I’ve decided to refocus my work on Wikipedia to Edwin E. Gordon – an apparently influential force in the field of music education but someone I’ve never heard of. I will be giving a brief presentation on his theory at the end of the semester in another class so I figure I’ll make the most of my research efforts and kill two birds with one stone.
Much like Wikipedia’s Dalcroze article, the Edwin E. Gordon article is more of a stub and only references outside sources. I can envision expanding his biography as well as writing a related article on his music learning theory and other aspects of his work.
I had been having trouble finding any substantial information on Gordon until I hit the informational mother lode in the form of the Edwin E. Gordon Archive, housed by the University of South Carolina. They have a comprehensive collection of Gordon’s work as well as articles pertaining to Gordon’s work and all the sources are listed on the website.
Research resources:
For those of you doing any research relating to educational topics, eric.ed.gov is an AWESOME resource for articles. Access is unrestricted and each entry includes an abstract of the article in addition to the article title. If you register (free), you can save your searches and articles.
Also, the Bakalar Library page has a list of all the online resources we mentioned in class (JSTOR, RISM, RILM, et. al) but they can only be accessed through Longy computers or through Longy’s wireless network.
Tuesday, November 11, 2008
Getting to know Wiki
I spent some time this week reading through the history and talk pages of the Longy Wiki pages, as well as the pages for other Boston area music schools. I did that so to get my bearings in the Wiki world, before I start contributing anything to the existing pages. Among other things, I learned about "peacock terms"-- words that "reflect unqualified opinions", which Voceditenore helped us to correct on the Longy wiki page. However, I did spot numerous occurrences of peacock terms on the pages of our neighboring music schools, and plan to raise my hand at those as soon as I figure out how to use the right editing codes.
Happy belated birthday to Mary Morrison!
Happy Birthay to Mary Morrison, soprano! I fortunate that I am able to write this entry just two days after her I wanted to just say a word about this important Canadian soprano and pedagogue. Ms. Morrison was born on November 9, 1926 in Winnipeg, Manitoba. She received and Artist Diploma from The Royal Conservatory of Music in Canada in 1948. She has performed in the major orchestras in Canada. Her roles include, the countess, Pamina, Marguerite, Mimi, Marie in The Bartered Bride, Fiordiligi among others. Besides singing opera, Ms. Morrison’s most significant contributions are in contemporary Canadian art music. She has sung premieres by many composers including Jean Papineau Couture (who studies with Nadia Boulanger at Longy for a short time) and Oscar Morawetz. She played Sarah in the opera Louis Riel. She has also done Canadian premieres of European and U.S. works of Berio, Cage, Crumb, Peter Ligeti, Takemitsu, Xenakis and others. Mary Morrison married the composer Harry Freedman. She has taught in many Canadian universities and is still teaching at the University of Toronto. In 1983, she was made an officer of the Order of Canada.
Monday, November 10, 2008
Boston Lyric Opera's New General Director
I attended the opening night of Boston Lyric Opera's production of Jacques Offenbach's "Les Contes d'Hoffman" (or "The Tales of Hoffman") on Friday night, which was a fantastically fanciful production with phenomenal singers (especially the soprano who played Hoffman's four loves). Tonight, I stumbled upon this interview with Esther Nelson who is the newly appointed general and artistic director of the BLO. The interviewer brought up the issue of the physical limitations of the Schubert theater, and Ms. Nelson responded:
"Yes. As many theaters as Boston has, to my disappointment, we don't have a single perfect opera house. It's unusual for a city of the size of Boston, with its level of cultural integrity, to not have an opera house where you can do grand opera. That for me is a major handicap, a sadness, because it eliminates certain work that, as the largest company in New England, we should be able to do. We can't do Wagner or "Otello" the way it's meant to be done."
To me, part of the charm of BLO is its small size and similarly moderate productions. I think that in restraint and limits can come an enormous capacity for creativity and resourcefulness. I've enjoyed all the operas I've seen put on by the BLO, even though they may not be ridden with elaborate machinery or big-named stage directors, they are always of top quality with wonderful singers.
Ms. Nelson mentions how it is impossible for the BLO to mount large productions such as Wagner and "Otello," well now in this economic recession, that may be an advantage, as this article from the Washington Post describes the first casualty of the economic downturn being Wagner's "Ring" cycle which the Washington National Opera has postponed indefinitely.
Let's hope we get out of this recession soon so that all opera productions both big and small can be enjoyed by everyone :)
"Yes. As many theaters as Boston has, to my disappointment, we don't have a single perfect opera house. It's unusual for a city of the size of Boston, with its level of cultural integrity, to not have an opera house where you can do grand opera. That for me is a major handicap, a sadness, because it eliminates certain work that, as the largest company in New England, we should be able to do. We can't do Wagner or "Otello" the way it's meant to be done."
To me, part of the charm of BLO is its small size and similarly moderate productions. I think that in restraint and limits can come an enormous capacity for creativity and resourcefulness. I've enjoyed all the operas I've seen put on by the BLO, even though they may not be ridden with elaborate machinery or big-named stage directors, they are always of top quality with wonderful singers.
Ms. Nelson mentions how it is impossible for the BLO to mount large productions such as Wagner and "Otello," well now in this economic recession, that may be an advantage, as this article from the Washington Post describes the first casualty of the economic downturn being Wagner's "Ring" cycle which the Washington National Opera has postponed indefinitely.
Let's hope we get out of this recession soon so that all opera productions both big and small can be enjoyed by everyone :)
My Week's Work
This week I took one more stab at tracking down my 16th century friend. I looked through several online archives, searching the name that was given as the author of the book I had. Then I found a source listing the author as having a slightly different name, as in one letter difference. Apparently my friend is known as ConfortI as well as ConfortO. I should have tried that spelling before because I had heard it said that way but figured it was a mistake because I have seen the book.
So, I was then happy to find Mr. C does in fact have a page on Grove, which is a wonderful starting place. I also found a couple other citations that I will try to track down.
And yes, I do feel very silly.
So, I was then happy to find Mr. C does in fact have a page on Grove, which is a wonderful starting place. I also found a couple other citations that I will try to track down.
And yes, I do feel very silly.
Tuesday, November 4, 2008
The presidency and the arts
In honor of election day, here is an article from yesterday's The Times (London), titled: "What will the new president do for the arts?" It only briefly talks about the cultural activities in the US during the Bush years, and comments the current presidential candidates have made about the arts. The article mentions films, books, plays, popular music, visual art, musical theater, etc. Though not too surprising, I was quite disappointed to notice that nowhere in the article mentions classical music and related performance arts. Nor does it mention anything about arts education in public schools. Furthermore, I was also struck by this comment found after the end of the article by a reader:
"Who CARES?...We are in survival mode right now. Anyone concerned with the Presidents role in the arts has got to be economically unaffected, or someone whose job is "arts dependent"
If for one moment you think that the Arts are important enough to even be discussed right now, than get real."
If for one moment you think that the Arts are important enough to even be discussed right now, than get real."
I thought to share this on here, so to hopefully start a discussion on the relationship between the arts and politics in the US.
Monday, November 3, 2008
Lois McDonall -- new wiki idea
Lois McDonall is a Canadian, Operatic soprano. I have decided to devote a Wikipedia page either to her to Mary Morrison, who is another Canadian Soprano. I take special interest in both singers because not only are they important to me as Canadian singers but also, I have studied with each. This week, I would like to talk a little bit about Lois McDonall. Lois McDonall was my first mentor and in many ways, continues to be. She was born in Alberta in 1939. She was a semi finalist in the 1967 Met Auditions. This was the same year that she made her Canadian Opera Company debut. Ms. McDonall became a resident artist at the English National Opera and spent much of her career there. Her major roles include, Tosca, Constanze, Elsa from Lohingrin, Marschalin from Der Rosenkavalier, Donna Anna, Violetta, Freia, Miss Jessel from Turn of the Screw and many more. She is an expert in the music of Donizetti and Mozart. She has sung some rarer operas by Donizetti, such as the title role in Maria Padilla. Ms. McDonall has also premiered contemporary operas singing the title role in Anna Karenina (a role which was created for her) by Ian Hamilton and Mrs. Medlock in Stephen McNeff’s, The Secret Garden. In 1984, Lois McDonall thought at the Banff Centre and in the next year began to teach at the University of Toronto, where she retired from in 2001. She continues to teach in her private studio in the Toronto area. Many of her students have gone onto notable opera houses around the world, including Othalie Graham. Lois McDonall also has an extensive list of recordings which can be purchased online, if anyone is curious.
Just for the record
I posted a comment on Jessica's posting called "What music does..." It's down the page a bit, and I wanted to make sure to get credit for making a post this week.
Sarah Palin's Soundtrack
It's the night before election day, so I couldn't resist writing an election-themed post! This Youtube video of pianist Henry Hey accompanying a portion of an interview given by Sarah Palin to Katie Couric made me laugh so hard. Please watch it, it's super short (only a minute long) and it'll put a smile on your face, whether you're a Palin supporter or not.
Go out and vote tomorrow if you're registered in MA :)
Go out and vote tomorrow if you're registered in MA :)
We are not snobs.
As I was reading the Hewett, of course putting it on top of my previous reading of Cook, it occurred to me how bitter I was getting from all our transparent assumptions and canons and all. I know our authors here have written these books out of a love for music; it goes without saying, which is why they do not emphasize it. Without it, however, it is rather easy to see the whole view as more destructive than constructive criticism. Cook has this optimistic view, but mostly explains it at the end. The point is to know why we think what we think rather than deplore everything we think. I have been reminding myself of this fact.
For one thing, transparent assumptions are inevitable. Seeing them or not seeing them is functionally moot, because they have to occur for society to exist. If we did not assume composers were more important than performers then we might assume the opposite or something completely different, but we would assume something nonetheless. Hewett talks about a Malian wedding song being a whole, where Westerners assume music to be made of separate parts, but the indivisibility of the Malian song is also a transparent assumption. The music is sound just like any music and could be broken apart or kept together just the same. It is simply important to be aware that these assumptions exist in order to broaden our ways of thinking.
My second consolation is that the existence of the "canon" is not actually a bad thing. None of our authors have told us to toss it out. It is simply a thing, and they want us to know why it exists and, even more importantly, how it exists. I see the canon as a good thing, in perspective. It gives us a history, something against which to understand ourselves. Beethoven made good stuff. He is not divine, and the point is to understand why we might think he is and to open ourselves up to the possibility there are other things out there.
None of these are new to you, I know, but articulating them makes me feel better about the life of classical music, both past and future.
For one thing, transparent assumptions are inevitable. Seeing them or not seeing them is functionally moot, because they have to occur for society to exist. If we did not assume composers were more important than performers then we might assume the opposite or something completely different, but we would assume something nonetheless. Hewett talks about a Malian wedding song being a whole, where Westerners assume music to be made of separate parts, but the indivisibility of the Malian song is also a transparent assumption. The music is sound just like any music and could be broken apart or kept together just the same. It is simply important to be aware that these assumptions exist in order to broaden our ways of thinking.
