University as a Business

Long debated and rarely resolved, university officials continue to wrestle with the concept of administrating a university by using the principles of running a business. As with any business, a university needs to have more revenue than expenses to keep running and revenue needs to come from the sale of a product to its customers. This is true for all businesses, institutions of all types, regardless of size, scope, or mission. A non-profit institution, for example, should be fulfilling a public good as required but it cannot fulfill its mission without enough revenue to cover its expenses.

For a university, reducing liabilities is always good and acquiring assets can help the balance sheet. Having an endowment adds to revenue as do grants, donations, sales of various types, and increased customers. But who are the customers? Who pays for the service or product? Obviously, the service being provided is education and the product being sold is the knowledge leading to the certified completion of that knowledge. Argument could be made that students are the customers regardless of who pays for the expense of receiving an education. Some might say that parents or guardians are the customers or others might quibble about various governmental entities supporting the education through loans and grants.

A radical but perhaps more profound argument could be made that employers are the customers in that they employ certified completed graduates with particular skill sets for their business. While there is some truth in this statement, it cannot be substantiated due to employers not paying for the service. But it should be kept in the forefront of discussions in that employers represent the market trends for education. More on market trends later.

Because a business is dependent on customers, universities must design degrees and programs that meet customer needs. But there are principles, traditions, and philosophies that push against the market trend idea. This brings us to why a university cannot be treated as a business, at least not in the normal business sense. The purpose of a for profit business is to make a profit whereas the purpose of a non-profit business is to fulfill a public good. Both must have greater or equal revenue to expenses in order to remain in business. A university, however, in its mission to fulfill a public good, embraces the educational ideal known as the liberal arts and the personnel protection called tenure. These two practices are antithetical to normal business operations in the for profit world.

Take the local pizza place serving pizza to customers who pay for the food. The chef and the management hope to make something that is tasty and desirable in order to attract customers and encourage them to return. If the pizza were healthy and tasty, then all is well. If the pizza were tasty but unhealthy, then we might not get customers concerned with good health. If the pizza were healthy but tasted terrible, then we would have no customers.

If we rethought our purpose of the pizza and encouraged the chef to design the ingredients that are to the best interest of the customers and then told the chef that he or she would have a job forever, regardless of the quality of the pizza or the number of customers or the profit or lack thereof, then we would have a product that may or may not serve the public good but the chef might feel good about himself or herself. Therein lies the problem of running a university exactly like a business. The "chefs" at the university are highly skilled, well-educated, and generally dedicated to improving humanity by imparting education to students.

Running a university like a business and viewing students as customers relegates higher education to a commodity dependent on market trends and market forces to keep it afloat. For those recognizing a changing world and live in a pragmatic utilitarian environment, the market is that which changes regardless of any efforts to prevent or manipulate it. For others who subscribe to philosophical forces that dominate and shift thinking and practice, the university is the place to set a philosophical foundation for future employees to make a difference in the world.

Should a university be a technical training institution dedicated to giving students hands-on skills they can use professionally and technically in the workforce? Or should a higher education give students a solid foundation upon which they can draw, develop, and forge their own future, a future wrought full of challenges and opportunities?

Professional and technical models of education risk creating young automatons able to complete tasks but not able to lift society to new heights of cultural refinement. Yet liberal arts models devoid of professional training risk creating young thinkers wishing to change the world but lacking in skills applicable to the workforce. Obviously a balance is needed and, although greatly flawed, the university as a conceptual institution for higher education has continued to provide the skills and knowledge needed for most professions.

Unfortunately, this makes running a university like a business almost impossible and the tensions that exist within the institution for revenues to exceed expenses are palpable and difficult to navigate. One could argue, however, that the tensions themselves lie at the core of what a university means and how it will progress in the future.

Worship Wars, Is this a Race Problem?

A study of slave narratives and first hand accounts of worship practices by African-Americans dating back to the early 19th century reveal events that convinced the minds of white leadership the primitivism of the black race at the time. Totally misunderstanding what they saw and completely rejecting the style of worship, white land owners denounced virtually any worship practices that seemed out of character from the perceived proper way to worship God. There is evidence of prevention of blacks gathering together for this purpose and whites attributed their actions to some kind of strange voodoo or even possession of evil forces.

Fast forward to now and we still have a form of the same kind of disagreement happening in our churches. The contention is no longer voiced as criticism based on race, and we no longer hear disparaging stereotypes against a group of people, but we do hear criticism based on style and musical content. That argument, however, has its roots in past practices, attitudes, and arrogant refusal to respect another way to worship. Prophetically, there will be a day that the worship wars will go the way of all wars...to the history books. Meanwhile, churches continue to be polarized on the issue and we still hear the same uninformed disparagement toward differences expressed in our churches. I would posture that the style differences in our churches date back to the 19th century and the injustices suffered by the blacks.

Although a bit simplistic, and it is always dangerous to assign monolithic behavior to any one group, there is something to the pain of slavery requiring emotional release after working hours. But it goes  beyond this to the heart of what worship means and the expression of beliefs, needs, sorrows, and joys through music. Regardless of the treatment of slaves, whether it be harsh and punitive, or loving and forgiving, slavery is still slavery and is in direct opposition of Christ's teachings and the requirement for human liberty. Having heard many arguments that the Civil War was more an issue of labor, of taxation, of states' rights than of slavery, I hold that all arguments aside, slavery, a despicable practice in all forms, had to end.

As we trace the history and development of worship, of hymnody, of cathedrals and sanctuaries, singing, funerals, weddings, musical instruments, preference, style, and all the myriad variables that accompany the complex world of sacred music, we find a strange distinction that is difficult to acknowledge. That is the clear pathway of "white" style of worship versus "black" style of worship. Given the uncomfortable truth of this statement, and I firmly believe it to be true, then worship wars in our churches are an outgrowth and expression of historical and rarely communicated racism.

Resisting the tendency to express my own preference for church music or even music at all, I simply wish to draw dotted line connections to the past while paving the way for the future. Ultimately, I subscribe to the societal refinement theory that we are culturally improving as people and as a society, becoming respectful of all people, races, types, and giving egalitarian regard for the human experience, knowing we are complex creatures, rarely all bad, and certainly not all good. Our own preferences for a certain type of world do not really matter all that much. Market forces determine our products and our economy, and the invisible hand of culture will determine our musical art both in the secular world and the sacred world. Fighting for one type of music over another is noble and warring against those who seem uninformed about the "right" kind of music is certainly a right in and of itself, but, at the risk of sounding fatalistic, our worship wars do not really matter. The world will continue and the refinement will not be stopped.

Meanwhile, it is worth exploring and understanding how the past shapes the present and will form the future. Why should we understand this at all? People should have a right to like the music they want to like and to worship the way the wish to worship. If that is primarily with an organ, choir, and hymns regardless of its heritage as "white" music, then that certainly is fine. In fact, one could argue that if white people have an ethnicity, which they do, then their culture of doing hymns in a certain way, in a certain location, is certainly to be respected. If we are to respect all of humanity, then that should be inclusive of all cultures.

