Fernando Sor Mini-Series Part 5: Sor’s Music and Legacy

This post will be the last in my five part mini-series on Fernando Sor. In previous posts, I have discussed Sor’s contributions to furthering the status of the classical guitar, his compositional style, perceptions of his music during his lifetime, and his approach to pedagogy. In this post, I will attempt to summarize these aspects of Sor’s musical career and illustrate why Sor’s music, pedagogy, and musical philosophy are still important to consider today.

Sor combined his approach to part-writing, pedagogy, and musical philosophy to craft music that challenged stereotypes about his instrument and led the classical music world to take the guitar more seriously as a concert instrument, thus raising its status. Sor’s music uses a deft combination of counterpoint, harmony, classical forms, and clear phrases, illustrating the assimilation of a broad array of styles, ranging from classical composers such as Mozart and Haydn to fellow guitarist-composers Padre Basilio and Federico Moretti. Although Sor is perhaps most famous for his guitar music, he also composed operas, ballets, art songs, and other works, which likely contributed to his synthesis of disparate approaches in his compositions for guitar. Today, his works for guitar are standard repertoire for students and professionals alike. They are taught in private studios and university programs, and performed in concert halls around the world. His music and pedagogy combines classical sophistication, past and contemporary traditions of part writing, and an emphasis on logic and reason, all of which are just as relevant today as they were during the early nineteenth century.

Resources for further information on Fernando Sor’s life and career as a guitarist, composer, and music educator:

Hartdegen, Kenneth. “Fernando Sor’s Theory of Harmony Applied to the Guitar: History, Bibliography, and Context.” PhD diss., University of Auckland, 2011.

Jeffery, Brian. “Sor [Sors], (Joseph) Fernando.” Grove Music Online. Edited by Deane Root. Accessed 9 October, 2019. https://www.oxfordmusiconline.com.

Page, Christopher. “New light on the London years of Fernando Sor (1815–1822).” Early Music 41, no. 4 (November 2013): 557-569.

Rhodes Draayer, Suzanne. Art Song Composers of Spain: An Encyclopedia. Lanham, MD: Scarecrow Press, 2009.

Ribiero Alves, Júlio. “The History of the Guitar: Its Origins and Evolution.” Marshall Digital Scholar (Fall 2015): 1-169.

Sor, Fernando. Method for the Spanish Guitar. London, UK: Robert Cocks & Co., n.d. (ca. 1832). http://ks.imslp.net/files/imglnks/usimg/2/2b/IMSLP260517-PMLP58779-sor_method_merrick.pdf.

Wade, Graham. Traditions of the Classical Guitar. Richmond, UK: Overture Publishing, 2012.

 

 

 

Fernando Sor Mini-Series Part 4: Sor’s Pedagogical Methods and Musical Philosophy

Fernando Sor was by no means unique in writing a method book or espousing his musical philosophy in written form. As Graham Wade states in his discussion of the guitar during the early nineteenth century, “the great teachers of the age developed the techniques, methods of study and theoretical bases of the instrument in a manner appropriate to the manner of Czerny and Paganini.” Contemporaries of Sor such as Mauro Giuliani, Ferdinando Carulli, Matteo Carcassi, and Dionisio Aguado also wrote influential method books that made valuable contributions to the technical, pedagogical, and performance aspects of the instrument. However, Sor’s method is significant in three ways: it focuses on the application of reason and critical thinking, outlines his views on the role of the guitar and the system for left hand fingerings that he created to facilitate that role, and emphasizes the teaching of musicianship as well as technical fluency.

Sor’s method utilizes an unusual approach: instead of mainly discussing the techniques needed to play an instrument skillfully, his method places as much emphasis on demonstrating why a student would benefit from learning the techniques taught as it does in teaching these techniques. As a result, this method provides an exposition of Sor’s musical philosophy as well as his pedagogical approach. Perhaps not surprisingly, his method is quite text-heavy, featuring more text then musical examples (fifty pages of text and forty-two pages of musical examples, which are located in the back of the book). This focus on favoring the use of reason and critical thinking over following the dogmatic dictates of those who claim to be experts is a central component of his method, and appears to derive from the philosophical ideas of the Enlightenment. As Sor states in the introduction to his method, “music, reasoning, and the preference which I give in general to results before a display of difficulty, constitute my whole secret.”