My second consolation is that the existence of the "canon" is not actually a bad thing. None of our authors have told us to toss it out. It is simply a thing, and they want us to know why it exists and, even more importantly, how it exists. I see the canon as a good thing, in perspective. It gives us a history, something against which to understand ourselves. Beethoven made good stuff. He is not divine, and the point is to understand why we might think he is and to open ourselves up to the possibility there are other things out there.
None of these are new to you, I know, but articulating them makes me feel better about the life of classical music, both past and future.
Posting links
I told someone I'd post an explanation of how to include links in blog postings, so here goes:
1. While you're creating a new post, highlight the text you wish to link. You can use any word or a web address: http://en.wikipedia.org/wiki/User:Futureclass
2. With text selected, click on the "link" button- 5th from the left, picture of what I believe is an earth with a paper clip (or something)
3. This will bring up a dialog box that says: "Enter a URL" with a space for you to type. Type in the address you want to link to.
4. Click "OK"
5. The text you selected should now appear purple and underlined in the edit box. When you publish or click preview, it should show up as a link.
Hope this helps!
1. While you're creating a new post, highlight the text you wish to link. You can use any word or a web address: http://en.wikipedia.org/wiki/User:Futureclass
2. With text selected, click on the "link" button- 5th from the left, picture of what I believe is an earth with a paper clip (or something)
3. This will bring up a dialog box that says: "Enter a URL" with a space for you to type. Type in the address you want to link to.
4. Click "OK"
5. The text you selected should now appear purple and underlined in the edit box. When you publish or click preview, it should show up as a link.
Hope this helps!
She's got a chicken to ride...
While reading Cook’s second chapter on words and music, I was interrupted by a fellow passenger (which happens a lot) who was interested in what I was reading. As I gave them the short version of the "Words, words, words", they brought up songs they knew, in which they misheard the lyrics and it completely changed the songs meaning. There is so much more that goes into the experience of listening to music, and words are only a part of it. Something as external as “what did I do today” can influence how we respond to what we hear.
Cook says that the moment we try to isolate the purely musical, we are “forced into the realm of metaphor”. I certainly notice that the first connections I make when I hear a new piece is the imagery the music makes me feel. I have to wonder if television is to blame. As a child of educational program, I have always had a visual element in the learning experience, and visuals are a powerful educational tool. Is it so surprising that, when listening to music, the first thing that pops into my brain is an image?
Maybe I just watched too much Loony Tunes.
On the subject of misheard lyrics, this might make you chuckle warmly. It is a comfort to know that many people impose their own meaning on music to the point where it changes what they hear.
Cook says that the moment we try to isolate the purely musical, we are “forced into the realm of metaphor”. I certainly notice that the first connections I make when I hear a new piece is the imagery the music makes me feel. I have to wonder if television is to blame. As a child of educational program, I have always had a visual element in the learning experience, and visuals are a powerful educational tool. Is it so surprising that, when listening to music, the first thing that pops into my brain is an image?
Maybe I just watched too much Loony Tunes.
On the subject of misheard lyrics, this might make you chuckle warmly. It is a comfort to know that many people impose their own meaning on music to the point where it changes what they hear.
Sunday, November 2, 2008
Something's Cook - in' (sorry, I couldn't resist)
In order to find inspiration for my post this week, I decided to open up International Piano, a magazine about...well...piano. One of the articles, titled "First Among Equals," (written by Tully Potter) discusses the playing and recording life of Rudolf Serkin.
What I found interesting was that, according to the article, Serkin's reception by the U.S. was unlike that of Schnabel, Horzowski, and Petri, because Serkin was actually accepted and became quite well known.
I don't know how accurate this author's account is of the other pianists - I was aware that Horzowski never became incredibly famous in the U.S., but was surprised to find that the same was true at first of Schnabel. This made me think of Cook's comments about music and critical theory.
Horzowski and Schnabel are, of course, not the only pianists (or musicians, for that matter) to have met this fate. Many have attained a higher status in other countries and not here. It raises the question: who makes this decision? What is it based on? How could a European or Russian audience be riveted by a player and not a U.S. audience? In most cases, my guess is that the audience doesn't get much of a chance to have a say. If the players that are revered in the U.S. become what is important in performance, what players like Schnabel have to add is what becomes absent in the discourse. This, is, of course, problematic - not just according to critical theory, but I think, on principle.
On a much smaller note, Potter also calls Serkin's playing of Mozart "masculine" and "sometimes even muscular". This, of course, also made me think of Cook.
Finally, for those of you aren't aware, The Rest is Noise is now available in paperback. Yay!
What I found interesting was that, according to the article, Serkin's reception by the U.S. was unlike that of Schnabel, Horzowski, and Petri, because Serkin was actually accepted and became quite well known.
I don't know how accurate this author's account is of the other pianists - I was aware that Horzowski never became incredibly famous in the U.S., but was surprised to find that the same was true at first of Schnabel. This made me think of Cook's comments about music and critical theory.
Horzowski and Schnabel are, of course, not the only pianists (or musicians, for that matter) to have met this fate. Many have attained a higher status in other countries and not here. It raises the question: who makes this decision? What is it based on? How could a European or Russian audience be riveted by a player and not a U.S. audience? In most cases, my guess is that the audience doesn't get much of a chance to have a say. If the players that are revered in the U.S. become what is important in performance, what players like Schnabel have to add is what becomes absent in the discourse. This, is, of course, problematic - not just according to critical theory, but I think, on principle.
On a much smaller note, Potter also calls Serkin's playing of Mozart "masculine" and "sometimes even muscular". This, of course, also made me think of Cook.
Finally, for those of you aren't aware, The Rest is Noise is now available in paperback. Yay!
Wednesday, October 29, 2008
Yo-Yo Ma on Colbert Report
Yo-Yo Ma was the guest on the Colbert Report on Monday night. Click here to view the full episode. He is featured in the last 5 mins of the show. He was quite entertaining, and I also found the rest of the episode to be very funny. Enjoy!
Monday, October 27, 2008
Plans to update Longy on Wiki
I am currently taking and thoroughly enjoying Dr. Faina Bryanskaya's piano pedagogy class this term. She has published a series of her own piano method books and is a frequent lecturer at pedagogy conferences. In fact, she teaches a summer piano pedagogy program here at Longy every year. I checked on the Wiki and did not find anything about her name, her works, and anything at all about any of the summer programs at the Longy on its Wiki page.
In tandem with that, I also found the Longy Wiki page to be lacking in regards to the information on so many things that are so excitingly unique about our school: our vision, the mind/body department, focus on chamber music, the Dalcrose program, the prep & continuing ed department, etc.
So I think I've found myself a number of items here that I could contribute to now: namely,
1) A page on Dr. Bryanskaya and her pedagogical works, (though I haven't told her anything about this idea yet)
2) Expanding the Longy Wiki page to include the school's special features and its summer programs
Selling out?
While thumbing throught the arts section of the New York Times this past weekend, I was surprised to find a full-page ad of Lang Lang. Seeing anything classical be advertised in such grandiose proportions was unexpected for me, but what was even more surprising was that it was not an ad for Lang Lang, but for Audi.
I am perhaps behind on this, but I was unaware of Lang Lang's official sponsorship by Audi. After a little investigation, I found that he is required by his contract to show up to all of his concerts (including his performance at the Olympics) in an Audi vehicle. Moreover, the (weak) connection they try to make is that their "virtues" are the same - dynamic performance, perfected execution, and so on.
This makes me wonder - could the future of classical music include sponsorship of artists that is akin to that of athletes? Corporate sponsoship of music is not a new concept. Festivals, concert series, and even music schools (Longy has actually thought of turning to corporate sponsorship to help ease its financial strains) have all had corporate sponsors in the past. However, I have never known an individual performer to be touted in this way.
It shocked me. I have never appreciated the amount of money that goes to organized sports in this country. And more importantly, where does a lot of that money come from? Corporate sponsorship. I have always lamented the fact that professional athletes make so much more than most professions (obviously not just musicians) and that people will prefer tenfold to see a baseball game over a Schubert concert.
However, with this ad, I felt confused. I'd always hoped that a classical musician could attract the attention and praise on a level that was equal to that of sports, but seeing this left a bad taste in my mouth. I realize that there aren't a lot of other options to bring attention to music at such a national level, but what could this lead to? Kissen signed by a multi-million dollar deal with an energy drink company trying to make a connection between their drink and his "energy" in his playing? Schiff coming on stage and unveiling a Steinway tattoo? (remember Tiger Smalls?)
I realize I am going off the deep end, but I do want to open this up to the class. I'm not sure how to feel about this. I feel hypocritical supporting corporate sponsors for programs and not individual musicians - and I don't think individual musicians aren't deserving of that kind of money, but somehow this wasn't what I envisioned. What do you all think?
I am perhaps behind on this, but I was unaware of Lang Lang's official sponsorship by Audi. After a little investigation, I found that he is required by his contract to show up to all of his concerts (including his performance at the Olympics) in an Audi vehicle. Moreover, the (weak) connection they try to make is that their "virtues" are the same - dynamic performance, perfected execution, and so on.
This makes me wonder - could the future of classical music include sponsorship of artists that is akin to that of athletes? Corporate sponsoship of music is not a new concept. Festivals, concert series, and even music schools (Longy has actually thought of turning to corporate sponsorship to help ease its financial strains) have all had corporate sponsors in the past. However, I have never known an individual performer to be touted in this way.
It shocked me. I have never appreciated the amount of money that goes to organized sports in this country. And more importantly, where does a lot of that money come from? Corporate sponsorship. I have always lamented the fact that professional athletes make so much more than most professions (obviously not just musicians) and that people will prefer tenfold to see a baseball game over a Schubert concert.
However, with this ad, I felt confused. I'd always hoped that a classical musician could attract the attention and praise on a level that was equal to that of sports, but seeing this left a bad taste in my mouth. I realize that there aren't a lot of other options to bring attention to music at such a national level, but what could this lead to? Kissen signed by a multi-million dollar deal with an energy drink company trying to make a connection between their drink and his "energy" in his playing? Schiff coming on stage and unveiling a Steinway tattoo? (remember Tiger Smalls?)
I realize I am going off the deep end, but I do want to open this up to the class. I'm not sure how to feel about this. I feel hypocritical supporting corporate sponsors for programs and not individual musicians - and I don't think individual musicians aren't deserving of that kind of money, but somehow this wasn't what I envisioned. What do you all think?
What music does...
Of all the many challenging ideas Nicholas Cook puts forth in Music: A Very Short Introduction, the one that keeps turning over in my head is this idea of looking at what music does, not merely what it represents. That music can actually be a force in the world, that it can change things, is revolutionary but at the same time, it seems so self-evident! Does anyone else have that feeling? Like the truth has been there all along, we’ve just distracted ourselves with other things?