Yet awareness of where we have been and where we are headed could contribute to healing and to unity and, mostly, to a reduction of criticism of others. All the theological study that is available and all the degrees attached to a person's name cannot prescribe how someone must worship nor the kind of music one must prefer in a spiritual setting. Not unlike an admission of guilt, where acknowledging the truth is the first step toward healing, the church's acceptance that it is a segregated institution serving the needs of particularly ethnic groups and is that way today because it has always been that way, may indeed be the first step toward what could be one of the great changes in society one day--the integration of our churches.

How are social groups formed and is church a reflection of social preferences? If that is true, then it stands to reason that music is a direct reflection of social congregating. Groups form, large or small, to experience each other and to share in a common experience. For a church, that common experience is worshiping God, studying scripture, spending time together, singing, laughing, praying, and giving honor to the Lord and Savior. While this sounds simple, and conceptually it is, when we add individual personalities, values, preferences, and perceptions into the mix, it suddenly becomes wildly and joyfully complex. Corporate worship has long been a part of small and large groups dating back to pagan worship practices and continuing into denominational associations and the fractured religious world in which we reside. Groups form, break up, form again, reinvent themselves, redefine their purposes and priorities, and work together to meet those objectives. Membership changes, grows, declines, disappears, develops, and transforms into something new and special, only to dissipate once again and reform somewhere else. Such is the cycle of groups which, sadly or maybe happily, is the story of the church.

Considering the nature of groups and group dynamics, it is not surprising that ethnicities have formed into different types of churches with different practices and goals. What is unfortunate is that the veiled or not so veiled arrogance of groups who see their belief system and their system of worship as being superior to all else are contributing to the division and the demise of the organized church. To be fair, this is the expectation of a group, whether it be articulated or not, that what the group is doing is the right and best way. Without that confidence, the group may fall into insecurity, fear, and no longer value its very core and purpose. Groups, congregations, and churches should maintain a degree of arrogance that what it is doing is the right and best way, otherwise why form at all other than the benefits of sharing social joy with other people.

Taking this thought to its logical conclusion, it makes sense that ethnic groups have formed historically and developed to the present time with comfort in their group social norms and comfort with their commonality, that is to worship God with people similar to each other. Not that this is racism. After all, people should have a right to worship whatever way they so choose and with whomever they wish. This is freedom and we do not have the right to restrict it. But it may be the criticism of the "other way" that is a form of racism. Let us look at this more specifically.

Many whites have been inadvertently and unconsciously criticizing black worship practices for a long time and the criticism, although less obvious and covert, continues. This probably goes back to a lack of understanding and a lack of knowledge. Unfortunately, the converse is likely true as well. Thus we have a silent form of racism born of ignorance in our churches. The stereotypes against one way of worship are palpable, patently unfair, and decidedly although not intentionally racist. If I say my way is right and your way is wrong, and I base that statement on cultural practices by a specific ethnic group, then I am at risk of insulting a group for its practices based on differences between the groups. Such is the nature of racist remarks and prejudice without foundation.

A brief look at music and its history. Since Western music (referencing the non-Eastern world) became codified into the current system of notes, rhythms, and expression on a staff that represents a certain number of vibrations per second, we have had musical art both academically and commercially. It has been said, with a degree of truth, that art music is an acquired taste and not always well-suited for the masses. Commercial music, however, is for everyone and much of it is for mass appeal. Popular music, for example, has a folk-like appeal in its simple expression of human pain and joy. Spirituals have a soulful quality that reaches deep expressing both the longing for a better life and an acknowledgment of the restricted environment in which the people reside. Many of these are sacred in nature and we find the people looking to God for answers to their situation and expressing their pain through music. These spirituals are as historically significant as any art music or hymnody of the 19th century.

Art music, however, also plays an important role in musical expression of the 19th century but, unfortunately, despite a few anomalous African-American stars, was reserved for white people with money. This dichotomy--spirituals from blacks in the fields, and art music from whites in the concert halls--spilled into the 20th century in a number of different ways. The 20th century saw the rise of the Symphony Orchestra in our country, significant improvement in music education, and development of commercial music for entertainment. Throw in the growth of jazz, blues, and traveling bands and we see musical segregation as prominently as social and educational segregation. White music in church focused on hymns with a use of piano and organ as accompaniment. This ideal continues and we find this system preferred in churches using liturgy and formalism in the service.

When Leonard Bernstein started his series in the late 1950s called Young People's Concerts he used the New York Philharmonic to teach theory and history to students from all over New York. This marvelous series is available on video and remains remarkable in its content, artistry, and educational contributions. Yet, a closer look at the videos shows that most of the students were white and all the players were white. As an aside, the early videos show that the players are also male, but that is another topic for another day! This is another example of exclusive education of a predominantly white genre and medium of music.

It is not much of a stretch to examine style of music as being indigenous to certain races or at least value systems associated with education. Looking at it through the educational lens, as whites in the 20th century continued to be educated through governmental resources, ie. taxation and compulsory education, we see further development of art music. Sadly revealing, black schools did not have the same type of music education for students, resulting in less awareness of music other than that with which they knew, that from their past. This means that whites continued the path toward art music as being considered quality while blacks found their own musical language through development of popular music, jazz, and blues. Some would argue this approach is actually preferred. To be fair, whites did not only embrace art music, finding satisfaction in commercial music as well and many blacks composed and participated in art music. But the popular music of the first half of the 20th century was limited in expression and arguably less profound in purpose, reserved for big bands and musicals on film and stage. Art music, however, was considered elite and academic for those with resources to enjoy it. The disparate practices of music of the past now play a role in music of today, particularly in our churches.

Either due to a lack of awareness of art music or, more likely, a strong preference for what became a popular style, blacks in the 20th century forged their own musical future. Their music could be found in clubs, homes, and churches where they were free to explore the sounds they enjoyed. Using instruments such as the piano, guitar, and drums, they expressed the joy of music and invented their own cathartic style in the form of the blues. With church and worship remaining an integral part of their world, they did not necessarily seek a different type of expression in the church but, instead, extended the spiritual idea into the blues, forming their own gospel style. The gospel style is now wonderfully free in structure, joyful in dynamic expression, rhythmically complex, and harmonically interesting. Sometimes repetitive, the music allows for bodily motion including feet movement, swaying, arm motions, and dancing. Early rock stars such as Elvis Presley and Little Richard combined the freedom of expression of the blues and included their own brand of entertainment, launching a style known as rock music. It is not without merit that whites thought rock music grew out of the black style of movement. Sadly, early critics of rock music associated it as primitive music from African-Americans.

Add drums and guitars to the gospel style of singing, and we experience modern worship known as contemporary style. But parallel to this phenomenon, we still have art music previously relegated to whites. Church music, therefore, developed in two contrasting ways...one from a white tradition and one from a black tradition. Although no one way is superior, unfortunately people often replace their own preference with a statement of right or wrong.

