose father is a music educator. This respondent

replied “ongoing-string bass, trumpet, organ, piano and flute.”1 Other instruments studied include trombone, violin, saxophone, viola, voice and even the accordion.

With the number of young musicians in youth orchestras on the rise, these students are involved in multiple musical activities, hence the following question. What other musical activities are you involved with in addition to the B-W Senior Youth Orchestra and your school orchestra? Like the previous questions, several responses were repeated. These include jazz band (3), Northeast Regional Orchestra

(2), pit orchestra (3), Parma Symphony Orchestra, a local community orchestra (2), church (2), and private lessons. In asking this question, it was implied the students took private lessons. Other musical activities include a jazz combo, composition, orchestration, SWC honor band, church choir, marching band, OMEA (Ohio Music Education

Association) solo and ensemble contest, Credo Chamber Music Camp, string camp, and even the teaching of private lessons.

With so many musical activities, it seemed reasonable to expect to find these students practicing many hours per day. However, their responses disproved this theory. An overwhelming 78% of the respondents practice for only one hour per day. An additional two rehearse for two hours, while one student practices for three hours.

Despite the fact 30 minutes was not listed, one individual chose that option.

When asked if they plan on majoring in music while attending college, 67% replied no, three were unsure and three students replied yes. Two students chose a combination of performance and music education, while the third was undecided.

The remaining fourteen questions focus on the students’ relationships with their parents. All of the respondents replied yes to both question #10: Do your parents support your musical activities and #11: Do your parents provide financial support for your musical activities? It is encouraging to know parents provided their children with emotional and financial support. Sixty-one percent of the students surveyed do not financially support their own musical activities while seven musicians put a portion of their savings towards these pursuits. All of the respondents believe their parents see the value of music in their lives.

The next question concerned parental attendance at concerts.

Ninety-four percent of the musicians replied yes, indicating parents displayed an interest in classical music. Student #14 checked off yes but wrote in parenthesis “most of the time.”2 Respondent #7 had a very interesting response.

When the student reached this point in the survey, she asked if it was

possible to check both. When asked why, she replied with the

following statement: “they come to all except my Holy Name

concerts.”3 According to this student, the music program at Holy

Name High School is not advantageous to improving one’s musical

career at this level.

In order for students to improve their musical skills, it is

important for them to see advanced players perform in concert. The

pool of respondents was evenly split on the following two questions.

Do your parents attend classical music concerts other than the ones in

which you participate? Question #16 asked for specific groups: Do

your parents take you to classical music concerts? Four students

noted that they attend Cleveland Orchestra concerts. Student #16

relied that while the family attends concerts at Blossom, a distinction

was made even though Blossom is the summer home of The Cleveland

Orchestra. Other concerts include CityMusic Cleveland, which offers

free concerts in the area, piano soloists, violinist Gil Shaham, the

Emerson quartet, violist Yuri Bashmet and “other various concerts.”

The most unique response came from student #5: “whatever we

find.”4 In a metropolitan area like Cleveland, classical music is not difficult to locate.

The next series of questions focus on parents’ comprehension and attachment to their child’s musical aspirations. Five students believed their parents place too much emphasis on their success. The remaining 72% do not feel pushed by their parents. The following question discussed chair placement, or where in the section the student sits. Over the year, this notion of sitting closer to the front of the section has been on the minds of many young musicians. These thoughts lead to the idea of a direct relationship to parental involvement. Surprisingly, in this survey, only three students believed chair placement had an effect on their parents’ understanding of music.

Questions #19 and #20 look at the parental influence on their child’s practicing habits. A distinction was made between “telling” a child to practice and “forcing” him or her to pick up the instrument.

Seven students indicated that their parents had to tell them to practice, while only three indicated that they were forced to practice.

The numbers for the remaining four questions will amount to fifteen respondents because students #8, #12 and #13 did not answer these questions, which were located on page three of the survey.

Perhaps the most confusing question on the survey was #21:

How much social value do your parents place on your musical

achievements? This question drew puzzling looks from all four ensembles, but even more on the youth orchestra level. Instead of

“yes” or “no” responses, a rating scale from 1 to 10, with one being

“very little value” and ten equal to “much value”, was provided. When asked what was meant by social value, the phrase was defined as “do your parents brag about your musical accomplishments to their friends?” A majority of them looked confused after the explanation.

When asked if more clarification was needed, it seemed s though they said one thing but were thinking another. A complete breakdown of their responses follows in the chart below:

Table 2.1 Baldwin-Wallace Senior Youth Orchestra Social Value Results

Number 0 0 1 2 3 1 3 1 4 0 of students Rating 1 2 3 4 5 6 7 8 9 10 Scale Very little Much value

The next question asked if they were rewarded for positive achievement in music. Nine of the fifteen replied yes. None of the students responded as to how they were rewarded.

Competition is a crucial component of being a musician. This begins at even the youngest levels. When asked if competitions affect their relationship with their parents, only three replied yes.

When organizing the survey, the most sensitive question was

placed last. Do you think you are fulfilling your parent’s dream of

being a classical musician as opposed to your own? Student #2

replied, “It is both my and my parents’ dream.”5 Thirteen students replied no, with only student #18 replying yes.

At the start of this project, it was expected that a majority of students would believe it was their parents’ dream. Seeing so many

“no” responses was refreshing. It is gratifying to see these young musicians enjoying the arts. The parents’ financial support of their children’s musical talent is another optimistic trend. In the following ensembles, this is not necessarily the case. It was encouraging to know that half of the students attend other classical music concerts.

Their love of classical music will ensure a bright future for arts communities around the country.

