Jane Getter is an amazing artist and terrific guitarist. Guitar Player magazine has described her as “the fieriest fret-boarding female ever to strap on a Stratocaster.” For years she was the lead guitarist for the Saturday Night Live band, and has toured and recorded with many of the finest jazz performers of our time.

At her recent performance as a guest artist at McNally Smith College of Music, I was a bit dismayed to overhear a well-intentioned remark from an audience member who exclaimed, “Man, she’s hot; She plays like a guy.”

Jane Getter is super fast and fluent, adventurous and aggressive in her lines, and simply an incredible virtuoso. Since a vast majority of guitar virtuosi in history have been male, I’m sure this comment was intended as a compliment by suggesting that she belongs in this elite company.

Still, it is troubling to realize that in the world of contemporary music we haven’t come as far in creating equal opportunities and gender equity as we have in other fields, and the result is the stale, tired perception by some that women just aren’t as gifted as men in instrumental music.

The year I graduated from high school in 1969, less than 9% of applicants to medical school were women. There was an overwhelming perception that men were more qualified for this highly demanding field of science. In the same year, less than 8% of students in Ivy League law schools were women. No doubt, the same type of reasoning applied. Today, in both fields, the percentages are close to 50/50%.

The same kind of male dominance also existed in the makeup of symphony orchestras. It was not until the 1970’s when the practice of “blind auditions” became prevalent (performers are behind a curtain so they cannot be seen) that the number of women began to substantially increase, and it did so rapidly. Today women typically hold about 40% of full time orchestral positions.

The one exception in contemporary popular music is, of course, vocalists. No one in their right mind would think of suggesting that women are less accomplished singers than men. The pantheon of great singers in jazz, rock, folk, country, and the like would probably be a pretty even split.

Clearly there is not a real talent gap, but there is a numbers gap when comparing gender of guitarists, drummers, horn players, bass players, and other instruments in contemporary popular music. The situation is somewhat self perpetuating in that most schools of contemporary music are heavily male in faculty and student body make up, and this is the first place we must start to make changes.

It is not enough to make the excuse that our gender make up “reflects the music industry,” that is to say heavily male. Leadership means going beyond “reflecting” the current trend if we wish to create meaningful change.

I believe music schools must proactively seek highly qualified women to perform, be guest artists, to teach, and to lead our institutions of higher learning. Having more women present in the faculty, the student body, in the recording studios, and on the stage can also become self perpetuating, and make our schools a more encouraging, supportive, and dynamic environment for young women who wish to make a life in music.

Peer pressure is a powerful thing.  I remember trying to turn my teenage daughter on to music that I loved, classic rock to contemporary, but it fell on deaf ears.  She only paid attention to recommendations from her friends, and they in turn seemed to follow the bands with the biggest buzz, usually generated by radio play and attention in the national press.  If the band was not nationally known and given the stamp of approval by her age group, then how could they possibly be any good?

It was always interesting to see how a group I’d recommended would all of a sudden pop up on her iPod once some of her friends endorsed the band.  Groups that were local, no matter how innovative, virtuosic, or imaginative, simply had no chance.

To some extent that same phenomenon continues for many of us well past the teenage years.  We all seem to desire the common consent that our taste is “good” which usually requires that a band have a substantial amount of fame, rave reviews from trusted sources, certifiable hits (gold records, lots of airplay, sold out concerts, etc).  All too often, the amazing music that is being made right in our own backyard is ignored, and people are entirely unaware of the musical riches readily available.

At McNally Smith College of Music, we recognize that the popular music scene in the Twin Cities is exceptionally strong and has been for many decades.  At the present time, it is certainly in one of its peak periods and the number and variety of performing artists has never been better.

This year, we started the Sound Bite Concert Series that features a selection of the best of local artists in performance and educational interactions.  While attendance has been good, students should be lined up around the block to get the free tickets to these events.  The music is astonishingly good, covers a wide variety of styles, and the conversations with the artists are engaging and informative.

I think some students ignore bands that have not yet acquired national notice figuring that if they were really good, they’d be famous.  Big mistake!  Don’t wait for someone else to define your taste, and don’t assume that if it’s not famous it can’t be great.  Every band is “local” to somewhere, and no regional scene is more vibrant and innovative that the Minneapolis/Saint Paul music scene.

There is a strong movement in food preparation to “go local,” stressing the benefits of eating locally produced foods.  They are fresher, less processed, and healthier.  I suggest that what’s true for food is also true for music, at least in the Twin Cities.  Support local music and musicians.  Be curious, be open to new things, and decide for yourself.  Go Local—for health, nutrition, and great music!

If there is anything an aspiring musician should be working on as hard as the quality of their product (be it songs, performance, productions, recordings, management services) it should be this: Building your team.

Just because we live in the age of Do-It-Yourself doesn’t mean it’s a good idea to try and do everything yourself. When you think of all the things a successful artist must do to actually create a life in music, the variety and complexity of tasks (both artistic and managerial) is mind-boggling, and no one person can do it all.

