OPTION ONE

Title: Diploma or Degree? Spotting and Supporting the Young Performer

Hosts: Dr. Fritz Flarherty (Cello – Alvinworth School District), Dr. Michael-John Gorshin (Bass Trombone – Eastgate School District), Dr. Chris Kozark (Bassoon – Charterson Valley School District)

Announcer: TBD

[Opening Cue]

Intro music: Light orchestral fanfare that fades into an easy groove.

ANNOUNCER: From the halls of Alvinworth, Eastgate, and Charterson Valley, three Fine Arts Directors step up to the mic with a mission: to help parents spot musical talent, nurture it, and guide young performers toward their professional dreams. This… is Diploma or Degree? Spotting and Supporting the Young Performer. Here’s Dr. Fritz Flarherty, Dr. Michael-John Gorshin, and Dr. Chris Kozark.

FRITZ: Parents, we know the signs. You’re sitting in the living room and your kid is in the next room… not playing video games but running through the same measure of their solo again and again. And you think, Wow… they actually like this.

CHRIS: And if you’re like my mom, you also think, Do they really have to practice that bassoon at 6 a.m.? (laughs)

MICHAEL-JOHN: Hey, at least you didn’t play trombone. My parents got “Ride of the Valkyries” in B-flat in surround sound every morning for three years.

CHRIS: at 6 a.m.?

MICHAEL-JOHN: No, at least by 5:30 a.m.!

FRITZ: We joke, but here’s the truth — some students aren’t just “in band or orchestra” or “taking choir.” Music is who they are. For those students, there’s a very specific path in college that can be a game-changer — the Undergraduate Performance Diploma.

CHRIS: Think of it like this: A Bachelor of Music in Performance is part music, part general education. You’ll take theory, ear training, music history — but you’ll also take English lit, science, maybe a little math.

MICHAEL-JOHN: A Performance Diploma? That’s all-in. No science lac. No sociology paper due Monday.

FRITZ: Why didn’t someone tell me about a Performance Diploma… I dropped General Biology three times before I ever passed it…I would have so much rather been practicing my bassoon.

MICHAEL-JOHN: As I was say, a Performance Diploma - It’s daily, performance-based training. Lessons, rehearsals, chamber music, masterclasses, solo prep — rinse and repeat.

CHRIS: It’s designed to create the most audition-ready performer possible, . . .

FRITZ: . . . in the shortest amount of time. I

CHRIS: Rioght, in the shortest amount of time. If your kid wants to audition for the Chicago Symphony, “The President’s Own” Marine Band, or the Met Opera — this is laser-focused training for that level.

ANNOUNCER: So how do you know if your child might be one of these students?

FRITZ: Let me give you a checklist:

• They ask for more practice time, not less.
• They enter solo competitions for fun.
• They talk about repertoire like other kids talk about sports stats.
• They’ve been in private lessons for years — and keep asking for harder music.

MICHAEL-JOHN: I had a student, Jacob, who by 8th grade had already played Grade 6 solo literature in competitions. He’d win regionals, go home, and ask for something harder. That’s not normal — in the best way possible.

FRITZ: If you’re seeing this drive in middle school, do not wait until your child’s junior year in high school to start planning. The earlier they get serious,

MICHAEL-JOHN: And you as parents get serious:

FRITZ: the more doors open later.

CHRIS: Parents — this is where you have the most power, for better or worse.

MICHAEL-JOHN: Right. Support doesn’t mean pressure. It means giving them access to lessons, instruments in good condition, and performance opportunities… and then trusting them to run with it.

FRITZ: Nothing kills enthusiasm faster than constant criticism about “too much practice”

CHRIS: …or “wasting time on music.”

FRITZ: We’ve all seen kids walk away because they felt their parents didn’t take their dream seriously.

CHRIS: Flip that around — I had a former student, Emily, whose parents drove her three hours every Saturday for a two-hour oboe lesson. She’s now in a major orchestra.

MICHAEL-JOHN: If you think your child might be a diploma-track candidate, here’s the blueprint:

• Private lessons weekly with a high-level teacher.
• Solo & Ensemble every year, playing the most challenging rep they can handle.
• Competitions — local, regional, national.
• Summer intensives — and not just one. Try for two different programs if possible.
• Performance goals — recitals, mock auditions, and big projects.

