Behold, my podcast.

Go here to download.

Supporting files:

Apportionment Amendment (.pdf)

1589 House (Excel spreadsheet)

Supporting links:

www.thirty-thousand.org

http://economix.blogs.nytimes.com/2014/01/07/enlarging-the-house-of-representatives/?_r=0

http://www.centerforpolitics.org/crystalball/articles/its-time-to-increase-the-size-of-the-house/

http://www.outsidethebeltway.com/do-we-need-a-bigger-house-of-representatives/

http://www.rawstory.com/2014/10/unhappy-with-congress-thats-because-there-arent-enough-representatives/

http://www.nationalreview.com/agenda/39293/do-we-need-reform-house-representatives-reihan-salam

http://www.frumforum.com/supersize-the-house/

http://www.boston.com/bostonglobe/editorial_opinion/oped/articles/2010/12/26/a_house_poorly_divided/

WF

(Yes, that is a boring title.)

I’ve been Tweetstorming quite a lot lately, and someone said, “Don’t you have a blog?” This reminded me that, yes, I do have a blog and should probably start using it more. (There was a time when I wrote a blog post every day.)

Some background:

I love this gig. It’s a great gig with great colleagues, great students, and administrators who more often than not get it. But it is not without challenges. First and foremost is geography. We are 90 – 100 miles from anyplace with more than, say, 25,000 people, and three hours from the Twin Cities. In many fields, that wouldn’t make a whole lot of difference, but since music is so specialized (you wouldn’t want me teaching, say, flute), the six full-time faculty cannot hope to cover all the possible areas of instruction. We rely more on adjuncts than I would like, but we do provide mileage for those coming from more than 10 miles away, and we do also put people up in hotels as necessary.

The problem with this is that it is unsustainable. Not financially, necessarily (though it may be that), but just in terms of building a traditional music program. I wouldn’t want to drive three hours each way every week for no more than four students, but we cannot in good conscience give a student less than the best possible instruction. We have tried some online lessons (through a partnership with MacPhail Center for Music) and that has worked to some extent, but to do that well we would need a large increase in our capital budget to update some rooms with a full spectrum of equipment for those purposes (cameras, microphones, necessary connections). This will be an ongoing challenge.

The other issue we face is somewhat tied to the first issue. Our curriculum is pretty much the Standard Undergraduate Music Curriculum (four semesters of theory, two semesters of history, lessons, a jury, a senior project, and some electives). It is designed to prepare students for graduate study, a teaching career, or a performance career.

But most of our students don’t do that.

We’re a liberal arts college on the prairie. Even though we have a high percentage of first-generation students, who are usually geared more toward music education as a career, most of our students don’t take that path. We have a couple of students who are carving out performance careers, but they are the exception. Same for graduate school. Our students usually end up working outside of music, using the ancillary skills they develop in the program and continuing in music on an amateur or semi-professional basis while paying the bills in some other way. There’s nothing wrong with that. There are days I’d do that. But it doesn’t make sense for our curriculum to reflect an approach that is simply not in line with what our graduates do. Thus, we are making some changes to the curriculum.

They haven’t all been ironed out yet, but when they are, I shall post them for your feedback. Like David Letterman in his Late Night years, the stuff may or may not work, but we’re going to try it anyway. If it doesn’t work, well, it wouldn’t be too difficult to return to the traditional model. But if it does work, we could change the face of music education in a liberal arts context.

Of course, this new curriculum would not likely earn the imprimatur of NASM, but we’re not accredited by them anyway, and many of the top music programs are pulling out. I have nothing against NASM; I worked with them at the last gig, and I think they do what they do very well and they should continue to do it. I just don’t necessarily agree that what they do overlaps much with what we do.

More bulletins as events warrant.

WF

And so here it is, December 31, 2014, approximately 8:11pm as I start writing this.

Professionally, this year was as good as I have experienced. FOUR major premieres (Minnesota Movements, the short opera Bedtime Story, Tenebrae, and the first in the Urban Legends series), more performances of Rational Exuberance, and an article on Morton Gould’s West Point Symphony accepted for publication. One of my works was selected for a performance in Plymouth, IN, and not only did Amanda and I get to attend the performance, both my parents and her parents (along with an aunt and a cousin) were able to attend as well. I go up for tenure/promotion this next academic year, and all signs point to success in that endeavor. I was able to organize my research plan and my compositional output (the aforementioned Urban Legends series), and I really feel like I am at the top of my game.

Personally, however…

The polar vortex hit on January 6. Two days later, our beloved Dachshund Julie suffered what was most likely a pretty severe stroke. The little girl held on for a couple of months, but on March 10 a decision was made and that night, with Amanda by her side, she left us. Similarly, our cranky old Hep Cat suffered kidney failure in mid-October (more on the timing of that in a moment), and – true to his spirit – left us on November 11 in the vet’s office while she was preparing to do what needed to be done. (We refer to this as Hep’s last middle finger to the world – “You can’t fire me! I quit!”) The hole in our hearts has not yet healed, nor is it likely to. Julie and Hep were family, and now our family is smaller.

The reason we had to leave town in mid-October, when Hep suffered the beginnings of his final illness, was because of another loss. Jay Flippin, the greatest total musician I have ever known, lost his battle with liver cancer on October 16. Dick Cheney still breathes air and Jay Flippin is dead – it makes you angry. Jay was and is who I want to be when I grow up. A true polymath, he spoke several languages and was as at ease discussing theology, science, and history as he was behind a piano. There are very few people for whom this is true, but in Jay’s case it is true: This world is better because Jay Flippin was in it.

My beloved wife had some health scares as well; to respect her wishes, I won’t go into detail, but suffice it to say there were long stretches of existence on pins and needles. She is fine now, thankfully.

November brought a loss of a different kind; a good public servant named Jay McNamar was voted out of office and replaced with a decidedly less good public servant. Jay was (technically, as of this writing, still is) my state rep, and I’m glad he got to serve. My anger over this and other events (like Ferguson and Eric Garner) led me to say some pretty heated things, and at least three family members have severed their relationships with me. But I must and do stand behind what I say.

I didn’t blog much, but four posts seemed to resonate.
On Academia
Against Cynicism
A New Birth of Freedom
Man on the Moon

I don’t know how much more blogging I’ll do, but I don’t think I’m done yet. I have some plans to make my web presence (something I should have more of as a composer) stronger, and blogging might fit into that. I don’t want to spam everyone, though.

Also, a lot of people on Facebook want me to be Secretary of Education, so I got that going for me.

So now it’s 8:45pm CT. 3 hours and 15 minutes to go in 2014. Here’s hoping 2015 continues what 2014 started professionally, and wipes the slate clean from the personal annus horribilis. Good luck to one and all in 2015, and let’s leave everything a little better than we found it.

WF