1 Baldwin-Wallace Senior Youth Orchestra Survey, April 28, 2007, Student #10

2 Baldwin-Wallace Senior Youth Orchestra Survey, April 28, 2007, Student #14

3 Baldwin-Wallace Senior Youth Orchestra Survey, April 28, 2007, Student #7

4 Baldwin-Wallace Senior Youth Orchestra Survey, April 28, 2007, Student #5

5 Baldwin-Wallace Senior Youth Orchestra Survey, April 28, 2007, Student #2 12

CHAPTER III

CLEVELAND ORCHESTRA YOUTH ORCHESTRA

The Cleveland Orchestra Youth Orchestra was selected because of its reputation. Considered the premier youth ensemble in the area, these students are the orchestral musicians of the future. With such a weight on their shoulders, their responses proved insightful.

Cleveland Orchestra Youth Orchestra (COYO) performances this season include a three-concert Severance Hall series; performances with the Cleveland Orchestra Youth Chorus and the Avon Lake High

School Chorale; community concerts in Bedford, Avon Lake, and

Ashtabula; and a side-by-side concert with TCO.

The Youth Orchestra was founded in 1986 by Jahja Ling, then resident conductor of The Cleveland Orchestra, to provide talented young musicians with a pre-professional orchestra training experience of the highest possible artistic standard. Since that time, more than

1,000 young musicians have benefited from the unique musical experiences that COYO offers: weekly coachings with members of The

Cleveland Orchestra, rehearsals and performances in historic

Severance Hall, and opportunities to work with international renowned guest artists and conductors, including Pierre Boulez, Yo-Yo Ma, Kurt

Masur, Gil Shaham, and Cleveland Orchestra Music Director Franz

Welser-Möst. As one of the best youth orchestras in the country, and the only one affiliated with a top-tier orchestra, the COYO has garnered a number of prestigious accolades. In 1998, the Youth

Orchestra was selected to participate in the second National Youth

Orchestra Festival, sponsored by the American Symphony Orchestra

League. In March 2001, the Youth Orchestra appeared on the Family

Concert Series at New York’s Carnegie Hall. In 2004, COYO was selected to be featured on Youth Orchestras of America, a new radio series being developed by KUHF Houston Public Radio.

The 106 members of the Youth Orchestra range in age from 11-

18 and are selected through competitive auditions held each spring.

They come from 49 communities in 11 counties throughout Northern

Ohio and Western Pennsylvania to rehearse together each week in

Severance Hall. The Youth Orchestra season runs from September through May and includes a three-concert subscription series in

Severance Hall, radio broadcasts of COYO concerts on WCLV

(Cleveland’s classical music station), and numerous community outreach concerts by both the full orchestra and chamber groups comprised of COYO members. 14

2006-2007 marks the Cleveland Orchestra Youth Orchestra’s 21st season, as well as its first season under the direction of Jayce Ogren.

Mr. Ogren, also assistant conductor of The Cleveland Orchestra, is the

Youth Orchestra’s 5th Music Director.1

After meeting with Joan Katz Napoli, Director of Education and

Kevin Tan, Youth Orchestra Manager, a survey date of May 5th was selected. They suggested an incentive to increase the students’ participation. At their suggestion, a $25 iTunes gift card was purchased and raffled off at the end of rehearsal.

At first, the response was slow but the extra incentive increased the number of participants to fifty-one young musicians, a 48% return.

While a majority of the respondents were filling out the questionnaire, several students wanted to complete the survey. Unfortunately, most had to be turned away since their parental consent form was not signed. The percentage of participants, which was nearly triple the amount of respondents from the Baldwin-Wallace Senior Youth

Orchestra, was encouraging.

Like the Baldwin-Wallace Senior Youth Orchestra, these students completed a twenty-four question survey. The responses were numbered in order to identify specific comments from the participants.

The first set of questions focused on demographics.

While the ages of the youth orchestra members range from 11-

18, the students who completed the survey were 13-18. A majority of

the respondents were 17 and 18 years old. A total of twenty-one

seniors, sixteen juniors, nine sophomores and two freshmen took the

survey. The remaining five musicians were in the 7th and 8th grade.

With the string section having the most participants, it was not surprising that 60% of the respondents were from this group. These included fifteen violins, six violas, six celli, three basses and one harp.

The remainder of the musicians were from the woodwinds, brass and keyboard sections. The percussion was the only section of the orchestra unrepresented in the survey.

Question four asked the number of years the student had played his or her instrument. A range from one to eight years or more was listed. Twenty-five students checked the eight-year box. Ten musicians have been playing for seven years while seven students have played for six. A total of nine have played for either four or five years.

Almost half the students said they study another instrument, with several studying more than two. In addition to their primary instrument, fifteen study piano. Other multiple responses include flute

(4), percussion (2), and violin (5). Others also pursue oboe, saxophone, French horn, guitar, organ and voice. Student #16 did not check an instrument.

Thirty-six (just over 70%) of students replied yes to question six: have your parents ever played an instrument? Like the previous question, which asked if multiple instruments were studied, the same instruments were common (the most popular instrument being piano, with twenty-two parents having taken lessons). Other multiple responses include flute, violin, and clarinet, each with four respondents, while bass, tuba, trumpet and violas had two parents each. The remaining instruments are organ, cello, guitar, trombone, saxophone, euphonium and oboe.

A surprising trend that emerged was the number of students whose parents were in The Cleveland Orchestra. Such is the case with student #40. “Mom plays the violin and is in The Cleveland Orchestra.

Dad plays violin, viola and piano since he was little and is a music teacher.”2 Three other students are members of this select group.

With their commitment to the Cleveland Orchestra Youth

Orchestra and their high school orchestras, a variety of responses were given to the following question. What other musical activities are you involved with in addition to COYO and your school orchestra?

