Category Archives: arts education

QUESTIONING The ANSWER: How to Get Labeled the “Troublemaker” in Your Own Hometown.

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Anybody who was born in Erie, Pennsylvania within the past century knows.

This town has an unspoken history.

What has appeared in print, alternately surreptitiously or boldly depending on the relative acceptance of the author’s credibility, has alluded more than once to what everybody has always known: this was a Mafia “mob town”.

Back when Italians and Irish were the dominant first generation immigrant population, the “connected” families were well established. One of them led the city’s government for decades. These were the days of scenes from The Godfather movies; small business fronts, numbers runners, clubs, and neighborhood networks all set up to keep everything smoothly under control.

Into this picture, my Italian father appeared as a displaced citizen. A Bostonian ward of Massachusetts, he’d found himself here by way of a night train and a native Erieite who would become his wife, twice – the first time, in 1944, and again in 1955. Having graduated from barber school after WWII, he would set up his first shop on what, in those days, was the center of the East side: Parade Street. A decade later, he would move to purchase a cement block building on the corner of East 5th & Wallace Streets, and serve a regular clientele of Russian and Polish immigrants as well as city officials for 44 years.

I can remember Dad speaking about the BB gun holes in his plate glass windows on 5th. He and Mum would discuss them, in front of my brothers and me; these were Union people, harassing him to join and follow all their rules for price fixing. I cannot remember when the BB gun holes ceased, but something happened to end them because, once they stopped, they never appeared again. The city officials, however, continued as loyal customers until their deaths by natural causes. Many a final haircut would Dad give, to each of them, in their hospital beds at Hamot, St. Vincent, and over at the Vet’s.

A dear widow and long time Erie resident told me her take on the city, recently. Her late husband was beloved, and well known. And, as secretary to an attorney’s office, she knew who all the racketeers were, by name. She said that, back then, there was no crime in Erie; the mob saw to it that the streets were clean.

Nowadays, Erie is in transition from being an industrial mecca to a vacation resort, and shows promise. But, socially, vestiges of its history can be found in a continually manifesting tribalism. Because, geographically, the city is set on the water’s edge of Lake Erie its flat terrain is laid out in the “Philadelphia grid” style of endless, square city blocks. Consequently, there is nothing to distinguish one neighborhood from another except immediate, unspoken boundaries of ghetto; those living in poverty can be found one square block away from the wealthy, investing elite who own historic villas converted into office space and executive rentals just down the street from City Hall.

So, these tribes of peoples, set apart by closely juxtaposed neighborhoods from Glenwood Heights to the upper lakefront blight, still function in parallel proximity. Even as each nationality represented continues to celebrate its heritage in the multiple summer ethnic festivals, one problem persists: Social segregation. Now, who is in control?

And, that is the first question.

In Erie, as in these United States, every citizen is free to ask that first question. Ask any question, once.

The answer given is expected to be accepted.

But, what if the answer, often the official position on any topic, isn’t acceptable?

What if there is a problem with its content?

I have always been the inquisitive child. If Why? is the question, I will be the first to ask it. Unfortunately, though an established professional in my own right, I am merely the barber’s daughter. Who will give me the straight, factually accurate response? Do I need to know it?

In Erie, you can ask; but, you cannot ask, again. If you challenge the answer you are given, what happens to you is swift and inescapable: you are labeled the “troublemaker”.

And, once branded, you had better retreat into the shadows and stay away. Control is everything to those grasping after it and, in a town where the history was all about leaving well enough alone, if you wonder you are to do so in solitude; if you doubt, you are to keep quiet; if you disbelieve, keep your religion to yourself.

To what end can we know how Erie, Pennsylvania will survive those who do?

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© 6/12/19   Ruth Ann Scanzillo.  Born at Hamot; raised on the East side; educated in the public schools; taxpaying homeowner on the West side; lifetime Erieite. God Bless Our Home, and all who dwell within it. Thank you for your respect.

littlebarefeetblog.com

 

 

The International Musician, The American Federation, and The Professional Audition.

