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Creative Self-Marketing Ideas for the Audio Professional

As studio owners, Jeff and I get tons of requests for advice regarding how audio professionals can either kick start or amp up their careers. In an industry that doesn’t necessarily post jobs on a website, use recruiters, or have a standard interviewing process, how are talented creative people supposed to get their foot in the door? There are so many different ways to answer these questions, but at least one large chunk of this is personal marketing.

I read a lot in my spare time, and I love to get my brain working with business books of all kinds. Unfortunately, I’ve found personal marketing books tend to be, in my opinion, relatively useless for those of us in the sound field. They seem to be full of tips either so obvious that they’re painful (Make a website! Write an amazing resume!) or filled to the brim with antiquated business advice (Make sure you have professional business cards!).

So, I thought that I would put together a few interesting ideas that I’ve seen people use to creatively market themselves in the field of audio. Here they are!

Offer to write member interviews for your industry guild’s publication.

I know a mixer who did this years ago when she still lived on the east coast and was attempting to jump-start her career. She interviewed tons of top mixers in a thoughtful and engaging way. Then, when she decided to take the plunge and move to Los Angeles, she already had a bevy of contacts who had personally interacted with her. She never would have gotten to know all of those top industry professionals if she hadn’t volunteered her time for her industry magazine. To this day, whenever I’ve heard her name mentioned in passing, everyone is always quick to say, “Oh, you know her, too? Everyone knows so-and-so! She’s so amazing!” She put in the hard work upfront and it paid out tenfold in the long run.

Offer to write articles for an online professional magazine.

In this case, you can really present yourself as an industry influencer and/or technical expert. I mean, how amazing would it be if a potential employer googled your name, and fifteen plugin reviews from a top online audio magazine came up with your headshot and byline? You would definitely appear to be a cut above the rest. This is a great way to absolutely crush your SEO. If you go this route, you may want to prepare a spec piece to give them a sample of the kinds of things you would like to produce. Also (added bonus!), don’t be surprised if writing interesting product reviews also results in offers to try out new plugins for free! This is a great way to build your audio arsenal and your online brand.

Engage with your community on social media.

Follow sound professionals you admire on Twitter and comment on their tweets. Join some audio Facebook pages (I love Game Audio Denizens, Sound Girls Private, and Professional Freelance Sound Mixers) and comment on posts. Like your favorite studios’ Instagram pics. People love to feel connected, and it’s easier than you might imagine to feel like you “know” someone after you’ve interacted a few times on social media. This is the virtual version of hanging out in the right room. If you’re there long enough and you make your presence known (in a non-annoying way), you will inherently be seen as belonging. I would caution you to start small with commenting and liking, then move on to posting when you’re more confident. Definitely, don’t just jump in and post every day. That’s like crashing a wedding and then hopping on stage to give a speech.

Volunteer at a non-profit that involves your prospective clients or co-workers.

I’m a member of the non-profit group Women in Animation whose mission is to advance women in the field of animation. Their current goal is to reach 50/50 (men-to-women ratio) by the year 2020, which is absolutely amazing! You might ask why I’m into Women in Animation rather than SoundGirls, which has a similar goal but for the audio field. I’m actually in both, but the distinction is extremely important: I’m involved in the animation group for my personal/business marketing and the sound group for my own enjoyment.

That’s because when your aim is personal marketing, you want to put yourself in the “right room.” And that means a room with the people who can get you work, which is very different than a room filled with your peers. Boom Box Post does sound for animation, and we’re hired by animation studios. So that means that the main place I need to network is with animation professionals. For freelance sound editors, that might mean going to guild events to connect with new supervising sound editors. For mixers, it might mean attending a charity golf tournament sponsored by the post department of one of the big studios. The most important thing is to write down the top three people/job titles that could help you to find work, and then brainstorm places that those people might be.

Start your own professional networking group.

I know a few people who have done this. This can mean putting together speakers for a quarterly professional panel discussion, or maybe just setting up drinks at a local bar for like-minded audio professionals.  Whatever it is, you can put yourself on the map and meet a lot of amazing people along the way. If you’re facilitating networking and/or learning opportunities for others, chances are that one day they will want to reciprocate the investment you made and help you out. Plus, you’ll get to have a fantastic time along the way!