These proposed historical categories, however, begin to fall apart when we study individual churches, worship practices, and musical content. Many black churches continue to sing hymns and the number of large growing churches that are predominantly white utilize what might have in the past have been considered black influenced music. These trends could be a sign of societal and religious refinement, incorporating past ethnic practices into current culture as a way to reach all people. Exclusivity, even in music, is no longer a sustainable practice in our society and churches are no exception. Unfortunately, our churches still have those who embrace exclusivity and battle for their own preference. Connected to the exclusive preference for style is the rejection of drums and guitars in a worship service. To be fair, many of these people warring against these popular instruments in church grew out of a time when rock music was seen as sinful and inappropriate.

And although not within the purview of this particular essay, the architectural changes employed in our churches dictate how music is to be heard and experienced. Large, acoustically resonating cathedrals are not aurally suitable for all kinds of music; whereas, venues with little resonating reverberation do need sound management technicians to provide a positive listening experience. These variables of architecture, sound management, hymns, instruments, and historical tradition all play a role in our current worship discrepancies.

To this end, we have worship wars where one faction disagrees with another, one group claiming that the right way to worship is through formal hymnody. Conversely, the other group finds the formal approach to be stiff and lacking in authenticity, preferring, instead, to emphasize drums, guitars, and repetition. We now hear these odd conversations between church people of whether hymns or choruses are the best form of music. The conversation inevitably becomes critical of one form over another and usually digresses into a meaningless drivel of opinions. I suppose in a way these types of opinions are the right of the people but the deliverer of the criticism is usually not appreciated by the recipients. I contend that if church members were aware of the race issue related to church music, we might actually find a greater acceptance of differences and, maybe, just maybe, a desire for unification of ideals.

Much of the above needs research validation but, in totality and with generalizations, the truth emerges. If our churches are polarized by music and the wars continue to destroy the institution of the church, then nobody wins. Only with integration of style will we one day put aside our differences and embrace the purpose of church, to worship God. The issue may no longer be one of race but, rather, one of education, theological teaching, and acceptance of differences while working for harmonious congruence.

Christmas Lights

Driving through the city, I see Christmas lights of every type adorning houses, businesses, parks, and signs. The number of different colors, shapes, styles, and sizes is astounding, giving the viewers an infinite variety of visual experiences. Many of the lights are mobile, flashing back and forth, moving around buildings, shrubs, trees, and windows. Many other lights are stationary, remaining steadfast in their position. Some lights were obviously put up hastily and have no system of presentation, often resulting in a random type of appearance. Others, however, were put up carefully with great attention and fastidious perfection of presentation. I see blinking, glittering, jumping, bright, dull, wild, tame, low, high, shapes, small quantities, large quantities, and every type of light decoration imaginable.

But, if the truth be told, I do not understand the light craze. I suppose historically it relates to the star in the sky showing the way to the Christ child. The star helped the Wise Men as they headed out to give gifts. Now, today, the lights are a symbol of the shine and glow of Jesus' birth and the reminder to give honor and respect to God's son, the Savior of the world. All that makes sense in a symbolic and beautiful way. But practically, I still do not understand. Maybe the lights are to help people remember or to serve as some kind of acknowledgement of the birth. Or maybe lights have become passe', without meaning, predictable objects that drain electricity, drain cash, take time,

Perhaps it is a human desire to seek out the good. The lights represent goodness triumphing over evil. Much has been written about the contrast between light and dark, good and evil. The obsession of lights at Christmas seems to demonstrate the human desire for beauty, morality, optimism, and compassion to reign victorious over the evil that often pervades our society. We are willing to make sacrifices of time and money to show others that we live in a world that needs God and the lights are a manifestation of God's son Jesus.

I believe, however, that while all that may be true, there may, indeed, be another intangible reason for the lights. I believe we, as humans, have an innate desire to create artistic moments, artistic events, and artistic opportunities. I believe that art, music, and theatre play a significant role in our culture and that artistic expression is a human need. Unfortunately, not everyone has the ability to be a Michelangelo, a Shakespeare, or a Beethoven, but in spite of our lesser talents, we still desire to create and experience the beauty and the joy of art in its totality. Our imaginations may not be incredible nor life changing, but they still have a place in our culture.

Hanging lights at this time of year may symbolize Christ's birth or may simply represent the joy of Christmas but I posture that Christmas is also an opportunity to reach inside ourselves and express the role of art in our world. Whether that is true or not, because I live in an arts world, a world full of theatre, music, and visual art, I have no additional need for lights. Yet, I must grudgingly admit, that I enjoy them, at least to an extent, and, mostly, I am glad the lights have meaning for so many.

Meals on Wheels

Greatly reluctant, after all I did have lots of things to get done today, I agreed to deliver meals on wheels with my wife to the people in the community. Arguing with myself about joining her, I finally admitted that I did not really want to see where the people lived. Not that I am unaware of the poverty that surrounds us, at the same time, I prefer to be charitable from a distance. This is not due to fear nor guilt, but rather to some sort of obsessive compulsive disorder related to germs and dirty conditions. To combat this problem, she actually delivered the meals while I stayed in the car. Yes, I know it is selfish of me to make her do the work while I had the easy job but, in a way, it was a victory for me to be there at all.

The last several years have become full of career building opportunities including taking doctoral classes in business, investing, performing, developing knowledge in accounting, and studying financial statements. Recent disappointments, however, in how my career has stagnated have contributed to some potential depression and, consequently, further self-reflection. Combating my tendency for self-absorption, I continue to exercise regularly, practice my horn, pray, and find ways to share extra resources with others. What I forgot, however, is that doing for others is the cure for most selfish ailments.

Time to extricate the selfishness and use my abilities for others rather than serving my own needs all the time. Today was a lesson of giving and one that I intellectually have known for many years but have avoided in practice at times. It felt good to be a part of service to those less fortunate. To those without resources, to those recovering from surgery or who cannot drive or cannot afford a car. Meals on Wheels runs like a well oiled machine with all components in place. Within 5 minutes of our arrival at the main center, we had our meals in the car and we headed out to the 11 different homes. Some of the domiciles were neat and clean with obvious attention to detail while others were crumbling, dirty, and pitiful. Most of the people owned dogs--something I do not fully understand I'll admit, and most of the people were unable to work for various reasons.

Each recipient must meet the qualifications for a meal and most of them do pay something for the service. The deliverers of the meals are volunteers and they drive all over the city each day. The organization is superior and the system for mapping, meeting dietary restrictions, and supplying a well-balanced but healthy meal is actually tremendous. I have rarely seen a business operating as well and the management of the program is as fine a system as I have ever encountered. The volunteers are generously giving of their time and I heard no complaints from anyone. The recipients were all grateful for their meal and I felt that odd sense of satisfaction that one receives from helping others.

No doubt I need to do more and next time I will actually walk up to the door to deliver. But at least today was a start. Thanks to my wife for the reminder and thanks to Meals on Wheels for its remarkable commitment to making a difference in lives.

Christmas Parade and Scrooge

The Christmas Parade was impressive this year. Lights, trucks, cars, horses, buggies, carts, bands, floats, and thousands of people. Cheers for everything that went by were heard up and down the streets. Lots of waving, smiles, and Christmas joy surrounded the event. Various vendors were selling lighted up toys and necklaces. Hot chocolate was served along with different foods located in front of stores and at intersections. People were hugging each other and experiencing the shared love of the parade. The parade was long and much of it seemed an opportunity to advertise a church or a place of business. Several construction companies with long banners and signs drove by in huge trucks, all replete with lights, ribbons, bows, and happy people. The bands were playing Christmas songs in various ways. Large bands and small bands marched by bringing the sounds of the season with them. Could anything be happier than a well-supported community parade?