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IMALookAtTheAuditionProcessAug2009

The issue was August, 2009.

The magazine: The INTERNATIONAL MUSICIAN, a periodical published by and for the members of the American Federation of Musicians, which is the Union of performing professionals in both United States and Canada.

In these issues, usually with an up and coming musician featured on each front cover, articles meaningful to the professional population are included, along with numerous ads for products and services and, possibly most importantly, in summer a complete listing of vacated symphonic and military band positions open for audition in the coming fall.

However, the August 2009 issue presented a remarkably illuminating piece on the orchestral audition process, itself. Happening upon it only three years later, I found its contents startling and, suddenly, very relevant.

Having spent nearly 27 years as a regular, and even first call, sub, I’d played my third and final audition for a seat in the cello section of the Erie Philharmonic in early September of 2012.  The summer of that same year found me training intensely for what, I’d hoped, would finally be the job security which I had so long coveted. For this purpose, I’d commuted to the nearby Chautauqua Institution to obtain multiple private sessions with cellist and Ann Arbor Symphony conductor, Maestro Arie Lipsky, on staff every summer to conduct the Festival Strings and instruct the population of cello students.

Maestro Lipsky established a solid footing for my concerto movement of choice, and offered often ingenious fingering options for the list of orchestral excerpts required by the highest professional orchestral standard. Nearly weekly, from spring until summer’s end, he put me through my paces, as only a seasoned symphonic conductor could; Lipsky not only knew the cello repertoire, he knew what a conductor sought in a section player and made certain I did, as well.

Come audition day, I was ready – and, familiar with the protocol: Show up; sign in. Unpack; warm up. Wait. Each candidate having been assigned a number, per his/her moment of arrival, the proctor would call one at a time to enter the arena, usually a small room or stage, wherein the panel of adjudicators would be seated behind screen. A voice would speak, sight unseen, declaring which excerpt would be required first, and the audition would commence.

Two, maybe three excerpts later, plus an entire concerto movement, and the entrants would wait again, this time as a collective, while the panel entered into their deliberations. At the close of these, the second round would be announced and those fortunate to have advanced would be revealed.

The final, third round was face to face with the adjudicators, usually two of the orchestra’s principals and their maestro. From among these ultimately three or four candidates, the panel would select the one (or two, if the same number of positions had been vacated) musicians whose performance had been deemed worthy of an orchestral contract, a document which would seal their hire until such time as either they chose to resign or their bodies could no longer execute the music.

I would not be rewarded with a contract. This being my third attempt, then at age 55, my future was likely equally sealed; it would take the latest age reversing compound, or efforts truly single minded and super human, for me to obtain the secure membership among my contemporaries for which I had longed my entire professional life.

But, back to the subject.

This article in the International Musician was, in a word, surprising. Did the collective of Local #17, or any other AF of M Local realize that, in accordance with the rules and regulations in place to govern symphony orchestras, the entire audition process was not even required?

Apparently, it was true. An orchestra’s artistic director could bypass this process, completely, and appoint musicians – to any number of seats within the ensemble each season. In fact, the thrust of the article’s thesis was an intent to present this debate: did musicians have to spend grueling hours and submit to the knuckle whitening, live evaluation of every gesture and breath, in order to secure a professional orchestral contract?

That question was posed just shy of ten years ago.

Many an orchestral audition has been held, over the past decade, since that magazine article went to press. One speculates, as did the writer of the article: how many orchestras have simply gone through the motions, submitting their available vacancies to the International Musician and hosting official auditions, when the decision to appoint was already made? And, how many – from executive, down to the latest musical protege – have been privy to such a potential decision?

The corporate world, as the Rev. Charles Brock recently intoned in print, has become our society’s idol. We have bowed to elitist, administrative control over the masses like Haitians, in line for flour and water. Efforts to break Unions, in place to protect the rights and fair practices toward subordinates, have become ubiquitous. And the brainchild of its era, Total Quality Management, still gives lip service to the most earnest and powerless while dismissing their inherent value like so many dropped beats.

