<p>As I've been researching programs for my D -- HS junior, looking for undergraduate program in jazz vocal performance -- I've come across programs that are supposedly reputable, yet have no full-time faculty for jazz voice. Somewhat common is a situation where somebody is an adjunct at a place -- and is also an adjunct at several other local universities' programs.
Am I correct to be leery of this kind of thing? I don't care how gifted the adjunct might be musically; I think it would be better for my daughter to be in a program where there's at least one professor there, dedicated the the subject and the students. </p>
<p>Anybody else run into this issue? Did your son/daughter not have a problem with it?</p>
<p>When we were looking at The New School I remember being really worried about the fact that there seemed to be practically no full-time faculty--at least for private lessons. But their whole program is based on the incredible access to artists afforded the school by being in Manhattan. If the teacher is living in the city then I would assume he or she is going to see students for weekly lessons and be around for phone calls if necessary, not missing that weekly lesson. Other full-time faculty might be teaching things like theory. But, I don't see the lesson teacher who is not full time as a problem. In college, you have a weekly private lesson and the rest of your schedule is filled with ensemble work and practice and your academic classes. My son is at a conservatory and this seems to be the norm.</p>
<p>I think a number of the conservatories do not have that many full time faculty since the same people seem to teach at several different schools. My D's private voice teacher went to Curtis and her voice teacher shuttled between Curtis and Indiana.</p>
<p>It depends on the variables. If lessons are missed,which could happen if the teacher has a heavy performance schedule as well as a teaching studio, they obviously have to be made up. Not a huge deal if your kid plays an instrument, but could be a real danger if she/he is a VP major and has to cram extra lessons into a tight make-up schedule. Location is also a factor as was already mentioned- if the school is already in a large urban area then having a teacher who is performing and teaching in the community isn't such a big deal since no travel time needs to be factored in. If there is a teacher that your S or D is interested in, I'd talk directly to the person and voice my concerns and ask questions.</p>
<p>The short answer is this: It doesn't matter how many hours the teacher spends at school, it matters how many hours the teacher spends with your kid.</p>
<p>My S, at a conservatory, has all "part-time" teachers who have other commitments. His current teacher also teaches at Yale, and has a solo career. His previous teacher taught also at Curtis, and MSM, and played with the NY Phil. Perhaps 2 or 3 times a year, his teacher traveled. Most of the time, lessons have been made up in the week before or after the missed lesson. Occassionally, a lesson would be made up for the whole studio with a master class given by one of the other teachers at the school. </p>
<p>For my D, at public U, the teacher is full-time (and part-time in a local symphony.) She has a weekly private lesson, just like S. Make-ups are rescheduled for other weeks. </p>
<p>The number of hours the teachers spend at the school has no effect on the amount of time my kids see them.</p>
<p>S did eliminate one school from his list, after talking to students in the studio, and finding out that the teacher missed a lot, and the make-ups were handled by grad students. Not what we wanted to pay big bucks for.</p>
<p>First, I'd agree that being adjunct or "part-time" (ie teaching at different locations, not being on campus everyday, etc) does not necessarily create a problem. It may be necessary for a smaller program or small studio. You need to find out how the individual teacher handles absences and if they make themselves available by e-mail or phone for questions that come up when they aren't physically on campus. </p>
<p>On the other hand, there are teachers on campus regularly that encourage students to stop by outside of lesson time to check on progress (am I still performing this new technique correctly, I think I now understand the change you wanted - Is this right?, etc.), answer questions (will this fingering be acceptable?, I got confused when I started working did you want this - or that?, etc). You get the idea. This 5 - 10 minute chat or check can obviously be a big help for a student. Of course, not all full-time faculty are this generous with their time. Binx's idea of checking on accessability before making a final decision on schools is a great idea.</p>
<p>One warning, I'd be very wary of a teacher that uses master classes to make up lesson absences except on rare occassions or in extreme emergencies. Master classes can be fine learning tools, but can't replace one-on-one work with an individual student and his/her weaknesses/strengths.</p>
<p>Do consider the individual circumstances and needs of your S or D. I've heard complaints more than once through the years from students at various conservatories who have teachers with performing careers - solo or orchestra - that they felt they had less teacher time than desirable as they were preparing recitals, public performances, important auditions, etc. Sometimes a student does need a bit of hand-holding at tension-filled points in their development.</p>
<p>It's a little bit of the hand-holding I am most concerned about. I'm not expecting my D to be the center of any professor's universe ... but she is the type that might need some adult oversight in terms of getting acclimated to the college atmosphere, acclimated to the idea of creating combos with other students and going off on gigs -- and most important, knowing when she has over-extended in terms of outside gigs, etc. Once she understands the terrain, she's good to go, and thrives.</p>
<p>It really is a balancing act, as fiddlestix and binx indicate. The key is accessibility to the instructor, and how they manage the relationships. Remember, it is up to student to pursue any issue within the system if they feel they are being shortchanged.</p>
<p>Most of these points can and should be addressed during a trial lesson, or a follow up visit. If you need to, get as info as possible. Start a dialog PRIOR after acceptance, but before commitment.</p>
<p>If you ask, most departments or faculty will give you contact lists of current and former students. Direct contact with students in or having been through the studio will have the best insight. A copy of studio/lesson/make-up policy should be available, either as a stand alone document or as part of a course syllabus. The policies may be departmentally dictated, or at the discretion of the individual instructor.</p>
<p>DD found that for her, she needed the presence of the teacher who encouraged her to stop by anytime she was having questions on her practice or issues with other music classes or just to chat. Her teacher no longer performs and is available at almost any time. She almost never misses a lesson time. DD was not as experienced as most in the school so she felt better having this support. </p>
<p>DD's roommate has a performing teacher who is gone at various times for performances. However, her roommate is very comfortable with her own ability to manage the breaks, being much more experienced, too. The teacher makes up the lessons 1x1 and there is a grad student assigned to manage any issues and studio time for the studio while she is gone. It works for her. </p>
<p>You have to figure out what kind of temperament you have and what will work in your own situation.</p>
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she is the type that might need some adult oversight in terms of getting acclimated to the college atmosphere, acclimated to the idea of creating combos with other students and going off on gigs -- and most important, knowing when she has over-extended in terms of outside gigs
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<p>My son's undergrad AND grad applied instrument teachers are full time faculty at the colleges. NEITHER did any of the above. They were there to be the applied instrument teacher for my kid, and they DID serve as a fabulous mentor. My son did seek his teacher's advice about some of the above matters, the the reality is that the applied teacher didn't really "guide" him...he offered his perspective and advice. There was a gig office that handled gigs. The applied teacher had nothing to do with that. AND the only "combos" the applied teacher had anything to do with were ones that were required chamber ensembles.</p>