Letter to Minister Nathalie Roy
Quebec’s professional music ecosystem is distinguished by its spirit of initiative and autonomy. SOPROQ also indicates that 80% of its members act as self-producers of their projects. Today, the act of creation, the versatility and the organization of work on a more or less ephemeral contractual basis are inherent in the profession of musicians, which justifies the importance that modern university educational institutions must to agree. It is therefore consistent with the reality of working in music that we train a succession that is also competent in musical entrepreneurship.
This means that in addition to being highly qualified for stage performance or for the composition of original works, today’s musician is involved in management, production, logistics, production, creation of original content, broadcasting, communications, etc.
As researchers and professors in the professionalization of music, we are concerned that some students wonder if it is still worth pursuing a career in the field of culture and the arts.
For nearly two years, these people have innovated in their practices, adapted to changing contexts and reinvented themselves time and time again. Despite this great resilience, they are able to see the new challenges that await them. Indeed, the Guild of Musicians of Quebec reports that in February 2021, at the height of the second wave of the pandemic, 69% of professional musicians carried out less than a quarter of their usual activities. Among them, 26% could not even work. The upcoming reopening of broadcast rooms brings a wind of hope. However, since the scheduled shows are generally those already postponed from 2020-2021, there is very little space left to schedule the concerts or performances of the newly graduated musicians.
Financial security of the artist
Added to this is a lack of recognition of the artist’s professional status and financial security. As a result, many students report experiencing psychological distress, similar to what their professional colleagues experience. Many doubt their future despite the fact that their university education makes them more capable than ever of leading the digital revolution and shaping the musical environment of tomorrow. And if some are not ready to give up their future careers, others are in reflection.
If nothing is done now to integrate the next generation into the resumption of cultural activities, we fear the exodus of talent and a loss of expertise in music which could have longer-term repercussions. It would be extremely regrettable and damaging to lose future creators of this changing environment. Our young musicians have the ideas, the tools, the energy and the creativity necessary for the Quebec of tomorrow to shine through its culture, its entrepreneurship and its innovation.
To quote the poet Gaston Miron, let us ensure that “we have not returned to return, but that we have arrived at what is beginning”. We hope that the professional reality of musicians will finally be recognized in its proper measure by the government. Structures must be put in place to encourage the contribution of the next generation to the development of a strong and lasting culture. We are already working in this direction and we are ready to share our vision so that music is recognized as a real profession.
*This letter is co-signed by:
Jean Boivin, Robert Ingari, Annick Lessard, full professors at the School of Music at the University of Sherbrooke; Jacinthe Harbec, associate professor at the School of Music at the University of Sherbrooke; Marc Bonneau (drummer and conductor), Andy Bourgeois (composer), Jonathan Dagenais (conductor, composer), Nathalie De Grâce (clarinettist), Benoît Desrosby (bassist), Samuel Desrosiers (composer), Chantale Dodier (saxophonist), Maxime Fortin ( composer), Jean-François Gagnon (trumpeter), Thierry Gauthier (composer) Jonathan Gearey (guitarist), David Gelfand (bassist), Jean-Fernand Girard (pianist), Maxime Goulet (composer), Benoît Groulx (composer), Dimitri Lebel -Alexandre (guitarist), Robert Marcel Lepage (composer), Carmen Picard (pianist), Thierry Pilote (composer), Marilène Provencher-Leduc (flutist), Philippe Turcotte (keyboardist and conductor), lecturers at the School of Music of the University of Sherbrooke.