One of the key experiences I noticed these programs offering was a mock audition, which provided performance opportunities and feedback, along with discussions and lessons.

Also at the beginning of 2021, I found one orchestra (Midland-Odessa Symphony and Chorale) that was doing a recorded preliminary round for their Principal flute audition. I applied, and prepared the audition as any other. On a designated date, they announced the preliminary round excerpts, and we had 72 hours to send in our recording. Only the semi-finalists would appear in person, due to COVID safety restrictions and space limitations.

I was impressed by how well this experience simulated most of the audition, without any travel expenses for the majority of the applicants. Those two experiences inspired me to create a virtual mock audition for flutists.

For the mock audition, I chose the list based on the most commonly requested excerpts from the lists I’ve prepared, and structured the details of the event to simulate a live professional audition as closely as possible. There were two rounds- I selected the flutists for the semi-final round, and my teacher, Catherine Karoly (Associate Principal Flutist of the LA Phil), served as the judge for the final round. There was an application fee of $30 (early) or $50, making the experience very financially accessible. Additionally, there was a prize for the winner of the mock audition, and a masterclass performance for the winner and two runner-ups (alysehokamp.com/mock-audition).

I believe this provided a valuable introduction to the experience of preparing and taking a professional audition. Several students and young professionals told me that their preparation for the mock audition helped them with auditions they took subsequently.

I plan to make this an annual event, featuring different prominent orchestral flutists each year. I think it is very important to intentionally create high level musical experiences that are financially accessible, which is very much possible now with the widespread use of video calling. There are many points in our careers, particularly with orchestral music, where money is a determining factor in our decisions- most significantly, instruments and education. This greatly favors those with larger resources, and excludes those who may have started out with less in the bank, but just as much passion in their hearts for the music.

Having been out of school, working, and supporting a family for some time now, I find the significance of my voice in the community as: 1) openness about the struggles and challenges of this career, and 2) being candid about the cost of this career. I discuss these topics regularly on my blog/social media, sharing my audition recordings, experiences, and expenses after each audition.

Essay Question #2: Describe any outside interests outside of music that you pursue actively and regularly.*

The biggest “interest” I have outside of music is raising my two children, aged 3 and 5! It is endlessly fascinating to watch and guide them as they develop and learn about the world. Raising children has made me question many things, and given me a more balanced perspective on professional success. Being responsible for their lives was also what motivated me to learn to be financially responsible. With children, there is more at stake, and failures to be responsible were no longer simply my own loss.

I love to read, mostly non-fiction. I raid the library regularly (with my kids) for books on personal finance, self-improvement, entrepreneurship, or whatever else I am interested in at the moment.

Finally, I am active on social media as a flutist. This is related to music, but a whole other set of activities in itself! I try to share in authentic way what my life is like through my Instagram and blog for others that are interested in careers in music- especially a performance based career. This journey is different for everyone, but I think it is so valuable to see the different paths people take. I hope to live my life and share an option for how one can navigate this career while being healthy, happy, and financially stable.

Essay Question #3: How would you participate in the creation of new and compelling musical experiences to build audiences, promote enthusiasm and ensure a robust future for classical music?*

I believe one of the greatest untapped audiences for classical music is amateur musicians, especially beginners in grade school and adult beginners, or individuals that designate themselves as “former musicians.” There is a tendency for professionals to look down upon amateurs, and generally exclude them from valuable musical experiences. To access this audience, I think we must creatively address the logistical challenge of how to include these individuals in music in a meaningful way, without sacrificing too much of the quality and integrity of the music.

As professional musicians, we need to take greater initiative to include amateurs, and further nurture their love of music. An amateur musician is already acquainted with the feeling of being excluded from professionals, and needs extra encouragement to actively participate in events. This should not with be with the aim of having them eventually create a career in music, but simply to foster their appreciation for the art.

Additionally, we need to be creative with structuring the events so that an amateur can be successful. This means there must be built-in flexibility for different skill levels, help available from more experienced players, and a culture of valuing people above musical prowess.

One inspiring event I attended this year was the University of North Texas’s TubaChristmas, and I was moved by how many people participated, the wide age and ability range of the participants, and the pleasure of the audience in the event. This raised the question for me: is great music only music which is technically excellent and performed in a large, beautiful, otherwise silent concert hall? Or can great music also be open, shared, and a little noisy?

I would like to address this by creating musical experiences where audience members are included in the creation of the music, and the line between performer and audience becomes blurred. One project I have in the works is to combine traditional Andean flute music, with its strong rhythms and virtuosic flute playing, with contemporary classical music inspired from that music. The repetitive rhythms are a natural entry-point for participation from the audience, and the pentatonic nature of the Andean melodies offers a reasonably fail proof opportunity for improvisation for all.

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