The good news is that help is readily at hand if you look for it; building your team must be a priority. Music can and should be a social art. It’s simply great fun to make music together, to share music you love with your friends, to experience it together in concerts or clubs, and to work together with friends and colleagues to accomplish the numerous and critically important tasks required to promote a band, a song, a venue, a recording, or whatever aspect of music career you wish to pursue.

An interesting example of this principle in music making is the emergence of artistic “collectives.” There are plenty of examples of successful collectives that tend to be of two types, either a collection of artists who collaborate and are associated by a single record label (such as the Twin Cites Hip-Hop label Rhymesayers Entertainment), or a loosely associated group of artists who have individual careers but come together for special group projects (such as Broken Social Scene).

A few weeks ago at McNally Smith College of Music, we hosted a really interesting and unusual performance by a new collective in the Twin Cities that is devoted to making improvised music. The group is called Coloring Time and is different every time they perform, but always includes spoken word/rappers, singers, rhythm section, violin and cello, sax, and whoever happens to be available that can perform up to their high standard of musicality and spontaneity.

Selection from an improvised group performance by Coloring Time at McNally Smith’s Deepwinter Bonfire

It is clear that these musicians love working together, that they inspire each other, push themselves and stretch their artistic boundaries, and enjoy the pure adventure and discovery in this shared experience. The results are often stunningly successful, though there are a few moments that are less inspired. But that’s to be expected no matter what activity one pursues. No one excels constantly and without some uneven results. But by working together, supporting each other, taking advantage of the strength in numbers and variety of personalities and skills, the overall experience is rich and rewarding.

What’s true for Coloring Time and other collectives is true for any group working together whether it is a baseball team, a management team, or you and your friends splitting up the tasks and creating new career paths as artists and entrepreneurs. Don’t do it yourself — do it together!

South by Southwest (SXSW) is one of the largest and most important gatherings of creative people in the world. Held each year in Austin, Texas, the festival focuses on music, film, interactive media, and the people who are trying to make a living doing what they love. It brings together creative artists, entrepreneurs, thought leaders, business leaders, developers, inventors, and fans of all of the above in the most stimulating industry event of the year.

SXSW is a great place for McNally Smith students to contribute and to learn. This year, our college developed a course under the leadership of faculty member Scott LeGere that is devoted to the study of SXSW teaching students how to understand and participate in it to best advantage.

McNally Smith Students on their way to SXSW 2012

As Steve Cole, Chair of Music Business says, “Hands-on learning is simply no longer a luxury, and it is a priority for all of our programming in the Music Business Division at McNally Smith. We are committed to providing these types of opportunities for experiential learning to strengthen students’ skills, and build their portfolios. SXSW is a perfect example of this.”

McNally Smith is sending a class of ten students to SXSW this year and they will be booking and managing an amazing day party featuring a huge variety of Minnesota-based performing artists (including Astronautalis, Peter Wolf Crier, Toki Wright, the Honeydogs, McNally Smith students and alums, and more).

Students will also be attending panels, interviewing innovators and entrepreneurs, meeting and listening to exciting new artists, and sending out emails, tweeting, and blogging to share their experiences.

In preparation, students are studying social media, writing press releases, working and planning in teams, music sales and social trends, business ethics, and new media and marketing strategies. It’s been intense and already highly rewarding.

The world is being remade before our eyes and the future is limited only by our imaginations. In educating students to make a life in music, we emphasize a creative and necessary blend of imagination and experience – reality infused with the fantastic – and above all, sharing with and supporting each other.

McNally Smith is a culture of learning and doing. Now more than ever before, artists control their own future. A progressive and innovative education such as we provide at this unusually forward looking college can provide critical insights and experiences to help make this future bright.

Visit mcnallysmith.edu/sxsw for more on all the exciting things we’re doing!

I recently had the pleasure of performing some of my original songs for our students at McNally Smith in our Artist and Industry class.  My day gig keeps me pretty busy so I’m always happy to find opportunities to show my artistic side, especially when I get to play with one of my favorite musicians of all time—Randy Sabien!  Randy is the Head of the String Department at McNally and an amazing violinist.  He’s one of those rare players who makes everyone he plays with sound better.

Being the President of McNally Smith College of Music is a wonderful, challenging job and requires every ounce of creativity, discipline, and perseverance that I developed over many years as a musician and student.  Happily, now and then I still get to apply these skills to actual acts of music, and I hope you enjoy this one.

This is my newest song and it’s called You Shined the Light.  It’s dedicated to my beautiful and brilliant wife of almost 33 years, Alice Gebura.

On Monday, January 30, I was invited to participate in a brainstorming session about the future of the downtown in Red Wing, MN, and how interested parties might work together for mutual benefit and continuing revitalization of this lovely and historic river town. The conversation included Jim Johnson, President of Southeast Technical College; Randal Hemmerlin, Executive Director of Red Wing Housing and Redevelopment Authority, and other representatives from the college and the Red Wing community.

I was invited to this meeting not because I have any expertise or experience in civic planning, but because Mr. Hemmerlin had heard my talk about the Creative Economy at the Job Summit, and believed that what Red Wing needs at this moment is some imaginative thinking to create new possibilities in that discussion. New ideas happen when people get together, share thoughts, make up scenarios, float trial balloons, and form new relationships. That is also how significant change happens.