Sor also outlines his views on the role and perception of the guitar in his day. In particular, Sor addresses the perception of the guitar as an accompaniment instrument. In Sor’s view, people tend to think of the guitar as an accompaniment instrument but treat it as a melody instrument by excessively emphasizing scales, and using all of the left-hand fingers for the scale fingerings instead of leaving some of the fingers to play harmony parts. By contrast, Sor’s fingering system is based on the maxim that the fingering used for the melody should be based on the fingering needed for the harmony parts. In this system, all fingerings are based on finding logical fingerings for harmonic and melodic intervals of thirds and sixths that avoid excessive shifting and transitions to another string by using the same finger. According to Sor, once this fingering system is mastered, correct fingerings organically emerge for any chords that the player may encounter. Ultimately, Sor views the role of the guitar “as an instrument of harmony.”

Lastly, Sor advocates that guitarists become knowledgeable musicians in addition to gaining technical proficiency on the instrument. Sor makes this clear by stating “I make a great distinction between a musician and a note-player.” Sor defines a musician as one who adopts a holistic perspective on music, studies harmony and music theory, and sees music as a language conveyed by notes and indications on the score. By contrast, a note-player is fixated on the names of the notes and how to play them on their instrument without regard for the broader musical whole. Overall, Sor’s pedagogical approach seeks to create well-rounded musicians who possess a high level of both technical proficiency and musical knowledge.

 

Resources for further information on Fernando Sor’s pedagogical methods and musical philosophy:

Ribiero Alves, Júlio. “The History of the Guitar: Its Origins and Evolution.” Marshall Digital Scholar (Fall 2015): 1-169.

Sor, Fernando. Method for the Spanish Guitar. London, UK: Robert Cocks & Co., n.d. (ca. 1832). http://ks.imslp.net/files/imglnks/usimg/2/2b/IMSLP260517-PMLP58779-sor_method_merrick.pdf.

Sor, Fernando. Prepared from the autographs and earliest printed sources by Bradford Werner. Rev. Ed. Victoria, BC: Werner Guitar Editions, 2019. https://www.thisisclassicalguitar.com/fernando-sor-studies-free-sheet-music-pdfs/.

Wade, Graham. Traditions of the Classical Guitar. Richmond, UK: Overture Publishing, 2012.

 

Fernando Sor: Guitarist, Composer, and Educator

This post is the first of what will be a mini-series on the music, career, and legacy of Fernando Sor. Although Sor tends to be considered as a minor composer in music history, many fellow guitarists will recognize his name as the author of pedagogical works that have become part of the typical classical guitar curriculum as taught at colleges, universities, and private lessons. While Sor’s studies undoubtably accomplish the rare feat of being both pedagogically useful and musically interesting, his contribution to the classical guitar goes far beyond his work as an educator. Sor also composed a variety of larger-scale works for guitar, piano and voice, orchestra, and other typical instrument combinations in use during his time, maintained a prolific career as a performer, and even published a book on his thoughts regarding the learning and playing of the guitar. Taken together, Sor’s musical output has played a significant role in elevating the status of the guitar and expanding conceptions of what can be written or performed on the instrument.

