Final Ethnography Interview with Naima Burrs (Nori Stone)

Partial Transcript: Nori: So, Hi, Ms. Burrs.
Ms. Burrs: Hi!
Nori: How are you today?
Ms. Burrs: Good. How are you?
Nori: I'm good. Um, how was your week been?
Ms. Burrs: Busy, good. Yeah. Always busy.
Nori: Oh, with what?
Ms. Burrs: I said, “Always busy.” Lots of teaching and things like that. Rehearsals.
Nori: Is, um, is this time of the year and usually as busy as, as you see—as it seems?
Ms. Burrs: This is a busy time. Yeah. Because of concerts coming up, concerts past—I had two concerts this past weekend. Coming up in the next month, we have a big Messiah concert, and obviously, our university symphony concert. So, around the holidays and the end of the semester is pretty busy. Yeah.
Nori: How did those past concerts go?
Ms. Burrs: Good. They were good. They were well attended. Um, and great for the orchestra in Petersburg. So, we did Rachmaninoff Second Piano Concerto. And some work by Samuel Coleridge Taylor. So, um, good concerts. Yeah. And the other concert was a Mozart Concerto Concert. So, lots of fun, for sure.
Nori: Mmhmm. Um, how do you like teaching and conducting at the University of Richmond so far?
Ms. Burrs: It's good. It's new. Um, lot of new faces, a lot of things to get used to: the emails, and, you know, just Blackboard and the community members and a lot of communication, I would say, but, uh, it's good. It's always fun to start something new. And, um, I think it's exciting for the orchestra because we haven't—or you guys haven't been a full orchestra in a couple of years. So, uh, I think it's good. It's a lot of fun so far.
Nori: Good. Um, can you tell me about how the opportunity to teach at UR came about?
Ms. Burrs: So, yeah, sure. So, I… I've actually known Alexander Kordzaia for a while, I guess, many years. But, um, I also know the, uh… I was approached by one of the professors here, said that I was going to be possibly getting a call just about a job opening, which I did get a call and I came to work with the orchestra. And it was wonderful to meet the students. We had kind of a 30-minute session on a piece that they were working on already. That was kind of my audition.
Ms. Burrs: But you know, Richmond is a small—the music world I should say in general is very small, right? So, a lot of it is just, um, networking, making connections, making sure that you hopefully leave a good impression wherever you go. People hear about it and then, you know, kind of connects that way. So, I heard about the job, kind of, word of mouth and was asked to come, uh, audition for it. And so that's kind of how that worked out.

Keywords: Alexander Kordzaia; Concerts; Conducting; Niama Burrs; Orchestra; Teaching; University of Richmond

Partial Transcript: Nori: So, going back to what I've read about you so far, I've heard that your mother is also a professor of music and soprano singer. Can you tell me what it was like growing up in a musical family?
Ms. Burrs: Mm hmm. Very active. I grew up really going to many, many, many rehearsals, many concerts. My mom reminded me—because I didn't know this—but when we were little, apparently, we would ride around in the car, and she would have on like NPR or public radio, and they'd be playing performances. And she's like, “What instrument is that?” and have us identify instruments, which I don't remember that at all. But I was probably, like, three or four or something crazy. Um, “That's the oboe.” “That's the blah, blah blah.” Obviously, growing up in a musical home, my dad is not a musician, but loves music.
Ms. Burrs: There's a support there that some students don't have. Their parents don't necessarily want them to be musicians and such. Um, so I'm very grateful for that, the exposure there because you get to, I mean, you get you know, to see these things, you know, firsthand, you really get to be in the room in rehearsals and performances. And you know, you just aren't exposed to many different things. So, growing up in a musical home was a blessing. But I definitely resisted becoming a musician for a long time.
Ms. Burrs: Like, in high school, I thought I was going to go to school to be an engineer, like I was doing engineering camps and, uh, just interested in—I was really good at math and doing stuff like that. So, um, my mom's a musician and a singer and stuff, and so naturally as a teenager, like “I don't want to do that. Whatever you do, I want to do the opposite.” So, you know, I had a conversation with a mentor in high school who was very important to me, and she just reminded me of what, you know, the beauty of being an artist and the responsibility of being an artist in the world, and kind of what we are able to offer that other people are not able to offer, and how much it's necessary and needed for society, which as I've gotten older, I've definitely started to see that and understand that especially during COVID when we had no performances, and we weren't allowed to do anything, how much people were suffering by not being able to experience that and have that. Um, I definitely was able to understand what she meant, but at the time I said, “Okay, I will kind of pursue this music thing.” And so, I decided to go to school for that, but definitely, highly influenced by my mom and—and her career and experiences as well. So lucky for that, I think.

