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Click on the tabs below to advance your career by searching Contests & Awards, Schools, Festivals, Camps, Service Organizations, and our list of Services and Products, Scholarships and Grants and Events and Conferences.

And be sure to browse the excellent career advice offered by legendary Artist Manager Edna Landau in her Ask Edna blog and the entertainment law experts in their Law and Disorder blog.

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Scholarships and Grants

Musical America routinely updates the list of scholarships and grants in an effort to keep current and ensure opportunities for musicians.

If you know of a scholarship or grant not mentioned in our lists, please send us a message.

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Performing Arts Industry Events and Conferences

Date Location Event
September 19-21, 2012 Dallas, TX Radio Show
September 19-22, 2012 Miami, FL Performing Arts Exchange
September 21-23, 2012 Munich, Germany Automotive Audio, 48th International Conference
October 11-14, 2012 St. Charles, IL American Music Therapy Association Conference
October 15-18, 2012 Boise, ID Arts Northwest Annual Conference
October 26-29, 2012 San Francisco, CA Audio Engineering Society Convention
November 1-4, 2012 New Orleans, LA American Musicological Society Annual Conference
November 1-4, 2012 New Orleans, LA Society for Ethnomusicology Conference
November 1-4, 2012 New Orleans, LA Society for Music Theory Annual Meeting
November 12-18, 2012 Montreal, QC CINARS (International Exchange for the Performing Arts)
November 14-17, 2012 Dallas, TX Conference for Community Arts Education
November 15-18, 2012 San Diego, CA College Music Society National Conference
November 16-20, 2012 San Diego, CA National Association of Schools of Music Annual Meeting
January 3-6, 2013 Portland, OR National Opera Association Annual Convention
January 11-15, 2013 New York, NY Arts Presenters Conference
January 15-17, 2013 New York, NY International Society for the Performing Arts
January 17-20, 2013 New York, NY Chamber Music America
January 23-26,2013 Toronto, ON Canadian Arts Presenting Association
January 24-27, 2013 Anaheim, CA National Association of Music Merchants Show
January 29-31, 2013 Orlando, FL International Ticketing Association Annual Conference
February 6-8, 2013 London, England Audio for Games, 49th International Conference
February 16-20, 2013 Nashville, TN National Association for Campus Activities National Convention
February 27-March 3, 2013 San Jose, CA Music Library Association Annual Meeting
February 27-March 2, 2013 Providence, RI American String Teachers Association National Conference
February 27-March 2, 2013 Providence, RI American String Teachers Association National Conference
March 6-9, 2013 Tampa, FL American Bandmasters Association Annual Convention
March 9-13, 2013 Anaheim, CA Music Teachers National Association National Conference
March 13-16-,2013 Dallas, TX American Choral Directors Association National Conference
March 20-23, 2013 Milwaukee, WI US Institute for Theatre Technology Annual Conference
April 6-11, 2013 Las Vegas, NV National Association of Broadcasters Show
June 2-7, 2013 Montreal, QC International Congress on Acoustics
June 15-18, 2013 St. Louis, MO Conductors Guild Annual Conference
June 19-22, 2013 Wroclaw, Poland International Society for the Performing Arts
July 10-14, 2013 Chicago, IL Piano Technicians Guild Convention
August 26-30,2013 Los Angeles, CA Western Arts Alliance Conference
October 31-November 3, 2013 Cambridge, MA College Music Society National Conference
January 22-25, 2014 Toronto, ON Canadian Arts Presenting Association
January 28-30, 2014 Chicago, IL International Ticketing Association Annual Conference
March 22-26, 2014 Chicago, IL Music Teachers National Association National Conference
June 23-27, 2014 Boston, MA American Guild of Organists
October 29-November 2, 2014 St. Louis, MO College Music Society National Conference
January 21-24, 2015 TBD Canadian Arts Presenting Association
June 20-23, 2016 Houston, TX American Guild of Organists

Ask Edna
Edna Landau’s blog
Edna LandauEdna Landau—doyenne of the music business, long-time managing director of IMG Artists and director of career development at the Colburn Conservatory of Music in Los Angeles—writes Ask Edna exclusively for MusicalAmerica.com to provide invaluable advice to music students and young professional artists. Read more about Edna’s impact on the performing arts.

Send your questions to Edna Landau at AskEdna@MusicalAmerica.com and she’ll answer through Ask Edna. Click the links below to read Edna’s recent columns on the critical aspects of launching and managing and professional music career.

Arts Administration

Career Etiquette

Communicating with Your Audience

Finding a Manager

For Chamber Music Ensembles

Listening to Your Inner Voice

Managing Your Own Career

Publicity and Promotion

The Orchestral World

When It Comes to Recording

During Edna’s 23 years as managing director of IMG Artists, she personally looked after the career of violinist, Itzhak Perlman and launched the careers of musicians such as pianists Evgeny Kissin and Lang Lang, violinist Hilary Hahn, and conductors Franz Welser-Mõst and Alan Gilbert.