The issue isn’t just what appears in an old magazine, anymore.

We need to return to a life of professional transparency.

The Greatest Generation called this “honor”.

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© 3/13/19   Ruth Ann Scanzillo.  All rights those of the author, a seasoned professional, whose name appears above this line. Thank you for respecting rights inherent to human dignity.

littlebarefeetblog.com   *below is an image of an article which bears a slightly different title, as sent to me by the AF of M per August 2009 issue: (although, curiously, it bears a date of September 25 2015 in the Google search)……I had extracted the article from my copy of the issue, and cannot find it to prove that what appears below matches what I remember reading.

Working Musician

A Look at Both Sides of the Audition Process

by Nathan Kahn, Negotiator, AFM Symphonic Services Division

All orchestral audition candidates are looking for the same thing in the audition circuit: a fair chance to compete for a symphonic position, and to be treated as a professional in the process. On the other side of the process, audition committee members and orchestra management encounter their own set of challenges. An understanding of the issues each side faces will promote a more fair and enjoyable audition process for everyone.

Challenges for Candidates:

Expenses—Whereas job candidates in other professions are often reimbursed for their interview travel expenses, that is certainly not the case with symphonic auditions. I have yet to hear of any symphonic orchestra who pays the expenses of preliminary round candidates. However, many orchestras do pay the travel expenses for finalists called back to audition in final rounds.

Orchestras may even require audition candidates to send a deposit check. As long as the candidate shows up on audition day, the check will be returned or destroyed.

Audition scheduling—Suppose you open your copy of International Musician and find that there are five forthcoming and very desirable orchestra violin vacancy auditions, and all of them are scheduled for the exact same day. This happens more often than you might think. To minimize this problem, the AFM Symphonic Services Division maintains an audition scheduling website for AFM orchestra personnel managers. This service is free of charge and benefits both the candidates and the orchestras. If your AFM orchestra’s personnel manager has not yet availed themselves of this service, please have him/her contact me at nkahn@afm.org.

Just getting in the front door—Getting admitted to an audition can be almost as challenging as the audition itself. While there is no AFM bylaw that requires any orchestra to grant a live audition to union members, the AFM can sometimes assist candidates who are seeking acceptance to an audition by convincing personnel managers and audition committees to hear “just one more.” Appearing at an audition without having been invited, although some candidates still insist on doing this, will get you nowhere and is strongly discouraged.

Audition conditions and requirements— Audition candidates have the right to warm-up and audition in an environment that is sufficiently comfortable and that is free of any considerable distractions. Candidates should not be expected to put their instruments in any type of weather-related danger, or to spend excessive amounts of money on difficult-to-acquire music.

The Audition Committee View:

The process of filling a vacant seat varies widely among orchestras, but these are some factors that management takes into consideration:

Whether to hold an audition—The audition committee must first decide whether or not to hold an audition. In lieu of a live audition, some orchestras may decide to appoint a certain musician who, for example, may have performed successfully with the orchestra in the past. They can do this through a previously negotiated “appointment” procedure within the orchestra’s collective bargaining agreement, or by some other mutual agreement between the audition/orchestra committees in conjunction with their local union and the management.

I often get complaints from audition candidates demanding that the AFM should “force” the orchestra to have a competitive audition for a position. There is no requirement that any orchestra hold a live audition for any vacancy, unless otherwise specified in the orchestra’s collective bargaining agreement. Even then, the audition/orchestra committees in conjunction with their local union and the management could agree to waive that requirement.

In some instances, a group or an individual will try to force the local orchestra to hold a competitive live audition when the prevailing sentiment was to appoint a certain person. This only results in the orchestra going through a farce of an audition where no one is hired and the original appointment proceeds regardless, wasting the time, energy, talent, and money of audition candidates.