Keywords: Beauty of being an artist; Exposure; Musical family; Musical home; Musicians; Support

Partial Transcript: Nori: So, what does the beauty of being an artist mean to you?
Ms. Burrs: I mean, I think being an artist, we have a responsibility to, um, inspire people. We're able to offer comfort to people. We're able to expose people to composers and things that they've never experienced before. We just are—and this is kind of across all of the arts, you know, society. And I think what makes the arts very unique is that there—you know, art, like visual art, and composition and entering arts, whatever, are generally going to be just a reflection of the society in which they were created, right? So, composers are going to be inspired by the world around them, right? And that's been forever, like, that's been since the beginning of music, probably. Um, and that's how we're able to kind of track the progression of rock music and classical, like, what's happening in the world at the time? What was the music for? What, you know, what were the reasons that the composers were writing? And so on, and so on. And the music is shaped by that, and the art is shaped by that. And so, I think that we have a unique responsibility, because we're able to, um, kind of reflect the world around us and to give people something to, kind of, hold on to and something that they can relate to based off of, um, the environment that we're that we're all kind of living in.
Ms. Burrs: Even thinking of COVID and, you know, the racial awakening, and all of these things like the—the art that came from that, like from this—this movement, and the art that comes from the Civil Rights Movement, and the art that comes from, you know, all of these different things that happen in society. It gives something, oftentimes, I think, something for people to really feel like they can hold on to and relate to. So as an artist, I think we have also responsibility, as well as not just living composers, but also the idea that we can, kind of, connect people to composers who lived a really long time ago, and the responsibility to understand, kind of, the world around that composition, and how it should be played based off of, you know, the influences then, and how to, kind of, keep it at something that we can relate to today. So, I know it's a—it's a very, kind of, a multi-layered answer, and definitely a deep question, but there's lots that we can, I think, offer to the world.

Keywords: Arts; COVID; Environment; Inspire; Racial Awakening; Responsibility; Society

Partial Transcript: Nori: So, you mentioned how we can, like, track how we can track like the Baroque period, the Classical period, how would you describe our time right now?
Ms. Burrs: Hmm… I think it's interesting. Um, like I said, there's a lot of—there's a lot of movements, there's a lot of, um, like the racial awareness type of thing and the understanding that—we love to—there's a term I have to think of the term that we use, like underrepresented composers, but really, um, the correct term now is historically ignored, right? Because underrepresented, they were there, they just weren't allowed to be at the forefront, right? So, I think now we're kind of getting more into, hopefully, facts and information and being able to see, um, more about the history and more about the music of the past and bringing it forward so that we're able to celebrate it, understand it.
Ms. Burrs: And I think it's—it has definitely—is having an influence kind of on all of the arts all across the board because people are being recognized who would have been overlooked before. Um, and not overlooked because they don't have something of quality but just overlooked because of the lack of equality or equity or whatever. So, um, I don’t know. I think we're in a—we're in a kind of… area of our time of, kind of, rediscovering or in some cases discovery and really just delving into the facts of real history and understanding the role that people have played on either side, all throughout, and finally, like accepting, you know? So, it's an interesting time, it will be very interesting to know what it's like, in 50 years, looking back on where we are now. But we're seeing a lot more—there's room for, you know, there's always room for improvement, but composition is being heard and written about things that are relevant to our times. And, you know, the faculty at university is starting to become more diverse, and you know, just a lot of change throughout so yeah… discovery, rediscovery depends on who you're talking to.
Nori: [laughs] It's like, like, we're in the present, but we're, like, looking back. Yeah, like in the past?
Ms. Burrs: Right, right, right. A hundred percent. Yeah. Yeah, it's really interesting. So, and they're fine—It's like, now they're in the present because they're finally getting the recognition that they deserve, even though they're far, you know, some like, Chevalier de Saint-Georges, is like Mozart's time who's finally being played, you know what I mean? I mean, how long ago was that? But finally, he's almost like a new composer, because people haven't heard these works. And, you know… so there's a lot of that. Yeah, very interesting.

