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Pedagogy Column Holding Space:

A Metta Meditation for Musicians

by Jennifer Montone, IHS 57 Featured Artist; Principal Horn, The Philadelphia Orchestra The music field is a wonderful but sometimes stressful place. We constantly ride the rollercoaster of striving for artistic excellence while accepting the sobering reality of our own humanness. Our mental well-being is hugely important to the quality of our playing. We perform better with "cheerleader" voices in our heads instead of "critics." We perform more expressively, bravely, freely, musically, and excitingly when we feel supported and respected. It's simply more joyous to collaborate musically in friendly environments. Research consistently shows that working in open, inclusive, supportive, safe, and collaborative musical environments is better for our growth, happiness, health, and excellence. Yet, perfectionism, pedestal thinking, and power dynamics often complicate things. One powerful solution is the concept of holding space: "Creating a safe, non-judgmental environment where someone can feel seen, heard, and understood without being interrupted or controlled." What a beautiful sentiment! Embracing Imperfection for Excellence "Excellence is the result of caring more than others think is smart, risking more than others think is safe, trying more than others think is wise, and expecting more than others think is possible." In this age of recordings and YouTube, where perfection sometimes feels more valued than expression, we often feel paralyzed by the fear of failure. We might feel judged by colleagues, harangued by self-doubt, berating ourselves mercilessly for mistakes, weeping into our pillows, and joking about FOMO (fear of missing out) and imposter syndrome. It's hard to ever feel "good enough" or "perfect enough." Awesome antidotes to perfectionism include internal pep talks, meditation, yoga, proactive phrasing, using musical adjectives, playing with love, riding excitement waves, singing from the heart, and simply having fun. It's also helpful to remember: we don't choose our friends, spouses, pets, or homes for their perfection; we love them because of how they make us feel. The same is true with music. True excellence, beauty, and passion manifest in incredible, human, and therefore beautifully imperfect ways. By holding space for ourselves, we honor and celebrate every artistic attempt—big or small, close to perfect or not. We celebrate our commitment, heartfelt caring, brave risk-taking, and hard work towards excellence. "May I feel safe, healthy, at peace.…" Learning from Everyone: Beyond the Pedestal "Every person is my teacher in some way: in that, I learn from them." We live in a world of categorizing and comparing ourselves, and for most horn players, often worrying we aren't measuring up. While "pedestal thinking" can sometimes inspire us, it can also brutalize us. We can all be more mindful of how we navigate this. The alternative to an invisible caste system is to purposefully empower and lift up ourselves and others, honoring lifelong learning from all sources. Let's celebrate every success around us, whether prestigious, high-paying, or not directly in the music field. We know that everyone who plays music is a musician, an artist—sharing their gifts, making the world a better place, inspiring, provoking thought, and opening minds and hearts. This is true no matter the location, level, title, income, or percentage of playing versus other employment. With appreciation for the specialness of each artistic voice, we hold space for each other, celebrating all types of successes based on the concept of inherent worth: each person deserving of great respect. "May you feel safe, healthy, at peace.…" Navigating Hierarchies with Respect "Sometimes, courage doesn’t roar. Sometimes, courage is the quiet voice in the night, whispering, 'I will try again tomorrow.'" Our field has natural hierarchies that organize how we learn and work together. However, these can unfortunately lead to dangerous and harmful power dynamics. We've all experienced teacher/student, coach/chamber group, conductor/orchestra musician, principal/section member, and contractor/freelancer hierarchies. These roles necessitate colleagues respectfully promoting safe, supportive atmospheres. Thankfully, this is mostly the case. But we are all human, and many of us have also experienced or witnessed disrespectful, inappropriate, mean-spirited, or demeaning behavior—designed to make one person feel smaller or less worthy than another—for all kinds of reasons. We can collectively acknowledge the pain and inequity in our institutional past, and together, we can navigate, heal from, and move past it to change the culture for the future. Horn players are caring, warm, and supportive individuals, giving us a unique opportunity to bond together and address problems in our own workplaces and schools. We celebrate how we hold space as a community: ensuring that people of all races, genders, ages, and orientations are treated with respect; creating an environment where it feels safe to disclose things, to say "I'm sorry, I messed up. I want to do differently next time," or "Hey, are you okay?" and to discuss equity and to problem-solve collaboratively. "May we all feel safe, healthy, at peace.…" The Power of Collectively Holding Space Holding space—for ourselves, each other, and the whole world—can profoundly help with perfectionism, pedestal thinking, and power dynamics. With this collective spirit, we create safe spaces for us all to bloom personally and artistically. I am part of an amazing new nonprofit, the Coalition of Musicians for Ethical Change, and we hope you'll consider joining us! We are a community of musicians supporting the establishment of safe and supportive work and school environments where musicians of all ages, genders, and races can thrive musically and professionally. We offer educational programs at schools and festivals, provide support if you need it, and host town halls to discuss these topics in a warm, open, inclusive, non-judgmental forum. For more information, please visit: https://www.musiciansforethicalchange.org/ Additionally, at IHS 57, as in the past few years (thank you, wonderful IHS leaders, for promoting these important sessions!), there will be a panel discussion about equity in the horn world. I hope you'll all come for an uplifting, collaborative conversation about how we can experience more joy through holding space for ourselves, each other, and our entire field!

Brass & Horn Warm-Ups with Andrew Bain & Jen Montone!