How to screen the candidates—If the audition committee does decide to hold an audition, they must also decide how large a field of candidates to seek. Some orchestras want to hear every candidate who applies, while others may specify in their advertisement that they will only hear “a limited group of highly qualified candidates.” In such circumstances, it is much less likely that the AFM can assist in getting someone admitted to the audition if the audition committee has refused to grant them a live audition.

Some orchestra vacancy advertisements include the following language: “The Audition Committee reserves the right to immediately dismiss from the audition any candidates who do not exhibit the highest professional performance level at these auditions.” These orchestras want to hear as many candidates as possible, but their time is limited. A candidate will often complain that he/she was cut off one minute or less into the audition. I refer the candidate back to that statement in the advertisement; it means what it says.

Scheduling auditions times for candidates—One method for audition scheduling is to assign a window of time to an entire group of candidates, and then have the candidates draw lots to determine the order in which they audition. While this tends to alleviate the problem of time flexibility for the audition committee, it has the opposite effect on the candidates. Some candidates may have to perform their audition with little or no warm-up time, while others may be forced to wait around for hours.

The other method is to assign specific audition times for each candidate. There are, at least, two problems with this approach. First, audition committees complain that such a tight schedule prevents them from hearing as much as they would like in order to be able to make an informed decision. Second, is the problem of no-shows: musicians who have been assigned an audition time, and for whatever reason, fail to appear. When multiple no-shows occur, personnel managers must either round up other candidates to fill in the empty time slots or require the audition committee to wait for extended periods of time for the next group of candidates to appear.

Recurring auditions for the same position— Sometimes an audition is inconclusive. Perhaps the voting procedure in the audition process failed to produce enough votes to select a winning candidate, or perhaps no candidate was deemed qualified for the orchestra. In these cases, the orchestra reserves the right to continue to hold auditions until a successful candidate is engaged.

Use or non-use of screens—In the 1970s, the Saint Louis Symphony and the Boston Symphony started using screens to protect the identity of the candidates, and many other orchestras followed suit. Now, it seems that more orchestras are reversing course and removing screens in the audition process, since some audition committees and music directors have expressed that they feel the need to see, as well as hear, the candidates. Neither the AFM, nor the Code of Ethical Audition Practices, takes any position on the use of screens. That determination is made on the local level; often through the collective bargaining process.

Fixed auditions—Proving that an audition outcome was predetermined is extremely difficult, and investigations are often inconclusive or show that the orchestra’s collective bargaining agreement, in fact, allows for what may appear to be a “fixed” result. For example, some collective bargaining agreements automatically advance musicians who have successfully subbed with the orchestra, who have reached a certain level of professional experience on their résumés, or who may have been in the finals of a previous audition in this or some other orchestra.

When it can be demonstrated that a predetermined audition did occur, the local union, combined with the AFM, works to get candidates reimbursed for at least their travel expenses.

Playing Fair

As competition for some orchestral positions increases, so should vigilance on the part of local unions and their audition committees to uphold the highest standards of ethics and integrity in the conduct of auditions. At the same time, candidates should be aware of the difficulties in taking auditions and should understand that not every orchestra is willing and able to grant a live audition to all who may apply, even with the AFM’s assistance to candidates who may request it.

Musicians who have symphony audition complaints should contact the AFM Symphony Audition Complaint Hotline at 719-520-3288 or send an e-mail to nkahn@afm.org. All complaints are handled anonymously, unless the nature of the complaint would require identity.

To view the Code of Ethical Audition Practices, approved in 1984 by the International Conference of Symphony and Opera Musicians (ICSOM), the Major Orchestra Managers Conference (MOMC), and the AFM, visit www.icsom.org/miscellany/auditioncode.html.

 

 

The Sweet Nature.

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Some people are born to it.

There are all kinds of traits which, science is now disclosing, are expressed rather automatically because, well, they appear as genes along the strands of our DNA helix. We are so proud, we humans; we’d like to think that we never intended to be the person we actually are.

But, in large part, we get dealt a hand and then the game plays itself out.