FRITZ: The diploma itself comes in college, but the preparation starts in 7th, 8th, 9th grade. You can’t cram artistry.

MICHAEL-JOHN: You can’t cram artistry. Fritz, that is a brilliant statement. And so true.

CHRIS: One of my bassoon private students — now with the U.S. Army Field Band — once said the thing that helped her most was that her parents never made her feel guilty for spending hours in a practice room.

MICHAEL-JOHN: One of my former trombone students who’s now in a Broadway pit his folks didn’t know a thing about trombone, or music as they were both hair stylist. But, they learned how auditions worked, what kind of mute he needed, and they showed up at every concert. And they colored lots of old lady’s hair in order to pay for two lessons from me each week.

CHRIS: Two lessons?

MICHAEL-JOHN: Yes, one on Tuesday evening and one on Saturday mornings at 7:00 a.m.

FRITZ: And my cello alum? She’s now in the Atlanta Symphony. Her Dad treated her music calendar with the same respect as a sports season — they budgeted for it, they scheduled around it, they celebrated every step.

MICHAEL-JOHN: We’re not saying this is the right path for everyone. It’s intense. It’s narrow. And yes, there are trade-offs — like not having a traditional degree credential if you change careers later.

CHRIS: But if your child already knows they want a performance career, a diploma can be the most direct, purpose-built route.

FRITZ: The biggest mistake parents make? Waiting too long.

MICHAEL-JOHN: Truly, in this world, later is often too late.

CHRIS: This is where I’m going to say it plainly — parents, immerse yourselves in Accoladi.com. That site covers everything you’re going to need to know about the collegiate music path. Degrees, diplomas, auditions, summer programs, scholarship lists — it’s all there.

MICHAEL-JOHN: And while you’re at it, document the journey. Take pictures of your child practicing at home, rehearsing at camp, performing on stage. Video the little moments — the chat with their private teacher after a great lesson, the reaction when they get a Superior at State Solo & Ensemble, the laugh they share before walking into an audition.

FRITZ: Because one day, when your child is a world-famous performer, and PBS comes calling to do a special…

CHRIS: ..or CBS needs early footage because they’re receiving a Kennedy Center Award and Medal… you’re going to have it.

FRITZ: Every moment.

MICHAEL-JOHN: Every memory.

CHRIS: Take your role seriously. Think like the parents of Taylor Swift or Beyoncé — be the archivist, the cheerleader, the steady hand in their corner.

ANNOUNCER: Parents, if what you’ve heard today sounds like your child — the talent, the drive, the love for the instrument or their voice — visit Accoladi.com and read Diploma or Degree? Understanding Undergraduate Music Diplomas for Aspiring Pros. It’s your guide to what’s possible.

CHRIS: Talk to your child’s music director. Ask about competitions, summer programs, and teachers who can challenge them.

MICHAEL-JOHN: Give them permission to take this seriously — and back them up.

FRITZ: Because when the audition date comes, and they walk on stage knowing they’re ready — you’ll be glad you did.

Outro music: Uplifting orchestral theme.

ANNOUNCER: This has been Diploma or Degree? Spotting and Supporting the Young Performer, with Dr. Fritz Flarherty, Dr. Michael-John Gorshin, and Dr. Chris Kozark. Thanks for listening — and for believing in the next generation of musicians.

Music swells and fades out.

OPTION TWO

Title: Diploma or Degree? Understanding Undergraduate Music Diplomas for Aspiring Pros

Host: Dr. Michael-John Gorshin – Director of Fine Arts, Eastgate School District (Bass Trombone)

Announcer: TBD

[Opening Cue]

Intro music: Bright orchestral fanfare that blooms into a confident, steady groove.

ANNOUNCER: From Eastgate School District, where artistry meets excellence, Director of Fine Arts Dr. Michael-John Gorshin brings his years of experience as a performer, educator, and mentor to the mic. This is People Over Programs Podcast.

Today, we’re unpacking a question that could shape a young musician’s entire career path: Diploma or Degree?

MICHAEL-JOHN: I’ll start with a scene I’ve seen a hundred times… and maybe you have too. It’s still dark outside. The house is quiet. And somewhere down the hall, you hear music — not from a phone, not from a game, but from a student who’s already in the practice room.