Start a Lunch & Learn club.

Jeff and I came up with the idea of holding monthly “Lunch and Learn” sessions a few years back, and we’ve been blogging about it ever since! Every month, we get our team together for lunch, and then one person gives a demonstration of anything at all at which they consider themselves an expert. This can mean using a certain plugin, cutting a slo-mo sequence properly, using Soundminer to the max, etc. It’s a great way to keep everyone both learning and teaching, and also gives the team a go-to person should they ever have questions on the topic in the future.

Since beginning to blog about this, we’ve had numerous people tell us that they’ve started their own Lunch and Learn at work. We absolutely love this! Keep the good karma going and share your knowledge.  Lunch and Learns not only show everyone involved in the best light as creative professionals, but they also give everyone a chance to invest their time and energy in helping those around them. And an investment in others is always something that can pay dividends down the line when those same people are in a place to hire you, recommend you, or even just walk your dog when you’re on vacation!

Start a virtual freelancers club.

If I had to guess, I would say that the number one group of people Googling “self-marketing” are freelancers. It’s hard to know where to start in making connections and positioning yourself correctly for a fab career in the future when you work from home and rarely interact with others. If you don’t get a lot of time with peers, starting a freelancers club is a great jumping-off point in marketing yourself!

For most professions, a freelancers club usually means meeting up once a week with other freelancers at someone’s home or a coffee shop and working in the same space so that you can be a little more accountable regarding how you spend your time and also get to feel like you have co-workers. Obviously, the need for a desk full of audio gear doesn’t exactly make this practical, at least in its usual incarnation.

But, I love the idea of starting a Slack channel or using other e-workplace software to create a virtual freelancers’ club. We all need other people to bounce ideas off of, get tech support from, bullshit with, and (most importantly) share stupid .gifs about things like our bad lunch habits and Golden Girls obsession. So go ahead a get e-out there! Having a set small group that you always interact with will make your workday much more enjoyable, eventful, and help you to bond with others who could help to vouch for you in the future.

A Simple Method for Recording Drums

Recording drums is an important part of any project but the process can often seem quite daunting. Often in-studio pictures feature an abundance of microphones on and around the kit, suggesting that you might need a lot of equipment to get the job done.

However, one simple method of recording drums that is highly effective is the Glyn Johns method.

It uses only four microphones and is relatively easy to set up.

What you need

Overheads

First, begin by placing one overhead mic about a metre (3 or 4 feet) above the snare. The microphone diaphragm should be pointing down at the kit. Then take your second overhead microphone and place it to the right of the drummer (so the microphone diaphragm is facing the Hi-Hat). Then measure the distance so that it’s the exact same measurement from the first overhead mic (so about a metre). Pan the two mics in the mix and you should get a nice balanced sound.

*The image shows the distance of the microphones but not the correct diaphragm placement

Snare + Kick Drum

The snare and kick drum microphone placements can be played around with until you find a sound you like. Often with kick drum mics you can place the microphone inside the drum or have it set up on the outside.

Overall this is a great and relatively easy way to record drums.

 

Missed this Week’s Top Stories? Read our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

May Feature Profile

https://soundgirls.org/from-making-tea-to-top-gear/


The Blogs

Impostor Syndrome in Creative Industries

La découverte de la musique

I Have Confidence in Me

Internet Round-Up

New Web Project Immortalizes the Overlooked Women Who Helped Create Rock and Roll in the 1950s


 

Behind The Soundboard with Juno Black & Willa Snow

 


SoundGirls News


Leslie Gaston-Bird is raising funds for her 50th birthday. Happy Birthday! She is raising funds for the “SoundGirls – Gaston-Bird Travel fund” which has been established to increase the presence of women and those that identify as women at audio trade conferences. Women who have been invited to speak, or sit on panels at audio related trade conferences are welcome to apply. More info at https://soundgirls.org/soundgirls-gaston-bird-travel-fund/


SoundGirls Co-Founder Michelle Sabolchick Pettinato has created a Free eBook called 7 Things Every Live Sound Engineer Should Know