Several organizations received multiple naming including

Contemporary Youth Orchestra (7), Cleveland Youth Wind Symphony

(5), Regional and State Orchestra (3), pit orchestra (5), jazz ensemble

(2), chamber groups (9), True North Symphony (2), school marching band (4), church choir and handbells (2), Akron Youth Symphony (3), jazz band (4), and organist at church (2). A complete listing of extracurricular music activities can be found in appendix G.

With so many students pursuing outside activities, the answers to the next question coincided. How many hours do you practice a day? Twenty-seven students selected one hour. Ten chose two hours, while seven selected the three-hour option. Only one musician checked the four hours or more box. Coincidentally, this student also has a parent in The Cleveland Orchestra. Student #7 said he/she usually rehearses for less than one hour.3 Respondent #29 reported practicing for one hour or less.

With the amount of practicing and the number of extracurricular music activities, these musicians have a high commitment level to their creative pursuits. This led to the following question which asked if the students were going to pursue music at the collegiate level.

Fifty-two percent of the participants checked yes. Twelve said no or indicated they were undecided. Fifteen of the twenty-seven students

want to major in performance while another plans to pursue music

education. While completing the survey student #10 approached and

said her major was not listed. With everything from music

performance to arts administration listed, it was believed all majors

were covered. She quickly said her major at Indiana University would

be string instrument technology.4 Several students chose more than one response, creating double majors which included performance paired with music education, composition, theory, therapy and arts management.

The next series of questions were yes and no, however, a new pattern soon emerged. Do your parents support your musical activities? Fifty of the students replied yes. Respondent #22 checked yes and no.5 Since he/she did not elaborate, this may indicate that

one parent does and the other does not provide support.

The same scenario occurred in the following question. Do your

parents provide financial support for your musical activities? Again,

fifty selected yes, while student #22 selected both. The respondent

did not provide more details.

The next question focused on the students’ fiduciary contribution

to their own musical pursuits. Seventy-one percent of the musicians

do not financially support these activities. This group also includes

respondent #22. 19

Question #13 had the same responses as questions ten and

eleven. Do your parents see the value of music in your life? Fifty

musicians replied yes. Student #22 selected both yes and no.6

The next two questions ask about concert attendance with

regard to respondents and other musical concerts. Do your parents

attend your concerts? Yet again, the same fifty replied yes. Student

#22 said no. When asked why not, he/she noted “they do not want to

pay for it.”7 It is important to note that Cleveland Orchestra Youth

Orchestra concerts cost $12 per seat, per concert, although subscriptions are available at a reduced rate. The concerts for the

Baldwin-Wallace Senior Youth Orchestra are free.

The next question concerns general concert attendance. Do your parents attend classical music concerts other than the ones in which you participate? Seventy-three percent of the respondents replied yes. In addition to the standard yes or no responses, question sixteen required more specific information. Forty students replied yes. Sixty- eight percent of this group reported attending concerts by their musical mentor, The Cleveland Orchestra. While students #4 and #21 did not provide specifics, a variety of response were listed including the Toledo Symphony, Oberlin College Orchestra, E. J. Thomas Hall,

Cleveland Pops, Akron Symphony and Apollo’s Fire. Several surveys

were returned with interesting responses. Student #16 said “the ones

my mom plays in (Erie Philharmonic).8 Respondent #38 replied “there are not very many concert opportunities where I live.”9 Student #2 had the most unique response of all four ensembles. “I take them.

Mainly Mahler, Shostakovich and Bruckner at Severance and

Blossom.”10

The following series of questions focuses on parental attachment

to the child’s musical pursuits. Only eight students believe their

parents place too much emphasis on their success. Chair placement is

one of several ways to identify musical success. Ninety-four percent of

the COYO students surveyed believe seating does not affect their

parents understanding of music.

The next two questions concern practice habits. Fifteen have to

be told to practice, including student #40 who has a parent in The

Cleveland Orchestra. Respondents #46, #47 and #49 are sometimes

told, while the remaining thirty-three do not need any prompting from

mom and dad. Question #20 asks if their parents force them to

practice. The number of “yes” responses dropped dramatically to four

students. Student #47 answered “sometimes.”11 Forty-six musicians

replied no.

The next query was over how much social value do your parents

place on your musical achievements. Again, this prompted

many inquires from the students. It is interesting to note that forty

students chose “6” or above.

Table 3.1 Cleveland Orchestra Youth Orchestra Social Value Results

Number 0 1 0 4 6 2 14 14 4 6 of students Rating 1 2 3 4 5 6 7 8 9 10 Scale

With such a high amount of responses towards the upper numbers of

the scale, this may indicate that most COYO parents speak highly of

their child’s musical pursuits.

Forty participants were rewarded for positive achievement. Nine

were not, while musician #18 said sometimes. Student #39 replied

yes and no.12 Only five believe competitions affect their relationships with their parents. Respondent #20 said “sometimes, it stresses everyone out.”13

In all the surveys, the most sensitive question was placed last.

Do you think you are fulfilling your parent’s dream of being a classical

musician as opposed to your own? Fifty said no. Student #18

believed it is “just the opposite.”14 Respondent #29 was the only one to check yes with regard to this question.

Overall, the responses from the Cleveland Orchestra Youth

Orchestra were not surprising. The most unique comments came from student #22. With such little support at home, it makes one wonder how this person is supposed to succeed as a classical musician. Who will be there to encourage him/her when the practice session is not going as planned? What if the seating audition does not go well? This particular student would like to pursue a musical career. How can that dream become a reality if he/she has no support behind the scenes?

Parents are an integral part of their child’s musical development.

These parents have no idea what they are missing.

1 Cleveland Orchestra Youth Orchestra Program, May 13, 2007.

2 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student # 40.

3 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student # 7.

4 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student #10.

5 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student # 22.

6 Ibid.

7 Ibid.

8 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student #16.

9 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student # 38. 23

10 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student #2.

11 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student # 47.

12 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student #39.

