PAS機関紙翻訳シリーズ｜進学（大学・大学院）に向けたプランニング

• 演奏活動を希望していますか？その場合、どのようなスタイルで、他の活動とのバランスはどうしたいですか？
• 教えることに興味がありますか？（個人レッスン、小中高、大学など）
• 音楽業界のビジネス面で働きたいですか？
• 宗教音楽や礼拝音楽の分野でキャリアを築きたいですか？
• 作曲をしたいですか？それとも音楽の歴史を研究したいですか？
• 商業音楽、ジャズ、クラシックなど、特定のジャンルに特に関心がありますか？
• 音楽療法に興味がありますか？
• 他の文化の音楽を学んだり演奏したりしたいですか？
• 音楽テクノロジーに携わりたいですか？

• 実家からの距離は重要ですか？ 家族や友人の近くにいたいですか？ それとも、遠く離れて暮らすことに抵抗はありませんか？ 
• 自宅から通いますか？ それとも学生寮やアパートで一人暮らしをしますか？ 
  
• スポーツチームやサークル活動、寮生活など、いわゆる「大学生活」を満喫したいですか？
• 大都市にある学校と、小さな「学生街」にある学校、どちらの環境に魅力を感じますか？

• 音楽学士（BM）
• 音楽教育学士（BME）
• 教養学士（BA）
• 理学士（BS）
• また、短大やコミュニティカレッジでは、準学士号（AA）を取得することも可能です。

• 音楽修士（MM）
• 芸術修士（MA）
• 博士号（PhD）
• 音楽芸術博士（DMA）

• 特定の分野に特化したプログラムが良いか？それとも幅広く打楽器全般を学ぶプログラムが良いか？
• マーチングバンドにパーカッショニストとして参加したいか？ 
• 明確な興味・関心がある場合は、それに合ったプログラムを選ぶことも重要です。

• オーケストラ演奏 
• ソロや室内楽 
• 世界各地の打楽器（ワールドパーカッション） 
• マリンバ独奏 
• ドラムセット、ジャズ、ミュージカル、商業音楽

アーロン・T・スミス氏は、1990年代初頭より南カリフォルニアを拠点に活動する打楽器奏者。これまでに、ロサンゼルス・フィルハーモニック、ロサンゼルス室内管弦楽団、ロサンゼルス・オペラなど、数々の主要オーケストラで演奏してきました。現在は、カリフォルニア州立大学ノースリッジ校（CSUN）およびロヨラ・メリーマウント大学にて打楽器教育に携わっており、2016年からは《Percussive Notes》誌にて教育部門の副編集長も務めています。
スミス氏は、カリフォルニア大学ロサンゼルス校（UCLA）にて学士号および修士号を取得。主な師匠には、ロサンゼルス・フィルのティンパニ主席奏者ミッチェル・ピーターズ氏および打楽器主席奏者レイナー・キャロル氏がおり、ドラムセットはマイケル・パッカー氏、フレームドラムはランディ・グロス氏に師事しています。
現在、打楽器奏者である妻メグミ氏と息子ノア君とともに、カルバーシティ（カリフォルニア州）に在住。料理と植物性の食事を好み、ニュースの読解に多くの時間を費やしています。最近はスキーにも挑戦し、ヨガの時間をもう少し持ちたいと考えているそうです。

原文

 

"By failing to prepare, you are preparing to fail."—Benjamin Franklin

 

In the United States, the university academic year begins in the “fall,” usually August or September. Applications are due typically eight or nine months before school begins, and auditions usually take place between January and March. Each school has different deadlines, so check carefully. For students planning to pursue music in college or continue their studies in graduate school in the U.S., planning should begin at least eight or nine months before applications are due, and the private teacher or ensemble director should initiate this process if it has not already begun. This article will lay out many of the important questions and variables the student should examine when making a list of schools to consider whether the student will be continuing education after high school or entering into a graduate program.