In the early nineteenth century, the classical guitar experienced a revival in the quality of music written for it and the skill level of its performers, many of whom also taught and published method books for the instrument. Along with his contemporaries, the Spanish guitarist, composer, and teacher Fernando Sor composed, performed, and taught music that challenged conventional notions of the possibilities of the classical guitar. Sor wrote in a wide range of genres, including operas, ballets, string quartets, songs, and pieces for solo classical guitar. Sor’s works for guitar encompass a diverse array of music, including sonatas, fantasias, divertimentos, variations, and studies, among other works. During his prolific performing career, Sor performed his guitar music throughout Europe for royalty, nobility, and in public concerts, bringing his polyphonic approach to the instrument to a broad audience. In addition, Sor wrote a guitar method, originally titled Méthode pour la Guitare, which is as much an exposition of Sor’s musical philosophy as it is a method for learning how to play the classical guitar. His approach to teaching favors the use of reason and critical thinking, and advocates the learning of music theory, harmony, counterpoint, and basic musicianship skills along with the technical skills that are specific to the guitar. Sor’s method also demonstrates his approach to fingering, which is based on the intervals of thirds and sixths. It is important to note that Sor was not the first guitarist to write complex music for the guitar or elevate its status. His approach seems to be influenced by past guitarist/composers such as de Murcia, Moretti, and Basilio, as well as Haydn and Mozart. However, what sets Sor apart is that he was one of the few guitarists of his time to synthesize these influences into an approach to playing and teaching the guitar that challenged several assumptions and perceptions surrounding the instrument and, in doing so, helped pave the way for the guitar to be taken seriously as a formidable instrument in its own right.

 

Resources for further information on Sor’s career, influence, and legacy:

Heck, Thomas F., Harvey Turnbull, Paul Sparks, James Tyler, Tony Bacon, Oleg V. Timofeyey, and Gerhard Kubik. “Guitar.” Grove Music Online. Edited by Deane Root. https://www.oxfordmusiconline.com.

Page, Christopher. “New light on the London years of Fernando Sor (1815–1822).” Early Music 41, no. 4 (November 2013): 557-569.

Ribiero Alves, Júlio. “The History of the Guitar: Its Origins and Evolution.” Marshall Digital Scholar (Fall 2015): 1-169.

Sor, Fernando. Method for the Spanish Guitar. London, UK: Tecla Editions, 2003.

Wade, Graham. Traditions of the Classical Guitar. Richmond, UK: Overture Publishing, 2012.

 

Graduate School

After approximately a year of preparation, research, learning repertoire, visiting colleges, taking the GRE (which is a total bullshit moneymaking scam, by the way-more on this later), and filling out multitudes of forms, the results are in. I will be attending the M.A. in Music program with a concentration in Music Theory and Music History at Hunter College this fall!

When I finished my undergraduate studies last May, I had this gut feeling that this was the one time in my life where the sky was the limit and I could try to get in to some amazing colleges for graduate school. So that’s what I did. I aimed high, applying to Yale, Juilliard, Columbia, The CUNY Graduate Center, and Hunter College. I knew that all of these schools are difficult to get into and that there was a very real possibility that I wouldn’t get accepted to any of them, but for some reason, in my mind, I just had to try and see what happened.

While I did have some fears about this process, rejection wasn’t one of them. As a musician, I’m used to being rejected. It happens…a lot. Most of the time, venues and other music-related jobs don’t even bother to let me know: I just never hear from them, or suddenly never hear from them again (huge props to the people who do let me know-it really is very much appreciated!). Anyone who is a fellow musician, writer, artist, or creative professional knows what I’m talking about. After a while, you realize that it’s not personal; it’s just part of the job. This experience proved to be an asset, as it helped a lot with keeping things in perspective throughout the application process and making an informed and carefully considered decision.

I wasn’t sure what to major in. I love playing classical guitar, and I also love studying music theory, music history, teaching music, and reading lots of good books about almost any topic of interest. As a result, I figured that I would apply to both performance and non-performance based programs in music, prepare as best as I could, and see what happens. My ultimate reason for applying to graduate school is that it is a credential that will put me one step closer to my long-term goal of being a music professor. That being said, I also believe in keeping my options open and strive to view the future in a way that is simultaneously both highly focused and reasonably broad. In short, this was a year in transition. I spent the year working to grow my career as a performer and music educator, and, of course, getting ready for applying to graduate school. For the first time since I began playing music, I was not taking classes or lessons, and I reveled in this newfound freedom, especially with regards to playing classical guitar. I started playing classical guitar to attend an undergraduate program in guitar performance, and as a result have never been able to choose which pieces to work on. I am very grateful for the excellent formal training that I received, and it is because of this training that I am able to choose repertoire that is both inspiring and challenging. However, I love getting to choose my repertoire for the first time, without having to worry about grades, juries, or other academic deadlines.