CBS3 Heartbeat: Jennifer Montone

☯️ Holistic Horn Ep. 4 - Jen Montone on Musical Resilience

Jen Montone, Principal Horn, Philadelphia Orchestra

Jennifer Montone: The Unspoken Mental & Emotional

Aspects of Being a Musician (with Catherine Cho)

Musician Mindset featuring Jennifer Montone

Jennifer Montone - Injuries and Recovery

Jen Montone - Live on Sarah's Horn Hangouts

 

Jen Montone – Toolbox, Tone and Teaching

Featuring the Curtis Horns

Recorded live at the Curtis Institute of Music on Feb.10th, 2019

 

 

Mar 10, 2019

The Making of Gabrieli

In 2014, some of the country’s finest classical brass musicians got together in the Bay Area to recreate a seminal 1968 recording of sacred music by the great Italian Renaissance composer Giovanni Gabrieli — and also lay down a new work specially written for them by American film composer John Williams.

Jul 31, 2017

The Principal Horn Hangout

 

Five of the world´s top principal horns on Sarah´s Horn Hangouts, live from the International Horn Society in Los Angeles. Julie Landsman, Jennifer Montone, Andrew Bain, Tim Jones and Stefan Dohr talk about their illustrious careers to Sarah Willis with live questions from the online viewers.

 

Jul 31, 2017

Composed Documentary - Full Trailer

 

Through the lens of professional classical musicians, Composed explores the many ways we experience and can address performance anxiety. Faced with the judgment of peers, audience, conductors, and worst of all themselves, these musicians spend years trying to understand and overcome the physical and mental manifestations of their anxiety. Through their stories, we learn valuable lessons learned over a lifetime of professional performance; and we find that we are not alone in our quest to overcome the fear of failure and embarrassment. For anyone wanting to feel strength over fear and compassion over judgment, or simply seeking a closer look at anxiety and what makes us tick, Composed opens the door to a world of high stakes, high pressure, and peak performing.

 

 

Jul 31, 2017

Jennifer Montone Brass Chats | Season 2, Episode 2

 

She crushes it on the horn and always has. She says curse words in job interviews. Her mental game alone is stronger than all of the skills we have—combined. She has overcome great obstacles and injuries; she knows how to practice. She is a superstar. She is the Boss. She is all of these things, and much much more—at a young age with myriad untold wonders to offer the world in the future.

What we're trying to say is, holy moly, were we ever lucky to score an interview with the Principal Horn (I know, horn, right?! Us!!) of the Philadelphia Orchestra JEN MONTONE! Here it is, this month's inspiration feast. Enjoy!

 

 

Jul 31, 2017

The Working Music Podcast: Episode 59

 

David Pedrick talks with fellow professional musicians about the business of making music. In this interview, we covered the following topics:

  • Philadelphia Orchestra

  • Leadership

  • Brave opinions

  • Balance

  • And more!

Skip The Repeat Podcast: Interview

 

Episode Description: Jennifer Montone is very proud of her students. Jen talks to Kai about how her sister influenced her decision to pursue the dream to become a musician (4), the central role performance psychology has played in her career (22:50), and the accident that changed the course of that career (30:45). They also discuss the stigma musicians feel when they decide to do something different (42:40), and what she has learned from being the mother to two small boys (1:02:30).

 

The Brass Junkies Episode 80: Jennifer Montone of the Philadelphia Orchestra

 

TBJ80: Philadelphia Orchestra Principal Horn Jennifer Montone on playing, meditating and telling your own story

Jennifer Montone has played with the Philadelphia Orchestra for 11 years. Prior to that, she spent time in the Dallas, St. Louis and New Jersey Symphonies and teaches at both Curtis and Juilliard

Looking Back at the Philadelphia Orchestra's Visit to Mongolia

 

The Philadelphia Orchestra is back from its debut in Mongolia, where planned full-orchestra concerts needed to be canceled due to a nation-wide financial crisis. Instead, a contingent of 18 musicians spent two days in the capital city of Ulaanbaatar. Now, the Philadelphia Inquirer's David Patrick Stearns asks what this could lead to.

Women Brass Players in the US - Part 2: 1946 to present

 

Female players on all instruments gained considerable acceptance during World War II, as detailed in Part I of this article (The Horn Call, May 2016), but with the war over, many of the old arguments against women players reemerged. While barriers had been eroded, they had not ceased to exist, and the joy of the American public at the return of its soldiers translated into a (sometimes voluntary) loss of orchestral jobs for women musicians. The 1950's were a regressive decade for working women, and orchestral players were no exception. Several decades would pass before the number of professional players again reached the levels seen in the early-mid 1940's.

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Montone Plays Strauss: The Philadelphia Orchestra on WRTI

 

Join us on Sunday, August 23 at 1 pm for The Philadelphia Orchestra In Concert on WRTI. In this January, 2015 concert, Christoph Eschenbach, Philadelphia Orchestra music director from 2003 to 2008, returns to Verizon Hall to lead this all-German program. And the Orchestra’s principal horn Jennifer Montone plays the Richard Strauss Horn Concerto No. 1.

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Once Upon A Time

Jennifer Montone’s path from ordinary to exceptional inspires students

BY RUOKAI CHEN

For every handful of musicians smitten by an instrument when hearing Britten’s Young Person’s Guide to the Orchestra, another group will claim Prokofiev’s Peter and the Wolf. The elementary Let’s Go Band, by Andrew Ballent, may not be of the same caliber, yet it introduced fourth grader Jennifer Montone to distinctive sounds, thanks to her sister, Michelle. Michelle played a tape recording of her band’s concert performance for her young sister and showed her pictures of the instruments. Jennifer chose one she remembers as sounding and looking “pretty”: the horn.

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