Looking for a University Teaching Gig? Some Things You Might Want to Consider

So you want a teaching gig? Well, the good news is that you can get one. The bad news is that securing one is a little more complicated than you might think. I've been full-time for going on 14 years and I'm happy to say that I've been tenured for half of those years. For those of you not familiar with academia, tenure means you have a job for life--as long as you don't do anything stupid, or your department doesn't fold. 

News flash! Universities operate by different rules than the rest of the world. They really do. It's a weird mix of politics, merit, being a good fit, and plain old luck. It's a more slippery landscape than Washington, DC politics. At least a US president or senator will most likely serve out their term. A university president, dean, or department chair could be gone by the end of a semester. So what you thought was the agenda is no longer. 

Why is this important? Well, when times are precarious, many musicians think, "Let me go back to school and get my degree so that I can get a teaching gig." Unfortunately, the performing arts are not that simple. Yes, the degree is essential, but it only permits you to enter the game. Playing and winning it is a hyper-nuanced process. 

I'm sure many of you have sent your resumes to numerous universities, to no avail. There's a reason for this: just from looking at your resume, they have no idea who you are, or if you can function in their unique political and learning environment. Again, this can change at the drop of a dime. Three things tend to put their minds at ease: experience, experience, experience--not a degree, degree, degree. A person with a master's degree and a ton of experience has much more value than someone with a Ph.D. straight out of jazz school. Mind you, some universities are pretty strict about their degree requirements. They would turn down Sonny Rollins if he applied and hire the person who did their dissertation on Sonny Rollins. This world can be pretty wacky at times!

Back to my earlier point, I've sat on numerous university hiring committees, and sitting across from me was a brilliant and talented person that I knew it did not have a shot in hell of getting the gig. It was usually for three reasons:

1. We did not know them—before and after interviewing them.
2. They didn't have the experience needed.
3. What they were offering was not what the university nor department needed.

University positions--and I'm speaking of the performing arts--tend to fall into one of three categories: 

1. administrative heavy (student advising, recruitment, and program coordinating);
2.  teaching-focused (lecture-style classes); 
3. and performance-centered (privates lessons and ensembles). 

Many departments require you to dapple in all three, but you will most likely need to have one as your forte. When you show up for your interview, keep in mind that the hiring committee already knows what they're looking for, and sometimes who they want. And this is the fourth reason why we knew someone wasn't getting hired. In some cases, the hiring process is rigged. Yes. You've heard it here. Not only do they know what they want, but the committee also knows who they want and this whole search-for-a candidate-thing is just a mere formality. Some call it a fake search. This is not always true, but in a lot of cases, it is. There have been a few occasions where I went up to someone and said, "Hey, did you know John Doe College is doing a search. And they were like, "Yeah, I'm going to apply, but I already know so and so is going to get it, since he already teaches there." As I've said, it's not always like this, but it does happen more often than you might think.

There have been a few situations where a coveted university position became available and because the person spearheading the search contacted me personally, I was ushered into the final round. Why? It wasn't because I'm so great, nor super-famous, but because they were confident that I knew the culture of higher learning, and could come in without having someone hold my hand. This is very important. There's no getting-used-to-the-gig period. You're handed the steering while going 90 MPH and are expected to handle the vehicle like a pro. That's why you have to get your experience before interviewing for the position.

When LIU hired me, on paper, I was the least qualified of the three finalists--another situation where I was ushered into the final round. One of the candidates had a master's degree in jazz performance from NEC and extensive teaching and performance experience; the other had a Ph.D. in music composition, but very little experience; and I only had my bachelor's degree from Berklee. However, what the department needed was someone who had experience with grant writing, someone with cross-cultural interests, and, most importantly, someone who had the temperament for their current body of students. At that particular time, I was the right candidate. I failed to mention that I taught there for two years prior as an adjunct. So everyone was pulling for me—even folks in other departments like anthropology, theater, dance, and visual arts. 

But back to my original point of how to have your resume looked at more favorably and how you can become a more competitive candidate. What most hiring committees and departments look for is experience, and maybe some name recognition, if it's a high profile university or conservatory. 

The next big question. How to get experience?

It's good to use the same approach that one would use to secure a desired gig at a jazz club. For example, if you wanted to play at Smalls, you can't just send the owner Spike Wilner a demo tape and expect him to call you back asking which weekend you'd like to play there. 

There are only three ways to get a gig at Smalls:

1. You have to hang out there and become a part of the culture.
2. You have to be a regular member of bands that regularly perform there.
3. You have to be so famous that your reputation precedes you.

Getting a university gig is not so different. In most cases, you can't just send your CV to the department chair and expect to get a call back because they have a well-paying position for you. 

My advice: Instead of waiting to hit the lottery, you can take smaller steps to get your feet in the door. 

Try these things:

1. Show up to student concerts and recitals performed at universities you'd like to teach. Shake hands with some of the faculty and students. Get to know them.
2. Attend the gigs of professors who have influence at universities you'd like to teach. 
3. And a really good way to get your feet in the door is to ask to be on the sublist of someone already teaching at a university. This is also how many musicians infiltrate the Broadway musical scene. 

Unlike other fields, people in the performing arts still perform, especially in music. Trust me when I say we're always looking for reliable folks that we can call last minute. Also, whatever they're offering you financially, take it--within reason, of course. There's a time and place to play hardball. If someone is calling you to sub for them, they're usually paying you out of pocket. See the bigger picture: you're trying to build a relationship. 

University professors call subs that they like, are available, are dependable, who can conduct themselves in a classroom setting, and are not going to be a significant pain in the ass. Here's another point to ponder: If your specialty is big band arranging and jazz composition, don't hold out for the perfect position to become available. If someone offers you a beginner piano student, take it. Again, if that coveted composition class, jazz ensemble director, or head of the saxophone department becomes available, who do you think they're going to call? Most likely someone they have a relationship with, and someone with whom the other students and faculty are familiar. 

Another thing to think about: When you do apply for positions elsewhere, everybody needs letters of recommendation. Which will be more impactful? The one from the leader of the club date band you play with, or the one from an actual university professor who has gotten a chance to see you in action and observe how you vibe with faculty and students. This helps, even if you were just a sub.

None of these things I discuss will guarantee you a tenure-track position nor one as an adjunct. The needs of universities and their various departments are always in flux--which is good. If not now, it could mean opportunities down the road. You really never know!

Even though the things discussed won't automatically secure a gig for you, they will give the following:

1. The classroom experience that you need.
2. A better understanding of university politics.
3. Some weighty substance for your resume. 

So, good luck with the search and note that opportunities reveal themselves in many guises.

Oh, and there's one last thing you can do. Always be professional and treat every person and situation you're in with the utmost respect. You'd be amazed at how small our world really is!