音樂(lè)學(xué)院的另類培訓(xùn)

    Not long ago， most professional musicians lived in a world far removed from the nitty-gritty of business management， distribution and promotion. But today， social media， laptop production techniques and fragmented musical tastes have largely replaced the old relationship between musicians， their audiences and the marketplace， making entrepreneurial savvy more important than ever.

    還在不久以前，大部分專業(yè)音樂(lè)家對(duì)商業(yè)管理、發(fā)行和促銷等具體事宜都不太熟悉。但是如今，社交媒介、手提電腦制作技術(shù)以及片段音樂(lè)在很大程度上替代了音樂(lè)家和觀眾以及市場(chǎng)間舊的關(guān)系，商業(yè)頭腦比以前任何時(shí)候都重要。

    A leading U.S. conservatory now teaches students how to create successful careers in this brave new world.

    美國(guó)一所著名的音樂(lè)學(xué)院開(kāi)設(shè)課程，教授學(xué)生如何在這個(gè)嶄新世界中成功創(chuàng)業(yè)。

    In transition

    Robert Sirota， president of New York‘s prestigious Manhattan School of Music， takes a small break from his chores to play one of his own compositions. It’s one moment of traditional musical expression in a conservatory that recognizes that the music industry is in major transition.

    著名的紐約曼哈頓音樂(lè)學(xué)院院長(zhǎng)羅伯特。西羅塔正在演奏一首他自己創(chuàng)作的樂(lè)曲。在這所認(rèn)識(shí)到音樂(lè)產(chǎn)業(yè)正處于巨大轉(zhuǎn)變中的音樂(lè)學(xué)院里，這是一個(gè)傳統(tǒng)的、以音樂(lè)來(lái)表達(dá)自己的時(shí)刻。

    "Everything we know about the business of music-making， and the industry of music - including recordings， the dissemination of published materials， concert venues， the way people get compensated for performance and concerts - have changed radically in the last 20 years，" he says， "and it became clear to me and other people of like mind to figure out how to develop young artistic leaders who are truly capable of making their way in this brave new world."

    西羅塔說(shuō)：“過(guò)去20年來(lái)，原先我們熟知的音樂(lè)產(chǎn)業(yè)，包括錄音、樂(lè)譜的傳播、音樂(lè)會(huì)場(chǎng)地、觀眾得到的享受的方式，所有這一切都在迅速發(fā)生變化。我和其他一些和我有相同想法的人清楚地意識(shí)到，至關(guān)重要的是，音樂(lè)學(xué)院要與時(shí)俱進(jìn)，甚至走在時(shí)代的前面，培養(yǎng)能夠在這個(gè)勇敢的嶄新世界中生存發(fā)展的年輕藝術(shù)家。”

    That‘s why the Manhattan School of Music created the Center for Music Entrepreneurship， where students can learn about new media， fundraising， launching their own concert series， producing their own recordings， creating a press kit and other necessary skills.

    因此，曼哈頓音樂(lè)學(xué)院開(kāi)設(shè)了一個(gè)“音樂(lè)企業(yè)家中心”。學(xué)生們可以在那里了解新媒體、籌款、籌備音樂(lè)會(huì)、自己錄音以及準(zhǔn)備好一整套給媒體的材料。

    Business sense

    In a nearby lecture hall， students like pop composer Yuma Sung are learning about intellectual property rights law as part of the center‘s "Setting the Stage" program.

    在附近的一個(gè)大教室里，學(xué)習(xí)流行音樂(lè)作曲的尤瑪。桑正在了解版權(quán)法。他對(duì)記者解釋了為什么版權(quán)法和他有切身關(guān)系。

    "If someone tries to steal some of my stuff， and if I chose to go to court， I‘d know how to deal with it properly，" says Sung.

    “如果有人剽竊了我的作品，如果我要告上法庭，我就能知道如何去正確應(yīng)對(duì)。”

    Sirota， who completed his own conservatory education in the 1970s， contrasts today‘s hyper-wired world with what used to be.

    西羅塔院長(zhǎng)是1970年代從音樂(lè)學(xué)院畢業(yè)的。他把當(dāng)今高度聯(lián)網(wǎng)的世界和1970年代的情況進(jìn)行了比較。

    "The status quo as we understood in the music world， was that there were a small number of major international symphony orchestras， there was a select coterie of very elite performers， and there was an established audience of concertgoers，" he says. "There were in addition， several multi-national record companies. But what has happened is the way people listen to music has changed."

    西羅塔說(shuō)：“當(dāng)時(shí)，國(guó)際上只有少數(shù)幾個(gè)重要的交響樂(lè)團(tuán)，頂尖的演奏家也為數(shù)不多，去聽(tīng)音樂(lè)會(huì)的觀眾相對(duì)比較固定。當(dāng)時(shí)的跨國(guó)唱片公司只有幾家。但是現(xiàn)在人們聽(tīng)音樂(lè)的方式改變了。”

    Indeed， most people now listen to music through digital music players， or through downloads， and CDs are mostly a thing of the past， which is why Sirota believes the old business model no longer makes sense.

