Good post, Cheez
OK in reply to your points -
Thanks for your insight into contemporary classical music, kris. As with most who had gone through the traditional music training, few would have been exposed to the later composers.
It depends what you mean by 'traditional' music training. Exposure to as much of the repertoire as possible was part of my training. Familiarity with the Romantic repertoire was
part of this training, but not the totality of it.
But coming down to the basic needs, everybody still needs an income to survive in the real world today. Most modern day composers I know of (with my limited knowledge) does it by writing commercially marketable music (TV/commercials/film). Otherwise, new compositions need to be recognised enough to sell in CDs. Otherwise, they need to be teachers or music directors, or something to earn a living in this world. Perhaps Kris, you could help out here to give us more insight into how things work for them.
It depends how you define 'composing'.
To take an example from my previous post - Ingram Marshall teaches music at university level as well as composing. However he doesn't make much money from composing. Not enough to live on, anyway.
When I was younger, my ambition was to be a trumpet player in the orchestra. Then it was composition. Today, I still compose and write, when time allows. I don't compose "competitively" or to please any audience out there. There are just too many complex musical motifs going on in my head that if I don't pen them down and get them orchestrated, I feel my head would burst with music from the inside out. Two nights ago, for example, I had to tell my wife at 11:30 pm that I need to get the music down on paper before I go to bed, or else I wouldn't be able to sleep. She knows these moments, and encourages me to do it. But...music composition is not my job.
Kris, more insights?
When has a 'job' ever defined someone? And if you compose, are you not a composer? Do you have to make money to call yourself a 'composer'? Do you make money from playing guitar? Most people don't. Does this mean they are not 'guitarists'? But I know what you mean - if someone asks what you do, they usually mean how you put bread on the table.
But yes, making a living from composing is very difficult. I make the majority of my income from composing/performing (private commissions and performances of said commissions usually), and the rest of my income is made up from teaching.
Some 'composers' do have everyday jobs also - even 'signed' artists. One of my friends is signed to Ricordi, but he pays the bills by working part-time as an engineer. However, it isn't all it is cracked up to be - he has to work part-time in order to give himself time to compose, but as a consequence of this, he lives in a run-down area of his town in a tiny studio apartment.
But composing is more important to him - as long as he has enough to survive, then he is happy. I've found this to be the case with the vast majority who work in the arts - the actual creative activity is a necessity and simply cannot be sidelined.
I've been there as well - for a long time, I was living in what could only be described as squalor (i.e. lighting by candle light as I couldn't afford the electricity bills) - but I didn't care, as I had clothes on my back (one spare pair of jeans lol) and could just about manage to put food on the table every night. I didn't bother me in the slightest, as I had the most important thing in a creative life at my disposal - time to create.
Ironically, there are other areas of classical music that do make a hell of a lot of money i.e. scoring for movies. But you need technical knowledge of the studio and be up to date with gear etc as well as compositional skill to really do well in this field. Plus the ability to compose at the drop of a hat (in some instances, improvise first-take as studio time is very limited). Then there is the obvious that the industry won't just throw the first person who claims to be able to 'compose for movies' onto a feature film - competence has to be proved - in many areas and across many styles/genres. This may mean spending a few years scoring for free for animator friends, doing background music for sculptural installations etc etc
Someone else I know now works as a composer for film, but he spent years simply 'filling in' when he was needed, and working as a runner etc etc. Pretty much doing anything to be in the environment that would potentially create the opportunity he needed.
As well as training, contacts are important - university can, in some instances, create contacts within the industry, and lead to potential opportunities.
Plus, like I was saying, combining artforms i.e working with sculptors/dancers etc etc. This also potentially means double the exposure.
I don't know the classical music industry side of things in Singapore. Are there any annual contemporary classical music festivals in Singapore - especialy ones that promote Singaporean talent? What about contemporary classical publishing companies?
Ironically, Singapore has great facilites for putting on great classical concerts/events (and I know they do put on classical concerts, but it's mostly the standard fare).
