There are different roads for different people \u2013 every singer I know has a different story of how he or she started a career. There is NO ONE sure-fire way, and I have by no means outlined every possibility here, just some ideas. I know plenty of people that did all the big deal apprentice programs, won all the young artist awards and contests, who are now languishing in bad regional opera houses, or have since given up on singing. So much is luck, but someone once told me that luck is \u201cwhere preparedness meets opportunity.\u201d I would add that DRIVE plays a huge role in who \u201cmakes it\u201d or not.<\/p>\n
I don\u2019t really believe in this. I just think that most voices need WORK technically to get them in shape. People who are expecting their voices to miraculously burnish and zing and ping and project once they hit (enter number here!) age, are barking up the wrong tree. Even an 18-year-old can sing well, if taught well. And there are fachs for every voice in every phase, I think. Perhaps one day you may BE a full lyric soprano, or a dramatic, but in the meantime, you can probably do the lighter lyric repertoire really well, or whatever. Nobody\u2019s voice ever ARRIVES at that perfect point \u2013 we\u2019re always developing and changing. So don\u2019t \u201cwait\u201d on your voice to mature, work on your technique and sing what is currently within your abilities to do well!! There\u2019s no reason to sing something badly right now that you\u2019re sure is going to EVENTUALLY be your fach; it makes more sense to do what you can now, and do it well. Check out FACH \ubaa9\ub85d<\/a> if you don\u2019t have any idea what I mean by fach\u2026<\/p>\n Graduate school can sometimes be spinning your wheels. It is in schools\u2019 best interests to encourage you to go to more school! They\u2019re feathering their own nests!! I didn\u2019t go to grad school, and I think I\u2019m extremely well-prepared. \ud83d\ude09 Don\u2019t expect a school or a program to prepare you for the road ahead. Find out what you need to work on the most to reach your potential, and do what will allow you to hone in on that. Listen to people \u2013 are you getting the exact same feedback from different people? Even if it\u2019s something you don\u2019t want to hear, knowing yourself and your voice \u2013 strengths and weaknesses \u2013 is the first step.<\/p>\n Perhaps a grad school or program will provide exactly the atmosphere you need to prepare: \u00a0always have your goals and needs in the forefront. If you\u2019re going to have to spend most of your grad program working on projects that have nothing to do with what you need to work on, then that program is not for you. But if something is going to further your base of culture and your knowledge of life, it can\u2019t but help you as a performer. How can you mirror life and culture if you don\u2019t KNOW it??<\/p>\n Remember if you intend to teach later on, that at least a Master’s Degree or even a Doctorate are usually prerequisites to being considered for a position in universities and conservatories these days.<\/p>\n I have some friends who took their education into their own hands \u2013 they knew they just needed some work on their voices, so they took private lessons, while coaching with people they trusted. This takes a lot of self-knowledge, discipline and dedication, besides concentration! There are grants to be had (Rotary, Fulbright etc\u2026.) for this kind of private study. Check out Musical America (if you are American) for study grants and scholarships. There may be grants or scholarships in your country, as well. \u00a0You must be highly motivated to do something like this; otherwise, you may just waste your time and money. Some people NEED deadlines and tests set up for them; others don\u2019t. Some people just need to work on repertoire, some just technique, some just acting or movement. EVERYONE needs lots and lots of coaching, classes and workshops in acting, and experience onstage. \u00a0Acting is not just a small little \u201cadd-on\u201d to your singing; it is a necessary cornerstone to an operatic career. You don\u2019t necessarily need to do a \u201cprogram\u201d to learn these skills. Get to know yourself and what you need, or what you don\u2019t need! \u00a0But, maybe a well-balanced program is exactly what you need. Do your homework.