 

Self-inquiry 　
One important question needs to be considered initially: Can you imagine doing anything other than music? If the answer is “no,” then proceed with enthusiasm. If the answer is “yes,”especially for students in high school, then it might be wise to consider a double-major, a minor in music, or a college experience that allows participation in ensembles to continue playing and performing while pursuing a degree in a different area.
The student should define as clearly as possible his or her motivations for studying music at the next level. This definition should include career goals and any additional curiosities. Questions to be asked might include: Do you hope to perform, and if so in what capacity and in what balance to other activities? Do you hope to teach (privately, K-12, college, etc.)? Do you want to work on the business side of music? Do you want to pursue a career in sacred or worship music? Do you want to compose or study the history of music? Are you interested in one type of music (e.g. commercial, jazz, and classical) more than another? Are you interested in music therapy? Would you like to study and/or perform music from other cultures? Do you want to work with music technology? The answers might be yes to more than one of these questions; carefully considering the answers to these questions will help determine how to proceed with selecting a list of potential schools that are the best fit for the student’s educational goals.
Understand the situations which suit your learning styles and personality. Do you thrive in a competitive environment or would you be more comfortable in one which is more supportive (though those might not be exclusive of each other)? Will you respond well to a teacher who is strict, or will you do better with a teacher that allows you to set your own standards and pace? Teaching styles—and the expectations of teachers—span a wide range; while you may not be able to determine how an individual teaches without taking several lessons, former students or word of mouth may offer good insight.
The private teacher should know the student well enough to help define an optimal environment. There are many fine teachers, but no teacher is the perfect fit for every student. While a prominent teacher or institution might be very attractive, a bad match with the primary private teacher can limit what one can achieve. The student and private teacher should work together to select programs and faculty that have the most potential for realizing the student’s goals.
There are non-musical factors that should be weighed as well. Does the proximity to home matter? Do you want to be close to your family and friends, or will you be comfortable living farther away? Will you live at home, on campus, or off campus? Do you want to have the “college experience” of athletic teams, Greek-life, etc.? Do you want to live in or close to a metropolitan area or would you be comfortable in a smaller “college town”? Note that there may be more opportunities to see different performers, study outside of school, and network with other musicians living in a city rather than in smaller town. Even weather might be a factor in your happiness at school; persistent hot weather, or a long winter may not suit you well.

 

Research
Be sure to study the websites for each school carefully. Do not rely on secondary or general information websites for any requirements, deadlines, financial information, etc. When in doubt contact the school directly; follow up with a phone call if you do not get the information you need.
Examine the possible degrees. At the undergraduate level, the Bachelor of Music (BM),Bachelor of the Arts (BA) and Bachelor of Science (BS) are possible, as well as an Associate of Arts (AA) at the junior/community college level. Each of these degrees will have different requirements, specific to each school, and a different balance of performance, music and non-music classes. If you plan to double-major, or minor in music, research carefully; not all colleges and universities allow those options. Beginning your studies at a community college may make the most sense to take core music and general education classes and save money before transferring to another school.
At the graduate level, degrees include the Master of Music (MM), Master of Arts (MA),Doctor of Philosophy (PhD), and the Doctor of Musical Arts (DMA), as well as non-degree programs such as an Artist Diploma or Performer’s Certificate. These are variously designed to prepare students for a career performing and/or teaching at the post-secondary level. Closely study the curriculum, including course descriptions; requirements can vary widely for the same degree at different schools.
The student should also consider categories of study within the field of percussion. Do you want a program that will focus on one or two specific areas or do you want a broader,general percussion experience? Do you want to participate in marching band as a percussionist? Identify a primary interest, if you have one. Possibilities include: orchestra playing, solo and/or chamber music; world percussion; solo marimba; and drumset /jazz /music theater/commercial music.
Audition requirements should be part of your research. Ideally, your repertoire will be appropriate for most, if not all your auditions. When making your list of schools to apply to, if any of them have audition requirements that are very different from others, think carefully about the time you will have available to prepare.
Naturally, the faculty plays an important role in a student’s education. A variety of teaching arrangements exist from school to school. Choose schools with faculty who have experience in the areas you plan to study; few if any schools have faculty representing all the possible fields of music. Some schools have multiple percussion faculty members, each with their own expertise, e.g. drumset, marimba, jazz vibraphone, world music, etc. If that is the case, be sure you will have the option to study with more than one teacher. Depending on the location of your campus, there may be opportunities to study with teachers outside of school. Do not hesitate to ask questions about the teaching arrangements. There may be only one teacher and no other options; if that is the case, one needs to be fairly comfortable with that person.
What are your expectations for performance opportunities? Some percussion studios rotate students among different ensembles; in others, students rehearse and perform with multiple groups each term. There may also be opportunities for performing off campus. Each school and degree will have different performance requirements.
Do you want opportunities to teach? Many graduate programs offer teaching assistantships (TA) which may be percussion specific or in other classes; in some cases these might include non-teaching duties like equipment maintenance or administration. Some programs offer the opportunity to teach private lessons to non-majors or teach outside the school. Teaching experience is usually a strong benefit, if not required, when applying for teaching positions.
If you are fortunate enough to live within driving distance of multiple schools, visit as many as possible, even if you do not think they would be on your final list of choices. Seeing how different music departments and studios operate will provide reference points for comparison. Take the general campus tour. Check the calendar for performance dates and try to schedule your visit to coincide with ensemble or recital performances. Contacting a faculty member for a lesson is a good idea, though you may want to do that only with schools to which you feel confident you eventually will apply.
You are auditioning the schools as much as they are auditioning you and other applicants.When visiting the campus for your audition try to imagine if the environment would suit your goals. If possible, talk to students already in the program. You want to be in a place where you will feel welcome, comfortable and supported.