For the combined M.A./Ph.D. programs, I needed to take the GRE. I bought a test prep book and taught myself by going through the book, focusing on the topics that I struggled most with (such as math), and watching lots of Kahn Academy videos (Kahn Academy is AWESOME! Highly recommended!). I had read about a lot of test center nightmare stories online, so I researched the test centers extensively before signing up, and had a great experience at the one in Purchase, NY-the people there were very professional, kind, and fair. I have a lot of choice words about the GRE, but before I begin my tirade, I would like to point out that the GRE does do one thing reasonably well: it does a good job of measuring your abilities on the subjects that are on the GRE, and only on the subjects that are on the GRE. Predictably, I scored well on the topics that I am generally good at, and did not score as well for the topics that I am not generally good at. It also forced me to learn some basic skills that I had previously not thoroughly learned. Both good things, as far as it goes.

That being said, there are many things wrong with the GRE. First of all, it’s too expensive. It costs $205 just to take the test, the average test prep book is about $50, and if you want to be super prepared and sign up for tutoring, you can spend thousands on preparing for this test. Also, you can take the test multiple times, but you have to pay for the test again for each retake. Sounds like a nice way for ETS to make a hell of a lot of money off of our societal obsession with test scores. This is a marketing strategy that clearly favors people who are wealthy or have wealthy parents, and is a huge disadvantage for those of us (read: most of us) who are not wealthy or have wealthy parents. In addition, the steep cost discourages some very intelligent people from applying to graduate school.

It’s also a huge time suck. Like any other big test, the GRE takes a long time to adequately prepare for, which adds a lot to the time spent preparing for graduate school applications. It’s yet another requirement to prepare for, except unlike most of the requirements (which actually for the most part make sense and relate to your field of study), it is questionable how much my performance on a test which does not cover music or related fields actually demonstrates my readiness (or lack thereof) for graduate school in the field of music. This is also true for other non-STEM majors. Because of these reasons, I recommend that colleges and states stop requiring the GRE as an admissions requirement for graduate school. I realize that I am a comparative nobody in the field of education policy, but I sincerely and firmly believe that it is important to critically think about the way things are, express our views in a reasonable manner, and expound on ways to make things better, or, in this case, reasons to eschew the given thing altogether.

One of the upsides of applying to graduate programs in both performance and non-performance fields was that I learned a lot about multiple disciplines of music. I learned some beautiful and timeless classical guitar repertoire (some of which I’ve discussed on this blog), reviewed and expanded my music theory knowledge, and as a result became a more intelligent and well-rounded musician and person. I applied to the guitar performance programs at Yale and Juilliard; the musicology programs at Columbia and The Graduate Center, CUNY; and the music theory program at Hunter College.

One of the highlights of this journey was making it to the audition round at Juilliard. The audition was located in a music studio room at Juilliard, and consisted of playing for Sharon Isbin. You know, the same Sharon Isbin that has performed with Sting and Billy Joel, has played at The White House, and is an astoundingly incredible guitarist. It was one of the most nerve-wracking 15 minutes of my life. I was asked to choose my first piece, so I chose Variations Mignonnes by Mertz. There were a couple of small mistakes, but I feel that I played it well overall. Then Mrs. Isbin asked me to play what was (for me) the most difficult piece in the audition repertoire: the final movement of Walton’s Five Bagatelles. I stumbled through it as best as I could; there were some good moments, but many mistakes. I was relieved to have finished the piece with no memory slips. As you might have guessed, I didn’t get in to Juilliard, but will never forget that audition.

For Hunter College’s M.A. program, I was required to take a test in music theory and ear training. As I had expected, I did well in the theory portion of the test, but not as well in the ear training section. I wasn’t sure if I would get in. However, I was very happy to receive an email stating that I had been accepted, and would I be interested in a mixed concentration in either music theory and performance or music theory and music history? I appreciate Hunter’s emphasis on a holistic and multidisciplinary approach to the study and analysis of music, the option to choose a mixed concentration, the kindness of the students and faculty, and the reasonable tuition costs. I knew right away that Hunter would be a great fit. I chose a mixed concentration in music theory and music history, as I am passionate about both fields and would like to further my knowledge in order to strengthen my musical and academic background, facilitate my long-term career goal of working as a university professor, and become better equipped to advocate for the classical guitar as a legitimate classical instrument. I said yes to the offer of admission, and am very much looking forward to attending graduate school this fall!

