[CW: James Levine, sexual predation, administrative neglect] It was a sunny afternoon at CalArts at the beginning of my masters. This teacher wasn’t the first to discuss the Levine news that week—maybe even that day—but the others had been predictable. More generalized. For larger audiences.
Read MoreA lot of the lessons I’ve learned in music school were designed for my male peers. Or, at least, they were designed to *work* for my male peers.
Read MoreThere’s a tumblr excerpt that goes around every once in awhile about respect. Though I’m sure I can’t quote it verbatim, the gist of it is that there are two types of respect: “you treat me like a human” and “you treat me like an authority.”
Read MoreIt’s December 1, 2019, and I’m propped against the comfiest pillows in my apartment, poring over the second edition of Robert Walser’s Keeping Time: Readings in Jazz History in preparation for a forthcoming guest lecture. I’ve got tons of time—until sometime next semester—but because I’m trying to highlight the connections
Read More“You are implicated.” It’s an important phrase in music and pedagogy alike. Let’s talk more about it.
Read MoreI have always been jealous of my male friends in the jazz world. Not because of their skill or their musicality—though I admire that also—but because of their freedom to focus on the music first and foremost. It’s a tricky concept and often difficult to explain, but today, I’m going
Read MoreDear Mark, Is it okay if I call you Mark? I’ve heard you’ve made appearances at my alma mater, CalArts, and everyone there is on a first-name basis, so I’m going to call you Mark. I read your article this morning about Plácido Domingo stepping down from the LA Opera,
Read MoreLet’s talk about Paying Your Dues and irresponsible gatekeeping, particularly in the Phoenix jazz community. Buckle up; this is a long one.
Read MoreOn my blog, I try to write about the intersections of womanhood, music, misogyny, and my creative practice. Here’s why.
Read MoreSince I started studying music in college, I’ve only rarely had the opportunity to work with a female conductor or ensemble director. (In fact, I think it’s happened . . . twice? Three times? Really rarely.) Before that, though, I was a product entirely of woman-run programs, and while middle and
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