“The most common thing I hear from new engineers and those just getting started in live sound and mixing is how overwhelmed they are with how much there is to know. They focus on trying to learn all of the gear and keeping up with every new piece of equipment or plugin out there, instead of learning the underlying principles and techniques. This is why I created the eBook. There were so many other things I could have listed, but I tried to keep it to what I felt would help solve some of the biggest problems sound engineers face: Understanding how the system works together, being able to mix on any console, dealing with feedback, getting better quality sounds and mixes, and having more confidence in what they are doing.
The book covers these important concepts- Signal Flow, Proper Gain Structure. The eBook explains the importance of these, as well as proper EQ techniques, how to use a gate and compressor, choosing the right microphone, basic troubleshooting, and getting good sounds from the source.”

The link for the free ebook is:
https://www.mixingmusiclive.com/ebook-page


Top 30 Audio Engineering Blogs, News Websites & Newsletters To Follow in 2019

Congratulations to all our bloggers. The SoundGirls Blog is number 12 of the Top 30 Audio Engineering Blogs, News Websites & Newsletters To Follow in 2019.


SoundGirls Events

 

SoundGirls Wikipedia Edit-A-Thon – May 26th

Register For Career Paths in Recording Arts

 

https://soundgirls.org/event/los-angeles-soundgirls-june-social/?instance_id=1555

SoundGirls Intro to Soldering – Colorado

Ableton Live for Anybody


SoundGirls Opportunities


Apply to Work The Ladybug Music Festival

SoundGirls and SoundGym


Shadowing/Mentoring/Internship Opportunities


Shadowing Opportunity w/ ME Aaron Foye

Shadowing Opportunity – Brad Madix and Annette Guilfoyle

Shadow Gil Eva Craig – NZ & Australia


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

A More Inclusive Industry

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

Impostor Syndrome in Creative Industries

This month’s blog topic is not directly related to audio. Yet it relates to our work and everyday life. It is a topic I have been thinking a lot about lately and one I hope others find educational or can relate to.

One evening, I was talking to a good friend about work and our successes. I’ve had some important accomplishments recently, and I was telling her how I felt undeserving of the recognition. I feared that soon, someone would point out how I didn’t know what I was doing. She said, look up impostor syndrome.

As defined by the Cambridge Dictionary, impostor syndrome “is the feeling that your achievements are not real or that you do not deserve the praise or success.” Great, I thought. There is a word to explain how I feel, but why do I feel this way? As I began looking into this, I’ve learned more about the syndrome and myself.

Impostor syndrome was introduced in a 1978 research paper by Pauline Rose Clance and Suzanne Ament Imes titled “The Impostor Phenomenon in High Achieving Women.” From the abstract: “Certain early family dynamics and later introjection of societal sex-role stereotyping appear to contribute significantly to the development of the impostor phenomenon. Despite outstanding academic and professional accomplishments, women who experience the impostor phenomenon persist in believing that they are really not bright and have fooled anyone who thinks otherwise.” Clance and Imes aimed their research at how the syndrome affects women, yet further studies have since shown that many men also suffer from the phenomenon. Why do so many of us feel this way?

I believe that part of it, for me, is confidence and insecurity. I understand deep down that I know what I am doing, but there’s that subconscious nagging jerk tapping me on the shoulder saying “But you don’t really understand this thing. Everyone else understands it and will figure out soon enough that you don’t.”

In creative industries, it’s especially tough as your work is very subjective, yet constantly scrutinized. When you get positive feedback you think, that must have just been luck. And of course, there can be negative comments from people jealous of your successes that help crush you even further.

I try to push myself through these moments of insecurity by doing the things that feel uncomfortable.  Writing these blogs, for instance, is not a comfortable thing for me. No matter how well I write a blog, someone is going to point out a mistake and figure out that I don’t actually know what I’m talking about. And why would anyone want to read what I have to say, anyways? I persist because positive feedback fuels my confidence in my knowledge, and negative feedback fuels my pursuit of knowledge and growth even further.