Here is something that speaks to me of this perspective. What do you you think?
Community Musicworks – A string quartet has taken up permanent residence in the middle of Providence and offers free music lessons. More so than just lessons, everything they do is with the intention of weaving this center of music-making into the community, not something set apart. They do this by hosting performance group/potlucks where they gather together over food and music. I am also told they broadcast their rehearsals over loud speakers into the street.
Here is a FANTASTIC article Alex Ross wrote about CM (go to the last half of the article):
http://www.therestisnoise.com/2006/07/learning_the_sc.html
Below are links to CM’s home page and a particularly telling blog entry. Notice in the blog posting the location of the concert – it ain't no musical museum, that's for sure!
www.communitymusicworks.org
http://communitymusicworks.typepad.com/online_journal/2008/10/west-end-dinner-and-concert.html
Here is something that speaks to me of this perspective. What do you you think?
Community Musicworks – A string quartet has taken up permanent residence in the middle of Providence and offers free music lessons. More so than just lessons, everything they do is with the intention of weaving this center of music-making into the community, not something set apart. They do this by hosting performance group/potlucks where they gather together over food and music. I am also told they broadcast their rehearsals over loud speakers into the street.
Here is a FANTASTIC article Alex Ross wrote about CM (go to the last half of the article):
http://www.therestisnoise.com/2006/07/learning_the_sc.html
Below are links to CM’s home page and a particularly telling blog entry. Notice in the blog posting the location of the concert – it ain't no musical museum, that's for sure!
www.communitymusicworks.org
http://communitymusicworks.typepad.com/online_journal/2008/10/west-end-dinner-and-concert.html
Thursday, October 16, 2008
Lame Marketing
Amanda Greer writes a blog on artsjournal.com on the marketing of classical music, called "Life's a Pitch". She posted an entry on the Brooklyn Philharmonic Orchestra, commenting on how atrocious the marketing style of the group is for an otherwise really innovative orchestra. I took a brief visit to the overly pink and cutesy website, which, at first glance, reminded me of the websites of companies targeting their products at pre-adolescent/teenage girls. There is a video page that introduces some really fantastic projects that the BP presents; yet unfortunately, the form of presentation of the videos is really lame!!! (In my opinion, at least) The first one is titled "I love BP".
Tuesday, October 14, 2008
Singer Seeking Refuge in America
Only a small bit of my wikipedia work made it to print, so I thought I would throw a little bit of current events on the blog.
I found this article and was intrigued by the junction between politics and music. I believe Cook speaks to the point as well, that westerners tend to think of music as completely separate from the surrounding world, but of course this is not the case. Here we see a singer forced to leave his home country because of death threats. He is not simply being criticized as we see in America, which is why America is where he turned. Aren't we lucky to only have the threat of people not liking our music?
http://www.nytimes.com/2008/10/13/arts/music/13bach.html
I found this article and was intrigued by the junction between politics and music. I believe Cook speaks to the point as well, that westerners tend to think of music as completely separate from the surrounding world, but of course this is not the case. Here we see a singer forced to leave his home country because of death threats. He is not simply being criticized as we see in America, which is why America is where he turned. Aren't we lucky to only have the threat of people not liking our music?
http://www.nytimes.com/2008/10/13/arts/music/13bach.html
HKPO
I have been doing a little research on the Hong Kong Philharmonic Orchestra on the official website and the Wikipedia page. I will update on my thoughts on it later.
Reviews
I was just reading two music reviews of Yundi Li's Carnegie recital on Saturday and about Leon Fleisher's 80th birthday concert last Friday in Jordan Hall.
I was actually looking for a review of Leon Fleisher's concert because it was really interesting to me if someone (music critic) would mention anything about a few very surprising to me things that happened during the concert ( Leon Fleisher and Johnatan Biss got lost midway beacause of a really bad page-turn; and Leon Fleisher and Yefim Bronfman had to start the same piece twice after not being able to start it together ). But I couldn't find anything about it which is also interesting to me beacause at the same time I read a review of Yundi Li's recital which was not very nice (it sounds to me like the writer was looking for the smallest mistake, rushed passage, not "authentic" performance, etc...). These are the two reviews:
http://www.boston.com/ae/music/articles/2008/10/06/concert_celebrates_fleishers_many_gifts/
http://www.nytimes.com/2008/10/13/arts/music/13yund.html?ref=music
And also: http://news.bostonherald.com/entertainment/arts_culture/view/2008_10_01_Botox_is_key_to_success_for_80-year-old_pianist_Leon_Fleisher
I was actually looking for a review of Leon Fleisher's concert because it was really interesting to me if someone (music critic) would mention anything about a few very surprising to me things that happened during the concert ( Leon Fleisher and Johnatan Biss got lost midway beacause of a really bad page-turn; and Leon Fleisher and Yefim Bronfman had to start the same piece twice after not being able to start it together ). But I couldn't find anything about it which is also interesting to me beacause at the same time I read a review of Yundi Li's recital which was not very nice (it sounds to me like the writer was looking for the smallest mistake, rushed passage, not "authentic" performance, etc...). These are the two reviews:
http://www.boston.com/ae/music/articles/2008/10/06/concert_celebrates_fleishers_many_gifts/
http://www.nytimes.com/2008/10/13/arts/music/13yund.html?ref=music
And also: http://news.bostonherald.com/entertainment/arts_culture/view/2008_10_01_Botox_is_key_to_success_for_80-year-old_pianist_Leon_Fleisher
Another difficulty with money
I thought I'd post/talk about this article, titled "WTF" by Greg Sandow:
http://www.artsjournal.com/sandow/2008/10/wtf.html
For those of you who don't know, the New York City Opera will be laying off 11 of its members, which is 13 percent of its current staff. I'm sorry to keep bringing up monetary problems in the music world, but I think it is interesting to see how various companies deal with their shortcomings. Although they are not completely cancelling part of the season, as did the Columbus Orchestra, they aren't putting on as many performances, and the performances are referred to by Sandow as not being "normal."
Sandow brings this point up, for his question is - how is this going to solve their financial difficulties - they will lose out on ticket sales.
I found some of the other questions that Sandow asks both relevant and important to those of us soon entering the music field. Perhaps we all need to do research into the stability of companies/studios we might be entering. Clearly, being hired for a position does not neccessarily mean that we will be needed for that position after all..... Eeek!
http://www.artsjournal.com/sandow/2008/10/wtf.html
For those of you who don't know, the New York City Opera will be laying off 11 of its members, which is 13 percent of its current staff. I'm sorry to keep bringing up monetary problems in the music world, but I think it is interesting to see how various companies deal with their shortcomings. Although they are not completely cancelling part of the season, as did the Columbus Orchestra, they aren't putting on as many performances, and the performances are referred to by Sandow as not being "normal."
Sandow brings this point up, for his question is - how is this going to solve their financial difficulties - they will lose out on ticket sales.
I found some of the other questions that Sandow asks both relevant and important to those of us soon entering the music field. Perhaps we all need to do research into the stability of companies/studios we might be entering. Clearly, being hired for a position does not neccessarily mean that we will be needed for that position after all..... Eeek!
Balinese Gamelan
Although Balinese gamelan is on my mind alot, especially since we have this wikipedia project, and well because it was my most favorite musical experience in my life so far, it really came to the forefront of my thoughts when I was reading the Cook this week. We all understand, at least somewhat and we continue to learn, about Western Art Music and the relationships between performer, composer, and listener. Cook writes that "reception based approach says that we best understand music by being in the middle of it". Throughout chapter 5, the idea of community and communal music is brought to light. Although we often work in ensembles and collaborate with others, gamelan as I have learned is music that can only be performed and worked on as a community.
The music of gamelan, whether it be Javanese or Balinese, is based on interlocking rhythms and melodies, so therefore, there is never one soloist and throughout the music, one member is only one half of the melody. The music is often so fast that one person would not be able to play one melodic line on their own. There is no such idea of the "virtuoso" or "soloist" in gamelan. There isn't even the idea of a conductor. You learn to follow a drummer and their cues for different sections and tempos but this "leader" is not viewed with our traditional Western idea of a conductor. There is no heirarchy in this community ensemble. The person who has composed a piece of music does not not have the means to write it down, because there is no "traditional" notation for gamelan music, and is only learned aurally. So therefore, music can only be learned and performed as an entire community. Traditionally, the instruments are not to be moved individually either, and one instrument is never to leave it's family of instruments.
This is only the tip of the iceberg concerning gamelan music. Hopefully this just peaks your interest and you can read more, when I get this on wiki, but in the meantime, go to the American Gamelan site http://www.gamelan.org/ and read more. Also, http://eamusic.dartmouth.edu/~gamelan/directoryusa.html#MA has been gracious and given us an entire list of gamelan's (including their type!), in the US. If you have a chance and want to "be in the middle" of music making, you should check it out, even go to a rehearsal. They'll probably have you participate in some way.
The music of gamelan, whether it be Javanese or Balinese, is based on interlocking rhythms and melodies, so therefore, there is never one soloist and throughout the music, one member is only one half of the melody. The music is often so fast that one person would not be able to play one melodic line on their own. There is no such idea of the "virtuoso" or "soloist" in gamelan. There isn't even the idea of a conductor. You learn to follow a drummer and their cues for different sections and tempos but this "leader" is not viewed with our traditional Western idea of a conductor. There is no heirarchy in this community ensemble. The person who has composed a piece of music does not not have the means to write it down, because there is no "traditional" notation for gamelan music, and is only learned aurally. So therefore, music can only be learned and performed as an entire community. Traditionally, the instruments are not to be moved individually either, and one instrument is never to leave it's family of instruments.
This is only the tip of the iceberg concerning gamelan music. Hopefully this just peaks your interest and you can read more, when I get this on wiki, but in the meantime, go to the American Gamelan site http://www.gamelan.org/ and read more. Also, http://eamusic.dartmouth.edu/~gamelan/directoryusa.html#MA has been gracious and given us an entire list of gamelan's (including their type!), in the US. If you have a chance and want to "be in the middle" of music making, you should check it out, even go to a rehearsal. They'll probably have you participate in some way.
Agra Gharana -- Indian Classical Music
I thought I would talk a bit about Indian Classical music this week, since that is what I think my Wikipedia contribution may be. Indian Classical music is an ancient and varied tradition. I would like to specifically talk about the Agra Gharana. Agra is the city where my mother (who, comes from a family of musicians and herself is one too) is from. It is in the state of Uttar Pradesh and is home to the Taj Mahal and other very important historical monuments and sites. A “Gharana,” according to Wikipedia is: “a system of social organization linking musicians or dancers by lineage and/or apprenticeship, and by adherence to a particular musical style.” The Agra Gharana, according to Wikipedia is: “a tradition of North Indian Classical Vocal Music descended from the Nauhar Bani. Who is Nauhar Bani? I would like to be able to answer this question in time. There is very little said about this particular tradition on Wikipedia. There, of course, very much to be said on this topic. Right now, the only thing I really know is that if it were not for this tradition of music, I may not be a musician. Here is the link to the wikipedia page: Agra Gharana
Monday, October 13, 2008
Creative Commons
"CC" has come up in our class discussion before, and this is the introduction its website gives: "Creative Commons provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry."