<\/p>\n I will most likely miss some important things, but here are some of my criterion for choosing a program. The criterion need not all be included in the specific program you do, but be included in the POSSIBILITIES of the program: what you glean from a school, program or course of study is the most important, not what the bare requirements of a degree are. You should use the school for its purpose \u2013 to learn \u2013 and mold the possibilities of a school to your needs. You should create your educational program to suit your needs, even if that means taking classes outside of your degree, taking classes for no credit, setting up your own special projects, or taking a little longer to graduate. \u00a0You need to investigate YOURSELF and figure \u00a0out where your shortcomings are, and address those.<\/p>\n \uc120\uc0dd\ub2d8<\/strong> works on breath, hones in on known problems, can answer specific technical questions clearly in a manner you understand, uses imagery or instructions that make sense to you, can tell you specific purposes of vocal exercises given, helps you make noticeable progress (through feedback at juries from other teachers, by comments by judges\/results at competitions, by quality of assignments in opera class, etc\u2026)<\/p>\n \uc5f0\uae30<\/strong> every semester \u2013 it will never be enough to master everything! Alexander Technique, Improvisation, Movement, Games, Stanislavsky Method, Stage Combat, Fencing<\/p>\n \ub304\uc2a4\/\ub3d9\uc791<\/strong>\u00a0\u2013 basic dances: minuet, waltz, especially court dances, basic tumbling, stretching, yoga<\/p>\n \uc5b8\uc5b4 \uc0ac\uc804<\/strong> for German, Italian, French \u2013 minimum one semester each, Diction for some slavic languages possible.<\/p>\n Don\u2019t just take \u201cLanguage for singers\u201d – learn a language \u2013 more than just a semester, you should be conversant!<\/p>\n \ud574\uc678 \uc720\ud559 \uac00\ub2a5\uc131? \uc774\ud0c8\ub9ac\uc544\uc5b4, \ub3c5\uc77c\uc5b4, \ud504\ub791\uc2a4\uc5b4, \ub7ec\uc2dc\uc544\uc5b4(\uc774 \ub2f4\ub2f9\uc790\uac00 \ud765\ubbf8\ub85c\uc6b0\uba74)<\/p>\n Performance Opportunity \u2013\u00a0<\/strong>\u00a0Recitals \u2013 one a year at least; Is there a possibility to get your butt onstage every semester? \u00a0Will your degree type get opportunity in roles? or just chorus? Do you realistically have a chance with the competition to get a role? Will required choral obligations take an inordinate bulk of your time? (You are not in school to learn how to blend, unless of course you are interested in being a professional chorister!)<\/p>\n Coaching \u2013\u00a0<\/strong>\u00a0make sure it is not just for graduate students once a week; at least more than one coach on staff. \u00a0Is there the possibility to try out different coaches? IS there an accompanying major, or coaching major for pianists? This is a good sign not just coaching with piano students, but accompanying students and staff.<\/p>\n \ud0c4\ud0c4\ud55c \uc74c\uc545\uc758 \uc5ed\uc0ac\uc640 \uc774\ub860<\/strong>\u00a0\u2013 Cornerstone to your musicianship \u2013 \u2013 pay attention!<\/p>\n Period Style \u2013 <\/strong>\u00a0\ubc14\ub85c\ud06c, \uace0\uc804, \ud604\ub300, \ub974\ub124\uc0c1\uc2a4 \uc74c\uc545\uc5d0 \ub300\ud55c \uc804\ubb38 \ubd84\uc57c\uac00 \uc788\ub098\uc694? \uad00\uc2ec\uc774 \uc788\uc73c\uc2e0\uac00\uc694?<\/p>\n \ubcf4\uceec \uad50\uc721\ud559<\/strong>\u00a0\u2013 You may want or need to teach in the future. This will show you physiognomy of throat, help you understand your own technique; Doctor, heal thyself!<\/p>\n \u201cExtras\u201d<\/strong> \uadf8\uac8c \ub098\uc5d0\uac8c \uc815\ub9d0 \ub9ce\uc740 \ub3c4\uc6c0\uc774 \ub418\uc5c8\uc5b4\uc694!<\/p>\n \ub300\uc911 \uc5f0\uc124!