 

Financial Concerns
For most students, the cost of going to school is an important factor in choosing where to apply. Many schools have information available on the “total cost” of attending school per termor year. In addition to tuition, books, supplies, housing, food, and personal expenses, most students will have travel and insurance expenses. It is important to begin realistically quantifying these expenses now.
Going into debt to pay for education is not something to be taken lightly. Unlike many other professions, a career in music my not result in predictable income in the first years after graduation. Be sure you are aware of all deadlines for submitting paperwork for financial aid.The information gathering process should include details about scholarships and grants available,opportunities for teaching assistantships or work-study, and any other ways to lessen the expense of school.
Do not be discouraged. The sooner one has as much information as possible, the better a plan can be made. Scholarships are available for both need and merit. Getting to know the faculty early in the process at schools you hope to attend and demonstrating a sincere interest in their programs may give you an advantage over lesser-known applicants, both for acceptance and for financial aid.

 

Personal Resources
Seek advice from people you trust; they will have ideas and opinions about everything mentioned in this article. Your private teacher and ensemble directors will likely know about the programs you are considering. If you do not have a private teacher or have reservations about your teacher’s ability to prepare you in the process, find the best teacher available. Talk to other musicians who are engaged in the type of musical activities you hope to pursue. Check in with older peers who are a year or two ahead of you in the process. Plan with your college counselor to be sure you are exploring all the options and are taking care of business in the classroom.Finally, keep your family involved in the process.

 

No summer vacation
The summer leading up to the beginning of the fall application season is important. If you will have a culminating recital during the upcoming school year, your preparation should be well under way; carefully consider your repertoire so that you may use it for your auditions as well. If you need access to instruments, make sure you plan ahead to solve those problems; most people do not have space for a set of timpani in their home. Make a private lesson schedule with your teacher. A balanced life is important, so allow yourself to have fun and relax, but do not lose momentum in the practice room.

 

A significant source of anxiety is lack of knowledge. I intend the advice in this article to motivate students and their teachers to begin the intricate and tedious process of planning for college early. Having answers and plans in advance will free up the student to concentrate on practicing, performing, and growing as a musician and person instead of rushing to complete an application during early morning hours a day or two before a deadline.
Good luck!

 

A version of this article first appeared in the March 2017 edition of Percussive Notes. The author has revised it for JPC.

 

Aaron T. Smith has been active as a freelance percussionist in Southern California since the early 1990s, performing with many of the area’s leading orchestras including the Los Angeles Philharmonic, the L.A. Chamber Orchestra, and the L.A. Opera. Mr. Smith is on the faculty of California State University, Northridge (CSUN) and Loyola Marymount. Since 2016, he has been the associate editor for education for Percussive Notes, the academic journal of the Percussive Arts Society.
Aaron attended the University of California at Los Angeles (BA, MFA). His primary teachers were Mitchell Peters, Principal Timpanist and Raynor Carroll, Principal Percussionist of the Los Angeles Philharmonic Orchestra. He studied drumset with Michael Packer, and frame drums with Randy Gloss.
Aaron lives in Culver City with his wife, Megumi, who is also a percussionist, and their son, Noah. Aaron likes to cook and eat (mostly plants), spends too much time reading (mostly the news.) He would like to have more time for yoga, and he recently learned to ski.