WHAT
THE NEA INSTITUTE IN CLASSICAL MUSIC AND OPERA participants
are saying about their experience at Columbia University:
“The writing workshops were, perhaps, the most beneficial
part of the 12-day institute. They were a chance to take a hard,
critical look at the heart of my job, with constructive peer review.
There is no doubt that my review-writing and column-writing has
improved because of the writing workshops.”
Richard Bammer, features
writer, The Reporter (Vacaville, CA)
“I'm still pinching myself that I got a chance to learn
from Master Joe Horowitz. The caliber of lecturers was beyond reproach:
editors, writers, arts managers, musicologists. Amazing! I already
came to the table with a love for music and a love for reporting.
Now I have more confidence that I am qualified and capable of going
back to my paper and reporting on classical music with more authority.
I know what to do now to give more insight into the arts to my readers.”
Cathalena E. Burch, senior
music writer, Arizona Daily Star (Tucson, AZ)
“For someone who had never been to New York, it was a whirlwind
introduction at the highest level. Front-row seats at the Met! If
the institute had ended on the first Tuesday, I would still have
considered it a success.”
Carla Carlton, A&E editor,
The Courier-Journal (Lousville, KY)
“This institute was the most important professional development
I have ever had. I can imagine logistical and minor ways to improve
it, but fundamentally I can’t imagine a more sound, ambitious
or important program for a working arts journalist today.”
Jen Graves, staff writer,
The News Tribune (Tacoma, WA)
“Logistically perfect. Everyone who planned this program
did an extraordinary job. Perfect hotel. Perfect location. Perfect
food. Perfect, perfect, perfect.”
Alexandyr Kent, performing
arts critic, The Times of Shreveport (LA)
“Considering the fact that this was the first Institute of
its kind, and the myriad of small and large problems that attend
any kind of planning, I would say that [the organizers] pulled off
a miracle. Logistics were for the most part crystal clear, and if
they were not, someone could always clarify for us. I have nothing
but admiration for the way the Institute was planned for and kept
together.”
Grant Menzies, classical
music/arts writer, Willamette Week (Portland, OR)
“I feel that taken a giant step in my understanding of the
form. I went from abject fear of writing reviews to a palpable easiness.
I feel I have grasp of a historical perspective as well as a superficial
sense of music theory. But again, I would have liked more opera.”
T.D. Mobley-Martinez, arts
reporter, The State (Columbia, SC)
“I feel like I’m coming away not only with better
knowledge about how to approach concert criticism, but also better
understanding of the economics and societal forces that affect classical
music today. I doubt I will ever experience a more intense and rewarding
immersion among the best minds of classical music. Without a doubt,
this was the most educational and thought-provoking two weeks of
my professional career.”
Joe Nickell, arts and entertainment
reporter, Missoulian Daily Newspaper (Missoula, MT)
“I think I learned the importance of writing with conviction
about music and the importance of trusting my gut feelings about
a performance. I also learned that reviewing is as much about story
telling as about giving an opinion; that reviews should tell a reader
something about an event's newsworthiness.”
Gary Panetta, arts reporter,
Journal Star (Peoria, IL)
“The writing workshops, as far as I'm concerned, justified
the entire endeavor. It's impossible for me to overstate how valuable
they were. Particularly in the session with Terry Teachout, it was
real nuts-and-bolts stuff, precisely what everyone, no matter the
experience level, needs.”
Tom Pantera, staff writer,
The Forum (Fargo, ND)
“Until I came here, I'd spent little to no time actually
studying classical music (its history or compositional constructs).
I now recognize layers I didn't know existed, and I'm confident
that I have a thin but strong foundation that is bound to broaden
the ground I can potentially cover in any given classical music
story.”
Matt Peiken, arts reporter,
St. Paul Pioneer Press (St. Paul, MN)
“The meetings with experts and leaders were wonderful –
especially going to the New York Times and also having the session
with Beckerman. Even the reception, where I got to meet former Pulitzer
winner Margo Jefferson, was valuable – just for networking
and connecting names with faces. I feel I really got to meet writers
I greatly admire – including Alex Ross from the New Yorker.”
Amanda Pierre, arts and
culture writer, Des Moines Register (IA)
“Not only did the experts give me more tools for my writer’s
toolbox, but they also worked on our style of writing. I have compiled
a list of more than 100 great suggestions to help my reviews and
my writing.”
Terry Rindfleisch, reporter,
La Crosse Tribune (WI)
“I have been energized and invigorated by these two weeks.
I am actually excited about going back and writing about our arts
scene. I think these sessions have challenged some of the ways I
look at classical music made in Wichita - that some of the things
I disdained I have discovered are in fact important trends.”
Chris Shull, staff writer,
The Wichita Eagle (KS)
“It felt like three weeks of academic and practical work
crammed into 12 days.”
James D. Watts, staff writer,
Tulsa World (OK)
NAJP
: Fellowships : NEA
Institute : Testimonials |