Three professional musicians - a New York freelance cellist, a Hollywood composer/conductor, and a Los Angeles bassoonist - were individually interviewed regarding their perspectives on and work in the nonprofit and commercial music fields. It is interesting that, though they did not interact, all three artists had similar responses to my questions, especially in regard to audience education. Ted Mook's commentary on finances is particularly pertinent, for he recognizes that music of great value is not always profitable. Where he sees a possible solution in the redistribution of profits, Arthur Rubinstein sees no solution. Julie Feves maintains that the solution lies in audience education so that consumers will demand high quality from the market.

Additional inquiries with artists in other fields might pursue this subject to examine the real possibility that the structure of our society operates to discourage the creation of meaningful art. Inquiries to those who have worked exclusively in the commercial world would provide a necessary contrast. (p. 145, 153, 154).

COMMENT--Nonprofit versus commercial music. Necessary tools for aspiring musicians. Personal intersections. Audiences. The future. Conclusion.

Three professional musicians - a New York freelance cellist, a Hollywood composer/conductor, and a Los Angeles bassoonist - were individually interviewed regarding their perspectives on and work in the nonprofit and commercial music fields. It is interesting that, though they did not interact, all three artists had similar responses to my questions, especially in regard to audience education. Ted Mook's commentary on finances is particularly pertinent, for he recognizes that music of great value is not always profitable. Where he sees a possible solution in the redistribution of profits, Arthur Rubinstein sees no solution. Julie Feves maintains that the solution lies in audience education so that consumers will demand high quality from the market.