13 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student #20.

14 Cleveland Orchestra Youth Orchestra Survey, May 5, 2007, Student #18.

CHAPTER IV

UNIVERSITY OF AKRON SYMPHONY ORCHESTRA

In addition to the two youth orchestras, a decision was made to survey two college ensembles because the members of these groups are near the beginning of their professional careers. Being a member of The University of Akron Symphony Orchestra facilitated this researcher gaining insights into the music field from peers.

The University of Akron Symphony Orchestra is a 58 member ensemble comprised of both undergraduate and graduate students.

While mostly music majors, the orchestra is open to the entire

University of Akron student body. The group rehearses twice per week for a total of five hours. They present four concerts per semester, which included playing in the pit for the annual opera production in spring semester. Recently, they presented a concert with the Oscar winning film composer, Randy Newman. The conductor for this ensemble is Dr. Guy Victor Bordo, a member of The University of

Akron faculty.

As with the youth orchestras, the Institutional Review Board required participants to consent to taking part in the survey. Because all members of the orchestra were over the age of eighteen, parental permission forms were not necessary. In fact, though consent forms had to be distributed, they did not have to be signed or returned. Just one student did not complete a survey.

The collegians completed a nineteen-question survey. Six questions from the youth orchestra surveys were eliminated. These included:

• Do you plan on majoring in music in college?

• Do your parents take you to classical music concerts?

• Do your parents have to tell you to practice?

• Do your parents force you to practice?

• Are you rewarded for positive achievement in your music career?

• Do competitions affect your relationship with your parents?

These questions were eliminated for a variety of reasons. Obviously these participants are in college and do not need to answer the first question. Since collegians have the ability to drive a car, they can attend classical music concerts on their own. At this level, they are more independent than in high school, therefore their parents are not present to force them into a practice room.

The ensemble had a total of 57 responses, excluding the researcher. After the surveys were completed, each was assigned a number for reference purposes. The first set of questions address demographic information, which provides more detail with regard to the members of this orchestra.

The ensemble has the largest age gap, ranging from 18 years to over 30 years old.

Table 4.1 Age Range of The University of Akron Symphony Orchestra Members

Number 2 4 10 4 6 6 2 7 2 3 4 3 0 2 of students Age 18 19 20 21 22 23 24 25 26 27 28 29 30 Over 30

Over half of the ensemble is comprised of graduate students. The freshmen number five, while the number of sophomores is eight.

Juniors and seniors each have seven. The primary instruments are listed in the table below.

Table 4.2 Instrumentation for The University of Akron Symphony Orchestra

18 3 2 3 0 1 4 2

Violins Violas Celli Bass Harp Keyboard Flute/Piccolo Oboe

Table 4.2 Instrumentation for The University of Akron Symphony Orchestra (continued)

3 3 4 3 5 1 5

Clarinet Bassoon Trumpet Trombone French Tuba Percussion Horn

To accommodate older respondents, the length of time students had played their instruments was increased to seventeen years or more. Most have played at least six years, with the exception of three who have studied for only three. Two musicians have played for eight years while nine have studied for a decade. The remaining twenty- seven respondents have pursued their instruments between 11-16 years. One wrote he/she has been studying for only one year.

Forty-seven percent of the musicians study an additional instrument. Almost 50% of these musicians study the piano. Other multiple responses include voice (2), violin (2), guitar (3), cello (2), and viola (4). While other orchestral instruments were mentioned, a few respondents noted the following: recorder, ocarina, and Chinese

“shen.” Student #51 noted he/she plays all band instruments for methods class.1

The following question addressed their parents’ musical background. Have your parents ever played an instrument? Again,

piano received the most mentions with sixteen. Other multiple

responses included French horn (2), clarinet (6), flute (5), trombone

(3), cornet (2), trumpet (6), guitar (7), and accordion (3). Student

#10 noted “mother is a professional singer, dad plays the tuba.”2

Respondent #55 said “all woodwind instruments.”3

With their commitment to The University of Akron Symphony

Orchestra and private lesson, it was interesting to note outside musical endeavors. What other musical activities are you involved with in addition to The University of Akron Symphony Orchestra? The most popular response was the University of Akron Symphonic Band with a total of nineteen. Some of the other activities included woodwind quintet (8), jazz ensemble (7), private teaching (6), percussion ensemble (5), and playing in church (3). Many orchestras also were listed. These included the Alliance Symphony, Tuscarawas

Philharmonic, Cleveland Chamber Symphony, Cleveland Pops, Opera

Cleveland, Mansfield Symphony, Akron Symphony, Canton Symphony, and Cleveland Women’s Orchestra. A complete listing of outside musical activities is referenced in Appendix J.

With so many students pursuing outside activities, the answers to the next question coincided. How many hours do you practice a day? The responses were evenly distributed among the four options.

Fourteen students each practice for either two or four hours. Fifteen

collegians rehearse for three hours, while ten only practice for one

hour. Interestingly, many expanded their responses beyond the

categories available for selection. For instance, student #10 noted

“one hour-as needed.”4 Respondent #11 said “less than one hour,”5 while collegian #53 rehearses “between 2-3 hours.”6

The next question asked for information regarding major areas

of academic focus. Thirty-nine are performance only, which leads to a

career as an orchestral musician or even an applied music professor in

college. Five are pursuing music education. Three study music history

and literature. Other responses included music composition and

theory, and four participants indicated their majors are outside the

School of Music. Two students study both performance and music

education. One is pursuing performance/technology while another is

in the performance/music history arena.

The next question discussed emotional support. Do your parents

support your musical activities? Fifty-four of the fifty-seven polled said

yes. Student #5 noted “one does, one doesn’t.”7 A similar response

came from respondent #6 “Mom yes-, Dad-no.”8 The most unusual reply came from student #46 who wrote “sometimes.”9

The next two questions focus on the financial aspect of a music

career from both the parents and the student’s point of view. Do your

parents provide financial support for your musical activities? Sixty

percent replied yes. Do you financially support your musical activities?