They’re not waiting for a reminder. They’re not waiting for a grade. They’re playing or singing because they want to.

If you’ve got a child like that at home, you already know… music isn’t just a subject for them. It’s who they are.

ANNOUNCER: And for students like that, the college decision isn’t just about where they go. It’s also about how they study once they get there.

MICHAEL-JOHN: Exactly. Most parents have heard of the Bachelor of Music in Performance — and it’s a great path. But in the conservatory world, there’s another option that a lot of people don’t know about: the Undergraduate Performance Diploma.
Here’s the short version:

• A Bachelor of Music in Performance combines your instrument or voice study with general education classes — think English lit, history, maybe a science lab.
• A Performance Diploma is all-in on performance. No English lit. No geology exam. Just lessons, rehearsals, chamber music, solo prep, masterclasses — every single day.

ANNOUNCER: That’s a big shift. Who should even consider this track?

MICHAEL-JOHN: It’s not for everyone. This is for students who thrive on challenge and don’t need someone looking over their shoulder to get things done.
You know the type:

• They ask for more practice time.
• They enter competitions because they like the pressure.
• They talk about repertoire like other kids talk about the latest video games.
• They’ve been in private lessons for years, and they’re always asking for harder music.

ANNOUNCER: And the earlier they start thinking about it, the better, right?

MICHAEL-JOHN: Absolutely. You can’t cram artistry.
For a diploma track, the preparation really starts in 7th, 8th, or 9th grade. Here’s what that looks like:

1. Weekly private lessons with a teacher who pushes them to grow.
2. Performing at Solo & Ensemble every year — with the hardest rep they can handle.
3. Entering competitions at the local, regional, and national level.
4. Attending multiple summer intensives — not just one, and not just the same program every year.
5. Setting performance goals — recitals, mock auditions, big projects that stretch their skills.

ANNOUNCER: So how does a performance diploma give them an edge in auditions?

MICHAEL-JOHN: Think about the demands of a major audition — whether it’s the Chicago Symphony, “The President’s Own” Marine Band, or the Metropolitan Opera.
The repertoire lists are intense. You have to demonstrate absolute technical control, musical expression, and stylistic accuracy.
And you usually have just seconds to make a first impression.
A diploma track means:

• More hours to target the exact repertoire on your audition list.
• More mock audition experience before it really counts.
• Teachers who’ve been on the other side of that audition screen.
• Daily immersion in performance — so walking on stage feels like home.

ANNOUNCER: But there’s a trade-off.

MICHAEL-JOHN: Right. With a diploma, you don’t get a degree credential. If you ever pivot careers or want to go to grad school outside of music, you might need to go back for a bachelor’s.
So — it’s not “better” than a degree. It’s different.
For students who are 100% certain they want a performance career, it can be the fastest, most direct route. For others, a degree might be a better balance.

ANNOUNCER: What’s the biggest mistake you see families make?

MICHAEL-JOHN: Waiting too long.
If you see the signs early, start the conversation.
Talk to your child’s music director. Find the right private teacher. Research summer programs. Get them into competitions.
And here’s something most parents don’t think about: document the journey.
Take pictures of your child practicing at home, performing on stage, even warming up backstage.
Record the little moments — the smile after a good lesson, the deep breath before an audition.
One of my former trombone students now plays in a Broadway pit orchestra. His parents didn’t know much about music at first — they were both hairstylists — but they learned what mutes he needed, how auditions worked, and they made sure he got to every rehearsal. They have a photo album from those years, and now? Those moments are priceless.

ANNOUNCER: Because one day, when they’re standing on a stage they’ve dreamed about for years, you’ll know you did everything you could to help them get there.

MICHAEL-JOHN: Exactly.

[Outro Music: Uplifting orchestral swell]

ANNOUNCER: This has been Diploma or Degree? Understanding Undergraduate Music Diplomas for Aspiring Pros with Dr. Michael-John Gorshin on the People Over Programs Podcast.
For more on degrees, diplomas, auditions, scholarships, and summer programs, visit Accoladi.com.
Thanks for listening — and for believing in the next generation of musicians.
Music swells and fades out.