Keywords: Composers; Historically Ignored; Racial Awareness; Recognition; The Present

Partial Transcript: Nori: So, let’s see… Because you grew up in Richmond, what was the Richmond music scene like compared to how you see it now? Because we were talking about the past and present.
Ms. Burrs: The Richmond music scene I think has always been pretty neat. I mean, I've always lived here, so I think there's always been a lot of opportunity. My friends and I talk a lot about this, like, we've always… Going somewhere, like I went to VCU, and going somewhere like that, where there's just always something happening. But it's not as competitive as, like, New York or something like that, so you get a lot of opportunities as older students, as well as you know, young professionals… Um, I think Richmond is kind of a wonderfully diverse place. And I think it has been that way for—coming from my life. I'm only 30, whatever. So, but from what I've, you know, in talking about that, I think that it's—it's always had something wonderful—wonderful to offer. And, um, yeah, Richmond in general, and the surrounding areas, I think are starting to get funding and able to, kind of, participate in ways like in Petersburg. And you know, there's kind of this artistic awakening that's happening throughout so… yeah, I think Richmond's always been kind of a place where you can, kind of, work in all different genres of music, and all different genres of art and whatever. So, um, it's always been kind of a curious place that's eager to, kind of, have this expression throughout the city. So yeah, I think it's—I'm guessing it's, you know, kind of similar, but then again, it's like, you know, the Confederacy and all that. I don't know about, you know, way back. But, yeah, it's a—it's a constantly, I think, constantly evolving artistic place.
Ms. Burrs: Yeah, one thing I appreciate about Richmond is that we—it seems as though we're able to make art out of many things often. If you think about the Lee monument, and all that was happening down there, and taking down the monuments and getting rid of them and such and turning that into, like, a safe space of, you know, art, and basketball and whatever else. I mean, just, like, reclaiming a space that had been so hurtful and just not full of love, and turning it into something—I think Richmond to be, you know, historically the type of place that it was, like I think that it's really neat to see it kind of evolve and change. So, I think that's reflected in all of the arts.

Keywords: Artistic Awakening; Confederacy; Diverse; Genres of Art; Richmond Music Scene; VCU

Partial Transcript: Nori: Um, moving on to, um, the—your—the role as a violinist and then a conductor, um, I read that you performed as a section violinist in the Richmond Symphony Orchestra. Can you tell me about that experience?
Ms. Burrs: Yeah, I've done that as a—we’re called sub players. But, yeah, that—it's always a wonderful experience. It’s a great orchestra. Um, and depending on what you're playing, what show, you're oftentimes getting to work with different conductors. And yeah, it's just, you know, going from a college orchestra or something to a professional orchestra. That would be my first experience of playing, like, in a really professional ensemble. Everyone knowing their music so well, and really just, like, working on musical things and not like, notes, it's just a—it's a very different type of experience. So as a student, you get to play. It's just like, it's nerve racking, you know, it's nerve racking a bit.
Ms. Burrs: Now, of course, like, after years, it's not—it's normal, that's like your, that's your area. But it's always a good experience and a learning curve, you know, just playing huge repertoire, or small repertoire, you know, working with different conductors, and just helps you grow as a—as a musician. But it's always definitely fun and, um, rewarding to, kind of, play in those performances, as well as the performances, like with the Richmond Ballet, and some of those collaborative performances, which I've done, which are super fun, you know, Romeo and Juliet, and Sleeping Beauty and The Nutcracker and all of these things. So, yeah, it's—it's always fun. It's our whole, that's our hometown orchestra. So, yeah, it's a—it's a neat experience each time.

Keywords: Professional Orchestra; Richmond Ballet; Richmond Symphony Orchestra; Sub Players

Partial Transcript: Nori: You mentioned that, like, it's a bit different from playing in the college orchestra to professional. Since you conduct both a college orchestra and a professional orchestra, what are some of the main differences or similarities that you see as a conductor?
Ms. Burrs: So actually, my orchestra that I conduct is kind of a community orchestra, but it does have some professional musicians, but also has some students and also has similar, kind of, to what we have here. In the sense that this is mostly students and community, amateur members probably. And at, um, PSO it's mostly community members and some students. So, it's kind of like, can be a little bit flipped. There are a lot of similarities, some of the differences… That’s a good question. You know, it's a little bit—I mean, oftentimes, what we have here at U of R, are students who have played the instruments, kind of, their whole lives, and now they're here in college, and they're focusing on other big brainiac type of things, right? Like cool, majors is going to change the world and all of this stuff. And this is kind of their way of keeping—keeping the music alive, and obviously getting some credit on their transcript too.
Ms. Burrs: But it's interesting to see how all of that, kind of, influences the orchestra. And the same with a lot of the community members. Some of them are faculty members, some of them are U of R graduates, like there's, it's—it's kind of a thing, you know, a family in that sense.