 

 

 

 

 

 

 

 

A Musician’s Observations on Learning to Create Your Own Website

It was one of my New Year’s resolutions for 2019. I would finally have my own website. At first, I thought I would hire a website developer. It seemed like a good idea. That is, until I started pricing it out. I quickly realized that this prospect was beyond what I could afford, and after much deliberation and research and planning, I decided that I would try to do it myself. I figured it would be a good learning experience, and at least I could say that I tried. To be honest, even the thought of making my own website filled me with fear. Specifically, the fear of spending lots of time on it, only to make one wrong click and watch my website fade away into oblivion. Because of this (mostly unfounded) initial fear, I have decided to write a post on this topic (even though it doesn’t have much to do with analyzing classical guitar music) in order to encourage my fellow musicians that you absolutely CAN make your own website! It is truly amazing what can be done if you do a little bit often and start with an approximate vision of what you want! I have found that building a website uses many of the same skills necessary to be a musician and is much less overwhelming than it seems if you do a little bit at a time.

Although I do have some prior experience doing web-based projects, this would be the first time that I would attempt to single-handedly build a website from scratch. Like most things worth doing, it was simultaneously more and less difficult than I originally imagined. Seemingly simple tasks such as setting up a contact page ended up taking many hours of trying an idea and thinking that it worked, only to test it and find out that it didn’t work at all, and repeating the process until I found a solution. On the other hand, the process of changing basic elements of the site (like adding/editing items on the main menu) was surprisingly easy. During the course of creating my own site, I learned a lot about WordPress, web hosting, and significantly improved my skills with HTML and CSS.

I started by looking at other music and/or creative arts websites to help me figure out what I wanted my website to look like and what I wanted my website to do. I made a visual sketch of each site, which helped a lot. Once I had an approximate idea of the look and feel I was going for (and made a sketch of my vision for my site), I researched and compared different web hosts and content management systems for a couple of weeks, eventually choosing Siteground for web hosting and buying a domain name, and WordPress as the CMS (content management system). Once this was set up, I had to decide on a theme for my site. After looking at lots of different themes, I chose to use the Genesis Framework and Workstation Pro child theme by Studiopress, because it seemed to be the most high-quality and dependable theme that fit with my vision. It did add to the cost of making a site (the Genesis Framework and child theme cost around $100), but the theme was (in my opinion) so much better than any of the free themes that I saw on WordPress. Using Studiopress was, hands down, the best decision I made during the course of creating my site! The theme works great, the support at Studiopress is amazing, and it made my site work so much better overall in terms of design, responsiveness, and aesthetic appeal. To add music, photos, and other necessary features, I used either widgets, widget shortcode, plugins, or HTML code. Ironically, I used HTML mainly to format my resume, which I thought (very wrongly) would be a simple copy/paste endeavor, and to add special effects. I tried my best to be as organized as possible, because I know that I can easily spend way too much time mulling over options and not enough time actually building a site.

I also want to emphasize that no one learns something new entirely on their own, and my foray into website design was no exception. I read books on website design (my favorite books on this topic are “Wordpress to Go” by Sarah McHarry and the two book HTML & CSS and Javascript and jQuery set by Jon Duckett), googled nearly every problem I came across, contacted the support team of Studiopress, and looked on many forums (which I found especially helpful if the problem involved code). In fact, it was similar (in some ways) to learning an instrument. You start with no idea what you are doing, you listen, read, and study those who do know what they are doing, and gradually learn new skills along the way as needed in order to accomplish your vision.