This resulted in only eight negative responses.

The results of question thirteen almost paralleled the outcome of

number ten, which asked if their parents support their musical

activities. Fifty-three students believe their parents see the value of

music in their life. Again, participant #5 noted “one does, one

doesn’t.”10 Collegian #6 said “Mom-yes, Dad-no.”11 Perhaps the most unusual response came from student #53 who replied “don’t know.”12

While this would not be a common question to ask parents, it is

important to know whether they support their child’s musical pursuits.

The next two questions addressed parental concert attendance.

Do your parents attend your concerts? If no, why not? Thirty-nine

checked yes. The most popular response to no was distance. Such is

the case for students #5, #10, #12, #15, #16, #18, #23, #27, #28,

#48, #51, #54 and #56. For some of these musicians, their parents

live outside of the United States. Student #2 noted “in Taiwan they

did but in the U.S., they can’t attend.”13 Respondent #46 said “if we are in the same country, at the same time they make the effort.”14

Student #3 had a different outlook. “[They are] not interested if I don’t have any solos.”15 (It is important to remember that not everyone in the orchestra will play a solo.) The most unique comment came from student #53. “I generally don’t think they [the concerts] are high enough quality to invite people.”16

Do your parents attend classical music concerts other than the ones in which you participate? Thirty-one musicians replied yes. The remaining twenty-five were no.

Parents often see their own success reflected in their children.

This leads to the following question. Do your parents place too much emphasis on your success? Seventeen replied yes. This is 30% of the group, the largest percentage of all four ensembles. Thirty-seven said no, while students #22, #45 and #46 noted “sometimes” as their answer.

On the collegiate level, chair placement can influence one’s career. For example, being concertmaster implies that one is the best violinist in the orchestra. Listing this title on your resume or curriculum vitae garners more respect when auditioning for a job in a professional orchestra. Does chair placement affect your parents’ understanding of music? Forty-six were quick to note no, while eleven checked yes. Collegian #17 commented “they do understand the difficult audition process.”17 32

This orchestra did not have as many puzzled looks with the next question as had been the case with the other ensembles. How much social value do your parents place on your musical achievement?

Forty-four students chose numbers 6-10 on the value scale.

Table 4.3 The University of Akron Symphony Orchestra Social Value Results

0 0 4 3 6 6 12 10 7 9

1 2 3 4 5 6 7 8 9 10

Very little value Much value

Since this question was the most sensitive, it was placed last.

Do you think you are fulfilling your parent’s dream of being a classical musician as opposed to your own? Fifty-six said no. Student #33 was the lone collegian to respond yes. Throughout these surveys, this question drew the most hostility. It almost seems as though several people were offended, such was the case with student #18. “My parents are happy with my success but allow me total independence.”18 Collegian #46 noted “they wanted me to be a doctor or lawyer.”19

Thus far, this group’s responses were the most unexpected.

Student #53’s comment to question fourteen concerned the lack of concert attendance. Unfortunately, there are almost always empty seats at a University of Akron Symphony Orchestra concert. Perhaps if

student #53 would spread the word, this would lead to higher attendance rates. In some cases, distance is a factor while attending college, but if parents live in the area, one would hope they would encourage their child.

1 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 51.

2 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 10.

3 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 55.

4 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 10.

5 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 11.

6 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 53.

7 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 5.

8 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 6.

9 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 46.

10 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 5.

11 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 6.

12 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 53.

13 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 2.

14 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 46.

15 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 3.

16 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 53.

17 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 17.

18 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 18.

19 University of Akron Symphony Orchestra Survey, May 1, 2007, Student # 46.

CHAPTER V

BALDWIN-WALLACE SYMPHONY ORCHESTRA

The Baldwin-Wallace Symphony Orchestra was selected as a subject for this survey because of the researcher’s familiarity, and former participation in this ensemble. A unique characteristic of this orchestra is its members. There are no graduate programs in music at

Baldwin-Wallace, thus the ensemble is comprised entirely of undergraduates.

The ensemble performs three or four times per semester, culminating in the most prestigious concert of the season, Bach

Festival. Over the years, the orchestra has performed in Washington

D.C. at the Kennedy Center and a variety of music education conferences. In summer 2000, they became the first collegiate orchestra invited to perform at the National Flute Association’s Annual

Meeting in Columbus, Ohio. Alumni of the orchestra have won positions in major orchestras including Cleveland, Cincinnati,

Philadelphia and the Metropolitan Opera.

In order to survey the ensemble, Dwight Oltman, Music Director, was contacted. A survey date of March 25 was selected in order to accommodate the Bach Festival rehearsal schedule.

Since this group was comprised exclusively of undergraduates, a twentieth question was posed, in order to discover how many students would further their studies as educators. The ensemble had a total of

72 students, which lead to a 100% return rate. After the students submitted their surveys, they were numbered in order to cite individual responses.

Demographic information was sought with the first group of questions. The age range was not as wide as The University of Akron

Symphony Orchestra. A majority of students fall between the ages of

20-22. The youngest students were 18, while one collegian was 25.

Sixty-three percent of the orchestra were juniors and seniors, while eleven students were freshmen. The remaining sixteen were sophomores. The breakdown of primary instruments is listed in the table below.

Table 5.1 Instrumentation for the Baldwin-Wallace College Symphony Orchestra

21 7 6 4 0 0 6 2 4

Violins Violas Celli Bass Harp Keyboard Flute Oboe Clarinet

Table 5.1 Instrumentation for the Baldwin-Wallace College Symphony Orchestra (continued)

2 3 3 5 1 3 3

Bassoon Trumpet Trombone French Tuba Percussion Saxophone Horn

1 1

Organ Voice

A unique characteristic of this ensemble was the inclusion of saxophone players, added to the orchestra for the performance of

George Gershwin’s An American in Paris. This increased the usual number of members by three.