On October 11, 2008, the Wall Street Journal featured an article titled "In defense of piracy" by Lawrence Lessig, the co-founder of Creative Commons. The article calls for reforms of copyright laws to allow more freedom for creative expression by amateurs. Its discussion alludes to YouTube, Wikipedia, MySpace, and... John Phillip Sousa! A highly recommended read.
Wikiverse
Dear friends,
I've been doing some preliminary research about Wikipedia itself in preparation for making a contribution of my own. I am finding the sheer volume of information (endless information, it seems) just about structure and editing alone a little overwhelming!
I’ll share with you some of my findings and hope it will help you frame your own work and get the information you need.
1. We all received a message from Voceditenore welcoming us to Wikipedia and sharing with us some very useful links. Here are the two that I recommend frequenting:
a. WP:LAYOUT – tells you how to lay out an article and also has a side bar with the Manual of Style and its subpages, which include music. The music Manual of Style (MOS:MUSIC) tells you how to get notation into your article and discusses style issues particular to musical subjects.
At the bottom of this page is a box containing the following links: “Writing better articles”, “Article Development”, and “The perfect article”, which are helpful places to go for additional information.
b. WP:FA – Wikipedia’s Featured Articles. This is a collection of articles that exemplify the ideal Wikipedia article. They are really helpful examples of how different articles may be formatted. In particular, the article on Toru Takemitsu is very clear in structure and contains all of the elements Wikipedia encourages in an article.
2. There are many ‘wikiprojects’, which, to the best of my knowledge, are groups of editors dedicated to improving articles around a particular area in wikipeda. For instance, I have joined the wikiprojects:Classical Music (WP:CM) and its banner appears of my user page. I’m still not entirely clear how it works, but I think it’s probably a good idea to see what’s out there and how your article might link up through one or several categories.
Ok, that’s the best I have so far. If anyone else has some illuminating insights to share about Wikipedia and how to navigate this labyrinth, I’m all ears!
I've been doing some preliminary research about Wikipedia itself in preparation for making a contribution of my own. I am finding the sheer volume of information (endless information, it seems) just about structure and editing alone a little overwhelming!
I’ll share with you some of my findings and hope it will help you frame your own work and get the information you need.
1. We all received a message from Voceditenore welcoming us to Wikipedia and sharing with us some very useful links. Here are the two that I recommend frequenting:
a. WP:LAYOUT – tells you how to lay out an article and also has a side bar with the Manual of Style and its subpages, which include music. The music Manual of Style (MOS:MUSIC) tells you how to get notation into your article and discusses style issues particular to musical subjects.
At the bottom of this page is a box containing the following links: “Writing better articles”, “Article Development”, and “The perfect article”, which are helpful places to go for additional information.
b. WP:FA – Wikipedia’s Featured Articles. This is a collection of articles that exemplify the ideal Wikipedia article. They are really helpful examples of how different articles may be formatted. In particular, the article on Toru Takemitsu is very clear in structure and contains all of the elements Wikipedia encourages in an article.
2. There are many ‘wikiprojects’, which, to the best of my knowledge, are groups of editors dedicated to improving articles around a particular area in wikipeda. For instance, I have joined the wikiprojects:Classical Music (WP:CM) and its banner appears of my user page. I’m still not entirely clear how it works, but I think it’s probably a good idea to see what’s out there and how your article might link up through one or several categories.
Ok, that’s the best I have so far. If anyone else has some illuminating insights to share about Wikipedia and how to navigate this labyrinth, I’m all ears!
A second major hall for Troy, NY
The Troy Savings Bank Music Hall, long recognized as one of the nation's most acoustically perfect halls, has a new neighbor. Rensselaer Polytechnic Institute President Shirley Ann Jackson has spearheaded the design and construction of the Priem Experimental Media and Performing Arts Center, here reported in The New York Times. The hall opened last week.
Sunday, October 12, 2008
Alex Ross talks about Stockhausen
Our favorite music critic has another piece in this week's New Yorker magazine about the performance of Karlheinz Stockhausen's "Gruppen" in a hangar at Tempelhof Airport. You can read the article here, it's rather short and as always, a great read.
"Gruppen" was performed by the Berlin Philharmonic, split into three orchestral groups, and conducted by three conductors, including Simon Rattle. The audience was centered under the horseshoe of the orchestras and were encouraged to switch seats between performances for different acoustical experiences. But before that, the brass, wind, and percussion players performed Messiaen's room-shaking "Et Exspecto Resurrectionem Mortuorum" and altogether, created "the most gripping orchestral concerts [Ross has] attended in recent seasons."
From reading his article, I can't help but wish that I was at that performance!
"Gruppen" was performed by the Berlin Philharmonic, split into three orchestral groups, and conducted by three conductors, including Simon Rattle. The audience was centered under the horseshoe of the orchestras and were encouraged to switch seats between performances for different acoustical experiences. But before that, the brass, wind, and percussion players performed Messiaen's room-shaking "Et Exspecto Resurrectionem Mortuorum" and altogether, created "the most gripping orchestral concerts [Ross has] attended in recent seasons."
From reading his article, I can't help but wish that I was at that performance!
Three major features on new opera
On Sunday 12 October, The New York Times “Arts & Leisure” featured Anthony Tommasini’s “New Opera? Great Idea. Good Luck!” Inspired by a student’s question (“A thoughtful student asked me why I dislike most new operas”), the writer discusses the perceived failings of Howard Shore’s The Fly and Stewart Wallace’s The Bonesetter’s Daughter (based on a novel by Amy Tan). Drawing apt comparisons with Wagner’s Ring, Strauss’s Der Rosenkavalier, and Kaija Saariaho’s Adriana Mater (2006), Tommasini gives us a fine overview of two of this season’s premieres.
Meanwhile, John Adams’s Doctor Atomic opens at the Metropolitan Opera on Monday 13 October. Matthew Gurewitsch draws cogent parallels, in today's Times between Peter Sellars’s “vintage” staging of the Amsterdam performances and Penny Woolcock’s new production for the Met, noting, however, that Ms. Woolcock “has never directed for the stage”.
Gurewitsch reviewed Douglas C. Cuomo’s Arjuna’s Dilemma late last month. Drawing into his piece references to Doctor Atomic and an appraisal of Philip Glass’s Santyagraha, the review pairs well with Tommasini’s considerations of music’s ability to depict mysticism and the dangers that inhere.
Meanwhile, John Adams’s Doctor Atomic opens at the Metropolitan Opera on Monday 13 October. Matthew Gurewitsch draws cogent parallels, in today's Times between Peter Sellars’s “vintage” staging of the Amsterdam performances and Penny Woolcock’s new production for the Met, noting, however, that Ms. Woolcock “has never directed for the stage”.
Gurewitsch reviewed Douglas C. Cuomo’s Arjuna’s Dilemma late last month. Drawing into his piece references to Doctor Atomic and an appraisal of Philip Glass’s Santyagraha, the review pairs well with Tommasini’s considerations of music’s ability to depict mysticism and the dangers that inhere.
John C. Adams pens an autobiography
John Adams’s autobiography, Hallelujah Junction, received a glowing review from Charles McGrath in The New York Times of October 8, 2008.
Bayreuth succession struggle and Gerard Mortier’s bid
As reported in the The New York Times on October 3, 2008, Gerard Mortier’s bid for the leadership of the Bayreuth Festival came as an unwelcome surprise to the Board of the New York City Opera. Though he protested that it “was a signal that I wanted to be rescued,…that I saw myself as drowning”, Susan L. Baker, the Board’s chairperson, observed that “sending public signals is ‘not the way we have communicated with our artistic leadership’ in the past.”
Tuesday, October 7, 2008
"piano lessons" on Wiki
I was quite surprised at what I found when I searched for "piano lessons" on Wikipedia: a page on a song of this title by a British progressive rock band called Porcupine Tree. It was definitely not what I was expecting! Anyhow, I am quite interested the topic of piano pedagogical methods, and currently there appears not to be a substantial body of information on Wiki, so I am certainly going to do some more investigation on that now!
This will officially be my sell-out post. I'm sorry that this isn't as well-thought out or as well-researched as other posts have been (thereby NOT representing the caliber of this blog :-) ) but Valerie's post made me think of something.
This clearly shows the power of song (even though it is a pop song - and an old one, at that - it still is a powerful song).
I promise this will be the only cutesy post I do:
http://www.youtube.com/watch?v=2V1hOeQCp4c
Hope you enjoy!
This clearly shows the power of song (even though it is a pop song - and an old one, at that - it still is a powerful song).
I promise this will be the only cutesy post I do:
http://www.youtube.com/watch?v=2V1hOeQCp4c
Hope you enjoy!
Zarzuela on Wikipedia: could use more
I suppose it was presumptious of me to think there might not be a wikipedia on zarzuela, which I was asked to report on in class. Here’s the link, but I’ll summarize as well:
http://en.wikipedia.org/wiki/Zarzuela
Zarzuela is a lyrical dramatic style of theatre that took the place of opera both in the Baroque and Romantic periods (although they stretch the romantic right up to 1950, so it is not held to the same standard as the rest of Europe). Interestingly enough, the hunting lodge called “La Zarzuela” for which the form was named after originally entertained more than just lyric theatre, they had everything from high-brow classical art, to low-brow slapstick amusements like jugglers and clowns.
I still don’t fully trust wikipedia, so I dug deeper and cross referenced their article with “zarzuela.net” which gives a much more in depth look at the form.
I find it particularly interesting that the style spread to central America, particularly popular in Cuba. I wish that I had had the opportunity to see it first hand: I had visited Cuba in the winter of 2004 and neglected to go to the theatre. To be honest, considering the economic status of Cuba I am surprised that the arts still thrives there. It would be interesting to see what contemporary forms have emerged from the culture.
It also makes me curious as to whether this form spread to the Dominican Republic, which is where my family is from. Obviously, the wikipedia article on “Music of the Dominican Republic” makes no mention of classical forms, limiting the stylistic choices to rock, reggaton, and merengue. Another potential option for a wikipedia article, I think.
http://en.wikipedia.org/wiki/Zarzuela
Zarzuela is a lyrical dramatic style of theatre that took the place of opera both in the Baroque and Romantic periods (although they stretch the romantic right up to 1950, so it is not held to the same standard as the rest of Europe). Interestingly enough, the hunting lodge called “La Zarzuela” for which the form was named after originally entertained more than just lyric theatre, they had everything from high-brow classical art, to low-brow slapstick amusements like jugglers and clowns.
