Staff Management

Although your studio may be based on furthering artistic pursuits, a studio is a business, and a good part of its success depends on being realistic about this.  I taught and helped manage one music school where the board of directors hired an orchestra conductor with fundraising expertise as the school’s director.  Unfortunately, she’d had no business experience and not only didn’t understand how to make the business work, but didn’t even know how to ask the right questions.working-together

Understanding the business part of your work is essential, but it’s crucial to recognize that size matters.  Getting an MBA or reading big business advice books may not give you what you need to handle a small business.

That’s because most studios are small businesses.  It is possible, of course, that you are part of a chain of studios.  In that case, you may function as a middle manager, and must hew to the budgets and regulations of a larger corporation.

However, since most studios are small businesses, it’s important to realize thatskyscraper a lot of the popular business advice out there may not apply very well to you.  Clarifying which business practices suit you and your day-to-day work can have a big impact on how you handle your work, how you can best work with staff, students, and community, and how to handle competition.

I’d like to tell you a couple of brief stories about how I learned that some business “wisdom” was not geared towards my business, and what I did about it.

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How does your studio stack up against the schools around you?  Do you try to match up with schools,  or to contrast with them?   A studio is a kind of school, so it’s natural to make the comparison.

While many studios probably don’t make a deliberate decision about it, some feel they are taken more seriously if they incorporate elements of regular school, while others see themselves as an environment that offers a break from the school mold.  It would be interesting to hear from you (add a comment below) whether your studios tends in one direction or the other.

The most obvious connection of studios with schools is in the calendar.  Some studios coordinate closely with days-off or vacations of local schools; others pay no attention because it is often precisely during those school breaks that students have more time and flexibility to come to the studio.  Many studios split the difference, recognizing that people are more likely to be away during school breaks, and offering makeups, but still allowing lessons and classes to proceed.

The less obvious but more important comparisons with schools, however, have to do with teaching methods and attitudes.  Although individual teachers have to work in their own ways, the studio can also set a tone in these areas.

For example, is practicing is treated as homework?  Are there studio-wide benchmarks, grades, or tests?  How do students proceed from one level to the next?  Are there achievement awards?  Do teachers use a curriculum of some kind?  These can be discussed either at the level of teaching or at a studio level — but they all live in the shadow of … the Big Question!

PDF of “Facebook_1”Last blog entry I discussed how I communicate with clients, faculty, and staff at my music school, Brooklyn Music Factory. This entry is going to be a follow up pointing out what seems to have worked and what seems to have failed for us. Assessing regularly your system of communication and outreach is vital, I believe, to ensuring that you are reaching everyone you intend to connect with. To me, efficiency in communicating is important because is allows my faculty and I to stay focused on what we do best which is develop our unique curriculum and methodology for teaching music to our 75 students.

Notes on PianoSometimes a studio, its teachers, students, and visitors, could use some food for thought, some inspiration.  In this article you might find some material to pass along to a teacher or some students, or even a quote to post on your bulletin board.

Nearly 20 years ago, a grateful student gave me Ernst Bacon’s book Notes on the Piano.  I don’t teach or perform piano, but she assured me it was worth reading anyway.

She was right.  It’s an amazingly thought-provoking book for musicians and music teachers.  Ernst Bacon (1898-1990) was an American composer and pianist.  Below, I have selected a number of quotes that might be of interest to you.  There is more discussion of each in the book, and also many more topics and ideas.  I heartily recommend the book itself.  Here’s a link to getting a used copy via Amazon.

The book begins with the author’s suggestion that the book is “to be nibbled” – opened and read here and there and anywhere.  Here are some snippets allowing you to do just that.

Grow your studio by building a team — keep in touch with your teachers!  Teachers are the heart of your studioteam; you want them engaged and happy.  After all, they are the ones who bring their energy to the students.

You may be a teacher yourself, but in your role as studio manager, you are in a position of leadership, and set the tone for your studio.  Keeping in touch with your teachers, and responsive to them, sets an example that makes them feel more engaged in the studio, and in turn, they will pass that positive feeling about your studio along to their students.

Let’s discuss ways to be involved with teachers without being intrusive.  Each idea has its opportunities and challenges — staff meetings, studio-wide events, benefits, thank-yous, and other communications.