As with The University of Akron Orchestra, the length of time the students studied their instrument increased to seventeen years. Fifty musicians had pursued music for nine to thirteen years. One student had studied for two years, while on the opposite end of the spectrum, two respondents had pursued their musical aspirations for seventeen years or more. This number is quite different from The University of

Akron Symphony Orchestra, where twelve students studied for more than seventeen years. This sizable difference is attributed to the fact that Akron’s orchestra includes graduate students.

Forty-five members study more than one instrument. Of these, thirty of these students take piano. Other multiple instruments include violin (3), guitar (7), voice (7), flute (2), viola (4), and viola da gamba (4).

The following question addressed their parents’ musical background: Have your parents ever played an instrument? Again, piano was the leading contender with twenty responses, while the guitar was next with ten. Other instruments included organ (5), voice

(5), violin (5), trumpet (5), saxophone (6), flute (6) and clarinet (7).

The most unusual instrument listed came from student #24, whose father plays the dulcimer (hammered and lap).1

With their commitment to the Baldwin-Wallace Symphony

Orchestra and private lessons, it was interesting to note outside musical endeavors. What other musical activities are you involved with in addition to the Baldwin-Wallace Symphony Orchestra? The number of outside activities was considerably smaller than those listed by member of The University of Akron Symphony Orchestra, despite the larger number of members. The most popular response was chamber music, which received thirty-one mentions. Symphonic Wind

Ensemble was noted by thirty students. Other groups included were

New Horizons Band (3), Collegium Musicum (6), a

Medieval/Renaissance ensemble, jazz band (6), brass choir (10),

American String Teachers Association (6), William Cullen Bryant violin

partnership (3), a program run through the Conservatory Outreach

department and Mu Phi Epsilon (2), a music honor society. This

orchestra also had the most unique responses, including rock and roll

band (3), local swing gigs, funk band, salsa band and klezmer. A

complete listing of outside musical activities is available in Appendix M.

When asked how many hours they practice a day, several

students created their own answers. The musicians were asked to

choose between 1-4 hours. Fifty percent of students chose either

three or four hours. Thirty-two selected one or two hours. Four

students decided to create their own options. Student #14 rehearses

between three to four hours per day,2 while #22 and #57 practiced for

1 ½ hours.3 Collegian #44 is between two and three hours.4 Two

students who selected one hour had unique situations: one was

student teaching and the other was injured.

When asked the participants’ major, forty undergraduates are

focusing on performance while eleven study music education. Other

responses include majors in composition, music history/literature, arts

management, music therapy and marketing. There are no musicians

pursuing music theory. Like The University of Akron Symphony

Orchestra, several double majors emerged. Four students are

pursuing performance in combination with either music education or

theory. Three selected the performance and composition option. One

student is studying performance as well as a major outside the

conservatory. Another respondent elected to pursue music education

and therapy.

Parental involvement is a large portion of a musician’s support

system. When questioned if their parents support their musical

activities, only two students gave a negative response. Unfortunately,

they did not elaborate.

The next question was specifically added for this orchestra. Do

you plan on attending graduate school for music and if so, what

major? Sixty-three musicians replied yes. Most of these students

indicated plans to pursue further education in the area of performance.

Two want to study conducting. Again, several combinations appeared with performance/music education being most popular. Unique responses emerged. One participant chose performance/pedagogy.

Respondent #24 could not decide between performance, education or arts management.5 Collegian #18 is considering the options of studying performance, education, arts management or record production route.6

The next two questions focus on financial support of music

education. When asked, do your parents provide financial support for

your musical activities, sixty replied yes. However, musician #14

checked yes and no adding “conditional.”7 Ten respondents do not

financially support their own music activities (question thirteen).

When asked do your parents see the value of music in your life,

sixty-nine replied yes. Collegians #30 and #61 replied no. Comparing

these to question #10 was surprising. Student #30 said his/her

parents support their musical activities, yet they do not see the value

of music in their child’s life. It is difficult to understand how one can

support the child but not see the value of music in his or her life. More

predictable were the response of student #61 who answered no to

both questions. Respondent #14 checked yes and no. He/she noted

“Mom-yes; Dad-no.”8

In addition to the financial support, the musicians were asked

about parental concert attendance. An overwhelming seventy-nine

percent replied yes. Thirteen chose no, while two checked yes and no.

Student #50 wrote “yes at home, no at school, too far, live in North

Carolina.”9 Collegian #57 noted “Mom does, Dad lives in Nebraska, came once.”10 Like The University of Akron Symphony Orchestra, distance is the number one reason for parental absence. Such is the

case for students #10, #21, #36, #41, #44, #56, #60, #61, #62,

#68 and #70. The most disheartening comment came from student

#14. “Good question. Dad didn’t even want to come to my senior

recital.”11 This was an incredibly stunning response. Distance is a

factor with regard to large ensemble concerts, most often performed

on a weekday. However, senior recitals are given on weekends due to

the personal importance of these occasions. This is the moment for

which a musician has spent four years working, only to have an absent

parent demonstrate a total lack of respect for their child. This

student will be pursuing graduate study in the fall, when

behind-the-scenes support is essential to a musician’s success.

With regard to parental influence, participants were asked, do

your parents attend classical music concerts other than the ones in

which you perform. Forty-three students replied yes. Student #46

selected yes and no, but did not elaborate,12 probably indicating one parent does while the other does not.