I still don’t fully trust wikipedia, so I dug deeper and cross referenced their article with “zarzuela.net” which gives a much more in depth look at the form.
I find it particularly interesting that the style spread to central America, particularly popular in Cuba. I wish that I had had the opportunity to see it first hand: I had visited Cuba in the winter of 2004 and neglected to go to the theatre. To be honest, considering the economic status of Cuba I am surprised that the arts still thrives there. It would be interesting to see what contemporary forms have emerged from the culture.
It also makes me curious as to whether this form spread to the Dominican Republic, which is where my family is from. Obviously, the wikipedia article on “Music of the Dominican Republic” makes no mention of classical forms, limiting the stylistic choices to rock, reggaton, and merengue. Another potential option for a wikipedia article, I think.
Monday, October 6, 2008
Classical Music Dress and YOU
Lately Sandow has been writing a bit in his own blog about the dress code for classical music performers. Basically he thinks people should be more fashionable, but you can check that out for yourself. http://www.artsjournal.com/sandow/2008/09/while_i_was_away_i.html. He has several more entries on the topic if you browse the basic time frame.
Reading, I can't help but be intrigued by the topic because I feel that it is an aspect of music that is changing in some arenas but remaining stagnant in others. On the one hand, we are experiencing, as Sandow describes, much variety in dress, but on the other hand my experience as a student is to always be told how what I am wearing to perform does not fit into the code.
In our reading by Cook (25-26), he describes musicians as dressing much like waiters, meant to be unnoticed conveyors of the goods to be consumed, but I wonder if this idea is changing.
Sandow notes: "And new music... doesn't go well with formality. Bill, I think, implied something like that when he cited the Kronos Quartet as an ensemble that defines its brand -- so to speak -- and also supports its art by dressing in an individual way. Which reminds me that, as far as I know, very few chamber ensembles -- and certainly very few made up of young musicians -- dress formally for concerts. For new music, white tie and tails (and the women's equivalent) really doesn't seem to fit. Especially if a piece sounds and moves with echoes of pop culture, or is a happy or devastating assault of noise. What's the meaning then of tails? Irony wouldn't begin to be the word that might describe the disconnect" (http://www.artsjournal.com/sandow/2008/09/post.html).
Here we see the trend of individuality that has permeated society as a whole. Wasn't it Time magazine that gave "You" the honor of person of the year? They might have even said person of the era. It is no coincidence that now is when the writers of YOU: the Owner's Manual find it lucrative to lavish upon us installment after installment of their book series dedicated solely to each individual in the world. Every person matters as a person. I say all this as I sit blogging, a new word made up to describe our new ability to actually participate as individuals in the media rather than as observers.
Performing cannot possibly sit apart from this phenomenon forever. I believe that dress is one way the idea of the individual may be presenting itself, and I predict much more change. We don't want to dress how everyone has always dressed before. We want to dress as ourselves. We are not just the portrayors of an art created by someone else. We are the art.
I wonder how else might the "You" obsession creep into our performance practices.
Reading, I can't help but be intrigued by the topic because I feel that it is an aspect of music that is changing in some arenas but remaining stagnant in others. On the one hand, we are experiencing, as Sandow describes, much variety in dress, but on the other hand my experience as a student is to always be told how what I am wearing to perform does not fit into the code.
In our reading by Cook (25-26), he describes musicians as dressing much like waiters, meant to be unnoticed conveyors of the goods to be consumed, but I wonder if this idea is changing.
Sandow notes: "And new music... doesn't go well with formality. Bill, I think, implied something like that when he cited the Kronos Quartet as an ensemble that defines its brand -- so to speak -- and also supports its art by dressing in an individual way. Which reminds me that, as far as I know, very few chamber ensembles -- and certainly very few made up of young musicians -- dress formally for concerts. For new music, white tie and tails (and the women's equivalent) really doesn't seem to fit. Especially if a piece sounds and moves with echoes of pop culture, or is a happy or devastating assault of noise. What's the meaning then of tails? Irony wouldn't begin to be the word that might describe the disconnect" (http://www.artsjournal.com/sandow/2008/09/post.html).
Here we see the trend of individuality that has permeated society as a whole. Wasn't it Time magazine that gave "You" the honor of person of the year? They might have even said person of the era. It is no coincidence that now is when the writers of YOU: the Owner's Manual find it lucrative to lavish upon us installment after installment of their book series dedicated solely to each individual in the world. Every person matters as a person. I say all this as I sit blogging, a new word made up to describe our new ability to actually participate as individuals in the media rather than as observers.
Performing cannot possibly sit apart from this phenomenon forever. I believe that dress is one way the idea of the individual may be presenting itself, and I predict much more change. We don't want to dress how everyone has always dressed before. We want to dress as ourselves. We are not just the portrayors of an art created by someone else. We are the art.
I wonder how else might the "You" obsession creep into our performance practices.
CBC/Wikipedia/Canada and the Arts
I thought that it might be a good idea to talk about the CBC (Canadian Broadcasting Corporation) for a bit this week. Here is a link to the wikipedia page: CBC. The CBC, for many Canadians is the main source of news and music. It is a crown corporation, which means that it is government owned and funded. The best part of this for me, this means that there are no, or very few commercials during the different shows that are on. Indeed, if I am at home, my radio dial is always tuned to either CBC Radio 1 or 2 and it is the news station that I watch on T.V. It is also the host for Hockey Night in Canada (Go Leafs, Go!).
On the Wikipedia page, one can find a lot of information on the CBC, including information on its history, services, unions, the corporation, even controversies. Last week in class we began to discuss a more recent controversy that is not yet included in the Wikipedia page. This had to do with CBC Radio 2 completely cutting out classical music. I would like to direct everyone to this article from La Scena Musicale, a lovely, free Canadian music magazine: http://www.scena.org/lsm/sm13-8/sm13_8_cbc2_en.html. This is a very important article that explains cuts to the CBC. This article also mentions a colleague of mine from McGill University who created a facebook group, which I also joined and am still a member of called “Save classical music on CBC Radio 2.”
Cut backs on the CBC to classical music began at the conservative government took power in 2006. I would like to share another article recently published in the Toronto newspaper called, “The Globe and Mail:” http://www.theglobeandmail.com/servlet/story/RTGAM.20080925.wltimson25/BNStory/politics. My father sent this article to me last week. This article discusses the arts as an election issue. It talks about the various cutbacks that Prime Minister Steven Harper’s government has made, including a witty, yet disturbing line saying “nobody died of too little opera.” Steven Harper is quoted saying, “ordinary Canadians” would not care “about a bunch of people at a rich gala… claiming their subsidies aren’t enough.” Many people may not realize that Canada, too, is holding a Federal election this year. There have been other articles on this matter as well. I am not sure that people really think about the arts as an election issue but it really is one in a country like Canada, where government funding is the bread and butter for many artists. I posted this article on my facebook page in hopes to have other people realize what a mistake it is to cut classical music and the arts, in general, out of Canadian society. Since then I was invited to join another group on facebook called “Ordinary Canadians do support the arts, Mr. Harper, you are dead wrong!” Who knows if it makes a difference.
I am pessimistic about the election in Canada this year and as someone trying to enter the musical world, I’m a bit worried too. Many Canadian artists live off of grants from the government. When there are cut backs on a medium as important as the CBC, everyone is affected.
On the Wikipedia page, one can find a lot of information on the CBC, including information on its history, services, unions, the corporation, even controversies. Last week in class we began to discuss a more recent controversy that is not yet included in the Wikipedia page. This had to do with CBC Radio 2 completely cutting out classical music. I would like to direct everyone to this article from La Scena Musicale, a lovely, free Canadian music magazine: http://www.scena.org/lsm/sm13-8/sm13_8_cbc2_en.html. This is a very important article that explains cuts to the CBC. This article also mentions a colleague of mine from McGill University who created a facebook group, which I also joined and am still a member of called “Save classical music on CBC Radio 2.”
Cut backs on the CBC to classical music began at the conservative government took power in 2006. I would like to share another article recently published in the Toronto newspaper called, “The Globe and Mail:” http://www.theglobeandmail.com/servlet/story/RTGAM.20080925.wltimson25/BNStory/politics. My father sent this article to me last week. This article discusses the arts as an election issue. It talks about the various cutbacks that Prime Minister Steven Harper’s government has made, including a witty, yet disturbing line saying “nobody died of too little opera.” Steven Harper is quoted saying, “ordinary Canadians” would not care “about a bunch of people at a rich gala… claiming their subsidies aren’t enough.” Many people may not realize that Canada, too, is holding a Federal election this year. There have been other articles on this matter as well. I am not sure that people really think about the arts as an election issue but it really is one in a country like Canada, where government funding is the bread and butter for many artists. I posted this article on my facebook page in hopes to have other people realize what a mistake it is to cut classical music and the arts, in general, out of Canadian society. Since then I was invited to join another group on facebook called “Ordinary Canadians do support the arts, Mr. Harper, you are dead wrong!” Who knows if it makes a difference.
I am pessimistic about the election in Canada this year and as someone trying to enter the musical world, I’m a bit worried too. Many Canadian artists live off of grants from the government. When there are cut backs on a medium as important as the CBC, everyone is affected.
Man of Many Talents
Hi everyone,
I know I know...I'm sending all sorts of links this week (okay only two) but this one is incredibly important to me. I graduated with Caleb, and I think it's important, and encouraging to read articles about our peers and colleagues. I can remember when Alarm Will Sound was just starting....to think that we could be invovled in something big too. We only need one great idea, and some commitment. But I know we already know all of that!
http://www.nytimes.com/2008/10/05/arts/music/05kozi.html?_r=1&scp=1&sq=Caleb%20Burhans&st=cse&oref=slogin
I know I know...I'm sending all sorts of links this week (okay only two) but this one is incredibly important to me. I graduated with Caleb, and I think it's important, and encouraging to read articles about our peers and colleagues. I can remember when Alarm Will Sound was just starting....to think that we could be invovled in something big too. We only need one great idea, and some commitment. But I know we already know all of that!
http://www.nytimes.com/2008/10/05/arts/music/05kozi.html?_r=1&scp=1&sq=Caleb%20Burhans&st=cse&oref=slogin
Thursday, October 2, 2008
Wikipedia/random thought
Hi all- I started working on a wikipedia entry for the school where I did my undergrad, seen here. I *think* I did everything properly, but I'm not quite sure what I'm doing with this whole wikipedia thing. So let me know if it disappears or doesn't work or anything.
Also: In one of my classes, a girl happened to mention pop music and then qualified her comments with "but I don't really think that's music." And we wonder why classical music is dismissed as snobbish and elitist...
Also: In one of my classes, a girl happened to mention pop music and then qualified her comments with "but I don't really think that's music." And we wonder why classical music is dismissed as snobbish and elitist...
after you get off of youtube!