Keywords: PSO; U of R

Partial Transcript: Ms; Burrs: Um, at PSO—the PSO was, kind of, started as an ensemble by, um, Nathaniel Gatlin, who was, I think, in 1978 or so, he was—and before then—was the band director at Virginia State University. So having this orchestra set and an HBCU, in Petersburg is a very big deal. We have a partnership with our school at VSU—VSU and PSO have a partnership that gives opportunities for our students to play in an orchestra. And an HBCU, a historically black college university, you don't usually see a symphony orchestra as a class that, you know, students can take. So there the access and the opportunity is huge. You know, here at U of R, lots of our students would be used to that type of opportunity because they've grown up in youth orchestra, and they've grown up doing that type of thing. And now it's just an extension of that.
Ms. Burrs: At PSO it's a little bit different because it really is a different opportunity. So oftentimes, you're really teaching the students, like, how—etiquette of being an orchestra and how to do this type—but it's a little bit of a different—a different thing there. So, uh, it's definitely growing. And we have some really neat ideas at PSO. And here, there's a wonderful tradition at U of R. They've had this orchestra, and Alexander Kordzaia has done a great job with it. And, you know, I have some fun things that I want to do change around, but they're just a little bit different, kind of, in their makeup and also in the way that they, kind of, serve the community—their function, a little bit maybe, but similar, uh, level can be kind of similar. Playing-level, like that type of repertoire, can often be kind of shared probably by both orchestras, but, yeah, it's—it's definitely interesting to hear… I’m here on Tuesday night, and then Wednesday night I go to a different orchestra. And it's interesting to have, like, different repertoire and different people and you know, um, but it's wonderful. Yeah.

Keywords: Access and Opportunity; Historically Black College University; Tradition; Virginia State University

Partial Transcript: Nori: Um, so… So, I actually didn't know this until I started researching for it, but Mr. Kordzaia founded the UR orchestra.
Ms. Burrs: Okay, yes, yeah, I think I knew that.
Nori: Um, so what does it mean to you that you're not only the second ever conductor of the UR orchestra, but also the first woman of color here?
Ms. Burrs: Mmm! I mean, it means a lot. You know, it's always that's—that's kind of been, the places that I've been, it's kind of been a trend, you know, and, um, all you can do is hope that you can bring something different to the—to the—to the table, and, uh, which and actually you will, because all of our experiences are different. For me here at U of R, it's important to expand the type of repertoire we play, to expand which composers we focus on. There’s a traditional way of programming and all of that, and then there's a way of just, kind of, making sure that we're—and, of course, because of the times, right, it's already an interest because of, you know, how I've grown up and who I am.
Ms. Burrs: But because of the times, it's much more accepted to really expand the canon, as we say, to really like, try to put different composers on the program and expose not only the students and the community players, but really the—the audience as well, and the people that come to the concerts, and so that when you look at the, uh, programs from the years, you know, that you see, like, “Oh, they've had this composer, oh, they've done this, oh,” you know what I mean? So, you can see a variety and kind of put your touch on it there.

Keywords: Different composers; Expand the Canon; Woman of Color

Partial Transcript: Ms Burrs: I think it's—it's—it's wonderful to, you know, to be here, and it's something that I don't take lightly wherever I go, um, because I know, of the hard work of many people before me who deserved the opportunity to have the job that I have or to do what I'm doing, you know, but because of the times were not allowed or able to, so I definitely carry that with me like a lot of, you know, um, just pride in the fact that I'm able to kind of follow through with that, and that the times are allowing it that we're, you know, able to—to do that. So, there's a huge responsibility there, as well.
Ms. Burrs: But I think also the idea of visibility, as well as representation, is just always important for everyone, you know, and, um, it's not just about seeing all Black people, all Black composers all this all the time, but it's about seeing Black and Asian and South American, it’s about seeing just a diverse—white, everyone, like, just a diverse group. So that when, you know, students see us or kids see us in anywhere—in any place that they say like, “Oh, that kid looks like me, I can do that,” you know. It's just important to have visually, and, you know, I think it's just important to—to make sure that we're, kind of, showing a community, kind of, ensemble, or an ensemble that represents everyone. So, it doesn't help—it doesn't hurt to have a female conductor, a Black conductor as well to, kind of, lead the group to show like, “Hey, like, anyone, yeah, we can all do this type of thing.” So yeah.