All of this is to say that I am very happy to announce that I have successfully created my own website! I started working on the site in late January, added the theme (Genesis Framework, Workstation Pro child theme) and essential components throughout February/early March, and added the finishing touches earlier this week. The website showcases my music, teaching, writing, blog, upcoming gigs, and much more. Please feel free to check it out and spread the word!!! See the link below to take a look: https://benguitarmusic.com/

 

 

 

 

 

 

Last Post of 2018

As 2018 winds down, I thought I’d reflect a bit on the past year. This year, I graduated from college, taught music lessons at a local music school and privately, and performed at Cafes, Farmers Markets, Churches, and other venues throughout New York and New Jersey. I also started this blog, and have greatly enjoyed writing about my artistic journey, sharing my insights with fellow bloggers, and discovering some wonderful and thought-provoking blogs in the process. In 2019, I will continue to perform, teach, and write about music, and may be starting graduate school in the Fall of this coming year. I’m also looking forward to blogging about my favorite classical guitar pieces, as well as ideas and issues that are relevant to myself and the wider musical and artistic community.

I also would like to thank everyone who has taken the time to visit, follow, or comment on this blog. When I began Classical Guitar Analysis this May, I wasn’t sure if anyone would bother to read my somewhat technical and academic analyses of classical guitar music. I was pleasantly surprised, and am very grateful to each and every one of you for your interest in this blog-it is very much appreciated! Wishing you a happy, healthy, and all-around fantastic New Year!

I will end my last blog post of 2018 with perhaps my favorite New Year’s quote of all time:

“I hope that in this year to come, you make mistakes.

Because if you are making mistakes, then you are making new things, trying new things, learning, living, pushing yourself, changing yourself, changing your world. You’re doing things you’ve never done before, and more importantly, you’re Doing Something.

So that’s my wish for you, and all of us, and my wish for myself. Make New Mistakes. Make glorious, amazing mistakes. Make mistakes nobody’s ever made before. Don’t freeze, don’t stop, don’t worry that it isn’t good enough, or it isn’t perfect, whatever it is: art, or love, or work or family or life.

Whatever it is you’re scared of doing, Do it.

Make your mistakes, next year and forever.”

-Neil Gaiman

Reading the Score

Despite my best efforts to read the score as I practice, it can be very easy for me to get so fixated on the notes that I forget to look at the other indications written on the music. Because of this tendency, I decided to spend some time reading everything written on all the music in my repertoire and looking up any term or indication that I didn’t understand. Even though I’ve done this before, I was pleasantly surprised how helpful it was to learn the meaning of indications on the score. It transforms your relationship with the pieces that you are working on, helps immensely with interpretation, improves your overall knowledge of music, and you even learn some phrases in Italian, Spanish, German, French, and other languages! See below for some of the musical terms (in no particular order) that I found and their approximate definitions-some are common and quite obvious, while others are a bit more obscure.

Maestoso: majestically

Leggiero: lightly

Andante: relaxed, moderate tempo (around 64-72 bpm)

Espressivo: expressively

Diminuendo: gradual decrease of volume

Con moto: with motion

Rallentando: gradual slowing down

Poco: a little

Subito: suddenly

Tranquillamente: quietly

Dolce e calmo: sweetly and quietly

Un poco mosso: less motion/slower tempo

Gallardo: elegantly

Cantado: in a singing/lyrical style

Pesante: heavy, important, pondering

Cediando: more relaxed

Allegro: fast, lively

Gallardamente: in a brave or heroic manner

Prelude: beginning of a work, improvisation written down

Allemande: German dance in 4/4, moderate tempo, flowing, polyphonic, starts on upbeat

Courante: Lively French dance in 3/4, starts on a pickup note

Sarabande: slow and stately Spanish dance in 3/4, starts on downbeat

Bourrée: French dance, lively, each phrase starts on the downbeat of 4

Gigue: fast English and Irish dance with imitation and wide skips

Vivace Molto: very lively, faster than Allegro

Meno Molto: less motion

Con cadenza: with ornaments or freely

Molto: much, very

Rubato: slight speeding up and slowing down of tempo, means “stolen time” in Italian