This isn't about Balinese gamelan, but I thought that you might all find it interesting...it ties in somewhat with some of our reading from last week....you might hear some four part chorales at your next rock concert....or at least if you ever see the Chili Peppers. Flea is a great musician, but I definitely give him props for going on ahead. I'm just wondering if he has to take private lessons as well. I mean Flea is one hell of a bassist.....that would be interesting to hear...and see.
http://www.npr.org/templates/story/story.php?storyId=95101406
http://www.npr.org/templates/story/story.php?storyId=95101406
Wednesday, October 1, 2008
MTT and Bernstein
Michael Tilson Thomas and the San Francisco Symphony are in New York's Carnegie Hall for a three-month Leonard Bernstein celebration (who would have been 90 years old this year). You can read more about the 'out of town' tryout in San Francisco here. Their spectacle in New York will include big name soloists such as Dawn Upshaw, Yo-Yo Ma, and Thomas Hampson.
Don't feel too bad if you can't make it to the actual concert - PBS will broadcast it on October 29. Here's to hoping a kind soul uploads it on YouTube...
Don't feel too bad if you can't make it to the actual concert - PBS will broadcast it on October 29. Here's to hoping a kind soul uploads it on YouTube...
Skip the line at the bar during intermission!
Did you know that you can purchase your drinks at the bar at the BSO concerts in advance online?
Tuesday, September 30, 2008
Classical Music and Marketing
Here's an article from the blog "Lies Like Truth" on a male a capella group which I admire very much, called Chanticleer. The blogger comments that while the rivetingly superb performances which Chanticleer delivers are able to captivate a wide range of audience, their penguin suit dress code acts as a turn-off sign for attracting a younger crowd that may easily fall in love with Chanticleer's repertoire otherwise.
This dilemma in marketing seems to hold true in my experience of bringing my non-classical-musically-inclined friends to concerts they would not have thought to go were I not there. These friends of mine had often expressed that they enjoyed the music much more than they expected, but were surprised that they would have never found out the existence of the performers on their own.
Monday, September 29, 2008
http://www.thelakewoodproject.net/
http://www.youtube.com/watch?v=uu1zkRgQyso
http://www.popmatters.com/music/concerts/l/lakewood-project-060127.shtml
Hello. For those of you interested, the above are websites of my high school's rock orchestra. One is their website, one is a youtube video of one of their performances, and there is a review of one of their performances at the House of Blues in downtown Cleveland.
Again, I am not particularly a fan of electric orchestras, but it is interesting. I think there is something to Cook's assertion that authenticity is important, at least as far as something's ability to be marketable. Cook brings up the fact innovation is often more highly reviewed than working within an already-set framework. I think that applies here.
To some extent, (and I don't want to put down this orchestra) the level of musicality/musicianship is probably not as important as the sensationalism of the production itself - the kids get to play rock-like instruments, dress cool, and play hits that people dance and sing to (as well as some classical works that are well-known). In addition to this, the kids really do practice. It's kind of like the cover of the 16-year old violinist's album - if you put it in a different dress, how much are people going to be listening to the subtleties of the playing?
I'm excited for this orchestra, and I think the fact that kids are genuinely excited to play music is great. The level to which the community is involved is also important and a positive side effect. However, I don't think the musicianship displayed is anywhere near the level of a symphony or a string quartet. I would never of course put a high school orchestra on that level, but I worry that the kids in the orchestra may never be able to hear or appreciate the difference. The audiences for that sort of performance are quite different, and you're not going to hear the Devil went down to Georgia. Should orchestras consider changing their attire, and occassionally throwing in an old pop favorite? I wonder.....
http://www.youtube.com/watch?v=uu1zkRgQyso
http://www.popmatters.com/music/concerts/l/lakewood-project-060127.shtml
Hello. For those of you interested, the above are websites of my high school's rock orchestra. One is their website, one is a youtube video of one of their performances, and there is a review of one of their performances at the House of Blues in downtown Cleveland.
Again, I am not particularly a fan of electric orchestras, but it is interesting. I think there is something to Cook's assertion that authenticity is important, at least as far as something's ability to be marketable. Cook brings up the fact innovation is often more highly reviewed than working within an already-set framework. I think that applies here.
To some extent, (and I don't want to put down this orchestra) the level of musicality/musicianship is probably not as important as the sensationalism of the production itself - the kids get to play rock-like instruments, dress cool, and play hits that people dance and sing to (as well as some classical works that are well-known). In addition to this, the kids really do practice. It's kind of like the cover of the 16-year old violinist's album - if you put it in a different dress, how much are people going to be listening to the subtleties of the playing?
I'm excited for this orchestra, and I think the fact that kids are genuinely excited to play music is great. The level to which the community is involved is also important and a positive side effect. However, I don't think the musicianship displayed is anywhere near the level of a symphony or a string quartet. I would never of course put a high school orchestra on that level, but I worry that the kids in the orchestra may never be able to hear or appreciate the difference. The audiences for that sort of performance are quite different, and you're not going to hear the Devil went down to Georgia. Should orchestras consider changing their attire, and occassionally throwing in an old pop favorite? I wonder.....
Saturday, September 27, 2008
Eschenbach to Lead National Symphony
Read the following announcement very carefully, my friends: a great deal is said between the lines.
By Daniel J. Wakin; Compiled by Dave Itzkoff
http://www.nytimes.com/2008/09/27/arts/music/27arts-ESCHENBACHTO_BRF.html?sq=eschenbach&st=cse&scp=1&pagewanted=print (accessed September 27, 2008)
Reassigning Don Rosenberg
When Don Rosenberg, the music critic of the Cleveland Plain Dealer, was reassigned this month, many took note. Tim Smith first posted the news and the background on his blog: “The Plain Dealer has clearly caved into pressure from a faction representing the orchestra and the man on its podium. By silencing Don, those myopic folks must think they've achieved a great victory. They haven't. They've made a venerable newspaper look cheap and act cowardly. They've made a sterling orchestra look a little less so.”
Vociferous response from many quarters impelled the New York Times to report the story in its print edition of September 25, 2008.
In today’s Wall Street Journal, Greg Sandow raises pertinent objections, and proposes honorable solutions.
A Sour Note
By GREG SANDOW
Not long ago I was asked if music critics have a code of conduct. They don't, as far as I know, but there are strict rules about conflicts of interest. If a critic appears to have some connection to a group he or she reviews, then those reviews aren't legitimate. And note the word "appears." As all critics know, the appearance of conflict of interest is what matters most. A critic might be objective, but if there appears to be some reason to think otherwise -- if, let's say, a critic has been paid to do something by the group being reviewed, or, in an extreme case, serves on its board -- then the reviews shouldn't be written.
Bear this in mind as we look at an explosion that happened in Cleveland. The Cleveland Plain Dealer had a classical-music critic, Donald Rosenberg, who served at the paper for 16 years. He's admired by colleagues at other publications, and respected by Cleveland musicians. But he ran into a problem. In 2003, a new music director, Franz Welser-Möst, came to the Cleveland Orchestra, and for the most part Mr. Rosenberg didn't like the way Mr. Welser-Möst conducts.
So Mr. Rosenberg and the orchestra were locked in an uncomfortable dance. Mr. Rosenberg of course wrote negative reviews (though not always; sometimes he liked what he heard). The orchestra had to put up with them. For six years this went on. And then, on Sept. 18, the Plain Dealer's editor, Susan Goldberg, told Mr. Rosenberg that he was no longer the paper's classical critic. He was now just an arts reporter, and while he still could write music reviews, the orchestra was off-limits. A new classical critic, Zachary Lewis, had been appointed, and he'd write the orchestra reviews.
An uproar followed. The Baltimore Sun's classical-music critic, Tim Smith, broke the news on his blog, and protests broke out. Other critics were scandalized. The heat got so great that the New York Times took note of it, in a long story that ran Thursday on the front page of its Arts section. A storm of comments appeared on Mr. Smith's blog, many coming from Cleveland, some even from members of the Cleveland Orchestra, who (without necessarily taking sides on their music director) supported Mr. Rosenberg's right to say whatever he liked.
And here we come to a conflict of interest, or at least the appearance of one. The Plain Dealer's publisher, Terrance Egger, serves on the orchestra's board. So did his predecessor, Alex Machaskee. Which has led people to ask -- on Tim Smith's blog and elsewhere -- if the paper really can cover the orchestra objectively.
Ms. Goldberg, the Plain Dealer's editor, said she won't comment -- properly, perhaps -- on what she calls an "internal personnel matter." And the orchestra denies all involvement. Its executive director, Gary Hanson, and the chairman of its board, Richard Bogomolny, both posted comments on Tim Smith's blog. "I have never met with [the newspaper's editors] to protest Donald Rosenberg's opinions," Mr. Hanson wrote. "To those who practice the fine art of 'ready, fire, aim,'" wrote Mr. Bogomolny, "it might be useful for you to contact us before making accusations. For the record: No one from the management and board leadership of the Cleveland Orchestra has ever asked the Plain Dealer management to remove Don Rosenberg as critic of The Cleveland Orchestra."
Both men said they admired Mr. Rosenberg, whether or not they agreed with his views. But wait! These dignitaries are commenting on a blog. Mr. Hanson also posted a comment -- the same one -- on a blog written by Steve Smith (no relation to Tim Smith), who writes classical-music reviews for the New York Times. Why do they seem so defensive?
The appearance of a conflict of interest, it seems, really does create problems. But before I go on, I should declare my own relationships. I'm friendly with Mr. Rosenberg, Mr. Hanson and Mr. Welser-Möst. I like and admire them. And I've interviewed Mr. Bogomolny, as well as Alex Machaskee, the Plain Dealer's former publisher, and liked and admired them, too. Plus, I've been hired to work on projects with the Cleveland Orchestra. So it's with sadness that I write what follows.
I think that the Plain Dealer and, above all, the orchestra are in a rocky position. Maybe all this will blow over. Maybe Mr. Lewis, as he reviews the orchestra, will be seen as objective, and no one will think that his paper demanded favorable reviews. His first piece, which ran Thursday, was a profile of Mr. Welser-Möst, which raised eyebrows from some observers. But the profile seemed balanced, and it acknowledged -- as certainly it should have -- that Mr. Welser-Möst has gotten negative reviews from critics who aren't Mr. Rosenberg, among them Anthony Tommasini, chief classical critic of the New York Times.
But remember the rule -- it's the appearance of conflict of interest that counts. The Plain Dealer's publisher, once again, sits on the orchestra's board.
As for the orchestra, how can anyone be absolutely sure that it didn't play some role in what happened? The mere fact that Mr. Hanson and Mr. Bogomolny felt that they had to deny this (on blogs!) shows that they're on the defensive. What happens if their denials aren't believed? Which, to judge from comments on Tim Smith's blog, is exactly what seems to be happening.