If this subject interests you as well, I encourage you to check out Valerie Young at http://www.impostorsyndrome.com. She has some great resources in her blog that may help you understand and work with your impostor syndrome. (I found this one particularly helpful: https://impostorsyndrome.com/are-creative-people-more-susceptible-to-impostor-syndrome/)

 

La découverte de la musique

Music is an important part of many people’s lives. The number of albums available to listen to is endless. I have recently been going through and organising my parents’ vinyl collections, as well as their VHS tapes and cassette tapes. How vintage. It made me realise that I have never really actively “looked” for new music to listen to. Music seems to find me. My lifestyle can result in the discovery of new artists every day. For example, through scrolling on social media, I am made aware of different songs. By listening to the radio, I hear new musicians. Instagram stories by influencers can encourage me to search for a song. I have an ever-evolving playlist on Spotify simply called ‘new’ where I add songs recommended to me all the time. Then when I find the time to listen, I go through and either keep or delete.

 

A recommendation by Corinne Fisher on the ‘Two Less Lonely Girls’ podcast was the 1995 Alanis Morissette album: ‘Jagged Little Pill’ and I am constantly playing it on repeat at the moment. It is so good. I don’t know how I hadn’t heard it before now. I also follow YouTube musicians including Ebony Day, Hobbie Stuart and dodie, not to mention authors and directors that sometimes post a cover or two, such as Hazel Hayes. Whether its covers or original songs, you can often feel much more connected to a song sung by an online personality whose work you admire. It is clear that I have an eclectic taste in music. Is there anyone else that enjoys the La La Land soundtrack just as much as Wu-Tang Clan?

I watch a Norwegian TV show called Skam, which has a superb soundtrack. The show has been recreated in many countries including France, Italy, Spain, and Germany, adapting the storylines and characters to the culture of the country. The soundtracks are available as playlists on Spotify and YouTube, and it is such a great way to discover a wide range of international music. From Yelle to Kid Astray, from Gabrielle to Sigur Rós, there’s bound to be a song that surprises you (in a good way).

I also find new musicians through podcasts such; ‘George Ezra & Friends,’ ‘Teenage Mixtape’ and ‘Phil Taggart’s Slacker Podcast’ where they ask fellow artists and music lovers what first inspired them, who they used to listen to when they were younger and the first album they bought. This made me think about the first music I bought.

My first…..

Cassette tape: S Club 7 – 7 (This was unfortunately left in a car and never found again).

Vinyl: Jake Bugg – Shangri La

CD: Girls Aloud – Sound of the Underground (I vividly remember getting this from Woolworths in 2002 lol).

Spotify playlist: SKAM NRK P3

 

Through looking through my parents’ record collection, I have discovered Daryl Hall and John Oates and Genesis as well as rediscovering Billy Joel and the ABBA Gold album. Safe to say I have hundreds of vinyl and tapes to listen to for the rest of the year. Do you have a record collection? Although CDs have become less popular over the past few years due to streaming and online downloads, it seems that vinyl is coming back into fashion, either to be used properly and played on record players or framed and used as décor!

WHERE ELSE TO FIND ME:

Tri-lingual radio show (Sobremesa): https://www.mixcloud.com/Alexandra_McLeod/

Sobremesa Facebook page: https://www.facebook.com/AlexandraSobremesa/

YouTube and Geography blog: https://alexandrasobremesa.wordpress.com/

LinkedIn: https://www.linkedin.com/in/alexandra-mcleod-79b7a8107?trk=nav_responsive_tab_profile

 

I Have Confidence in Me

 

So, let them bring on all their problems – I’ll do better than my best

I have confidence they’ll put me to the test – But I’ll make them see I have confidence in me

I Have Confidence, from The Sound of Music: Rodgers and Hammerstein, 1965

To succeed in audio, having the right amount of confidence is key. I struggle with a lack of confidence, and this post will mostly deal with how I counteract that. However, if you think you’re god’s gift to sound, you might want to take a minute to reflect on whether that’s true too, especially if your bragging is overcompensation for low-esteem. Being realistic about your abilities, and having a mindset somewhere between Marvin the Paranoid Android from the Hitchhiker’s Guide to the Galaxy and the average Pop Idol contestant is the goal.