Edna believes young musicians can grow their own careers, with “hard work, blind faith, passion for the cause, incessant networking and a vision that refuse[s] to be tarnished by naysayers.”

Law and Disorder:

Performing Arts Division

The legal blog from GG Arts Law


The law plays an integral part in the performing arts, whether it's dealing with visas, copyrights, contracts, taxes, licensing, employees, venues . . . well, you get the idea.

Law and Disorder: Performing Arts Division is written by the attorneys at GG Arts Law. GG specializes in entertainment law as well as visas and immigration issues for foreign artists and performers.

To ask your own question, write to lawanddisorder@musicalamerica.org. Click below to review answers to key questions about the business and law affecting the performing arts.

Law and Disorder: Performing Arts Division

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How-to Videos

iCadenza helps musicians of all career stages break through challenges and pursue their goals with confidence and joy. Through our individual consulting, workshops, and our Career Development Bootcamp, we help classical musicians develop strong personal brands, create action plans, and sharpen their mental game. We are happy to offer a free 1-hour consultation to readers of Musical America. Send an email and mention MusicalAmerica.com to arrange your free consulation.

Musical America and iCadenza are committed to providing up-to-date career development resources to emerging professional musicians. Send your questions to info@MusicalAmerica.com. You'll find a list of videos below.

Introduction

Your Personal Brand

Taking a bow

Accountability

Green Room Dos and Don'ts

How to Say Thank You

When to Pursue Management

How to Find the Right Manager

How Not to "Humble Brag"

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Industry News

Original Orchestrations for Kiss Me, Kate, Reborn

January 16, 2013 | By Susan Elliott
MusicalAmerica.com

 Chances are, the original 40-piece score for Cole Porter’s most popular musical, Kiss Me, Kate, hasn’t been heard since the show closed on Broadway in 1951 after its three-year run. The show, the first to win the Tony Award for Best Musical, has been revived a number of times since and remains hugely popular among regional and amateur theater groups. It was last seen on Broadway in 1999; a new production in London at the Old Vic, directed by Trevor Nunn, has been widely praised by critics (and may move to the West End, but that’s another article).

 
None of the orchestrations, however, are the originals by Robert Russell Bennett and Don Walker. That would require 40 pieces – unheard of in today’s economy. More importantly, they simply haven’t been available. 
 
Until now.
 
Credit David Charles Abell for restoring them, in all their glory. He reports that when asked to conduct the show at the Glimmerglass Opera in 2008, he went in search of the Real Thing and came up empty. He ended up using photocopies of whatever original manuscripts he could find, some in the offices of the Cole Porter Trusts in New York, some from the Library of Congress, some from the New York Public Library, and some from Porter’s alma mater, Yale University. But, as he reports, what he unearthed was “only the tip of the iceberg.” Since then, he’s discovered reams more, the results of which will yield an official “critical edition” of the score, complete with Bella Spewack’s libretto, assorted essays, and Porter’s lyrics.
 
This weekend, in honor of the 100th anniversary of the composer’s graduation, Yale will present the “premiere” of the newly restored score and parts in concert with full, 40-piece orchestra. The musicians are Yale students; the cast members are alumni in the theater profession; Abell, who will conduct, is class of ’81; and the producer, Amber Edwards, graduated in ’82. The event, at the University Theater, kicks off the school’s year-long celebration of its favored son’s anniversary.
 
Peter Felcher, Trustee of the Cole Porter Musical and Literary Property Trusts, which is supporting the restoration, describes the “wonderful coincidence” that Abell was finishing up his work on the score just at the time that Yale was planning to honor the centenary.
 
“David thought it would be great to finally hear it, and kind of ‘kick the tires’ to see if there were any things that needed adjusting.”
 
In his program note, Abell describes putting together the pieces of the puzzle:
 
My co-editor Seann Alderking and I spent months poring over the original scores and parts. In addition to correcting thousands of copying mistakes, we discovered three different endings to the ‘Too Darn Hot’ dance routine, written to accommodate cast changes on Broadway and the 1949 National Tour. Dale Kugel, who lovingly edited Kiss Me, Kate in 1967 for Tams Witmark, drew my attention to ‘Harlequin Ballerina,’ a Stravinskian passage which accompanied a commedia dell’arte dance sequence before it was cut during previews in Philadelphia. It is being played at these performances for the first time since 1948.
 
Felcher reports that, once finalized, the edition will be issued by Alfred Publishing. The restored score will be available for licensing, more likely to symphony orchestras than to theatrical productions because of the instrumentation requirements. The smaller-scaled score from 1999 will remain available as well. 
 

 

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