Excellence vs. Perfectionism

 (yotophoto.com)

Perfectionism is one of the artist’s biggest battles.  As musicians, we are taught that wrong notes, bad pitch, and mistakes are unacceptable.  Because of this, I believe flawless performances are the core desire for most performers (at least me).  We all want to do our best and give “honor” to the brilliant composers that created the music we are playing.  Though this is our goal, it is impossible to attain it.  We can never be perfect.  This is why it is absolutely crucial to understand the importance of learning to accept excellence versus perfectionism in music. 

We need to learn how to set realistic expectations.  God absolutely deserves our best efforts.  In Colossians, we are encouraged to work at whatever we do with all our hearts.  However, God does not expect us to perform perfectly.  Psalm 62:5 (KJV) tells us, “My soul, wait thou only upon God, for my expectation is from Him.”  While we might be expecting artistic perfection, that might be the furthest thing from His mind.  We put so much pressure on ourselves with being perfect, but God is far more concerned with the process.  He calls us to walk humbly with Him and wants us to grow spiritually.  Because we are human, this often does NOT invovled perfectionism!

I personally believe that excellence means trying our best with what we have, giving glory to God.  When we pursue music with a focus on excellence and not perfectionism, the world and our congregation will take notice.  We can then point them to the God who created us, loves us fully, and gifted us with our talents. 

 For more on this topic and others relating to music in the church, you can check out the book “The Heart of the Artist” by Rory Noland.   

  

Copyright

Question: Are ensembles allowed to film themselves and freely distribute the video to those within the ensemble either “for cost” or at “no cost”?

Permalink to this question http://mustech.wordpress.com/2007/03/19/assignment-3-copyright-and-ethics/

  (yotophoto.com)

After reading this question, I actually wasn’t sure of the correct answer.  It seems like making and selling copies of a performance that the conductor and students have worked so hard on could be a good idea for a fundrasier.  However, after researching into the topic of copyright and duplication, I found that a music educator is not able to engage in this practice without abiding by certain stipulations and regulations.   

The MENC site states that a single copy of a videotaped performance can be made to keep on file for reference or review.  However, if you would like to make multiple copies and distribute them with or without cost, you must receive permission from the copyright owners for each piece of music.  Permission from the children’s parents should also be received before making copies. 

Looking into the Bands of America website, I found that obtaining a mechanical license gives you permission to record and duplicate a performance.  Most publishers are in connection with the Harry Fox Agency, an organization that filters requests for mechanical licenses.  The Harry Fox site states, “If you are manufacturing and distributing copies of a song which you did not write, and you have not already reached an agreement with the song’s publisher, you need to obtain a mechanical license. This is required under U.S. Copyright Law, regardless of whether or not you are selling the copies that you made.”

The big catch though is that the Harry Fox Agency does not typically grant mechanical licenses to groups that are planning on producing less than 500 copies.  This is typically what a school music ensemble would be doing.  In this case, you must contact the rights holder (publisher) and for permission to use each song.  The Band of America site states a helpful admonition: 

“Simple rule #3: It does not matter whether or not you will be charging a fee for students or community members to have copies of CDs/DVDs; it is irrelevant; if you want to use something (i.e. music) that is owned by another (i.e. a publisher), ASK FOR PERMISSION.” - Ted Piechocinski, J.D. 

Be sure to take the appropriate precautions when dealing with the musical compositions of others or if you are considering making copies of a musical performance.  Understanding the artist’s rights will benefit the artist, yourself, and your students. 

   

Mind and Heart

As a musician, I can find myself getting easily caught up in the worship “experience” mentality.  We can give too much credit to the emotional side of a worship service and use this is as a faith indicator. 

Worship is intensely powerful because we are coming into contact with the God of the universe and our personal Savior. We are also thinking about our relationship with Him and what’s going on in our hearts.  All this coupled with the fact that music itself is expressive, and we have a highly personal and strong combination.

I have found that it has been helpful to remind myself that while emotions are involved in worship and in my relationship with God, they are not the basis or foundation. The Bible says that the heart is “deceitful above all things.” We must remember that our faith and relationship with God is rooted in what His infallible Word says. While our hearts are sometimes misleading (in worship or in any other scenario), the Lord is our constant rock. We know from His Word that He love us immensely and that our salvation rests on His grace and the fact that He sent His Son to die for us.  This is truly amazing grace!

We must seek to strike a balance between mind and heart. Don’t let emotions drive your relationship with God but understand that they are invovled. Remind yourself that His Word stands sure and that our salvation rests upon what He has done for us and how great He is. That’s why we worship!

Contemporary Worship Wave

By an age that requests more and more options, the alternative of a contemporary music setting in the church has become much more popular. Many churches are employing instruments such as drumsets and electric guitars to aid in worship.

However, there have been some reservations with straying away from using the organ and hymnals in worship. Some people consider contemporary worship as too abrasive and performance-focused. Change seems to always bring reservations and strong opinions.

But it has also brought a lot of good. Contemporary praise can reach various age groups and draw a younger generation into worshiping in a modern way. There should be a balance between respecting the traditional style and embracing modernism.