OPTION ONE

Vlog Script: Diploma or Degree? The Big Choice for Future Music Pros

[Opening Shot]

Wide shot: all three sitting at a casual round table in a music room. Music stands, instruments nearby. Coffee cups. Warm lighting.

Sound cue: Upbeat lo-fi groove with a hint of brass and strings fades in.

FRITZ: (leans toward camera) Hey everybody — welcome to the table. We’ve got some big questions for you today. I’m Dr. Fritz Flarherty — cello player, music educator, and professional avoider of practicing scales before coffee.

MICHAEL-JOHN: (grinning, bass trombone on his lap) I’m Dr. Michael-John Gorshin — bass trombone player, Director of Fine Arts, and… yeah, I practiced after coffee this morning.

CHRIS: (spins bassoon in his hands like a lightsaber) And I’m Dr. Chris Kozark — bassoonist, teacher, and guy-who-has-been-told-he-plays-the-weirdest-instrument-in-the-band.

Music fades under.

[Camera: quick push-in on FRITZ]

FRITZ: So, you’re in high school, you love music, and you’re actually good at it. You’ve done All-State, Solo & Ensemble, summer intensives… and now people are asking: What’s your plan after graduation?

[Camera: two-shot on MICHAEL-JOHN and CHRIS]

MICHAEL-JOHN: Most of you have heard of a Bachelor of Music in Performance. That’s the classic route — you study your instrument, but you also take English, math, science… all that stuff.

CHRIS: (leans in, mock whisper) Yes, there’s still math.

[Camera: quick cut to FRITZ raising an eyebrow]

FRITZ: But there’s another option — and not many people talk about it — called the Undergraduate Performance Diploma.

[Camera: split screen of all three, leaning toward the camera]

ALL THREE: It’s. All. In.

Sound cue: short drum fill into funky groove.

[Camera: close-up on MICHAEL-JOHN]

MICHAEL-JOHN: Here’s the difference. In a degree program, you’re splitting time between music and academics. In a diploma program, you strip out most of the general ed classes and go all-in on your instrument or voice.

[Camera: FRITZ holding bow like a mic]

FRITZ: That means more lessons, more rehearsals, more chamber music, more solo prep. (pauses) And yes… more practice.

CHRIS: (deadpan to camera) Like… a lot more practice.

[Cut: Quick montage of B-roll — students in practice rooms, summer intensives, orchestras, masterclasses. Upbeat tempo music plays briefly.]

[Camera: back to table, medium shot]

FRITZ: So, who’s this for? It’s for the student who:

• Loves competition pressure.
• Thrives on hard repertoire.
• Has been in private lessons for years.
• And doesn’t need someone to remind them to practice.

MICHAEL-JOHN: (points to camera) If you’re the one saying, “Give me the hardest piece you’ve got” — yeah, this might be you.

[Camera: quick zoom on CHRIS for comic timing]

CHRIS: If you’re the one saying, “Give me the easiest piece and I’ll… eventually get to it” — yeah, not so much.

Sound cue: short playful bassoon riff, cut off mid-note.

[Camera: FRITZ speaking, MICHAEL-JOHN nodding]

FRITZ: The advantage? You’re getting the kind of focused training that can put you on stage at Carnegie Hall, the Met Opera, in a Broadway pit — or in a premier U.S. military band — faster.

MICHAEL-JOHN: The trade-off? You don’t get a degree credential. If you change careers or want grad school outside of music, you might need to go back for a bachelor’s first.

[Camera: CHRIS leans forward]

CHRIS: So, no — it’s not “better” or “worse” than a degree. It’s just… different. And it’s for people who already know exactly what they want.

[Cut: all three sitting back, casual shot]

FRITZ: If you’re curious, start early — middle school or 9th grade is not too soon. Get a high-level private teacher. Enter competitions. Do summer programs. Push your limits.

MICHAEL-JOHN: And parents — if you’re watching this — support your kid’s dream. Lessons, instruments in good shape, time to practice… that’s your job.

CHRIS: Also snacks. Snacks are important.

[Camera: slow zoom-out, upbeat outro music fades in]

FRITZ: Bottom line? Whether you go degree or diploma — take it seriously. Because when that audition day comes…

MICHAEL-JOHN: …you want to walk on stage knowing you’re ready.