<\/strong> You should learn how to SPEAK. As singers, we are not trained to use our voices to speak, and yet we use our fine-tuned instrument in the worst of ways every day doing just that. Learn how to speak in the right range and with breath support so that you will not be ruining your voice on your days off by bad speaking habits. Work with a speech therapist if you must, but this is VERY VERY IMPORTANT to learn in your formative years, so you can build healthy speaking habits for your voice\u2019s longevity.<\/p>\n \uc7a5\ud559\uae08<\/strong> \u2013 My thought has always been that you should have a merit scholarship of some sort, wherever you go. No two ways about it. Otherwise, you are going to be the smallest fish in that pond. The school you attend needs to believe in you enough to pay you something, even if it\u2019s a pittance, to come there, and believe that you will be one of its outstanding students enough to back it up with money. If you are not that high a priority, you may always be relegated to the back row of the chorus at your univeristy, get the stinky teacher, and be the \u201cuntalented\u201d full tuition paying schmoe who\u2019s making it possible to pay for all the scholarships for the talented people. See what I mean? You not only need to find a good school, but be competitive within that school. If you\u2019re way in above your head already in undergrad, how can you ever expect to find your footing? You need to find someplace that\u2019s the right level and the right size to allow you the opportunity to shine at least a bit. A merit scholarship is one way for a school to signify to you that you are valuable to them.<\/p>\n The first thing you look for should always be your teacher. Try her\/him out, see if he\/she hones in on what you KNOW are your problems, offers you some sound advice (works on breath and tension, because that\u2019s almost always the root of all our problems as singers) but doesn\u2019t give you a \u201cquick fix.\u201d Some people can give you a \u201cmiraculous\u201d quick fix, which only deals with a problem on a surface level, but tends to impress impressionable young singers and do nothing for them in the long run. Remember: most problems will take time and muscle memory to overcome \u2013 not just one lesson. Also, see other students of this teacher, and see what they feel they\u2019ve learned from him\/her. There may be a teacher that has made huge strides with students that started off singing horribly! Some teachers have gained their reputations from students who naturally had great voices, and then they tend to get all the best students! Of course they have good results! They get the pick of the crop.<\/p>\n Don\u2019t pick a school for its program. Pick a school for a teacher, and then make sure the program\u2019s for you! More easily said than done, I know, but you must be tenacious about getting the best vocal and musical education possible. Do not accept to do a program at a school if you can not study with the teacher you want. And DO NOT hesitate to change teachers at your school, or even to change schools if you feel you are not making the progress you need. You are not there to stroke some teacher\u2019s ego, and you should not have to worry about how you leaving a studio will affect your teacher. If you aren\u2019t making progress with your teacher, he\/she should be honest enough to realize that and wish you well with someone else. It will be up to you to fill your bag of tricks with technique and seek out the best teachers to help you do so. \u00a0It is YOUR technique, so develop it!<\/p>\n A teacher should also be recommending appropriate repertoire to you \u2013 not just repertoire that will win local competitions, etc\u2026 and give THEM glory. Do not ignore if two or more outside, unrelated sources give you the exact same feedback about repertoire or vocal problems!<\/p>\n Picking a teacher depends on chemistry and the teacher\u2019s \u201cway\u201d with you \u2013 \u2013 some fabulous teachers do not work well with some students. It is all about who gives you the combination of technique with imagery that helps you get the right sound coming out of your mouth.