Respondents were also asked if their parents place too much emphasis on their success. Only seven selected yes. Collegian #17 wrote “sometimes.”13

Another question was posed regarding the effect chair placement

has on the parents’ comprehension of music. Fifteen percent said

yes, which was slightly lower when compared to The University of

Akron Symphony Orchestra. It is common knowledge seating is an indication of one’s talent level.

Unlike the other three ensembles, no questions were raised regarding how much social value parents place on one’s musical achievements. This group, however, did have the broadest range of the ensembles surveyed. A majority of collegians selected “6-10.”

One student failed to answer. He/she may not have understood the question, yet did not ask for clarification. A complete breakdown of responses can be found in the chart below.

Table 5.2 Baldwin-Wallace Symphony Orchestra Social Value Results

Number 6 1 3 2 9 12 8 8 10 8 of students Rating 1 2 3 4 5 6 7 8 9 10 Scale Very little Much value

The final question asked-“do you think you are fulfilling your parents’ dream of being a classical musician as opposed to your dream?”-drew by far the most written responses and the highest percentage of “yes” replies. Sixty-five students chose no. Collegians

#1, #41, #42 and #62 selected yes, but did not elaborate. Student

#17 said “both.”14 In a similar fashion, respondent #51 noted “it is my dream.”15 The most emphatic response came from student #52

who wrote “without a bloody doubt!”16 The next two responses were unusual. Student #18: “It was until I discovered jazz violin.”17

Respondent #26: “I don’t necessarily want to be a classical

musician.”18 This student is a percussionist who is able to pursue a

variety of musical experiences.

Overall, the nature of the response was not unexpected. The

one exception was the discovery that there are parents who resist

their children’s musical pursuits. It is most difficult to comprehend

and justify this parental attitude.

1 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 24.

2 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 14.

3 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Students #22 and #57.

4 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 44.

5 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 24.

6 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 18.

7 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 14.

8 Ibid.

9 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 50.

10 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 57.

11 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 14.

12 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 46.

13 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 17.

14 Ibid.

15 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student #51.

16 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 52.

17 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 18.

18 Baldwin-Wallace College Symphony Orchestra Survey, March 25, 2007, Student # 26.

CHAPTER VI

CONCLUSION

Throughout this process, it was pleasing to note the amount of parental support for these young musicians. Conversely, the number of students not having this lifeline available was disheartening.

I have been a classical musician for eighteen years. In that time, my mom has missed only one concert, because of distance. She has been to every recital, beginning with my performance of “Fireflies” in fourth grade and culminating in my final concert as a member of

The University of Akron Symphony Orchestra. Because of this support, it is difficult for me to comprehend some parents’ lack of encouragement toward their child’s musical aspirations.

It is a promising trend that a majority of youth musicians attend other classical music concerts. In order for them to improve their skills and gain inspiration, these musicians need to be exposed to the highest caliber ensembles.

Overall, more than half the students replied yes when asked if their parents ever studied an instrument. If a parent had pursued or is

currently living his or her musical aspirations, he/she knows the importance of all outside influences to a classical musician. This would be one means of support. The “been there, done that” mentality is helpful to a struggling young musician. While their advice might not be taken, their hearts are in the right place.

It was encouraging how few young musicians were told or forced to practice. If a child is coerced, this sends negative thoughts regarding music study. This will often impact how a young musician feels toward one’s instrument.

By far, the most heartening results came as students were asked whose dream they were fulfilling. An overwhelming number of musicians are in fact living their dreams. The least optimistic response came from the Baldwin-Wallace Symphony Orchestra with five students, representing 7% of the ensemble. The other three groups only had one student who felt parental pressure. This question was purposely placed last and drew the most heated responses from the participants. It was not expected so many students would take offense to this question. However, the number of positive responses were expected to have been much higher.

While the research provided much information, another approach also would have proven useful. An interview process with select

students, particularly the youth orchestra members and their parents, would gain insight into their thoughts and feelings. One could separate the two groups and under an anonymous system ask more detailed questions. Perhaps this would enlighten parents as to how to perfect their role as an element of a young musician’s support system, thus ensuring the ultimate survival of the classical musician.

APPENDICES

APPENDIX A

INSTITUTIONAL REVIEW BOARD LETTER

APPENDIX B

BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA SURVEY QUESTIONS

1. Age 11 12 13 14 15 16 17 18

2. Grade 5th 6th 7th 8th 9th 10th 11th 12th

3. Primary Instrument (check one)

Violin Viola Cello Bass Harp Keyboard Flute Oboe Clarinet Bassoon Trumpet Trombone French Horn Tuba Percussion

4. How long have you played your instrument?

1 year 2 years 3 years 4 years 5 years 6 years 7 years 8 years or more

5. Do you study another instrument? Yes No If so, what instrument?

6. Have your parents ever played an instrument? Yes No If so, when did they play and what instrument?

7. What other musical activities are you involved with in addition to B-W Senior Youth Orchestra and your school orchestra?

8. How many hours do you practice a day? 1 hour 2 hours 3 hours 4 hours or more

9. Do you plan on majoring in music in college? Yes No Unsure If so, what major? Music Performance Music Education Music Therapy

Music History and Literature Music Composition

Music Theory Arts Management/Administration

10.Do your parents support your musical activities? Yes No

11. Do your parents provide financial support for your musical activities? Yes No

12. Do you provide financial support for your musical activities? Yes No

13. Do your parents see the value of music in your life? Yes No

14. Do your parents attend your concerts? Yes No If no, why not?

15. Do your parents attend classical music concerts other than the ones in which you participate? Yes No

16. Do your parents take you to classical music concerts? Yes No If so, which ones?

17. Do your parents place too much emphasis on your success? Yes No

18. Does chair placement affect your parents’ understanding of music? Yes No

19. Do your parents have to tell you to practice? Yes No

20. Do your parents force you to practice? Yes No 53

21. How much social value do your parents place on your musical achievements? (Please circle the number that best fits.)

1 2 3 4 5 6 7 8 9 10 Very little Value Much Value

22. Are you rewarded for positive achievement in your music career? Yes No

23. Do competitions affect your relationship with your parents? Yes No

24. Do you think you are fulfilling your parent’s dream of being a classical musician as opposed to your dream? Yes No

Thank you for completing the survey! Best of luck with the remainder of the B-W Senior Youth season!