Keywords: Diverse; Opportunity; Responsibility; Visually

Partial Transcript: Nori: Um, you, kind of, just touched on it. But can you walk me through your personal process and elements of how you choose the repertoire for each concert that you do?
Ms. Burrs: Yeah. So here at U of R, it's a little hard to because I—I went through—I talked with the library, and I was just going through the repertoire that you guys have done. Also, here the first—this first time, choosing repertoire was a little more difficult because I didn't know how many students we’re going to have, I didn't know which instruments were going to come. So, I had to choose the repertoire, kind of, before I had the auditions, and are the committee members gonna come back? At that moment, when we started in September, we weren't sure about COVID still, and it's just like, so the start here was a little—not Rocky, but kind of, like just trying to like, “Okay, well, now we can choose this.” Oh, well, it's much late—it happened much later than they usually happen. And I looked through the repertoire to make sure that, you know, this contour not playing, which ya'll played the last concert, like that type of thing, just making sure. And I looked through the library upstairs and just see what, you know, just to see in the catalogs what's there.
Ms. Burrs: And, yeah, just trying to think of—and once I kind of heard, I could, you know, solidify, like Carmen would be awesome and super fun. And it's flashy. It’s lyrical, it has all of the elements to bring an orchestra back who hasn't been able to play for a while, and it's exciting to play and we're ending up playing both suites, like, you know, I thought we would do a few movements from—but you know, the Glozenov was already chosen because the saxophone, so I was trying to think of stuff that would work well with that. Oftentimes, you think of a main piece and because that's our concerto competition winner, we have to, you know, pick the repertoire surrounding that. So, I was just thinking of colors and sounds and things that will work with that.
Ms. Burrs: In general, oftentimes, you're just—also there's, you know, especially as a younger conductor, there's certain pieces that you really should conduct; you should be conducting the Beethoven and this and that. And for me, it's also about just expanding and, hopefully, we're able, maybe we'll be able to do the Florence Price Symphony, maybe we would be able to do Liam Dawson, like, there's ideas that I have for us to, kind of, expand a bit, but yeah, repertoire just oftentimes depends on the ensemble. Sometimes if there's certain holidays happening, you know, you might want to highlight this thing, you know, or, you know, 100 Year Beethoven or like this, you know, centennial things that you want to do. But, yeah, so there's, there's quite a few things that kind of go within it, but the ensemble, the size, and the level is often first. Yeah.

Keywords: COVID; Colors and Sounds; Concerto Competition Winner; Flashy; Level; Lyrical; Younger Conductor

Partial Transcript: Nori: Cool! So, what was it like working as a conductor and an instructor in the beginning when you first started?
Ms. Burrs: [laughs] When I first started, it was nerve racking. I mean, you mean, just in my career? Yeah. It was nerve wracking at first. It's an interesting balance of being confident, that you know what you're talking about. But also, not being afraid to be corrected, and to take in as much information as possible, not to be afraid to ask questions. Um, I'm a Gemini, so I'm very curious all the time. I want details on what information as much as possible, like, I will learn about anything and be totally engaged, like, you know what I mean? Like, how does this thing work? How do you do this on a ca—like, I just like to have information. I might—don't do anything with it.
Ms. Burrs: But so, I'm always asking questions. And just, but it's nerve-wracking to be at that point. I'm 32 now, but I started teaching, I guess, 2018. So, it was four years ago, at a university. Yeah, so I mean, your 20—you’re like, student—and you know, students think that you're like five or fifteen years old, you know what I mean? So, it's just like, “Hi, my name is Ms. Burrs.” Like, just—just—there's something that you just have to learn, like being able to public speak. And a lot of times the first job that you're gonna have, it's not just teaching your instrument, but also lecturing. Like, I was thrown into teaching Music Appreciation to classes of 50 people, and having to, like, lecture on this and that and stuff that you know, but it's just nerve racking. So, a lot of it, I think I think about now, like how comfortable I am to do things and how I felt in the beginning. And I think it's just with any job, it just takes time to—to get used to it.
Ms. Burrs: So, yeah, it's definitely—it's definitely, definitely interesting. But I was eager to do it. I was excited. Um, and now I'm full time at VSU. And that comes with a different, like, [gestures with hands] okay, you know what I mean? Um, security of, like, salary and healthcare, just not the stress of, like, adjunct, like, putting things together and trying to piecemeal a career and stuff. So, yeah, much more comfortable. I mean, it just takes—takes time. And it's cool to be young and teaching at a university. Some people don't do that till much later. So, yeah, just being—being confident.
Ms. Burrs: And the same thing goes with conducting. I mean, standing in front of a group of people and telling them how we're going to play this piece, being able to catch any question and not be, like, you know, and my teacher always told me that comes with preparation, that comes with knowing the score so well that someone says something to you, and you're not flustered, you know what I mean? You know because you’ve looked at it. And I think that's within any job. But again, that comes with experience, and it's just something that you have to learn and we're all still always learning. So, yeah.