Or, does it?

My mother was one of four daughters. Her father’s name was Henry Thomas Sweet. He said his parents were from Cornwall, on the English coastline. Ancestry.com lists:

“This Anglo-Saxon last name has three origin theories. First, it is a baptismal surname meaning “the son of Sweet”…. Second, it derived from the nickname “the sweet”, a good, pleasant, or agreeable person, from the Middle English word swete. The old English personal (first) names Sweta and Swete also derive from this word and may by the source of the surname. Third, as asserted by William Arthur in his book An Etymological Dictionary of Family and Christian Names, the name refers to a Swede, a person from Sweden or who was native to that country. Fourth, it can be an Anglicized version of the German/Jewish surname Suess ….. The given names Suet and Suot were documented in the Domesday Book of 1086 AD, which was a survey of England and Wales ordered by William the Conqueror. Fifth, the book English Surnames by Mark Antony Lower claims it’s a nickname for a person “who has either a vinegar face or a foxy complexion”.

Hah.

One wonders if “agreeable and pleasant” married “a vinegar face or foxy complexion” to form the genetic expression handed down to me by my mother’s father.

“Sweetness”.

Sort of a vague reference to guileless, I guess. Gentleness comes to mind, in tandem, along with pleasant countenance. Ain’t no bitch face in the sweet one.

I can say that “The Sweet Girls”, as they became known – Dora Mae; Lydia Elisabeth “Betty”; Frances Magdalene, and Martha Louise, if ever they bore common “sweetness” would have largely been due to the nature of their mother, Mae. Rather, each had an immediate feistiness, manifest more readily by the first, third, and fourth born. Mum’s was demonstrated on her own turf, where she ruled the roost with a formidable tone, but hidden in public behind a radiant grin and a gullibility born of her Aquarian dreams.

So, what’s in a name? Any number of ultimate aspects, all of them inherited.

Mary M. “Peggy” Zeppenfeld, however, was truly sweet. She was a flute player, in the Erie Chamber Orchestra and Erie Philharmonic, and a music teacher. Her students adored her. Her family adored her. Her colleagues did, too. She was “kind”. She was “devoted” to her students, and to music education, an “extraordinary teacher”, generous of spirit. Her maiden name was Munro, Irish to Scotland to fight for William Wallace. Robert Munro served Robert The Bruce; Alice Munro would descend to write sterling short stories, her characters never socially important but always both starkly recognizable and memorable.

Peggy Munro was entirely without ego. Preferring to observe from a distance, watch she did; I can remember more than once looking up, from my seat at the front of the orchestra we shared, to see her gaze directed at me. Peggy was keenly aware; she likely picked up signals from body language that others missed entirely. Perhaps she was just alarmed by any number of reactions which I so irrepressibly demonstrated, but I often wondered if Peggy was the only musician in the room who perceived my needs. Whenever I felt frustrated, or dismissed, or ignored, I could feel Peggy’s eyes on me.

Peggy’s career in the world of professional performance wasn’t so brief – 25 uncelebrated years. Like me, she came to it all by default, receiving an appointment at a time when someone with her qualifications seemed right. And, just as quietly, when the players at the card game increased in power and might, she lay down her hand and bowed out.

This past week, Peggy died. She was only 55 years old, nobody with the power or might to prudently diagnose the disease which took her life having stepped up to save it. And so, another sweet one escaped the earth, to leave behind all those whose hearts hurt because they were so touched.

And, these were innumerable. So many young, eager students. So many colleagues. So many family and friends. And, even one such as I, from the distance between her eyes and mine.

I will miss you, too, Peggy.

Perhaps some are born to live briefly. All are born to die.

It’s the nature of life.

Thank God for those who are born to bring the sweet.

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Mary M. “Peggy” Zeppenfeld

January 1963 – January 2019

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© 1/19/19   Ruth Ann Scanzillo.  All rights those of the author, who can be sour, and whose name appears above this line. Thank you for respecting this tribute.