APPENDIX C

BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA SURVEY RESULTS

1. Age

Number 0 0 1 6 2 5 1 3 of students Ages 11 12 13 14 15 16 17 18

2. Grade

Number 0 0 0 3 5 6 1 3 of students Grade 5th 6th 7th 8th 9th 10th 11th 12th

3. Primary Instrument

Number of 4 2 4 0 0 0 2 0 students Instrument Violin Viola Cello Bass Harp Piano Flute Oboe

Number of 0 1 1 2 0 students Instrument Clarinet Bassoon Trumpet Trombone French Horn

Number of 0 2 0 students Instrument Tuba Percussion Saxophone

4. How long have you played your instrument?

Number 0 0 0 3 3 4 3 5 of students Number 1 2 3 4 5 6 7 8 or of years more

5. Do you study another instrument?

Number 8 10 of students Yes No

6. Have your parents ever played an instrument?

Number 11 7 of students Yes No

7. What other musical activities are you involved with in addition to B-W Senior Youth Orchestra and your school orchestra?

8. How many hours do you practice a day?

Number 14 2 1 0 1 of students Number 1 2 3 4 ½ of hours hour

9. Do you plan on majoring in music in college?

Number 3 12 3 of students Yes No Unsure

If so, what major?

Number 0 0 0 0 0 of students Major Performance Education Hist Therapy Composition and Lit

Number 0 0 2 1 of students Major Theory Arts Perf/Ed. None Management Chosen

10. Do you parents support your musical activities?

Number 18 0 of students Yes No

11. Do your parents provide financial support for your musical activities?

Number 18 0 of students Yes No

12. Do you provide financial support for your musical activities?

Number 7 11 of students Yes No

13. Do your parents see the value of music in your life?

Number 18 0 of students Yes No

14. Do your parents attend your concerts?

Number 17 0 1 of students Yes No Yes and No

15. Do your parents attend classical music concerts other than the ones in which you participate?

Number 9 9 of students Yes No

16. Do your parents take you to classical music concerts?

Number 9 9 of students Yes No

17. Do your parents place too much emphasis on your success?

Number 5 13 of students Yes No

18. Does chair placement affect your parents’ understanding of music?

Number 3 15 of students Yes No

19. Do your parents have to tell you to practice?

Number 7 11 of students Yes No

20. Do your parents force you to practice?

Number 3 15 of students Yes No

21. How much social value do your parents place on your musical achievements?

Number 0 0 1 2 3 1 3 1 4 0 of students Rating 1 2 3 4 5 6 7 8 9 10 Scale Very little Much value

22. Are you rewarded for positive achievement in your music career?

Number 9 6 of students Yes No

23. Do competitions affect your relationship with your parents?

Number 3 12 of students Yes No

24. Do you think you are fulfilling your parent’s dream of being a classical musician as opposed to your dream?

Number 1 13 of students Yes No

***It is important to note that participants #8, #12, and #13 did not answer questions #21-#24 (page 3 of the survey).

APPENDIX D

BALDWIN-WALLACE SENIOR YOUTH ORCHESTRA ADDITIONAL

RESPONSES

5) Do you study another instrument?

Hammered dulcimer, piano (3), baritone, trombone, violin (2), organ, voice, saxophone

6) Have your parents played an instrument?

Trombone, piano (6), guitar (3), violin, saxophone, accordion, clarinet (2), ongoing-bass, trumpet, organ, flute (2), viola, voice (sings)

7) What other musical activities are you involved with in addition to B-W Senior Youth Orchestra and your school orchestra?

Jazz band (3), outside jazz combo, cello lessons, composition, orchestration, private lessons, volunteer orchestra, NE Regional Orchestra (2), SWC honor band, pit orchestra (3), HS band, church choir, marching band, conference band, all-state band, Parma Symphony Orchestra (2), Holy Name Band, music ministry, school band, OMEA Contest, church (2), Strongsville Community Band, drum lessons, Credo Chamber Music Camp, musicals, choir, lessons, string camp, chamber ensemble, gives lessons

16) Do you parents take you to classical music concerts? Which ones?

The Cleveland Orchestra (4), CityMusic Cleveland, piano soloists, Gil Shaham, Emerson quartet, Yuri Bashmet, Blossom, other various concerts, #5 whatever we find

APPENDIX E

CLEVELAND ORCHESTRA YOUTH ORCHESTRA SURVEY QUESTIONS

1. Age 11 12 13 14 15 16 17 18

2. Grade 5th 6th 7th 8th 9th 10th 11th 12th

3. Primary Instrument (check one)

Violin Viola Cello Bass Harp Keyboard Flute Oboe Clarinet Bassoon Trumpet Trombone French Horn Tuba Percussion

4. How long have you played your instrument?

1 year 2 years 3 years 4 years 5 years 6 years 7 years 8 years or more

5. Do you study another instrument? Yes No If so, what instrument?

6. Have your parents ever played an instrument? Yes No If so, when did they play and what instrument?

7. What other musical activities are you involved with in addition to Cleveland Orchestra Youth Orchestra and your school orchestra?

8. How many hours do you practice a day? 1 hour 2 hours 3 hours 4 hours or more

9. Do you plan on majoring in music in college? Yes No Unsure If so, what major? Music Performance Music Education Music Therapy

Music History and Literature Music Composition

Music Theory Arts Management/Administration

10. Do your parents support your musical activities? Yes No