Keywords: Confident; Curious; Experience; Gemini; Nerve-wracking; Security of Salary and Healthcare

Partial Transcript: Nori: Is there something you wish you had known before you started that you'd either know now, or, um, someone had told you later?
Ms. Burrs: Um… Good question. I mean, there’s plenty of lessons that we've learned. I think for me, it's a mixture. I think that knowing that it was okay, I had a lot of influence to not go into conducting. Because there's, like, a misconception that, like, because you're a conductor, you can't—you don't really play, you can't really play. It's kind of the same idea where people say, “Oh, you're a music educator, and you're not a good performer.” It's like that type of thing. And it's not necessarily true. Sure, there—there are people that feel that, you know, generalization, but it's not necessarily true. So, I had insecurity, I mean, but I knew… I feel my best self, and I feel, um, like I’m most satisfying my desire doing what I’m doing now. I play violin and do specific concerts, and I choose what I want to do; it’s not —I’m not just making my career only playing and gigging and being super tired. So, for some people that really works. That’s where they’re alive. Um, I do more on the—like, I’ll do a recital, or I’ll do this gig that I want to do with my friends. It’s more like that, I’m more choosy. And therefore, the violin—it doesn’t become my means for survival? It’s something that I choose and that I love to do.
Ms. Burrs: Um, and, uh, same with the idea of connecting, like I think—I feel happy, I feel satisfied, I feel good and in my element doing this and having both—I’ll try to do both for as long as I can. I know that for some conductors it gets really hard to be able to still—but ‘cause you’re so busy and, um, but it’s all about the—it’s the balance, and I think just really going for what you want to do. I think it’s—it’s good to do and to be confident and doing that, um, I was afraid to, like, “I kinda want to be a conductor” kind of like, “but I’ll just play on my violin,” you know? And, um, life really opened up, and I decided that I’m gonna be a conductor, and I’m gonna go do this thing, you know? And it wasn’t until I didn’t receive a job—I applied for a job, and—at a place that I was working, and um, the application said, “Masters required,” or whatever, but because everyone needs jobs, all of the applications that they got, everyone had a doctorate.
Nori: Ohh.
Ms. Burrs: And this was a place I was working, so I couldn’t get the job because everyone had a doctorate, and that was a moment that was so sad and really painful. Like, “What am I going to do?” Like, “Oh my God, I’m gonna have to—I only have a master’s; now I’m gonna have to go back to just itching privately. I’m gonna work at Starbucks.” Making it work. Like, everyone—like, what am I going to do? And then I just decided I’m going to start my doctorates right, like this is when I’m gonna start, and I’m gonna do it in conducting ‘cause that’s what I want to do. Then I got a call from VSU, saying that they had—asking me if I was available to start teaching. And everything just started working out. So, like, just trusting your gut. Knowing what you’re passionate about, knowing what you want to do, creating the life that you want to have, um, as much as you can, and not just settling for what you think you’re supposed to do I think is, um, really really really viable.