<\/p>\n If you feel it\u2019s not working out with your teacher, try to ask as neutral an outside opinion as possible about your singing, maybe get them to come listen to a lesson, and most of all, trust your own gut feelings. Do as much research as possible into your teacher and his\/her students. Ask the students what exactly the teacher has worked on with them and how, how they feel they have improved, what the teacher\u2019s strengths AND weaknesses are (We\u2019re all only human!) and try him\/her out before deciding he\/she is the one for you! See what recommending people\u2019s reservations are about this teacher \u2013 it is often good to see what the negative sides are about a teacher, too\u2026 Watch someone else\u2019s lesson, to see if the teacher has some \u201cstock\u201d problems\/answers for all his\/her students. It is not impertinent to request a lesson with a teacher \u2013 the teacher needs to see if he\/she gets along with YOU, too! Be careful of school politics \u2013 \u2013 i.e. teachers telling you that you aren\u2019t making the kind of progress with your teacher that you would if you were studying with THEM. \u00a0But it is up to YOU to develop your technique and up to YOU to figure out if you are making good progress or not. \u00a0Do not just think of yourself as a receptacle for your teacher’s wisdom – inform yourself, question, WORK.<\/p>\n I can\u2019t stress enough how important it is to set goals for yourself to learn entire roles. This is usually something that\u2019s ignored in schools, unless you\u2019re doing a role in a production there. Don\u2019t just learn the aria, look at the entire role. Read (plow!) through it one day with your favorite coach or piano major. If something really appeals to you, learn the whole thing. It will make an incredible mark on your interpretation of the aria(s)! Knowing the whole shebang is something you can put on your resume, even if you\u2019ve done absolutely nothing on stage. If you learn roles, you can have a column for \u201cROLES LEARNED\u201d instead of a big NOTHING on your resume! \u00a0And learn something in the original language. I never understand why schools keep insisting on doing productions in English, since the students can\u2019t use the role in English in the future. The only show done with any regularity in a standard English translation is \u201cDie Fledermaus.\u201d Even if you have the opportunity to do that \u201cBoheme\u201d or whatever in English, it will undoubtedly be a different translation. So learn your roles in the original language. It looks impressive on your resume!<\/p>\n A coach is different from a voice teacher in that they work with you on style, language, and pound out notes sometimes to help you learn things. They are pianist, repetiteur, accompanist, and someone to catch you when you get sloppy about the music. Sometimes they can even tell you how to go about something vocally or musically so that you surmount technical problems. You go to your teacher for technique. However, a coach is a pianist who works through your music with you and corrects musical, stylistic and linguistic mistakes that your teacher sometimes can\u2019t accomplish in your lessons. Coaches do not normally help you with technique. Coaching usually costs less than voice lessons (depending on the coach, of course!)<\/p>\n When learning a role, I work at least a few times with a teacher, but more importantly, work intensively with different coaches to learn the role. Coaches can sing the other roles in the opera to give me cues, they can tell me that certain parts may need more OOMPH or that I can dare to be much softer because of the orchestration, and they can argue with me about what they think the tempi should be. Coaches who have worked in opera houses have a wealth of experience from playing rehearsals, and can tell you, \u201cWell, when I did this opera with Maestro X, he took this section at double the tempo that came before it\u2026\u201d or \u201cGreat Italian Soprano X took this ending up an octave \u2013 why don\u2019t you try that?