    比如，他們用iPod聽(tīng)音樂(lè)，他們下載了音樂(lè)后再聽(tīng)，他們不一定要聽(tīng)唱片了。音樂(lè)唱片的意義和以前完全不同了，舊的商業(yè)模式再也不頂事了。

    Responsible advocates for art

    Edward Klorman， who directs the center， says the 21st century musician is a multi-tasking entrepreneur. "Sometimes you‘re performing. Sometimes you’re an administrator. Sometimes you‘re the one marketing your own concert. If we’re passionate about the music we play， we need to be responsible advocates for our art."

    愛(ài)德華。克洛曼是音樂(lè)企業(yè)家中心的主任。他認(rèn)為，21世紀(jì)的音樂(lè)家是一個(gè)可以同時(shí)進(jìn)行多項(xiàng)工作的企業(yè)家。克洛曼說(shuō)：“有時(shí)候你是演奏員，由時(shí)候你是管理者，有時(shí)候你要推銷自己的音樂(lè)會(huì)。如果我們對(duì)我們演奏的音樂(lè)有激情的話，我們就要負(fù)責(zé)任地去推廣我們的藝術(shù)。這正是我們?cè)谶@里培訓(xùn)的內(nèi)容。”

    Mari Hwang studies piano， harpsichord and conducting at the conservatory. She's learning marketing skills， which connect her to audiences in ways that have little to do with musical talent. "In a conservatory setting we always focus on performance， but a lot of times we [stay] in a practice room and we don‘t really learn how to speak to your audience or how to interact with it or how to create new programs for people. And here we learn how， and it’s going to be very beneficial for my career."

    瑪麗。王在曼哈頓音樂(lè)學(xué)院學(xué)習(xí)鋼琴、羽管鍵琴以及指揮。她現(xiàn)在正在學(xué)習(xí)市場(chǎng)營(yíng)銷技術(shù)，也就是用跟音樂(lè)天份本身毫無(wú)關(guān)系的方式與觀眾建立聯(lián)系。瑪麗。王說(shuō)：“在音樂(lè)學(xué)院，我們總是把重點(diǎn)放在表演上，但很多時(shí)候，我們花大量時(shí)間在琴房里練琴，就是這樣。我們不學(xué)習(xí)怎樣和觀眾溝通，怎樣和觀眾互動(dòng)，怎樣為觀眾創(chuàng)造出新節(jié)目，等等。現(xiàn)在，我們?cè)谶@兒學(xué)習(xí)這些東西，我覺(jué)得這將對(duì)我的職業(yè)生涯非常有幫助。”

    Klorman knows that many young musicians are daunted by the expertise needed to sustain a successful career today. However， he says the current climate rewards personal initiative and imagination as never before. "And if we are creative about putting together new opportunities， we can carve out a whole new market for ourselves."

    克洛曼知道，很多年輕音樂(lè)家對(duì)今天要保持一個(gè)成功的事業(yè)所需要的專業(yè)技能感到惶恐。但是，克洛曼指出，現(xiàn)在的氛圍能使個(gè)人的創(chuàng)意和想象力得到前所未有的回報(bào)。他說(shuō)：“如果我們能夠有創(chuàng)意地把握住新機(jī)會(huì)，我們就能為自己開(kāi)辟出一個(gè)嶄新的市場(chǎng)。”

    Non-traditional approach

    He encourages classical musicians can play in nightclubs and other non-traditional venues.

    Klorman himself initiated the highly successful "Classical Blue Jeans" series in upstate New York， where both audience members and musicians wear blue jeans， share a pre-concert barbecue and repair to a barn for the concert itself， where concertgoers are invited to offer instant feedback to the musicians.

    Klorman says it‘s all done in a spirit of inclusion and fun. "It makes for a much more dynamic music world for all of us， and it’s a much more exciting way to live your life as a musician."

    “為我們所有人創(chuàng)造出一個(gè)更有活力的音樂(lè)世界。作為一個(gè)音樂(lè)家，這是更加激動(dòng)人心的生活。”

    The courses at the Center for Music Entrepreneurship are among the most popular at the Manhattan School of Music. In fact， demand has begun to exceed slots， and the program is expanding. This success has in turn inspired other conservatories to teach business skills for tomorrow‘s musical careers.

    音樂(lè)企業(yè)家中心提供的課程是曼哈頓音樂(lè)學(xué)院最受歡迎的課程。事實(shí)上，現(xiàn)在的課程是供不應(yīng)求，中心的項(xiàng)目正在擴(kuò)大。這個(gè)成功之舉也啟發(fā)了其他音樂(lè)學(xué)院，把商業(yè)技巧教授給未來(lái)的音樂(lè)家們