Keywords: Balance; Choosy; Connecting; Insecurity; Trusting Your Gut

Partial Transcript: Nori: Um, you just mentioned that, um, you do still do gigs and you still play. So, because, you know, you’re here, you’re at, um, Petersburg, and you’re at VSU… so, how do you balance all of that?
Ms. Burrs: Doing everything?
Nori: Yeah.
Ms. Burrs and Nori: [laugh]
Ms. Burrs: How do you? I’m still learning! I’m still learning. This weekend, oh, just about killed me, honestly. Because I had Tuesday night—okay, Monday night I had Chamber Ensemble here, this is the last week. Not this week but the last week. Chamber Ensembles on Monday, Tuesday we have Symphony, Wednesday I have PSO rehearsal, Thursday we have sectionals, and Thursday after that I had a rehearsal for a concert on the weekend, so that was, like, until ten or something, Friday I had a crazy day, Saturday morning I had Rachmaninoff PSO dress rehearsal, Saturday night I had the Mozart concert, and then Sunday day I had the PSO concert, so it was like—I was going from Mozart concerti, five different things, like, horn, oboe, like just like whatever for the Mozart fest. Then going to Rachmaninoff: romantic, like, luscious piece piano concerto. I mean, and my brain was just like…
Ms. Burrs: Afterwards, I was just like, “Oh my gosh,” and when you see it on the calendar, you’re like, “That’s gonna be messy, but it’s gonna work.” And when you’re in it, you’re like, “Oh my gosh,” like how—how is this possible? So, you’re learn—I’m learning, I’m literally learning. Um, I lucked out with some of my doctoral stuff this semester. It’s online. Like, I’ve gotten a little bit of that, so it’s less driving. Before this job, I was Assistant Conductor at Johns Hopkins University, so I was traveling to Baltimore a lot, like that—while still full time at VSU. While VSU is flexible and they like, you know, faculty to do things and be involved in stuff, so I’m able to work my schedule out there that I can do my doctoral stuff Tuesday, Thursday. This stuff works out Tuesday, Thurs—so, it’s like a puzzle. Um, could I take on a whole ‘nother job? Probably not. Like, you know, you just have to figure out… um, but there’s always room to do little gigs, and you know, kind of, projects and stuff like that. But it’s kind of amazing how it just—kind of how it all fits together. I’m really grateful for that.

Keywords: Chamber Ensemble; Concert; Rehearsal; Schedule

Partial Transcript: Nori: So, how do you mentally prep, you know, for all of those performances?
Ms. Burrs: Quiet time, um, jumping around backstage gets some of that adrenaline out. Um, just really preparing as much as possible. I like—if I’m on a certain concert cycle, I spend a lot of time in the car. I like to listen, so that I can just listen and feel the music and it’s not just all visual, kind of, what the score says. But, like, you know, you wanna be at the point where you can kind of sing the piece that you’re doing and know what’s coming, and it’s like that, right? So, I try to just have it on and be in the—in the root of it.
Ms. Burrs: Um, but yeah, just reminding yourself to have a good time. Reminding yourself that you’re literally—I have to tell myself all the time, “I’m literally living the dream” right now of what I wanted to do, right? And so, there’s a certain level of gratitude, uh, and I talk about that responsibility of, like, “This is your purpose in the world,” and if you really believe that I think it makes it a lot more gratifying that you really are offering something, um, to whoever. If you’re teaching four-year-olds, like, your purpose is to teach them and, like, guide them through the violin and to show them the earliest stages of their instrument. Do it and really feel your responsibility and be grateful that you have that chance to mold whatever.
Ms. Burrs: And so, I feel like that wherever—wherever I go really, like, the—I have a responsibility that I’m able to help hopefully, and I want to be of service to whatever ensemble, or you know, whoever’s in the audience. Hopefully they feel something. This type of thing. And so, I have a lot of that mental talking before performances just to remind yourself of the purpose. And I think that comes from an audition prep class that we had when I was in high school. Amazing teacher, she’s a yoga teacher and a conductor, and our audition prep class, where we talked about just the nerves and the body function and all of that stuff, of how you feel before you do something big. This works for public speaking, this works for performance, it works for anything. Uh, and she’s always just, you know, “Remember the purpose. Remember…” It’s not about, “Oh my God, I’m so scared!” Like, “I’m gonna mess up.” No, nobody in the audience wants you to mess up. Everyone wants to just experience something. And they’re coming there for different reasons, but they’re not a negative one usually. So, I just remind myself of those—of those things… and just a lot of gratitude talking, so… yeah.