\u201d<\/p>\n Find coaches you trust. They will be your ears throughout your career. You can never hear what you sound like from the outside, and a coach (or conductor) can tell you if what you think sounds fabulous even carries to the first row! A good coach is someone you feel comfortable with, that you feel improves your singing, interpretation, etc\u2026, and doesn\u2019t play mind games with you. A good coach helps you find the interpretation that YOU want to bring forward within the framework of the music \u2013 he\/she doesn\u2019t just say \u201cthis is how it\u2019s done.\u201d Style is a guideline, not a straightjacket. A good coach will tell you in a supportive way that you\u2019re not doing something right, or if you\u2019re developing bad habits. A good coach will not feel the need to say something just to have something to say. If it\u2019s good, he\/she will just leave it. A good coach is NOT just a fine pianist, but a fine musician who can tell you about style, language, nuance, and help you learn more about yourself in the meantime. The only problem is that the really good ones often become conductors and then don\u2019t have much time to coach!<\/p>\n A good vocal program should include coaching at least once a week. Don\u2019t waste your coachings on just pounding out notes \u2013 prepare as for a voice lesson, (do the note-woodshedding on your own with a piano) so you can work on style and \u201cpulling it together\u201d during your coaching.<\/p>\n \uc800\ub294 \ud559\ubd80 \uc2dc\uc808 \uc9c0\ud718 \uc218\uc5c5\uc774 \uc815\ub9d0 \ub18d\ub2f4\uc774\ub77c\uace0 \uc0dd\uac01\ud588\ub358 \uac78 \uae30\uc5b5\ud569\ub2c8\ub2e4. *\uc800*\ub294 \uacb0\ucf54 \ud569\ucc3d \uc9c0\ud718\uc790\uac00 \ub420 \uc218 \uc5c6\uc744 \uac70\ub77c\uace0 \uc0dd\uac01\ud588\uc5b4\uc694! \uc81c \ub3d9\ub8cc \uc911 \ub9ce\uc740 \uc0ac\ub78c\uc774 \uacb0\uad6d \uc5b4\ub5a4 \uc790\uaca9\uc73c\ub85c \ud569\ucc3d\ub2e8\uc744 \uc9c0\ud718\ud558\uac8c \ub418\uc5c8\uc9c0\ub9cc, \uc9c0\uae08\uc740 \uc9c0\ud718\uc758 \uba54\ucee4\ub2c8\uc998\uc744 \ub354 \uc798 \uc774\ud574\ud558\uae30 \uc704\ud574 \ub354 \uc8fc\uc758\ub97c \uae30\uc6b8\uc5ec\uc57c \ud55c\ub2e4\ub294 \uac78 \uae68\ub2ec\uc558\uc2b5\ub2c8\ub2e4. \ub530\ub974\ub2e4<\/strong><\/em> \uc9c0\ud718\uc790! \uc624\ucf00\uc2a4\ud2b8\ub77c\uc640 \uc9c0\ud718\uc790\uc640 \ud568\uaed8 \ub178\ub798\ud558\ub294 \ubc95\uc744 \ubc30\uc6b0\ub294 \uac83\uc740 \uc815\ub9d0 \uc911\uc694\ud569\ub2c8\ub2e4.<\/p>\n With conductors, you need to learn how to follow a STICK. Most choir directors direct with their hands, even when they are in front of an orchestra with a baton in their hands. Following a conductor with a baton, who is used to directing orchestras, can be a daunting task. Your breath needs to be prepared before s\/he has even done his\/her upbeat so that the sound (usually your vowel) can start directly on the downbeat. You should try and learn to start your consonants before the beat, so the vowel starts directly on the downbeat. I would recommend doing some of your song or aria repertoire (where possible) with a metronome, to get used to being rhythmically accountable to something outside of yourself. \u00a0In school, most of us sing with piano, and the pianists are desperately trying to follow us, so we are not so used to being held accountable to SOMEONE ELSE\u2019S BEAT. You have to learn how to keep with the baton (and to be able to use your peripheral vision to stay with the baton) while acting your life out onstage. As the orchestral musicians who were onstage with me in Giulio Cesare recently can attest, it\u2019s a lot harder than you think! You can not be listening to the orchestra in the pit \u2013 you need to follow the baton. If you are just listening for the accompaniment from the orchestra pit, by the time the sound waves from the orchestra go out in the hall and wash back up onto the stage, you could be a beat behind them or worse already. Each acoustic of halls is different, but your best bet is to WATCH the conductor and not listen.<\/p>\n Tuning your voice to an orchestra requires being in the TOP part of your pitch. The vibrato ideally is not going through the middle part of the pitch, but the upper part of the pitch. Listen to Pavarotti singing with orchestra and you\u2019ll see what I mean. He consciously pitches everything to the upper part of the pitch, so it will cut and carry further.