Deconstructing “Artist as Citizen”: Limits and Possibilities in Conservatory Education

Project Title

Deconstructing “Artist as Citizen”: Assessing the limits and possibilities of the conservatory system at The Juilliard School

Faculty Mentor(s)

Project Description

This project assesses the experiences of college-level conservatory students of classical music at The Juilliard School in New York City to evaluate the limits, potential, and effectiveness of the existing conservatory system. My long-term work as a researcher and as a performing violinist seeks to counter that narrative and identify and implement solutions to improve our artistic livelihoods.

The concept of “artist as citizen” was first introduced to Juilliard by the school’s former president, Joseph Polisi, explaining that the 21st century musician must be knowledgeable about social issues and advocate for the arts by engaging with community members. Yet, despite Juilliard’s continuous push towards achieving this progressive ideal, the restrictive scope of classroom learning at Juilliard and the school’s administrative shortcomings have continued to replicate cultures of exclusion within the conservatory system. With the aim to subvert these dynamics, this project assesses the experiences of college-level conservatory students of classical music at The Juilliard School in New York City to evaluate the limits, potential, and effectiveness of the existing conservatory system. At its core, this qualitative study elaborates on the ways in which the conservatory cultural system and the conservatory curriculum stifle the exploration of diverse styles, limit career potential, and lead to physical injury and mental illness.

Why is your research important?

Juilliard is a monumental institution with an incomparable impact on the trajectory of performing arts and arts education around the world, producing some of the most recognizable names in classical theater, dance, and music. Much incredible work has been done investigating the dynamics of conservatory cultural systems, but it’s rare for a case study to critique a conservatory as renowned as Juilliard, across multiple dimensions and by incorporating archival research with personal interviews. With a focus on developing already-existing communities of resistance for conservatory students of classical music, this study encourages Juilliard students – and musicians in general – to critically examine their cultural surroundings, problematize the structural conditions of private music institutions, and identify strategies to organize for change.

What does the process of doing your research look like?

My project aims to center student experiences and community concerns, so the interviews I have conducted with Juilliard classical music alumni have been absolutely essential. Alongside these conversations I’ve had with fellow alumni, my archival research combines tracing the school’s administrative and pedagogical history (which included an in-person visit to Juilliard’s Library and Archives in NYC!); combing through 100+ years of course catalogs; and examining student experiences as documented via journalism, newspapers, student op-eds, memoirs, and more.

What knowledge has your research contributed to your field?

The harm that conservatories can cause students is rarely problematized, and a lot of the stories that I’m sharing through my work have never been heard or centered before. I think the fact that I was once a Juilliard undergraduate student myself has also provided a sort of auto-ethnographic sensibility in my methodological groundings that centers student narratives within research in a way that other works have not been able to.

How did you get involved in research? What drove you to seek out research experiences in college?

For many performing musicians, the prospect of doing research feels daunting and inaccessible – which is exactly why I developed a passion for it. Oftentimes, conservatory curriculum focuses on performance classes and Western/Eurocentric musical studies, which can prevent musicians from engaging outside of their fields and restricts our scope of learning. My long-term work as a researcher and as a performing violinist seeks to counter that narrative and identify and implement solutions to improve our artistic livelihoods.

What is your favorite aspect of the research process?

The obvious answer is the interviews I’ve been having with so many Juilliard grads who I’m so thankful to have trusted me with their stories. I’m incredibly privileged to be able to share space with such incredible people who have shown so much love and support, and who demonstrate such intentionality in conversation. Aside from that, visiting the Archives at Juilliard to view administrative records was really exciting for my research, and it was almost cathartic for me to finally return to such a familiar physical environment.

How has working with your mentor impacted the development of your research project? How has it impacted you as a researcher?

I’ve gotten to know Chris for the past school year as I’ve progressed through his two musicology classes in the Conservatory. Working with Chris on this project has been absolutely instrumental in this project’s development, especially with his expertise in researching within this topic (his new book, Assimilation vs. Integration in Music Education, investigates the structural exclusion of BIPOC musicians within conservatories and orchestras.) I’ve loved learning from all his comments and observations – the mentorship and friendship I’ve received from Chris have been invaluable.

How has the research you’ve conducted contributed to your professional or academic development?

This project has encouraged me to look beyond traditional disciplines and explore my artistic identity from new perspectives. As a musician, I’ve become deeply interested in working towards alternative forms of performance and diverse concert programming, especially in chamber music and other collaborative music that is invested in community-building. Learning research methods as a CAS major has also shown me the value of interdisciplinary work, allowing me to reimagine the ways in which arts and academics can merge to create powerful new pathways.

What advice would you give to a younger student wanting to get involved in research in your field?

Be brave and do it, do it, do it. Classical music needs new voices.