[EN]
We've all heard at least one stereotype about the bohemian life of a musician. However, what it actually looks like and how musical labyrinths have led me to the most spectacular artists, you can find out in the interviews below.
In these conversations, we discuss freelancing, musician's mindset, music making and creating sustainable careers.


[LT]
Visi esame girdėję bent vieną stereotipą apie bohemišką muzikantų gyvenimą. Vis dėlto, kaip jis atrodo iš tiesų, ir kaip muzika mane supažindino
su įspūdingiausiais menininkais, galite paskaityti žemiau esančiuose interviu. Šiuose pokalbiuose aptariame laisvai samdomą muzikantų darbą, jų mąstyseną, atlikimo meną,
karjeros kūrimą ir daug kitų temų.

                                                                                                                                                                                                                                                                                                                          

    
Muzikos švietimo sistemos problemos yra akivaizdesnės nei bet
 kada anksčiau. Interviu su N.Hoffman. 

Gegužės 24 d., 2020

[LT]


Ar manote, kad yra didelė atskirtis tarp muzikantų, kurie yra kilę iš profesionalių muzikų šeimos ir tų, kurie augdami tokio užnugario neturėjo?

"Mano tėvai, ypač mano tėtis, labai jautriai reagavo į po Antrojo pasaulinio karo iškeltą paradigmą – viskas arba nieko, kuria jis buvo užaugintas. Jo tėvai buvo pirmosios kartos amerikiečiai, o žydų kilmės seneliai buvo kilę iš Lietuvos. Jų ekonominė situacija buvo sudėtinga ir tai nulėmė jų mąstyseną; vienintelis išgyvenimo būdas – įsitvirtinti karjeros aukštumose. Tėčio mama buvo aktyviai koncertuojanti smuikininkė, kai daugelis motinų, turinčių keturis vaikus, net nesvarstė apie galimybę dirbti."

www.15min.lt/kultura/

The issues of the current music education system are now more apparent than ever before. Interview with N.Hoffman. 

May 2, 2020

[EN]


Do you think that there is a difference between the musicians who do and do not come from a musical family?
     

"My parents, especially my father, were reacting to the post-World War II all-or-nothing paradigm they were raised in. His parents were first-generation Americans and their parents had come from Europe (Lithuania, actually). They were Jewish, struggled economically, and felt that the only place to be safe was at the the very, very top. And his mother was a concert violinist with a busy schedule, at a time where many mothers of four hadn’t even considered entering the workforce."


Tarp dabarties ir praeities: kaip šiuolaikinis menas praplečia akiratį. Martos Finkelštein interviu. 

Feb 19, 2019

 [LT]


Kaip apibrėžtum asmeninę bei ansamblio sėkmę?

Man pastaruoju metu, tai bandymas atrasti balansą tarp tęstinumo ir laikinumo. Ansamblis yra nuolat kintantis, tiek organizacijoje, tiek kūryboje, tame egzistuoja labai didelis kiekis nestabilumo. Dažnai jaučiuosi tarsi su dideliu ansamblio ženklo skafandru sklęsčiau begravitacinėje zonoje. Bet kartais nusileidžiame visi kartu ant vieno ar kito projekto, kur tyrinėjame vis naujus, sau nepažintus muzikos laukus. Visgi nieko negaliu brėžti, galiu tik rodyti link tikslų, kurie, kaip planetos – jas matau, bet neįsivaizduoju, koks iki kiekvienos atstumas ir kokia kiekviena dydžio. Nuolat keičiu ir savo veiklas, nuo atlikėjos iki vadovės, nuo komunikatorės iki tyrėjos, nuo kuratorės iki dokumentų tvarkytojos. Kažkas tame yra labai nestabilaus, bet kartu suvokiu tai kaip dabarties etapą, kurio negaliu peršokti, nes einu paskui tai, kas atrodo prasminga.



Father and son - two different generations but similar ideas? Interview with Lukas and Charles Medlam 

Dec 15, 2019 

[EN]



Lukas, after studying at the Purcell music school and a little bit at the Royal College of Music, you have decided to make a dramatic change and went to study physics which is quite unusual for a child who comes from a musical family. Maybe it was a protest against your parents?

Lukas: I understand that some children do things as a way of rebelling against what their parents expect of them, but that wasn’t in any way the motivation of my choice to do physics. The motivations were as follows: the need to equip myself with a degree which would more or less have guaranteed career prospects afterwards. The idea of being a freelance musician scared me a little bit because of the lack of certainty in that particular path and the inability that one has to make any kind of forward strategy. Looking back, perhaps, that was a bit foolish, because there is no career in which you have this sort of stability I was striving for, but you could say that a degree in physics opens many more doors to a slightly more stable career than music. 

unvrs.lt "UNIVERS"

Why competing in a marathon might be similar to performing Beethoven? Monika Mašanauskaitė's original text

Dec 15, 2019


 [EN]


It is estimated that at least 50 per cent of the variation in an individual’s performance is a result of the influence of their state of mind

As humans, we perform every single day whether it is playing an instrument, building a house or giving a presentation. However, some forms of professional performance are more complex and demanding than others. The evidence of performance complexity can be found in careers like professional sports and classical music. Like athletes, we musicians spend a lot of time practicing in order to master our instruments. However, the duration of our performances themselves is incredibly short in comparison with the amount of preparation time. Whether a performance in front of an audience or panel succeeds or not depends on physical, mental and emotional preparation – but if we fail, a lot of that preparation was in vain.