It was probably the most attended event of the year and somehow the parade crosses all boundaries, allowing people of all types and backgrounds to enjoy the event. Children, teens, older adults, wealthy, poor, all races, and relationships of all types filled the streets. What a tremendous opportunity to set aside differences and embrace the totality of love and joy through Christmas and a glorious tribute to community.

So what is my problem? I just really don't enjoy it all that much. I am glad people attend and seeing thousands lining the streets meant something special to me. I like the participation and how the city comes together for the event. But my personal satisfaction is fairly low. I was a little cold, didn't bring a chair, was hungry, and generally not attuned to the excitement around me. Just felt generally crabby and would have rather be home. Yet I like to think of myself as a good husband and father and deep down it really is not about me, so we went and clapped and waved with everyone else.

It is not really that I am a Scrooge. After all I do recognize the joys of the season and how families, friends, and people come together to share in the love of Christmas. But I also find it stressful and exhausting. I am weary of the same old songs, the excessive lights, the noise, the shopping, the decorating, the bows, red, green, stuff everywhere. Tape, ribbons, boxes, etc. Just too much. Also I think Christmas makes me a little sad for those who have so little and those who have lost loved ones or whose health is failing or who struggle to pay bills or who don't feel loved, whose stresses are greater than the joy or whose lives are filled with pain. I suppose, however, that is part of the time of year...to reflect on the blessings and find ways to help other people. In that respect, Christmas does serve its purpose. To share love.

Running, Jackfruit, Family

Arrived back from a trip to Arizona and started getting ready for Thanksgiving. The Arizona trip was uneventful but also fun and informative. I go every year to the National Association of Schools of Music convention to learn about developments, trends, and get ideas for growth and improvement. Always great to see friends, eat some good meals, and learn all the things that I should be doing. Anyway we returned on Tuesday and went shopping for Thanksgiving. Wednesday the family arrived and plans were made.

Bought a Jackfruit. This large green fruit with small spike-like bumps all over the outside originates from tropical India and can weigh over 50 lbs. We brought it home and stared at it for several hours before diving in. With everyone involved, we tore into the strange item. Took awhile in spite of having sharp knives, but eventually we had it open and began the process of ridding the yellowish fruit from the non-fruit. While doing so we separated the seeds from the fruit and ended up with a bowl of 150 seeds and a large bowl of fruit. The seeds we then boiled, roasted, and peeled. In spite of extra salt and further warming, the seeds were not good and we rejected them as having edible value.

The Jackfruit, however, we liked and ate it with the Thanksgiving meal. Not unlike pork with the sweetness of an apple, the Jackfruit is delicious. The texture is a little odd and not appealing to everyone and the flavor is mild but pleasant. Later we all agreed, and I apologize for the indelicacy, that the Jackfruit is a natural fiber and good for internal cleansing.

Ran the Turkey Trot once again. This is my third year and I did better than usual. About 1200 of us gathered along the street. We prayed, we sang the National Anthem, and then took off on the run. The 5K is about 3.2 miles and I ran the whole time. No word on the results but I suspect I beat my normal time and ended up probably in the top 400 maybe. I know, doesn't sound impressive, but considering my generally sedentary life-style and lack of athleticism, I am just glad to get through it. I run 3 miles about 4 or 5 times per week with an additional couple of miles on Saturdays. Mostly run to stay in a modicum of shape and keep the heart healthy. Running the Turkey Trot is a blast! Tall, short, large, small, old, and young, we all run at different paces. I passed several people and was passed by many. I dodged strollers, dogs, slow runners, and even ran on the grass a couple of times. Lots of youth around me, I believe I was one of the oldest runners at the race.

Came back and helped out with the dinner, we had a great time as a family. Everybody got along (kind of amazing!) and the meal was its usual variety and joy. Little bit of football watching, naps, more pie and the joy of family time was special for all.

No profound words today, just normal life.

Ranting about Race and Football

To sum up, I respect the right of football players to kneel or stand or fall down or hop or whatever they wish to do during the National Anthem. They have the freedom to respond to the anthem or to our country in the way they so choose. This is America where we do not have to fear to express ourselves. Great. But I also do not understand what they are accomplishing nor why it has to be at a football game. I am a fan of football although not addicted in any sense. If I never see another game, that would fine. But if a game is on the television or if I am at a game supporting my school, then I do enjoy it. A game is a game and not a big political moment to support a cause or protest a President or make some kind of social justice comment. It is just a game.

That said, there are things about football that disturb me. As a closet pacifist, I worry that we are glorifying violence and pain as a form of entertainment. A football game is not really all that different in philosophy from the thousands cheering Gladiators in the coliseum. No, death is not imminent but I do think the tackles are painful. We cheer on a fine play and we grunt and smile on a big hit but then we sadly sit quietly when someone is hurt, then we clap when someone limps off the field. Just seems hypocritical at times. I predict a day when stadiums are empty and games are not televised and athletic events are respected for athleticism rather than competition. Won't be in my lifetime, but I do think society will experience the decline of football in the far future.

Patriotism: not particularly patriotic in that I do not wave the flag at every opportunity nor do I "worship" the concept of our country. Having read considerable American history, I am respectful of the efforts to settle our nation and struggle through the many obstacles of what freedom actually means. Regretfully, I do wish I had served our country in the Armed Forces. This is probably the biggest regret of my life and career. Yet, I do not think one should "love it or leave it" nor do I think it is a requirement to give respect to our nation at all circumstances. After all, there is a fine line between respecting our country and agreeing with our government. On the other hand, we are a great country despite our many flaws. We enjoy freedoms, prosperity, opportunity, and progress more than many countries, and I have never taken our country for granted and am always appreciative of being an American.

Race relations in our country is not a simple matter and, as a friend always says, complex problems require complex solutions. No doubt in my mind that we, as a country, are continuing to struggle with a lack of equality and prejudice without justification. We are slowly marching toward human refinement and there will be a day when color of skin or any human distinction will not matter at all. But that day is not today. Sadly, it still shapes our economy and our culture. I, like the football players and, I hope, most people, am disappointed in the lack of equality of our world, of the racism that exists in the workplace, the economy, and in the educational system. I am disappointed that we give lip service to diversity but we cannot seem to embrace it in reality. I envision a world where all people take advantage of the opportunities that are available for education, for self-improvement, and for development of skills for the future of the individual and the collective. I am sad when I see segregated social organizations, churches, meals, activities, events, and cultural development. Only when we do not care what a person looks like will we truly achieve refinement and total integration. This is not only about race but is extended to all ingrained biases and suspicion toward others.

Ultimately it is not about legislation nor economy. It is about education and acceptance of differences while striving for harmonious and unified existence. Truly, what is there to protest? Ourselves, our society, our past, our future? I recommend protesting against yourself the next time you prejudge someone without knowing that person, or the next time you avoid that disabled adult, or the next time you run from someone homeless, or the next time you criticize someone for being fat or ugly or short or poorly dressed. Protest your own problems and work on them. Protesting the National Anthem is your right but not helpful. Time for all of us to take the beam out of our own eye.