Poco Piu Mosso: a little more quickly

Allegro unmoristico: humorous allegro

Ritmico: rhythmically

Quasi ad libitum: at your pleasure

Tenuto: sustain for longer than written

Vivace: lively and fast

I’istesso mov.: same tempo

Sempre: consistent

A piacere: at the discretion of the performer

Marcato: louder

Con slancio: with enthusiasm

Marcatiss.: very strong accent

Sforzando (sf, sfz): sudden accent

Assai: very

Piùten: more tenuto

El bajo un poco marcado: the bass a little marked (accented)

Ad libitum: at your pleasure

Allargando: to broaden or play slightly lower

Piú mosso: more quickly

Poco meno: a little less quickly

Poco a poco: gradually, literally “little by little”

Senza: without

Vivo: lively, animated, brisk

 

 

 

 

 

 

 

 

 

 

 

Artistic Integrity

Lately I have been thinking a lot about the concept of artistic integrity. What does it mean for an artist (or musician, writer, painter, illustrator, etc) to have artistic integrity? Is it a relatively black and white concept (like integrity), is it more subjective (like art), or is it something in between? What about the dilemma of how far an artist will or should go in order to please an audience and sustain a career? As a result of asking these questions and doing some reading and thinking, I thought I would compile some of my ideas on this topic in the hope of better defining what this concept means for me, as well as to share some of what I have learned along the way.

To possess artistic integrity is to embrace the contradiction between exquisite detail and boundless freedom. As a classical guitarist, I spend countless hours practicing and refining my technique with the goal of transcending technique. In my interpretations, I dedicate myself to learning about the composer, period, and style, while also assimilating my own musical ideas into the rich and highly textured fabric of musical influences present in a given piece. Classical musicians, like artists, walk a tightrope between respecting the traditions of the past and utilizing their individual musical aesthetic to create a body of work that is firmly grounded yet unmistakably original. In my live performances and teaching, I strive to share the fruits of my work and communicate the passion, love, and inspiration that I feel as a result of playing the classical guitar. For me, this involves performing and teaching music that I deeply enjoy, as well as discussing relevant background information about the music in a way that is both engaging and educational. It is vitally important to be true to myself, aware of my strengths and weaknesses, and to conduct myself in a manner that is professional, ethical, and morally sound. It is of the utmost importance to listen to my moral compass, artistic intuition, and common sense to make the choices that are right for my artistic journey. As a musician, I am continuously grateful that my chosen occupation involves bringing joy and beauty to others through the music that I perform, teach, and write about. In order to do this, it is crucial for me to cultivate my love of music, appreciation for beauty, and desire to learn more about music and other topics of interest. One of the wider reaching implications of being a musician with artistic integrity is that your work is not just a career. Instead, it is an all-encompassing lifestyle in which living, learning, and creating are interconnected.

Ultimately, artistic integrity, both for myself and the art form of music as a whole seems predicated on one word: balance. To be a musician requires being exacting yet expressive; learning from the past while developing your unique voice; keeping an open mind but staying true to your core principles; having the tenacity to devote extended amounts of time to something that does not always compute according to the standards of the world, and the courage to spread the word about your music. Although musicians perform for audiences and depend on pleasing their audience in order to sustain a career, a musician that has artistic integrity will not change the essence of their work for the sake of his or her listeners. Paradoxically, this commitment to strong artistic principles is often what attracts the audience in the first place.

To have artistic integrity, it is necessary for a musician to be able to work towards opposing ideas while also firmly maintaining their moral and artistic principles. To be artistic generally refers to the skill of possessing creativity or a refined sense of aesthetics, while being a person of integrity presupposes the character traits of honesty and moral uprightness. Thus, the concept of artistic integrity nicely illustrates the need for balancing an open mind with the establishment of clear boundaries. Musicians, like all people, should strive to be good, honest, and ethical people who prioritize upholding their values in every aspect of their lives, including in their art.

As you can see, I haven’t yet been able to settle on one particular definition. Instead, I attempted to outline some of the conclusions that I have reached in my exploration of the concept of artistic integrity. It is a truly fascinating topic, and writing about it has both solidified my understanding of the concept and also left me with more questions. I would love to hear your thoughts on this broad, intriguing, and important topic-how do you define artistic integrity for yourself and/or your work?