Plenty of aspects of this job can knock your confidence: as a freelancer, it’s easy to constantly compare yourself to others. As I mentioned in my last post, social media can be toxic; when all you see is the best aspects of your peers’ lives, it’s easy to think you’re lagging far behind. If office workers get stressed out and jealous any time there’s a promotion to compete for; we can feel that way for every gig. “Why did they put him on that show?” “Why did they think she’d be good for that role?” “Why didn’t they ask me?” The politics of who gets hired are many and varied, and if you try to make sense of it or take it personally, you may well end up sobbing in a corner. Even if you try to abstain from it, your colleagues might loudly and rudely question your abilities for you, either to make themselves feel better or to advance their careers. Having the confidence to get on with your job and show them why they’re wrong to doubt you are the best way to fight back.

Lack of confidence can sabotage you while you’re in the middle of work. We often have to deal with complex issues while sticking to tight deadlines. We can’t wander off, read up on the topic then come back the next day feeling educated and refreshed; the gig has to happen today. And of course, what every sound person dreads: the announcement that there are “technical issues.” The entire audience turns around as one to stare at the front of house, even if it’s a dodgy connection on a guitar pedal. You didn’t even see that bus coming before they threw you under it!

A healthy level of confidence (not to be confused with arrogance) is essential to remain resilient and effective in the face of challenges. It benefits the gig, your career, and your well-being. Cognitive behavioural therapy (CBT) is often recommended to treat depression and anxiety, but I think it can help everyone. Courses are freely available online and from your local library, and they help you to get perspective on things and break out of negative thought processes. For example, if you lost out on a job, imagine what you would say to a good friend if they were in your situation. You deserve as much faith and respect as anyone else, telling yourself you’re worthless or unemployable is not constructive.

I have referred to this blog post about caring about the opinion of others before, but I don’t think it’s an exaggeration to say it changed my life: Taming the Mammoth: Why You Should Stop Caring What Other People Think. The main point to take away is that people are far more interested in themselves than you, and it’s a waste of time to worry about what others think of you. Let’s take a classic rom-com cliche as an example: you pass a group of people who all smile at you. Wait, why did they do that? Are they just happy? Are they smiling at something behind you? What if they’re actually sniggering at you because you have something stuck in your teeth?

As you can see from the Punnet Square of Embarrassment, there are four main possible scenarios, and in each of them worrying that you have something stuck in your teeth achieves nothing. We all have teeth. We all eat food. Stuff sometimes gets stuck in our teeth; no one cares. If they are laughing at you, you can pity them for wasting their time caring about something so inconsequential. For a bonus tip: very occasionally, I go for a walk and pretend that anyone looking my way is simply awestruck by how incredibly amazing I am. Obviously, that isn’t the case, but it lifts my mood and makes me laugh anyway.

The Punnet Square of Embarrassment. Pink denotes a waste of all your energy to worrying, purple denotes a waste of some energy, and in the blue area, no energy is wasted.

Of course, messing up at work is a bit more important than dental greenery, and laughing it off like you don’t care is not the approach to take. The principle remains the same, though: it happens to everyone, even the best engineers in the world have bad days. By all means, learn from what happened and plan how to prevent it from happening again, but then brush yourself off and move on. Dwelling on it can ruin your focus for the rest of the day and lead to more silly mistakes.

A great way to have confidence is to genuinely have a solid understanding of the topics at hand, and I recommend learning all you can at every opportunity. However, no one can know everything about every piece of equipment, every band, every venue. It can take a bit of experience to know what’s normal to know, and what isn’t. If you’re not sure of something, don’t be afraid to admit it; we’ve all been there, and it’s how we all learn. Everyone needs to ask the internet, a friend, or a manufacturer’s tech support for help sometimes. It isn’t a sign of failure; it’s part of the job.

Finding a happy medium in self-confidence, and having an accurate idea of your competence is a constant growing exercise. Discuss it with colleagues you trust, as it is often easier to gauge from an outside, more experienced perspective. Ask for input from several sources, so you aren’t unduly influenced by one opinion. Knowing your worth can reduce stress at work, reassure your clients and colleagues, help you when negotiating pay and lead you ever closer to your goals. It also encourages you to help others: only people who are afraid of competition hoard their knowledge. People who are confident in their abilities are happy to share and raise everyone up, which increases their confidence too.

Ableton Live for Anybody

No experience necessary. Beginner and intermediate users welcome. All genders and non-binary people are welcome.