The next thing...

Not sure of the personality trait nor of the identified value system, but I have little to no need of living in the past and repeating the events that happened yesterday. Once it is done, it is over and it signals a time to move forward. Having been a part of successful artistic events throughout my career, I do not desire to replicate them nor return to a different era. This does not mean I do not miss certain things about yesterday or even 50 years ago, but I have the kind of personality that gives a nod to the past while moving forward to tomorrow.

Great performances were meaningful, special, and enriching not only to me but hopefully all present. Yet I never, ever listen to a recording of myself either performing or conducting. I do not even enjoy hearing the music I wrote again. I prefer, instead, to create something new, to lead something new, to imagine the next thing.

Not being a hoarder, when it is time to get rid of excess, I do so. Feeling no need to keep old items no longer used, I am completely comfortable throwing things away or giving things away. At times slightly sentimental, particularly involving my family, and I do recognize the events from the past shape our future, I prefer to practice an objective and creative approach to the future. As an amateur historian, I am intrigued with events of the past and how those set forth a culture that impacts us today. Yet I have no desire revisit those events other than acknowledging they did occur. When it was time to throw away my high school letter jacket, I did so. When my record collection no longer had value, I got rid of it. Objects are simply objects and have no legitimate value other than what they could mean to someone else. Thus I do struggle with my book collection, although I anticipate a day all the books will be given away.

It is not a matter of judgment of right or wrong to live in the past, it is more that I do not wish to reflect on it nor to allow it to govern my thought processing. Unfortunately, this makes me different I suspect and hard to understand. It also makes it difficult to understand others who do live in the past. As a Dean of Fine Arts, I have great respect for art music of the past, for the composers who wrote the beautiful music, and for the artist achievements that make our world today better, richer, and give it all meaning. But at the same time, it is done and I believe it is time for a new canon of literature. Beating the drum for new expressions, for human creativity, for imagination and innovation, I often find myself in a precarious position of teaching the old while championing the new.

Time to move forward, to create and to dream of the next thing. Love history but do not live in it. Respect past achievements but do not rely on them. Find joy where it is now not where it was yesterday.

Doctoral Work in Business

Immersed in doctoral work, I have very little time to blog. Yet I find myself with a little time this evening and want to express some thoughts. Doctoral work in business is not necessarily difficult for me although it is quite time consuming. Constant research, writing, and papers due nearly every week. Not entirely sure if pursuing this degree is wise nor am I even sure why I am seeking yet another doctorate in a disparate field. After all, many would say I have arrived as a music administrator, serving as a Dean in a reputable but fairly small university. Mostly I enjoy learning new things and being seen as an eclectic polymath with a wide variety of interests.

I suppose there is a part of me that is seeking something new in the peak of my career. Music has been and will likely continue to be my life, defining me to virtually everyone I encounter including my own family. With constant songs in my head and an ability to analyze music of all types and genres in nearly an instant, being a musician is natural for me. Yet several years ago I began to examine market trends and to study large and small corporations. Perhaps it was my interest in the stock market and investing that led to a desire to know more about why some companies fail while others grow. And as I watch companies grow, I have seen the discipline of music as I learned it in school, decline.

But I am also annoyed that non-musicians tend to think of musicians as one-sided people. Some may look at musicians as oddities, strange people who can only do one thing. Others may actually have a great deal of respect for musicians but neither do they understand their interest nor talent. Mostly I suspect that non-musicians see musicians as brainless fools playing games with sound. Almost as though we are little toys found in stores at Christmas. Yes, I know this is overstated but not a lot. It is not that I seek respect for my musical skills but, rather, I seek respect for what I know in other disciplines.

So to that end, I am now pursuing a doctor of business administration. Coursework so far has included research techniques, global management, capital budgeting and financial analysis, and now corporate structure. Is it applicable to my profession as a music administrator? Not necessarily. Yet I do sincerely enjoy learning more about the business world. What a fascinating world that actually shapes everything about our economy. Not that I am a great financier, but I do know many things about it and can hold my own in basic accounting, budgeting, marketing, and finance. Using data to make decisions is much preferred over music instincts and constantly thinking of revenue over expenses is easier than deciding how to phrase or working to play the passage perfectly.

Yes I love being a musician but I also enjoy being a business person. Both worlds entice me and both worlds can work in harmony and in congruence provided the musical world begins to react as a vital economy rather than some kind of elite commodity that only a few have a right in which to participate. No longer can we, as musicians, operate in a bubble of our own preference. It is time to accept the multi-billion dollar world of music as being a vital economic force and one that shapes and directs our culture in infinite ways. Abandon the elitism and embrace the totality of music in the world.

More thoughts on the NEA

Not necessarily wanting to be a contrarian, I must continue my thoughts on the National Endowment for the Arts. It does serve a public good and is in the business of providing financial support and public advocacy for the arts. No doubt that many of the grants have made a positive contribution to the arts globally as well as locally. When the NEA gives money to the states to disperse through various state-supported grant programs, those funds go to the local communities to advance the cause of the arts. How can this be a bad thing? So why am I against the very support that is intended to raise arts awareness and provide financial resources for artists and artistic endeavors?

Rather than denigrating or exclaiming for or against any organization, we should, instead, examine its actions over a ten-year period and make a decision based on evidence. Once the reader knows how tax dollars are spent, then he can decide if this is a worthwhile organization. Here is the search form for an analytical study: https://apps.nea.gov/grantsearch/. While most readers will find one or two grants that fit one's personal interest, most grants are specialized art forms for small audience consumption.

Keep in mind that the term "arts" represents a vast amount of experiences from the visual and aural world. "Arts" could mean stand-up comedy, dramatic readings, poetry, literature, opera, drama, jazz, blues, rap, hip-hop, rock, folk, orchestras, busking, dancing, film, media, singing, television, graffiti, design, architecture, decorating, quilting, crafts, even culinary presentation. When one considers support for creative endeavors, the only real limit is the human spirit for something new. Add in historical studies, ethnic emphases, demographic alternatives, social considerations, and audience responses, we find a tremendous amount of artistic possibilities for support.

Is it art if nobody is there to experience it? (I know, it sounds like the old tree falling question). If the NEA supports that which requires funds for its existence, it probably funds artistic experiences that are limited in audience response. This makes logical sense. No need for the NEA to provide funds for the musical Hamilton or for a Lady Gaga concert. The NEA looks for those worthwhile art experiences that will likely not garner a large audience but are "worthwhile" in spite of the lack of public financial support.

The conclusion, therefore, is that our tax dollars go to events that are generally not popular. If they were popular, then no support would be required. If I make a cake that is lousy and nobody purchases it, then I am saddened by my poor effort and will try to improve next time or perhaps give up on my cake making ability. While it feels cheap to relegate art to a commodity, is it really that different? Should our art find a public audience, and if not, should it not go the way of all bad art?