And what kind of newspaper coverage will the Cleveland Orchestra now get? In Cleveland, the coverage now might look tainted. If Mr. Lewis writes friendly reviews, he might have been told to write them. If he writes unfavorably, he might be bending that way to prove that he's independent. How can anyone know?
Nationally, things might look even worse. This whole affair highlights something the orchestra surely doesn't want widely publicized -- that Mr. Welser-Möst has detractors. Who now won't know that? And what will critics write? The orchestra tours every year. Won't critics listen with even more critical ears? They're primed, now, to listen for trouble. And, if only unconsciously, they might want to support Mr. Rosenberg.
What should the orchestra do? It needs, in my view, to restore its integrity, or rather the perception of it, which has been damaged, whatever the reality might be. Mr. Hanson and Mr. Bogomolny, joined, ideally, by Mr. Welser-Möst (hard as this could be for him), might consider publicly asking the paper to reinstate Mr. Rosenberg.
And they might ask Mr. Eggers, the Plain Dealer's publisher, to resign from their board. In his defense, I might note that serving on important community boards is natural for someone in his position. He's also on the board of the Cleveland Clinic, a world-famous hospital. And it's not unknown for newspaper publishers to serve on arts boards. To cite just one example: Arthur Ochs Sulzberger, the former publisher of the New York Times (and father of the present one), was board chairman of the Metropolitan Museum of Art, which of course the Times covers.
Was that, in practice, a bad thing? Maybe not. But every veteran critic knows cases where, in similar situations, executives with arts connections have meddled, or tried to, with newspaper arts coverage. And -- to state the principle one last time -- the appearance is troubling. Top executives of newspapers appear to engage in conflicts of interest they'd forbid their critics to have.
Should they be doing this?
Mr. Sandow is a composer, critic and consultant who writes about classical music for the Journal.
http://online.wsj.com/article/SB122246758436180431.html?mod=todays_us_weekend_journal#printMode (accessed September 27, 2008)
Vociferous response from many quarters impelled the New York Times to report the story in its print edition of September 25, 2008.
In today’s Wall Street Journal, Greg Sandow raises pertinent objections, and proposes honorable solutions.
A Sour Note
By GREG SANDOW
Not long ago I was asked if music critics have a code of conduct. They don't, as far as I know, but there are strict rules about conflicts of interest. If a critic appears to have some connection to a group he or she reviews, then those reviews aren't legitimate. And note the word "appears." As all critics know, the appearance of conflict of interest is what matters most. A critic might be objective, but if there appears to be some reason to think otherwise -- if, let's say, a critic has been paid to do something by the group being reviewed, or, in an extreme case, serves on its board -- then the reviews shouldn't be written.
Bear this in mind as we look at an explosion that happened in Cleveland. The Cleveland Plain Dealer had a classical-music critic, Donald Rosenberg, who served at the paper for 16 years. He's admired by colleagues at other publications, and respected by Cleveland musicians. But he ran into a problem. In 2003, a new music director, Franz Welser-Möst, came to the Cleveland Orchestra, and for the most part Mr. Rosenberg didn't like the way Mr. Welser-Möst conducts.
So Mr. Rosenberg and the orchestra were locked in an uncomfortable dance. Mr. Rosenberg of course wrote negative reviews (though not always; sometimes he liked what he heard). The orchestra had to put up with them. For six years this went on. And then, on Sept. 18, the Plain Dealer's editor, Susan Goldberg, told Mr. Rosenberg that he was no longer the paper's classical critic. He was now just an arts reporter, and while he still could write music reviews, the orchestra was off-limits. A new classical critic, Zachary Lewis, had been appointed, and he'd write the orchestra reviews.
An uproar followed. The Baltimore Sun's classical-music critic, Tim Smith, broke the news on his blog, and protests broke out. Other critics were scandalized. The heat got so great that the New York Times took note of it, in a long story that ran Thursday on the front page of its Arts section. A storm of comments appeared on Mr. Smith's blog, many coming from Cleveland, some even from members of the Cleveland Orchestra, who (without necessarily taking sides on their music director) supported Mr. Rosenberg's right to say whatever he liked.
And here we come to a conflict of interest, or at least the appearance of one. The Plain Dealer's publisher, Terrance Egger, serves on the orchestra's board. So did his predecessor, Alex Machaskee. Which has led people to ask -- on Tim Smith's blog and elsewhere -- if the paper really can cover the orchestra objectively.
Ms. Goldberg, the Plain Dealer's editor, said she won't comment -- properly, perhaps -- on what she calls an "internal personnel matter." And the orchestra denies all involvement. Its executive director, Gary Hanson, and the chairman of its board, Richard Bogomolny, both posted comments on Tim Smith's blog. "I have never met with [the newspaper's editors] to protest Donald Rosenberg's opinions," Mr. Hanson wrote. "To those who practice the fine art of 'ready, fire, aim,'" wrote Mr. Bogomolny, "it might be useful for you to contact us before making accusations. For the record: No one from the management and board leadership of the Cleveland Orchestra has ever asked the Plain Dealer management to remove Don Rosenberg as critic of The Cleveland Orchestra."
Both men said they admired Mr. Rosenberg, whether or not they agreed with his views. But wait! These dignitaries are commenting on a blog. Mr. Hanson also posted a comment -- the same one -- on a blog written by Steve Smith (no relation to Tim Smith), who writes classical-music reviews for the New York Times. Why do they seem so defensive?
The appearance of a conflict of interest, it seems, really does create problems. But before I go on, I should declare my own relationships. I'm friendly with Mr. Rosenberg, Mr. Hanson and Mr. Welser-Möst. I like and admire them. And I've interviewed Mr. Bogomolny, as well as Alex Machaskee, the Plain Dealer's former publisher, and liked and admired them, too. Plus, I've been hired to work on projects with the Cleveland Orchestra. So it's with sadness that I write what follows.
I think that the Plain Dealer and, above all, the orchestra are in a rocky position. Maybe all this will blow over. Maybe Mr. Lewis, as he reviews the orchestra, will be seen as objective, and no one will think that his paper demanded favorable reviews. His first piece, which ran Thursday, was a profile of Mr. Welser-Möst, which raised eyebrows from some observers. But the profile seemed balanced, and it acknowledged -- as certainly it should have -- that Mr. Welser-Möst has gotten negative reviews from critics who aren't Mr. Rosenberg, among them Anthony Tommasini, chief classical critic of the New York Times.
But remember the rule -- it's the appearance of conflict of interest that counts. The Plain Dealer's publisher, once again, sits on the orchestra's board.
As for the orchestra, how can anyone be absolutely sure that it didn't play some role in what happened? The mere fact that Mr. Hanson and Mr. Bogomolny felt that they had to deny this (on blogs!) shows that they're on the defensive. What happens if their denials aren't believed? Which, to judge from comments on Tim Smith's blog, is exactly what seems to be happening.
And what kind of newspaper coverage will the Cleveland Orchestra now get? In Cleveland, the coverage now might look tainted. If Mr. Lewis writes friendly reviews, he might have been told to write them. If he writes unfavorably, he might be bending that way to prove that he's independent. How can anyone know?
Nationally, things might look even worse. This whole affair highlights something the orchestra surely doesn't want widely publicized -- that Mr. Welser-Möst has detractors. Who now won't know that? And what will critics write? The orchestra tours every year. Won't critics listen with even more critical ears? They're primed, now, to listen for trouble. And, if only unconsciously, they might want to support Mr. Rosenberg.
What should the orchestra do? It needs, in my view, to restore its integrity, or rather the perception of it, which has been damaged, whatever the reality might be. Mr. Hanson and Mr. Bogomolny, joined, ideally, by Mr. Welser-Möst (hard as this could be for him), might consider publicly asking the paper to reinstate Mr. Rosenberg.
And they might ask Mr. Eggers, the Plain Dealer's publisher, to resign from their board. In his defense, I might note that serving on important community boards is natural for someone in his position. He's also on the board of the Cleveland Clinic, a world-famous hospital. And it's not unknown for newspaper publishers to serve on arts boards. To cite just one example: Arthur Ochs Sulzberger, the former publisher of the New York Times (and father of the present one), was board chairman of the Metropolitan Museum of Art, which of course the Times covers.
Was that, in practice, a bad thing? Maybe not. But every veteran critic knows cases where, in similar situations, executives with arts connections have meddled, or tried to, with newspaper arts coverage. And -- to state the principle one last time -- the appearance is troubling. Top executives of newspapers appear to engage in conflicts of interest they'd forbid their critics to have.
Should they be doing this?
Mr. Sandow is a composer, critic and consultant who writes about classical music for the Journal.
http://online.wsj.com/article/SB122246758436180431.html?mod=todays_us_weekend_journal#printMode (accessed September 27, 2008)
Thursday, September 25, 2008
"When there's no quiet, there can be no loud."
In today's Wall Street Journal, we read (link here) that even some of Metallica's fans feel that the band's latest CD, Death Magnetic, is too loud. You might find the ensuing discussion pertinent.
Tuesday, September 23, 2008
Kitsch
I thought it was interesting that Levine brought up the issue of the visual arts, specifically Andy Warhol, in order to illustrate 'popular' or 'low' art. Warhol was cited at the inception of his career as an artist who used mass-production techniques to paint mass-produced items of commodity culture (Campbell's soup cans, for instance). Decades before Warhol, Clement Greenberg, one of the most influential art critics, wrote an article titled "The Avant-Garde and Kitsch." In this article, he basically categorizes the avant-garde as good and kitsch as bad. Avant-garde art is one that expresses itself, is abstracted, always open-ended, and questions conventions (think a Jackson Pollock all-over drip painting) and kitsch expresses content, is born of mass culture, and is accessible to mass population. I'd also like to mention that Greenberg's article could and should be read through a totalitarian-conscious lens, but I think that was is said about kitsch is particularly relevant to our collective discussion.
Now, Warhol and Pollock are revered as some of the greatest American artists. Their works sell for millions of dollars at auction and appear in the collections of the most prestigious museums worldwide. Kitsch and the avant-garde, in the realm of the visual arts, have seem to find a way to co-exist on the same level of importance financially and historically. Two weeks ago, Versailles opened an exhibition by Jeff Koons, a contemporary American sculptor who is praised and hated for his ultimately kitsch works of art--shiny chrome sculptures of balloon animals, porcelain portraits of Michael Jackson. Koons' work is, without a doubt, the poster child of kitsch. But yet the Versailles palace, the MOST unlikely place to host works by Koons, is now exhibiting kitsch. Or is it high art?
I'm really sorry to take this long detour, but I was wondering if in music there is any equivalent to kitsch in the same vein of Warhol and Koons kitsch. Would it be popular music? If so, what genres? What about American musical theater? It is popular music that pleases the masses. On the same line, what would be considered avant-garde music? And if there are examples of avant-garde music, does it have the same cultural significance as avant-garde art does?