Keywords: Audition Prep Class; Have a Good Time; Jumping; Mental Talking; Preparing; Purpose; Responsibility

Partial Transcript: Nori: Um, so I feel like classical music concerts attendance in the United States has been, like, declining for a while now, so how do you perform outreach for your performances?
Ms. Burrs: So that’s something that we’re really… um working on, uh, is making sure first, that we’re performing things that people want to learn about and people want to hear, right? So, oftentimes it’s knowing, kind of, the demographic, knowing who your audience is, and knowing the community it serves. And oftentimes, what happens with symphonies is that they’re not trying to reach the people in the community. Oftentimes, you’re just trying to please the donors, please the people that are—no offense—like, dying away. They’re a hundred years old. You know what I mean? But they fund whatever, and they’re like, “I don't wanna hear that gamelan!” Like, you know? “I wanna hear [slaps chair] Beethoven Nine!” Like, it’s just like, and so you’re balancing trying to satisfy them and the programming and all of that, um, strategic stuff is hard. Like, if you look at all the major orchestras—and obviously, they have funding to do so, but it’s all about trying to reach everyone.
Ms. Burrs: And I think also the idea of making sure that the orchestra’s an educational thing for kids but as well as, um… I always talk about this in Petersburg but finding a way—and I think we do it pretty well because it’s such a community group—it is a group of community members, but it’s also something that the audience feels as though they can actually reach, like just removing the glass in front of the orchestra. Like it’s tangible. [hits cabinet] “This is the orchestra, I’m in the audience,” and I shouldn’t—it’s not like [sits stiff in chair], you know? Like, all of the etiquette, all of the things that we go through, like, no clapping in between movements. Like, “I was so moved to clap. Why can’t I clap? I loved it,” you know? And just restricting, like, “No! There’s three more movements left.” It’s that type of stuff, so, like, finding a way to make the orchestra into something that people can really, um, kind of, feel as though they can be a part of. And I think that that’s really, um, really, really, really important. So, there’s a lot that goes into—into the programming and such.

Keywords: Balancing; Community; Demographic; Donors

Partial Transcript: Ms. Burrs: But I think that at the end of the day people want to feel as though they can reach the musicians, and that’s why you see—like, Richmond Symphony is great at this. They play at Hardywood Brewery or whatever, like, “Grab a beer and come listen to—maybe come listen to this Mozart.” But grab a beer, but, you know, be in your jeans and come listen to this classical music. Come listen to this thing, and you know, it’s like, “Ah, I can actually relax and actually enjoy.” So, I think honestly that’s kind of the root and the base of it. And there’s many ways in which you can kind of accomplish that and make people feel that they’re a part of it. But I think we just have to—I really think we have to work on that… for sure, and the representation too. Like, having the orchestra look more diverse and not just… if you look at the videos of, like, Bernstein conducting, it’s like all White men in the orchestra. White men. That’s it. Nothing wrong with White men being in the orchestra, but where’s everyone else, right? I think you start to see years later, it’s like, one woman, you know I mean? Poor lady!
Nori: The one!
Ms. Burrs: All these guys and it’s like, “Oh gosh!” Poor lady, can you imagine? She’s probably like [knocks head back] Oh my gosh, but, like, you know, and it kind of changes a little bit [knocking on door], um [points to camera] is it okay?
Nori: Oh, yeah, yeah, yeah.
[Ms. Burrs talks with person outside]
Ms. Burrs: Is this, like, gonna be posted, like…?
Nori: Oh, yeah, it’s fine.
Ms. Burrs: Can you… edit that?
Nori: Oh no, it’ll like, uh, I’ll, like, analyze this. It’s fine.
Ms. Burrs: Oh! Okay. You don’t have to put the video anywhere, you’re saying?
Nori: Uh, so, like I said before, it’ll be on YouTube, but that’s to get it onto our class site.
Ms. Burrs: Easy. That’s fine. Okay, cool.
Nori: Um, let’s see. That actually should about wrap it up though. Is there anything I didn’t ask you that I think—that you think I should know?
Ms. Burrs: I don’t think so. It’s good. Good information, I hope. Good questions.
Nori: Oh, thank you.
Ms. Burrs: Did you come up with those?
Nori: Yeah.
Ms. Burrs: Okay, yeah. Hopefully you got enough information out of it.
Nori: Yeah, I think so. So, thank you for doing this with me.
Ms. Burrs: Of course! Absolutely, it’s an honor. For sure. Thank you for asking.

Keywords: Hardywood Brewery; Reach the Musicians; Representation