Market forces determine so much of our world including our clothes, media, cars, jobs, interests, tastes, and the list continues. Why is art different?

The only valid argument, which is distasteful, is that "we" who are artists, "we" who determine the value of the arts, "we" who make the decisions for what to fund, are the knowledgeable elite who know what is best for society and culture. This is the same weak argument that once prevented the Holy Bible from being in the hands of the people. The same poor argument that causes totalitarianism, demagoguery, power abuse, self-proclaimed experts, and ultimately enslavement.

The NEA, for all its good intentions, may need to start listening to the people. This is not a diatribe against the NEA but it is a large demand for the arts to remain alive and in the hands of a public that just may know best over time. It seems almost dangerous to rely on the so called artistic elites to decide what is best for our culture.

Cutting the National Endowment for the Arts

Once again the NEA is under seige and this time it looks as though a serious battle is about to begin. The result is unknown at this point but I won't be surprised to see a compromise of sorts to include a substantial cut to the funding. This does happen every few years for different reasons, most of which are valid, and it causes a myriad of emotional reactions with most people ultimately exclaiming the value of the arts in culture today. Politicians give in to the public pressure and the NEA survives at a lower level. Then each year funding increases, new emphases occurs in the arts, and the growth continues until a new administration questions it once again. Ah, the cycle of life in the arts.

Is there a solution to the problem? It can be boiled down to the role of the marketplace and the true value of the role of the arts in our society. Are the arts truly dependent on government intervention for survival? Without the funding, would the arts as we know it die a slow death, going the way of the horse and buggy, the typewriter, the basset horn?

I have been writing on the state of classical music and the symphony orchestra for several years and now it looks as though the problems are extended to the arts in general including theatre, art, ballet, and music. All of these and more are struggling, living on life support, and suffering through poverty, deprivation, and a lack of resources. The basic needs for existence are being removed and soon the arts will disappear forever.

But wait a minute! What about Hamilton, the amazingly successful show that marries history with current events? How about Lady Gaga, Taylor Swift, Justin Bieber, Josh Groban? How about the sell out crowds at the Metropolitan Opera? New music by Jennifer Higdon? What about the countless public school concerts of children's music, orchestras, choirs, bands? Small schools and large schools with a marching band performance every Friday night throughout September and October? What about the art shows all over town? The plays in schools and in community theatres? Are the arts really in decline? Does not look that way to me.

Are the arts doing well because of the NEA, because of government support? Or do the arts survive successfully because of the human need for culture, refinement, beauty, emotion, sound, sights, experiences? Take away all government funding and the arts will bounce back in full force because the arts are essential to the human experience. We do NOT need the NEA for support and we do not require tax dollars for the arts to live and breathe actively in our lives. Limiting the funding may be painful but it will not kill the arts because the arts cannot be killed.

Let the market guide the arts in the future and do not depend on external funding for success. Reduction of government funding and development of privatization can only serve society better than the current system.

Doctoral work, the beginnings

Yes, I do already have a doctorate so why would I start yet another one? My Doctor of Philosophy in Fine Arts serves my profession well and having a research based degree with emphasis in music education and administration gives me the kind of credibility I need to be effective. But my objective side also enjoys the business world and I recognize the value of the market in shaping our culture. Fascinated with business ventures, the stock market, and the economy, I enjoy observing the growth and the decline of local and global businesses. It is all about finding and keeping customers, and selling the product. Customers may be local people walking around looking for a snack or customers may be giant conglomerates needing support from other businesses. The product could be an object, a good, a commodity, a service, or a need.

Rather than enter the business world myself, especially considering a lack of financial resources to begin the business I seek, I have decided to continue my education with the pursuit of a Doctorate in Business Administration with an emphasis on Management. Suddenly I find myself in an on-line class with 22 other people. The course is writing and research intensive and there is no room for citation error. Once again needing to learn APA format, I am frequently checking the manual on specific citation requirements.

The world has changed since my last dissertation which contained no web resources. Suddenly the world wide web is the springboard for research which may include books but mostly includes journal articles, surveys, data, and analysis. My previous research work did not include digital object identifiers for web resources such as journal articles and references. I am thrust into a world that has changed, for the better I might add, and I need to learn what to do. Admittedly I am strangely embarrassed that I have not kept up with the research world the last 15 years. It is neither fair nor right to teach college students in a style or even information that is not current. Yes, truth does not change but the way to discover that truth is completely new.

When did I become archaic, I ask myself? Was it the day I completed my PhD and began to be contented with my own accomplishments? A frightening thought indeed. How often does this happen to college teachers where they set their sights on a goal, reach the goal, and then stop learning? Yikes, the idea is completely deplorable to me, and I will not let that happen again. Regardless of where this pursuit takes me intellectually or otherwise, I am pleased to learn something new and to seek after a new goal. Have I become a life-long student? I think so and proud of it!

Mahler and the Audience

I recently heard Symphony No. 5 by Gustav Mahler and was entranced as I knew I would be. My love for the music of Mahler goes back to my youth having heard Mahler's Symphony No. 1 as a teenager. I quickly became enamored with his music and my love has remained to this day. Long flowing melodic lines, sophisticated orchestration, rich harmonies, powerful emotions, counterpoint, dynamics, moments of extreme beauty and tenderness followed by muscular power and aggression, his symphonies come close to representing the total human experience through sound. Using simple folk melodies, Mahler would surround the simplicity with great complexity, exploring and exploiting the extremes of every instrument, leaving players and audiences dealing with emotional exhaustion blended with renewed energy.

Having played several of Mahler's symphonies as a horn player, I can attest to the tremendous respect the players have toward his music. Admittedly, however, playing his music is daunting, often provoking fear and trepidation in players, horn players in particular. The symphonies are long, difficult, demanding, and completely exhausting both physically and emotionally. Not unlike a doctoral defense of a thesis or a final chess game in a tournament or a speech delivered to thousands, playing a Mahler symphony is an unforgettable experience. I recall performing Mahler's 3rd Symphony with its gigantic orchestra, choir, children's choir and ultra sophistication of orchestration. After the performance, I could hardly move much less think, I was totally worn out and fearful of making a full recovery! At the same time, my excitement level was high and I had a strange superman complex that I could conquer anything and solve all problems. Such is the power of Gustav Mahler and his symphonies.

But performing a Mahler symphony is costly. 75 performing musicians needing to be paid, utility costs, cartage expenses, personnel expenses, office staff, marketing, ticket sales, conductor, sound managers, and a business officer. Costs for one Mahler symphony can run $75,000 or more depending on how much marketing will be done prior to the event.

Orchestras generally depend on 1/3 to 1/2 of its revenue to come from ticket sales. The other forms of revenue include grants, gifts, and sponsorships. An orchestra, however, cannot suddenly raise the price for a concert depending on the literature being performed. Maybe featuring a certain guest artist or some kind of special event could justify high ticket prices but in general the set price is the price for each concert regardless of the selections being performed. This makes it a market endeavor (like all businesses) and concerts that are popular with people will more than likely help offset the expenses. In today's market economy it becomes necessary to find music that will sell tickets. Unfortunately this requirement often battles against the need for artistic expression and for music considered high quality. Which brings us back to Mahler.