$60 for the two-day course – email soundgirls@soundgirls.org if you require financial aid

Register Here

Class Description
Do you want to start making beats? Do you want to learn how to make your own demos? Do you want to sharpen your DAW skills so you can get over that first learning curve and really start running with your creativity? Do you want to start performing live with Ableton, but don’t know where to start?

By the end of this two-day course, you will have learned all you need to know in order to really get your engines revved up about Ableton. I want to give you the tools to explore and to run as much of your show as you want to. With your newfound agility and excitement, you might even feel confident to explore parts of Ableton functionality that haven’t yet been discovered! Because that’s what creativity is all about—exploring and playing! But first, what is it exactly that you will be learning?

Day One will be all about the essentials of Ableton. What is the basic design behind this software? How do you get the sounds you want IN there, so you can edit them and play with them? How do you program a drum beat? How do you slow it down if you want to? How do you mess around with ideas and decide what parts you want to go at the beginning, the middle, and the end? How do you listen to it on your phone? By the end of the class, you will have a multi-track song that you create entirely by yourself using Ableton.
*Key items covered: time signatures & tempos, MIDI, audio, clips, arrangement view, bouncing

Day Two will focus on Ableton in live performance. You will learn how to make backing tracks that are suitable for the type of performance you want to put on. Maybe you want to push play at the beginning of the set and never really look at your computer again until your last song. Or maybe you want to engage with every sound that comes out of the house speakers. Or maybe your fantasy set is something in between! We will go over different approaches to designing your live set by using your new song from day one as a template.
*Key items covered: importing tracks, deciding on a playback concept, labeling, setting up loops and automation

Equipment needed (students):
-laptop with Ableton already installed – You can download a 30-day free trial


Missed this Week’s Top Stories? Read our Quick Round-up!

It’s easy to miss the SoundGirls news and blogs, so we have put together a round-up of the blogs, articles, and news from the past week. You can keep up to date and read more at SoundGirls.org

May Feature Profile

https://soundgirls.org/from-making-tea-to-top-gear/


The Blogs

Zora Neale Hurston

Podcasting Gear on a Teacher’s Budget

Avoid the Event Hangover.

Being A Musician Makes Me A Better Sound Designer and Engineer

 

Internet Round-Up

New music program wants more women, non-binary producers in the mix


Songwriter / Producer / Entrepreneur, TRAKGIRL on Pensados Place

 


SoundGirls News


Leslie Gaston-Bird is raising funds for her 50th birthday. Happy Birthday! She is raising funds for the “SoundGirls – Gaston-Bird Travel fund” which has been established to increase the presence of women and those that identify as women at audio trade conferences. Women who have been invited to speak, or sit on panels at audio related trade conferences are welcome to apply. More info at https://soundgirls.org/soundgirls-gaston-bird-travel-fund/


SoundGirls Co-Founder Michelle Sabolchick Pettinato has created a Free eBook called 7 Things Every Live Sound Engineer Should Know

“The most common thing I hear from new engineers and those just getting started in live sound and mixing is how overwhelmed they are with how much there is to know. They focus on trying to learn all of the gear and keeping up with every new piece of equipment or plugin out there, instead of learning the underlying principles and techniques. This is why I created the eBook. There were so many other things I could have listed, but I tried to keep it to what I felt would help solve some of the biggest problems sound engineers face: Understanding how the system works together, being able to mix on any console, dealing with feedback, getting better quality sounds and mixes, and having more confidence in what they are doing.
The book covers these important concepts- Signal Flow, Proper Gain Structure. The eBook explains the importance of these, as well as proper EQ techniques, how to use a gate and compressor, choosing the right microphone, basic troubleshooting, and getting good sounds from the source.”

The link for the free ebook is:
https://www.mixingmusiclive.com/ebook-page


Top 30 Audio Engineering Blogs, News Websites & Newsletters To Follow in 2019

Congratulations to all our bloggers. The SoundGirls Blog is number 12 of the Top 30 Audio Engineering Blogs, News Websites & Newsletters To Follow in 2019.