Anthropologist Margaret Mead said, “A small group of thoughtful people could change the world. Indeed, it’s the only thing that ever has — I believe this is true.” And what is true of societies, institutions, and business ventures is also true of individuals. Imagination and creativity are the currency of the 21^st century as people struggle and succeed to invent new careers, and to find new ways of making a life doing what you love.

Value your music education as the best possible preparation for a dynamic, vibrant life not only as a creative artist or entrepreneur, but as well rounded person finding happiness and fulfillment. No skill will be more important, no body of knowledge more valuable than the ethereal, slightly magical stuff of your imagination.

We are proud to announce a new Bachelor of Arts in Music degree program here on campus. Starting in Fall 2012, music students can benefit from a flexible curriculum that is a perfect blend of contemporary music education complemented with broad liberal arts study. McNally Smith College of Music President Harry Chalmiers interviews Liberal Arts Chair Janis Weller about the new Bachelor of Arts in Music program at the college. Watch below:

Learn more about this new program on our website or read our web announcement.

The most important piece of career advice I can give you is that your work has to be of supreme high quality to succeed. Quality rules! See my blog post from August 2nd for more on Rule #1.

But let’s assume you’ve done all you can do to make your work the best it can possibly be, then how do you get people to listen to you, record in your studio, or hire your services? After all, you may be magnificent, but if no one is aware of it, you’ll have no work.

The artists in McNally Smith's Sound Bite Series are successful because they know their audiences!

I face the same challenge with my blog.  I craft messages carefully and try to provide helpful insights on education, creativity and the music industry. But the critical question is: helpful to whom? Who is supposed to be reading this stuff? Are these written for college students contemplating a career in music or high school students choosing a college? Am I writing to music teachers, performing artists, composers, music industry entrepreneurs, or parents?

It’s easy (and a huge mistake) to respond, “I’m writing for all of these audiences.” That audience is far too broad. Content that strongly appeals to high school students is not the same content that appeals to their parents, their teachers, or even current college students. It is absolutely critical that I be clear whom I want to read this blog so I can make the right content choices, set an appealing tone, and promote the blog where it can be found by my intended audience.

So what about your songs, your recordings, your performances, your business model? Your music will not appeal equally to country or rap lovers, jazz heads or heavy metal aficionados. Sure, there is overlap, successful crossovers exist, and artists grow beyond their original genres. But be savvy in determining who your primary audience is and concentrate your efforts to grab their attention and gain their respect.

After you define them, know where to find them. What do they read? What do they love? What do they avoid? What topics do they talk about on their Facebook pages and Twitter accounts? Where do they hangout, both physically and online? You absolutely need to know your audience, where to find them, and how to attract them so they become your biggest fans, clients, and satisfied customers! Know thyself, and Know Your Audience!

To say the least, it’s been a busy month! McNally Smith hosted Motion City Soundtrack on Thursday, November 17, in an awe-inspiring Sound Bite Series show, and I’ve been traveling all over the U.S. and abroad. I just returned from an engaging visit to India where I attended a conference on education and study abroad programs for Indian students. Talking to students, faculty, and parents, it was clear that the desire to study in the U.S. is widespread and immediate.

McNally Smith President Harry Chalmiers with Director of International and Graduate Recruitment Kathy Hawks and President of Swarnabhoomi Academy of Music in India

But, sadly, the subjects that Indian students are encouraged to study definitely do not include music. I was told that music, especially contemporary music, is not considered a serious course of study at the college level, particularly given the cost of a college education. In this respect, music is unfortunately considered nothing more than a hobby — not the influential, culture-changing part of life that musicians know it to be.

Indian students who seek counsel and support for study in the U.S. are urged to pursue science, engineering, medicine, and the like. (Hmmm, reminds me of the advice I received in the ‘70s when I told my parents I planned to major in music!) In fact, advising against music has been traditional parental and professional guidance the world over as education and careers are chosen. But traditions are changing as rapidly as technology. Societies that once enjoyed secure jobs aplenty and found value in a college degree are now feeling tradition crumble under their feet.

The new economy is here: One driven by creativity, imagination, and innovation, not only in ideas, but also in how people construct their professional lives. People working in every field increasingly live on income streams, not one steady paycheck every other week. Entrepreneurship, small business, and self-employment — these are the paths that are on the upswing. Trying to regain the security of historic employment models is a waste of time. You can’t stop change from happening.

Time, energy, and your imagination are what you must develop now to increase your opportunities and possibilities. When you consider your future, remember that nothing strengthens your creative muscles like a music education, not to mention that it is always most valuable to pursue a life doing what you love to do.

If well-intentioned people tell you a music education is a bad choice because it won’t lead to a real job or has no secure future, remember this: The future is constantly changing and being created anew. Those who are fluent in the language of the imagination will be those adapting to and leading the change. Nothing will put these skills in tune like music.

Interview (Q&A) with Twin Cities band Mystery Palace with Dave Campbell (from 89.3 The Current) following their Sound Bite Concert Series performance at McNally Smith College of Music on 10.27.2011.