<\/p>\n Directory of Music Faculties In Colleges and Universities, U.S. and Canada. Ref. ML13 C6. Includes each institution\u2019s address and phone number, degrees offered, and a list of faculty members with their area(s) of specialty. E-mail addresses are also included for many schools. Arranged by state, indexed by faculty teaching area, faculty members\u2019 names, graduate degrees, and institution name. \ubba4\uc9c0\uceec \uc544\uba54\ub9ac\uce74 \uacf5\uc5f0\uc608\uc220 \uad6d\uc81c \ub514\ub809\ud1a0\ub9ac Ref. ML12 A1 M8 \uc608\uc220 \ud589\uc815 \ud559\uc704 \ud504\ub85c\uadf8\ub7a8, \uc74c\uc545 \ud559\uad50 \ubc0f \ud559\uacfc \ubaa9\ub85d\uc774 \ud3ec\ud568\ub418\uc5b4 \uc788\uc2b5\ub2c8\ub2e4. \ub9e4\ub2c8\uc800, \uc624\ucf00\uc2a4\ud2b8\ub77c, \uc624\ud398\ub77c\ub2e8, \ud569\ucc3d\ub2e8, \ubb34\uc6a9\ub2e8, \uacf5\uc5f0 \uc2dc\ub9ac\uc988, \ucd95\uc81c, \ucf58\ud14c\uc2a4\ud2b8, \uc7ac\ub2e8, \uc2dc\uc0c1\uc2dd, \ub808\ucf54\ub4dc \ud68c\uc0ac, \uc11c\ube44\uc2a4 \ubc0f \ube44\uc601\ub9ac \ub2e8\uccb4, \uc8fc\ub9bd \uc608\uc220 \uae30\uad00, \uc74c\ubc18 \ucd9c\ud310\uc0ac, \uacf5\uc5f0 \uc2dc\uc124 \ubc0f \uc74c\uc545 \uc815\uae30 \uac04\ud589\ubb3c\uc5d0 \ub300\ud55c \ubaa9\ub85d\uc774 \ud3ec\ud568\ub429\ub2c8\ub2e4. . \ub0b4\uac00 \uac00\uc7a5 \uc88b\uc544\ud558\ub294 \ucc38\uc870 \uac00\uc774\ub4dc! \uc774 \ucc45\uc744 \uba39\uc744 \uc218 \uc788\uc5b4\uc694!! \ub0e0\ub0e0. \uad6c\ub3c5 \uc815\ubcf4 \uc804\ud654: 800.547.8753. \ub0b4\ubd80 \uc815\ubcf4\ub97c \ubcf4\ub824\uba74 \ube14\ub85c\uadf8\uc5d0 \uac00\uc785\ud558\uc138\uc694.\u00a0\u00a0Musicalamerica.com<\/a><\/p>\n \uc804\uad6d \uc74c\uc545 \ud559\uad50 \ud611\ud68c \ub514\ub809\ud1a0\ub9ac. ML27 U5 N1542\ub97c \uc2a4\ud0dd\ud569\ub2c8\ub2e4. \ub9e4\ub144 \ubc1c\ud589\ub429\ub2c8\ub2e4. \uc81c\uacf5\ub418\ub294 \uc8fc\uc18c \ubc0f \ud559\uc704\uc640 \ud568\uaed8 \ud68c\uc6d0 \uae30\uad00\uc744 \ub098\uc5f4\ud569\ub2c8\ub2e4. DIFFERENT PATHS There are different roads for different people \u2013 every singer I know has a different story of how he or she started a career. There is NO ONE sure-fire way, and I have by no means outlined every …<\/p>\n\ub300\ud559\uc6d0<\/h2>\n
\ub300\uccb4 \uacbd\ub85c<\/h2>\n
\ud504\ub85c\uadf8\ub7a8 \uc120\ud0dd \uae30\uc900<\/h2>\n
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\uc120\uc0dd\ub2d8\uc744 \uace0\ub974\uc2dc\ub098\uc694?<\/h3>\n
\uc120\uc0dd\ub2d8!<\/h2>\n
\ud559\uc2b5 \uc5ed\ud560<\/h2>\n
\ucf54\uce58\ub780 \ubb34\uc5c7\uc778\uac00\uc694?<\/h2>\n
\uc9c0\ud718<\/h2>\n
\ub3d9\uc870<\/h2>\n
\uc5b8\uc5b4, \ucd5c\uc18c\ud55c:<\/h2>\n
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\uae30\ud0c0 \uc0ac\ud56d<\/h2>\n
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\uc11c\uc801<\/h2>\n
\n\uc804 \uc138\uacc4 \uc74c\uc545 \ud559\uad50 \ubc0f \uc74c\uc545\uc6d0\uc5d0 \ub300\ud55c Schirmer \uac00\uc774\ub4dc. 1988. \ucc38\uc870. ML12 U8 1988 c.2 \uc5f0\ub77d\ucc98, \ud559\uc5c5, \uc2dc\uc124, \ud2b9\ubcc4 \ud504\ub85c\uadf8\ub7a8 \ubc0f \uc7ac\uc815\uc5d0 \ub300\ud55c \uc815\ubcf4\ub97c \uc81c\uacf5\ud558\uba74\uc11c \uac01 \uae30\uad00\uc5d0 \ub300\ud55c \uac04\ub7b5\ud55c \ud504\ub85c\ud544\uc744 \uc81c\uacf5\ud569\ub2c8\ub2e4. \ud559\uc2b5 \ud504\ub85c\uadf8\ub7a8\uc758 \uc0c9\uc778\uacfc \uac00\ub974\uce5c \ub3c4\uad6c\uac00 \ud3ec\ud568\ub418\uc5b4 \uc788\uc2b5\ub2c8\ub2e4. \uc8fc\uc640 \uad6d\uac00\ubcc4\ub85c \uc815\ub9ac\ub418\uc5b4 \uc788\uc2b5\ub2c8\ub2e4.<\/p>\n
\nStern\u2019s Performing Arts Directory Ref. GV1580 D1922 Lists dance companies (ballet, jazz, modern, liturgical, mime, and others), dance schools, choreographers, dance teachers, music ensembles (pop, jazz, ethnic, classical, early music) and orchestras, opera companies, composers, conductors, and many performing arts services and resources.
\n\uc138\uacc4\uc758 \uc624\ud398\ub77c\ub2e8: 1992. Ref. ML12 O63 1992
\nInternational Who\u2019s Who In Music and Musicians\u2019 Directory Ref. ML105 W6192
\nWho\u2019s Who in American Music: Classical Ref. ML106 U3 W6 1985<\/p>","protected":false},"excerpt":{"rendered":"