SoundGirls Events

https://soundgirls.org/event/mastering-w-piper-payne-oakland-2/?instance_id=1522

https://soundgirls.org/event/vancouver-meyer/?instance_id=1524

https://soundgirls.org/event/vancouver-soundgirls-social-3/?instance_id=1526

 

SoundGirls Wikipedia Edit-A-Thon – May 26th

Register For Career Paths in Recording Arts

 

https://soundgirls.org/event/los-angeles-soundgirls-june-social/?instance_id=1555

SoundGirls Intro to Soldering – Colorado


SoundGirls Opportunities


Apply to Work The Ladybug Music Festival

SoundGirls and SoundGym


Shadowing/Mentoring/Internship Opportunities


Shadowing Opportunity w/ ME Aaron Foye

Shadowing Opportunity – Brad Madix and Annette Guilfoyle

Shadow Gil Eva Craig – NZ & Australia

Viva La Muxer – SoundGirls Volunteers


SoundGirls Resources


Spotify and SoundGirls Team Up – EQL Directory

SoundGirls – Gaston-Bird Travel Fund

Letter for Trades and Manufacturers


Women-Owned Businesses

SoundGirls Scholarships 2021 Now Open

Events

Sexual Harassment

https://soundgirls.org/about-us/soundgirls-chapters/

Jobs and Internships

Women in the Professional Audio

Member Benefits

Zora Neale Hurston

There are a variety of ways to approach the study of music.  I often tackle it from a technical point of view, but one can look at the historical and cultural context of music to decipher the larger picture.  Ethnomusicology is the study of the social and societal sources of music and is heavily tied with anthropology and the study of folklore. Through this human-centric approach, researchers learn about the ‘why’ of music and how emotions are expressed in different communities.  As a field of study, ethnomusicology developed in the mid-1800s, supported by the nationalist sentiments in classical music of the time. In the 1930s with the increasing portability of recording machines, there was a push to document folk music from around the world, especially in the United States.  In the Caribbean and the American South, Zora Neale Hurston was the champion of the African cultural diaspora.

While many ethnomusicologists start out as composers or musicians, Hurston was an anthropologist who studied folklore.  Where folklore and music overlapped, she did not hesitate to explore and document. Her best-known works are Their Eyes Were Watching God (later made into a film starring Halle Berry) and Dust Tracks on a Road (an autobiography).  Hurston’s relationship with human culture followed many avenues, as her name is most notably associated with the Harlem Renaissance literary movement.

Hurston was born in 1891 in Alabama and grew up in Eatonville, Florida where many of her books are set.  She dropped out of high school after her father and step-mother stopped paying for her tuition and eventually became a maid to a touring theatre company.  From there she found her way back to high-school and graduated at age 27. After receiving her associate degree from Howard University, Hurston pursued a B.A. in Anthropology from Barnard College of Columbia University.  She followed this with masters from the same institution and began research of African American culture in the American South from 1927 to 1932 under the patronage of Charlotte Osgood Mason.

It was from this research that Zora Neale Hurston took inspiration for her many novels. The lumber camps in Florida became Mules and Men, and spiritual and vodoun culture in Jamaica and Haiti became Tell My Horse.  Hurston’s dedication to anthropological research did get her into controversy.  Her adherence to dialect was not always appreciated in the literary world, as it was seen as degrading by her peers.  It took until 2018 for her nonfiction account of the last slave brought to the United States, Barracoon, to be published.  Literature was not the only way to share her research, therefore Hurston staged several revues of folk music and dance from the Caribbean and American South.  The Great Day was her first revue, staged at New York’s John Golden Theatre in 1932.  Later revues included From Sun to Sun and Singing Steel.  In 1935 Hurston collaborated with Alan Lomax and Mary Elizabeth Barnicle to record songs and interviews from former American slaves.  There are other instances where Hurston herself would perform the songs she gathered in her travels. These recordings are still available in the Library of Congress.

Zora Neale Hurston’s influence extends to this day with the ZORA! Festival of the Arts and Humanities in her hometown of Eatonville, Florida among other institutions created and barriers crossed along the way.  Hurston’s documentation and preservation of the voices of the American South and especially those of African American women help keep their stories alive. Our connection with our musical past is important for our musical future, and it takes many different disciplines collaborating to keep the connection alive.

 

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