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Alexander Carpenter
ENC 1101
10/16/2017
Boundless Music
Every artist has experiences creative blocks. Writers, painters, and musicians have each
had these moments. While in the moment a creative block can be incredibly frustrating, once
overcome it can also prompt a great sense of triumph and fulfillment. My journey learning music
has now spanned over a majority of my life, encompassing an immense number of trials which
have challenged me to constantly reinvent my perception of how I learn music. This process
includes adopting strategies that I use to innovate my musical abilities indefinitely. While most
people tackle creative blocks in isolation, my musical creative blocks were rarely fought alone.
Throughout my musical experiences I have had the opportunity to gain inspiration from a
multitude of sponsors who have helped me develop both extensive musical capabilities as well as
playing music.
There are two major influences in my musical career who have been vital factors in my
growth as a musician, who consist of my father and my public school system. While it is an odd
comparison on the surface, both of these sponsors played an instrumental role in overcoming my
first major creative block, that of a severe lack of motivation. The first half of my life was rather
uneventful in terms of learning to play music. However, these years were foundational in
establishing my passion of music. During my early childhood, for example, I quickly came to
understand that my father had a unique role in the musical world. Since its creation in 1992, he
has been the principal tuba player for the Orlando Philharmonic Orchestra. I was constantly
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surrounded by live classical music as well as tubas. As a child, I fondly remember walking
through a quite literal forest of brass instruments in my home. They would be strewn about the
living room, in various shapes and sizes, and anyone would be lucky to not to trip over one.
instrument. I did receive a basic education in music history throughout elementary school, which
I began my journey playing music in the sixth grade, my first year beyond elementary
school. It was at this jump between child and slightly bigger child with acne that I considered
starting to play music as opposed to only listening to music and some slight interpretation. The
International Baccalaureate program (IB) at the then named Robert E. Lee middle school
required that all participating students in the program join a musical discipline, whether it be the
orchestra, chorus, or band. Because of this requirement, I chose to be a part of the band program.
I played trombone and later tuba because of one major factor; I knew that I would have more
opportunities in addition to resources for band/low brass instruments with the help of my father,
middle school band director provided me with an environment suited to learn how to learn the
basics of playing music in both solo and group scenarios, while my father provided me a tuba to
play on as well as occasional lessons to help me keep up with the expectations of the class.
Despite an essentially perfect combination for beginning to learn how to play music, I still
Due to the nature of learning to play music, the beginning is often the most arduous
chapter of the journey. Much like other fundamental elementary subjects such as math or
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reading, learning to play music with no previous experience often involves a great amount of
repetitive basic exercises including playing the same pitch for extended periods of time until you
are in tune with all others you happen to be playing with. In a room full of other students who
are also new to playing music, this process may take several hours. These sometimes infuriating
experiences conflicted with my initial expectations of what learning to play music would be like.
What was especially frustrating and what would contribute the most to my first considerable
creative block was that my lesser physical capabilities of playing music at that time could not
orchestral music should sound and most definitely how a tuba should sound. Since I was born
there was seldom a day where I was not listening to my father playing the tuba. Since my father
played in the Orlando Philharmonic, I had a front row seat at the Bob Carr Theater listening to
rehearsals and performances of beautiful pieces of music. I rarely missed a performance and one
of my most cherished memories was when I listened to Tchaikovskys Nutcracker for the first
time live and being moved to tears by the performance. The professionals played with a
Consequently, there was a juxtaposition between what I underwent in band class and
what I was accustomed to listening to, creating a mental block where I was unmotivated to
practice. I saw no point in trying to play like my father if I was physically incapable of doing so.
In spite of this dilemma, both my father and my school successfully encouraged me to continue
forward studying music. My father supported me through teaching me musical techniques that
offered variety apart from what was taught in the classroom. The school, on the other hand,
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rewarded me for my musical efforts by offering me the chance to play more complex music in
more advanced groups. I was also given opportunities to play for county and statewide audiences
The incentives my initial sponsors provided me validated my work practices. This helped
conquer my lack of motivation, my first substantial creative block. The feeling of overcoming
this creative block felt like a second wind; I began waking up each day excited to play and make
music and would practice so intensely that my mouthpiece would leave a red ring on my face
from the pressure. Practicing in this manner over a long period of time did lead to lesser
moments of motivation loss due to burnout. However, these moments were few and far between
as my musical influences continuously challenged me with new techniques and music to learn
through the end of my middle school career. For the time being I was satisfied with what I was
learning as with any art form, there was always more to learn and even more people to learn
from. This principle was both the cause and the solution to my second significant creative block.
My second and most recent paramount creative block arrived in a similar manner to my
first. Aside from my previous creative block, this one did not arise solely from a lack of
motivation; rather it originated from another factor, creative boredom. Unlike my first major
creative block, this sense of boredom did not originate from a discrepancy between what I
envisioned playing and what I was accustomed to hearing. By the beginning of my sophomore
year of high school I was a member of the top band ensemble as well as my schools own
perform my role well enough to justify my positions. The situation I found myself in was that I
fulfilled my role as a tuba player in these groups without much challenge. While the music I
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played in these groups was interesting, I was no longer struggling as much as I did when I was
Contrary to what I expected to feel, which was continuous satisfaction with my playing
ability, I instead felt a lack of accomplishment because I was no longer learning at an accelerated
pace. It was, at this point, that my father encouraged me to attend the Boston University
Tanglewood Institute (BUTI) to further train my musical abilities and expand my number of
musical resources (sponsors). This experience gave me the opportunity to study music alongside
my father as well as the principal tuba players of the Boston, Brevard, and Detroit Symphony
Orchestras. During my time there I learned quickly that there was still a near infinite amount of
information I can learn about music. I discovered that being literate at playing music goes
beyond being able to interpret symbols on a page, but that there are multiple dimensions to being
musically literate, including but not limited to musical playing, stage presence, arranging,
particularly to establish the new dimension of stage presence to my musical repertoire, learning
from masters of the art how to not only play well on the instrument, but to perform and entertain
While I was attempting to assimilate all of the technical knowledge I could in the short
two weeks I was a part of BUTI, perhaps the greatest lesson there was to learn I discovered for
myself. Due to my relationship with my father I had the opportunity to speak with and learn
more about the masters I was studying under. I found that professional musicians have all helped
each other at one point or another to succeed and overcome their own creative blocks. The prime
example was that all of the professional musicians I studied under developed their own collective
practice routine that has practices added to it constantly for the purpose of challenging each other
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to become greater musicians. From this I began to digest how artists and tuba players especially
become each others sponsors, creating a unique sense of community that strives to help each
other become better artists. Furthermore, I took the more conceptual ideas regarding music being
a multi-dimensional art form that I learned from BUTI and began implementing them when I
returned home. This revelation went beyond breaking down my creative block and began
expanding my artistic desires. I suddenly had the motivation to practice even more feverously
and began to perform for larger audiences. In this pursuit, the number of musical sponsors I
benefitted from increased dramatically as I continued to hone and advertise my musical abilities.
The culmination of my steady practice and renewed motivation was the opportunity to perform
with groups such as Youth Band of Orlando in Germany, and the Winter Park Wind Ensemble in
Carnegie Hall. While creative blocks are an inevitability with any art, and can happen to varying
degrees, I have found that as long as you have the drive to develop your art and the
determination to seek out more artistic knowledge from sponsors, there exists no limit for artistic
potential.