Will the strength of the Mahler Symphony, a highly regarded work that is acknowledged for its quality, emotional content, excellent compositional technique and superior orchestration, be enough to attract an audience that will provide enough revenue to pay for the expenses? Should marketing for such an event be focused on hearing the Mahler Symphony? Will the name "Mahler" be enough for people pay to hear the symphony live? Will they become curious, read about his life, listen to his works?

In every community there exists those who love art music, whose musical tastes run deep and encompass music history including but not limited to the great composer and works that have stood the test of time. These people enjoy commercial music to an extent but have a strong preference for the past and for the canon of music literature. Although a smaller number, these people, many of them academically minded, well-read, educated, and with financial resources to support art music, continue to shape our universities and local arts endeavors. They hold desperately to an ideal of the rich meaning of the classics and how a culture devoid of artistry is destined down the path of primitivism and a severe lack of refinement. It is these who will come out and enjoy the Mahler symphony.

But is it really worth the effort and the cost? Probably not. Yes, it gave me good feelings and I felt emotionally changed by the experience of listening to the great work. I had the melodies moving through my head the rest of the night and I mentioned to many people what a great performance it was. The audience instantly was on its feet and I saw smiles and joy on the faces of those present. Everything about the concert was excellent and we are all better people from having heard the performance.

Yet the expenses far outweighed the revenue. Maybe ticket sales brought in $20,000 but my rough estimate was closer to $15,000. Maybe expenses were as low as $65,000 but I suspect the cost was closer to $75,000. Conservatively the orchestra lost $40,000 although I would guess the loss to be closer to $60,000, and all for one concert and one listening experience. A grand one for sure and truly remarkable but costly.

We do not want the market to shape the culture and we do not want money to govern our artistic tastes. It is regrettable to have to convert great art into a commodity and it certainly makes us a society of greedy capitalists without regard for finery and sophistication. But in the final analysis, it is the market which is comprised of people, that determines great art and determines the future of the canon. Right now my guess is that unless orchestras find a way to increase revenue and decrease expenses, we will no longer enjoy opportunities to hear Mahler symphonies. Time and the market place will tell the final story. Love Mahler now knowing that live performances could be a lost art.

False Joy and Destruction, is truth always preferred?

It was so fun every time Dad brought out the records to play. We heard Jay and the Americans, Harry Belafonte, Tijuana Brass, Beethoven's 6th symphony, Gospel quartets, Tommy Dorsey, soundtracks from Guys and Dolls, Oliver, Camelot, Music Man, and many others. As I got a little older and perhaps a little more sophisticated (whatever that means!), we heard Scheherazade, Brahms First Symphony, Mozart Horn Concertos, Maynard Ferguson, Woody Herman, Mannheim Steamroller, Bill Watrous, and Barry Tuckwell recordings. But inevitably, during family listening times, Dad would pull out two fun recordings: Gossamer Wump and Florence Foster Jenkins. I still find Gossamer Wump insanely funny and ironically musically advanced. In a way, however, the greatest laughs were reserved for Florence Foster Jenkins, the laughingstock of the musical world.

It was an old record, showing her in a silly angel looking costume. On the back was the story of her life and the famed recording that took place in Carnegie Hall. As a child in a musical family, I recognized at an early age that the voice was off-key and lacked in quality on many levels. The poor diction, awful tone quality, guttural attacks, inaccurate note placement, and shockingly bad interpretation of the musical lines made its way into my memory, resulting in continual humor. In a strange way, the familiarity with the bad, enhanced the good, helping shape me into a musician with high standards of performance. Although an instrumentalist more than a vocalist, I have worked diligently to avoid being laughed at or accused of having low standards of excellence. Always in the back of my mind, I did not want to be, nor do I still want to become Florence Foster Jenkins. The name alone typified humor, poor performance, musical disaster, and finding false joy at the awful noise. It was fun to imagine the musical joke known as Florence Foster Jenkins.

But all that changed this past Friday night when I saw the movie. Outstanding film with excellent acting, line delivery, music, accuracy, and historically portrayed. Bittersweet presentation with a nice balance of humor, confusion, human foibles, and character growth. In the midst, we find characters we like and those we don't. The problem is that suddenly the brunt of my humor and a strong, albeit negative, influence on my career, became a real person with real emotions, challenges, confusions, insecurities, false confidence, energy, fear, and all the qualities that make us human.

A child prodigy on the piano, Florence married at a young age only to have her husband give her syphilis. Defying medical odds, she lived with the disease all the way to her death at the age of 76. When her husband died, he left her in good financial condition which she used to live comfortably while being a generous patron of the arts and the musical society. Loving music but unable to continue to play the piano due to an accident, she turned to singing. Voice lessons and contacts with famous people led her to have an inflated view of her own talent. Unable to tell her the truth, her friends and acquaintances fed her own fragile but desperate desire to be known as a great singer.

Her charm, her positive demeanor, her love of the arts, and her ability to spread good cheer likely caused much of the falsehood and deferment that was offered to her. Although conjecture, it is also possible that the syphilis affected the nerve center in her brain that caused a lack of discernment and self-awareness. Whatever the outside and inside influences, Florence Foster Jenkins was a very poor singer who thought she was outstanding. Funny, yes indeed, but not really. Her sold out concert in Carnegie Hall was filled with those who laughed inwardly and cheered outwardly. The one critic who told the truth destroyed her and she died within a month of the concert. Would hiding the truth have been preferred? Perhaps.

Do I regret the laughs? Mostly yes. Was I laughing at her expense...yes in a way. Was my joy at her terrible singing, sincerely joy? Maybe so. But now, these many years later, I no longer can laugh with any kind of sincerity. After all, she may have been quirky, but she supported the arts. Mostly she was a special person in many ways and it is time to put aside the laughs and embrace the great qualities.

First day of semester

Today begins the first day of the semester and I have that same feeling of incompleteness and concern that I always do on the first day. Academia has become excessively complicated the last few years and managers experience severe stress in making sure everything is ready for the first day. Are the classrooms ready including enough desks, proper lighting, heating or cooling, technology working? Are the teachers ready for each class? Have I assigned every class correctly or did something slip through unnoticed in the scheduling? Will there be a class with students and no teacher? Or will there be a teacher but no students?

Have the part-time teachers completed all the paperwork in order to teach? Have I turned in their compensation correctly? Do we have accompanists assigned for all voice lessons? Instrumental lessons? Will the full-time teachers have a full teaching load? Too much? Not enough? Are concerts and events correctly scheduled for the semester? Have we accidentally built in any conflicts or problems? Are the pianos tuned? Anything not working in any classrooms or offices?

Are the students registered for the correct classes? Are they receiving the expected financial aid? Are there any class conflicts? Do I have systems in place for solving problems? How much budget money is left? Do I have enough to take care of office needs? Faculty issues? Upcoming travel needs? Student worker funds? Are all bills paid from last semester? Anything outstanding?

Then there are the other ongoing problems. What do we do about the torn up seats in the library? How do move forward with technology? When can I get a student leader group together? Are there enough textbooks in the bookstore? Will all the students arrive? Will the new students know where to go for class?

