personal statement
(In regard to previous posts: I have decided to be more patient with my friends. It will be good for me.)
I am applying for an Orchestra Management Fellowship with the League of American Orchestras (formerly the American Symphony Orchestra League, or ASOL). For it I must prepare a 350-word personal statement introducing myself to the panel of judges and explaining my qualifications for the Fellowship.
Here is the current draft, which I am going to send in this evening with my application. It is 350 words exactly.
I hail from the suburbs of Kansas City, the daughter of an artist and a salesman. I learned creativity from my mother and pragmatism from my father, and the value of hard work from both. When asked about my professional goals, I sometimes admit my ultimate desire to be the U.S. Czarina of Classical Music. Although I’m not holding my breath for this position to be created, I still intend to affect change in American classical music to make it more viable, approachable, and less seemingly elitist, while maintaining utmost respect for the art, artists, and audiences.
Over the course of my five years at Oberlin I concluded that the happiest life I could lead in music was in administration. Being surrounded by serious instrumentalists exposed me to new repertoire I hadn’t yet fallen in love with, especially orchestral and chamber music. I also learned about singers’ lifestyles during their 20s, 30s, and 40s and knew that I could not live out of a suitcase for the next thirty years and be happy.
While learning about the personal demands of a singing career, I was flourishing in my work for the Conservatory Dean’s Office. I discovered that the pleasure I took in making lists and keeping my calendar neat could actually benefit others. With what now seems like an unheard degree of trust from my supervisor, I was responsible for all the daily operations of Oberlin’s Artist Recital Series. I learned how to anticipate the needs of artists (keep a hairdryer backstage!) and how to interact professionally with artist management. My ability to perceive other’s feelings (whether expressed verbally or not) helped keep artists—as well as coworkers—happy.
Music is a constant for me; I know I will work with music in my life. I don’t know the specifics for how I will affect large-scale change, but I am convinced that this fellowship would give me the tools to lead an orchestra toward accessibility and artistic excellence, by giving me hands-on experience of the orchestra industry and the opportunity to establish myself as a future leader in the field.
I am applying for an Orchestra Management Fellowship with the League of American Orchestras (formerly the American Symphony Orchestra League, or ASOL). For it I must prepare a 350-word personal statement introducing myself to the panel of judges and explaining my qualifications for the Fellowship.
Here is the current draft, which I am going to send in this evening with my application. It is 350 words exactly.
I hail from the suburbs of Kansas City, the daughter of an artist and a salesman. I learned creativity from my mother and pragmatism from my father, and the value of hard work from both. When asked about my professional goals, I sometimes admit my ultimate desire to be the U.S. Czarina of Classical Music. Although I’m not holding my breath for this position to be created, I still intend to affect change in American classical music to make it more viable, approachable, and less seemingly elitist, while maintaining utmost respect for the art, artists, and audiences.
Over the course of my five years at Oberlin I concluded that the happiest life I could lead in music was in administration. Being surrounded by serious instrumentalists exposed me to new repertoire I hadn’t yet fallen in love with, especially orchestral and chamber music. I also learned about singers’ lifestyles during their 20s, 30s, and 40s and knew that I could not live out of a suitcase for the next thirty years and be happy.
While learning about the personal demands of a singing career, I was flourishing in my work for the Conservatory Dean’s Office. I discovered that the pleasure I took in making lists and keeping my calendar neat could actually benefit others. With what now seems like an unheard degree of trust from my supervisor, I was responsible for all the daily operations of Oberlin’s Artist Recital Series. I learned how to anticipate the needs of artists (keep a hairdryer backstage!) and how to interact professionally with artist management. My ability to perceive other’s feelings (whether expressed verbally or not) helped keep artists—as well as coworkers—happy.
Music is a constant for me; I know I will work with music in my life. I don’t know the specifics for how I will affect large-scale change, but I am convinced that this fellowship would give me the tools to lead an orchestra toward accessibility and artistic excellence, by giving me hands-on experience of the orchestra industry and the opportunity to establish myself as a future leader in the field.
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