CHRIS: And you want to own that stage.

[Final shot: all three wave at camera, music swells]

FRITZ: We’ll see you in the practice room.

Outro: bright, energetic groove with strings, trombone, and bassoon trading licks.

OPTION TWO

Vlog Script: Diploma or Degree? The Big Choice for Future Music Pros

Host: Dr. Michael-John Gorshin – Director of Fine Arts, Eastgate School District, Bass Trombone Player

[Opening Shot]

Close-up: Michael-John leans into the camera like he’s telling you a secret.

Sound cue: short brass fanfare → quick record scratch → upbeat lo-fi beat kicks in.

MICHAEL-JOHN: Okay… pop quiz. What do bass trombones, breakfast cereal, and your college music path have in common? (beat) They all sound way cooler when you pick the right one.

[Camera: Wide shot, Michael-John sitting on stool, trombone next to him.]

MICHAEL-JOHN: Hey, I’m Dr. Michael-John Gorshin — bass trombone player, Fine Arts Director, and someone who once practiced “Ride of the Valkyries” so much that my parents started hiding the mute. Today we’re talking about something that could change your whole music career: Do you go for a degree… or a diploma?

[Camera: Quick zoom]

MICHAEL-JOHN: Here’s the deal. A Bachelor of Music in Performance is like a balanced breakfast — music, theory, ear training… but also English lit, science labs, maybe even math. (shrugs) Yes, the “M” word.

A Performance Diploma? That’s like skipping straight to the marshmallows in Lucky Charms — no extra classes, just pure, 100% performance training.

[Sound cue: ding! with on-screen text: “ALL. IN.”]

MICHAEL-JOHN: With a diploma, you’re living in lessons, rehearsals, chamber groups, solo prep, mock auditions — rinse, repeat, crush it.

[Camera: over-the-shoulder shot of a music stand with “Bach” sheet music, slow zoom back to him.]

MICHAEL-JOHN: Who’s it for?

• The student who says, “Give me the hardest piece you’ve got.”
• The one who practices without anyone telling them to.
• The one who likes competition pressure.

If you’re thinking, “Wait… that’s me,” keep listening.

[Camera: cut to him walking through a hallway of practice rooms.]

MICHAEL-JOHN: Here’s the advantage: you get more hours on your craft, more targeted repertoire study, and faculty who’ve actually been in the orchestras, military bands, and opera pits you dream about.

The trade-off? No degree credential. If you change careers or want grad school outside of music, you might have to circle back for a bachelor’s later.

[Sound cue: comedic trombone “wah-wah” as he shrugs.]

MICHAEL-JOHN: So it’s not “better” than a degree — it’s just built for a different kind of student. Think of it like Olympic training vs. being on a really good high school team. Both are awesome. One just has a laser focus.

[Camera: sits on edge of desk, looking right into lens.]

MICHAEL-JOHN: If you’re even considering the diploma track, here’s your to-do list:

1. Get a private teacher who pushes you hard.
2. Play the toughest stuff you can handle at Solo & Ensemble.
3. Hit competitions — local, regional, national.
4. Go to more than one summer program.
5. Build big performance goals — recitals, mock auditions, everything.

[Cut: playful insert — footage of him pointing to camera with bold text “START EARLY” splashing on screen.]

MICHAEL-JOHN: Because here’s the truth: you can’t cram artistry. If you wait until senior year to get serious, you’ve already lost time you can’t get back.

[Camera: close-up, smirking.]

MICHAEL-JOHN: And parents — if you’re spying on this vlog from the kitchen — your job is simple:

• Keep their instrument in top shape.
• Get them to the right lessons.
• And maybe, just maybe, learn to love hearing that same passage 48 times in a row.

[Sound cue: fast bass trombone run → final note “pops.”]

MICHAEL-JOHN: Bottom line? Diploma or degree — pick the path that lines up with your dream, and then go all in. When you walk into that audition room, you want to feel like you’ve already won.

[Final shot: He slings trombone over his shoulder, walking off camera.]

MICHAEL-JOHN (off-camera): Now, if you’ll excuse me… I’ve got some marshmallows to eat.

Outro: upbeat brass-and-beat mix fades out.