Have I prepared the curriculum change forms correctly? Are we handling the graduate classes in the best way? Are we ready for upcoming concerts and events?

One way or another, the first day is here and we'll see how it goes!

A tribute to Mary Travers

Once a month I listen to a few songs by Peter, Paul, and Mary, a popular folk group whose fame seems to rest on their recording of Puff, the Magic Dragon. Yet the more I listen to this wonderful group of singers, the more I become enamored with the singing of Mary Travers. Her rich, low voice in a contra alto range with just a touch of a gravely sound enhanced the smooth qualities of the other two singers. Her career in Peter, Paul, and Mary plus her time as a soloist was filled with an authentic approach to songs, bringing out the text in a personal way on every song.

The quality that stands out in her singing is not necessarily her lead singing but rather in her harmony. When singing harmony to the melody, she shines with a glow that emanates throughout the song and throughout her career. Unlike most supportive harmony parts, Mary's harmony singing takes on melody of its very own. Not dissimilar to the age-old concept of polyphony, her harmony is both congruent and independent, with a sensitive yet strong quality to it. Freely moving around but somehow staying within the scope of the song, Mary's harmonic support perfectly fits the melody being sung. When she takes her turn at the melody, she is of course quite accurate and appealing, honest, full, and heartfelt. Then she moves back to the role of support while either Paul or usually Peter takes the melody. The result is a vibrant musical expression that is contrapuntally complex yet oddly simple in its construction.

Somehow she infused her gentle personality in each song while retaining her musical strength. Matching vowel sounds and consonants with her ensembles, she also keeps her distinctive and original inflections of the text, finding that phrase point that brings out the meaning of the line. Marrying text with music, she explores dynamic direction of every phrase and we never hear anything stagnate. Instead each phrase, each song takes on an energy and power that finds the depth of the musical moment.

Take a few minutes to listen to Peter, Paul, and Mary sing Blowin in the Wind, Puff, the Magic Dragon, The Lemon Tree, The Cruel War, or Leaving on a Jet Plane. All of it is special, honest, tender, musical, and powerful. One of my favorite recordings is that of "I Have a Song to Sing-Oh" by Gilbert and Sullivan. It is from the opera "Yeoman of the Guard." Their odd folk-like interpretation is both funny and profound as the song weaves around adding notes and lines all the way to end. Listen not to the melody but to the harmony as sung by the marvelous Mary Travers.

The World at Your Fingertips

It is a joyous world in which we live. With a few clicks, we can read about virtually any subject, learn how to do just about any task, study the history behind an idea, learn the definition of a word, listen to almost any piece of music, discover what is happening across continents, learn mathematical formulas, read about or chat with a friend hundreds of miles away, study science, languages, arts, business, or health. Another click and we read about politics, fashion, trends, stock prices, food, commodities, ancestry, job openings, salaries, hacking, religion, running, disease, literature, geology, dinosaurs, hiking trails, hotels, campsites, vacations, and motivations.

There are very few subjects that are not found on the Internet somewhere. A click or two and you can learn things never before imagined. While at one time we depended on the expert to tell us how something works, we can now become that expert. The net is the ultimate professor, the classroom, the ideal (although flawed) educator, the avenue for intellectual growth, the global exposure, the social inhibitor and social influencer. When a person is online, he or she has the world at his fingertips. The expert is you.

What does this mean for the future of education? Bleak in many ways, glorious in other ways. The concept of liberal arts as stemming from the Greek philosophers of old, is that of creating the "whole" person, the well-rounded critical thinker, the fundamentally sound learner, the potential contributor to society, a communicator, a person of high ethics and integrity, a strong work ethic, and a person with ability and desire to learn new things and apply energy to the task at hand. Liberal arts should help create imagination, originality, a sense of independence and congruence. Through the liberal arts, we should know how to pare something to its essentials while keeping in mind the whole picture. Liberal arts as an ideal seeks to motivate and inspire people to make a difference in the world. It provides foundational knowledge as a step toward excellence in whatever chosen profession a person seeks.

But the net provides the liberal arts. It is here and now. Get online and find the world. Each day learn something new and discover yourself in the process. The foundational curriculum is at your fingertips. The opportunity to learn something new now sits on your lap waiting for your embrace. Tired of your career? Learn a new one. Curious about a foreign land? Search for it and explore. Not sure about a mathematical formula? Find it and it will be explained. Can't remember who wrote a song or a piece of music? The information is there. Spelling and grammar? No problem. Art, literature, periodic table, animal behavior, social concerns, politics, history? Not even sure what you don't know? Discover your strengths, your weaknesses, your areas of interest, your values. Make new friends, reacquaint yourself with the old ones.

Use the Net to your advantage and learn yourself in the process. Yes, guidance is likely needed and many times we are unaware of what we do not know in the first place. Plus we do not always know what to do with information nor how to apply it to our lives, our careers, and to our own improvement. While respect for those who have achieved in a particular area is absolute, so too should the experts respect the ease of information. We are in a new world where developing the whole person is easy, fast, and highly worthwhile. Students no longer need to have information imparted to them in a classroom. Instead, they need the recognition of what knowledge can do for them, where to find it, how to apply it, and, mostly, how to think critically about the information that is available. Through this process, they learn values, interests, their own gifts, their own motivations, and, ultimately, their own calling.

But is all learning truly on the Net? The answer is of course no, for learning can take place through books, magazines, journals, discussions, social engagements, activity, events, observations, relationships, and human interaction. It is possible that colleges and universities need to reinvent the concept of liberal arts and recognize that developing the "whole" person is a process, not a set of rules, and that the process includes knowledge blended with experiences. Yes the world is now at our fingertips and it is a big world. We need to take the tools we have been given and use them to make the world a better place.

Productivity for 2017

New Years resolutions abound on this day and with it lots of excitement about the future. Time to lose weight, exercise more, repair relationships, manage money better, take a risk, get new tires, paint the house, and the list of goals continues. But for me, I am resolving to be more productive and to drive myself a little harder. This February I start school again with the pursuit of a Doctor of Business Administration. It will take four years to complete and I have no real reason to pursue it other than a desire for greater knowledge in that area.

Connected to productivity, I would really like to compose a short opera, publish an article, and perform a recital, and do more for people. I would also like to form an LLC with someone and pursue a business venture of some kind. Lots of goals for 2017. Of course the usual...lose weight, exercise more, repair relationships, be positive, and spread good cheer. All these and more for 2017. Not being an overly reflective sort, I will say that 2016 was a difficult year. I lost several friends and had some work challenges that gave me pause and sapped my energy.

But never one to look back with regret nor with nostalgia, I will keep pushing forward to greater heights and opportunities. Yes, 2016 was an emotional bear market in many ways but I predict a bull market for me and my family in 2017. Not to be overly stock market oriented, if we look at emotions, challenges, relationships, and changes as a chart, we will see many declines and increases. In the end though, life is not a chart but is about people and about faith. As a person recently told me, we talk about faith but we don't always apply it. Time to apply faith with a strong work ethic.

I look forward to 2017, to learning more, to growing, and mostly to be the person God wants me to be.

How about you? Goals?