Now, Warhol and Pollock are revered as some of the greatest American artists. Their works sell for millions of dollars at auction and appear in the collections of the most prestigious museums worldwide. Kitsch and the avant-garde, in the realm of the visual arts, have seem to find a way to co-exist on the same level of importance financially and historically. Two weeks ago, Versailles opened an exhibition by Jeff Koons, a contemporary American sculptor who is praised and hated for his ultimately kitsch works of art--shiny chrome sculptures of balloon animals, porcelain portraits of Michael Jackson. Koons' work is, without a doubt, the poster child of kitsch. But yet the Versailles palace, the MOST unlikely place to host works by Koons, is now exhibiting kitsch. Or is it high art?
I'm really sorry to take this long detour, but I was wondering if in music there is any equivalent to kitsch in the same vein of Warhol and Koons kitsch. Would it be popular music? If so, what genres? What about American musical theater? It is popular music that pleases the masses. On the same line, what would be considered avant-garde music? And if there are examples of avant-garde music, does it have the same cultural significance as avant-garde art does?
Levine and Facebook
While reading Levine talk about the rules being imposed on the arts in the 19th century, particularly the rule about clapping between movements of a piece, I couldn't help but think of the Facebook groups called something like "I don't clap between movements." The existence of such "groups" (it's not so much an organized group as a bunch of people attributing a quality to themselves) shows that these rules are both still securely in place and still quite often broken.
There is most certainly an elitist air about the profiles describing the groups, an assumption that those who are not members have no place attending concerts in the first place. On the surface it might seem like a way to educate the ignorant, but of course those people would never even think to look at such a site. Really, it's a way for an insular group to feel superior and broadcast that superiority. I would be very surprised if there isn't someone in the class who's a member. This is not an attack on you. In fact, I don't like it when people don't follow these rules either. These are just my observations.
And who hasn't been to a concert where this particular rule isn't broken? It especially happens at student concerts, when someone's non-musical friend or parent gets excited over seeing their friend/child do something interesting. So I ask, should we stop inviting our friends to our concerts if they haven't been acclimated to the rules?
There is most certainly an elitist air about the profiles describing the groups, an assumption that those who are not members have no place attending concerts in the first place. On the surface it might seem like a way to educate the ignorant, but of course those people would never even think to look at such a site. Really, it's a way for an insular group to feel superior and broadcast that superiority. I would be very surprised if there isn't someone in the class who's a member. This is not an attack on you. In fact, I don't like it when people don't follow these rules either. These are just my observations.
And who hasn't been to a concert where this particular rule isn't broken? It especially happens at student concerts, when someone's non-musical friend or parent gets excited over seeing their friend/child do something interesting. So I ask, should we stop inviting our friends to our concerts if they haven't been acclimated to the rules?
http://www.nytimes.com/2008/09/19/arts/design/19chil.html?th&emc=th
The above is an article reviewing the Brooklyn Children's museum. I thought it was apropos of the reading, since Levine analyzes the clientele of museums of the 19th century.
This reading displays the pros and cons of trying to display objects of the world without the typical categorizations of era, place in time, and place of origin. Instead of displaying a piece from Nigeria as being from Nigeria, and of a certain time, it instead tries to say - isn't this neat? again, without classifying it.
Often museum displays say much about the clientele it is trying to attract. I just it was interesting reading a review for something that is targetting toddlers. :-)
The above is an article reviewing the Brooklyn Children's museum. I thought it was apropos of the reading, since Levine analyzes the clientele of museums of the 19th century.
This reading displays the pros and cons of trying to display objects of the world without the typical categorizations of era, place in time, and place of origin. Instead of displaying a piece from Nigeria as being from Nigeria, and of a certain time, it instead tries to say - isn't this neat? again, without classifying it.
Often museum displays say much about the clientele it is trying to attract. I just it was interesting reading a review for something that is targetting toddlers. :-)
Funny pieces
I want to comment on Ivan's blog about the "funny" piece on the concert Friday. Unfortunately, I wasn't able to go, so perhaps this isn't the best thing for me to comment on. However, I do think that it's interesting to think about programming after the topics that we've read about in the past two weeks.
I too would usually think that the program order, or choice of that piece, might be inappropriate, especially being immediately before Schumann. But why would I think that? Is it only because my ears are used to "appropriately" programmed concerts that consist of only serious pieces written by Back, Beethoven, Brahms, Schumann? Why are those "serious" pieces? I only say it because it reminds me of the change in programming and the idea that you cannot be well-behaved enough at a concert, or that you need to act in a certain way, and think a certain way. It seems as if earlier in the century (or the last century actually) people had a variety of choices in the concert hall. They were able to attend parodies, serious operas, vaudeville, but it doesn't seem that way now. We like to keep it all separate. But why? Maybe that is our problem. Perhaps we should add in something that could draw them in, let people see that classical musicians can be funny (and many of us are...). I know that we're always being told to think of something new to stand out and make our way in the world of music. When it comes down to it though, isn't this just another form of entertainment? Maybe we shouldn't be so serious about it after all.
I too would usually think that the program order, or choice of that piece, might be inappropriate, especially being immediately before Schumann. But why would I think that? Is it only because my ears are used to "appropriately" programmed concerts that consist of only serious pieces written by Back, Beethoven, Brahms, Schumann? Why are those "serious" pieces? I only say it because it reminds me of the change in programming and the idea that you cannot be well-behaved enough at a concert, or that you need to act in a certain way, and think a certain way. It seems as if earlier in the century (or the last century actually) people had a variety of choices in the concert hall. They were able to attend parodies, serious operas, vaudeville, but it doesn't seem that way now. We like to keep it all separate. But why? Maybe that is our problem. Perhaps we should add in something that could draw them in, let people see that classical musicians can be funny (and many of us are...). I know that we're always being told to think of something new to stand out and make our way in the world of music. When it comes down to it though, isn't this just another form of entertainment? Maybe we shouldn't be so serious about it after all.
September Fest Opening concert at Longy on Friday
I was going to say a few things about the concert on Friday and I was just reading the blog and saw that someone else had posted something about it already. And as I thought, and already heard from others, the main thing people are talking about is that "funny" piece by Teddy Bor. In my opinion it was funny because it was new for me and the other reason was the people that were performing it (I still find P. D. Q. Bach funnier). But the main thing that I was thinking about was not how funny the piece was but about the fact that they put this piece in the program right next to Roger Tapping's performance of Schumann. I personally didn't think that was very appropriate. Maybe (hopefully) Mr. Tapping didn't feel that way and didn't think that was disrespectful in any way.
Bearing It All In Opera
On Thursday, I read an article in the New York Times entitled: “Take It Off Brunnhilde: On Opera And Nudity” http://www.nytimes.com/2008/09/18/arts/music/18nude.html?ref=music . The article discusses the appropriateness of nudity in opera. It states the obvious thing by saying that if done in an artistically, there really shouldn’t be a problem. Now directors and singers too are “making opera as dramatically visceral an art form as theater, film and modern dance, traditional boundaries of decorum have been broken. Opera productions have increasingly showcased risk-taking and good-looking singers in bold, sexy and explicit productions.” I think this sentence from the article basically outlines a many major issues effecting opera today. Whether or not there is nudity is really a non-issue to me, it is the implications that it brings that I find more interesting. Perhaps the Tommasini should have replaced the word “visceral” with “visual” because I think that is the aspect of opera that is really gaining a lot of importance. It seems almost as though the music and the voice is secondary. For me the visceral quality of opera is the language of the music and the way in which the artists bring it to life is what creates that quality in this opera. But, I wonder if it is enough. I don’t really think that this focus on the visual is a marketing ploy because I don’t really think it would work. Perhaps it is a change in tastes or maybe it is just the next step in a greater continuum that I am not able to see. It could also be boredom with past productions. There was a time, however, not too long ago, when the visual aspect was not so important. Singers were not choreographed at all and it was really more about the singing. Finding a happy medium seems to be the challenge in an age where singers are sent away because they don’t fit into little black dresses or just don’t have the right “look” for the part. Is it a lack of imagination on the part of the audience? I still prefer a beautiful and compelling voice to tell me the story of an opera whose plot may be otherwise lacking (there are many exceptions, of course). The art of opera is story telling through the voice. In opera the voice is the sincerest form of expression everything else is just completes the full package of this art form.
I guess my point is it doesn’t really matter to me whether or not Brunnhilde literally bears it all. I just want to hear some good Wagner.
I guess my point is it doesn’t really matter to me whether or not Brunnhilde literally bears it all. I just want to hear some good Wagner.
Monday, September 22, 2008
Cultural Ecumenism
In the epilogue of Highbrow/Lowbrow, Levine wrote:
"Culture remains a dynamic process, a constant interchange between the past and the present. Nevertheless, as significant as these recent developments have been, it would be premature to announce the arrival of the Age of Cultural Ecumenism."
The use of the term "Cultural Ecumenism" intrigues me greatly. This is because of my personal interest in "ecumenism" in the more usual sense of the word-- namely, in the religious context. Moreover, Levine brought up not only this religiously-charged word, but earlier in the book, he also had described the advocates of the "high arts" as though they felt the same divine calling to serve as that of religious missionaries. The uncanny parallels between the fervor of the arts advocates and the religiously devout fascinate me greatly, since I happen to care greatly about both.
I have had a few years of experience in an ecumenical religious community which fosters "goodwill and understanding among students of different Christian traditions". This group aims to promote Christian unity by providing a space to recognize and deepen the common beliefs held between all Catholics, Protestants, and Orthodox, while respecting the integrity of the drastic differences between these groups. For example, a Catholic would be welcomed into the group as a fellow Christian, and would hopefully be encouraged to become a better Catholic-Christian through the experience--as opposed a Christian of a less well-defined sort. In order to achieve this, this group discusses about and tries hard to practice the courtesy of "ecumenical sensitivity" for the sake of the common goal of unity. That is, in view of that goal, while members are highly encouraged to grow deeper into their respective traditions on their own, each is expected, during the common gatherings, to refrain from performing or discussing personal religious rituals and/or beliefs in manners which may be perceived as questionable through the lenses of other Christian sects, so as to avoid unwanted (though not unimportant) tensions. To practice this sensitivity effectively, members must be seek to somewhat understand--though not necessarily master--the basics of both the traditions of others, and that of one's own through many different outsiders' points of view. This is not to say that nurturing the uniqueness of one's own tradition is not important; rather, members are asked to practice that in their own churches, and to use this particular community as a venue to share and contribute to the commonly held values, now enhanced by the rich influences of different "flavors" of faith.
I venture to digress this much from the discussion of music, because I think this model of religious ecumenism seems very analogous to the spirit toward cultural understanding the arts which Levine may be advocating. We live in a pluralistic global society today in terms of our diverse musical activities-- just like the varied conditions of our world's religious landscape. While we certainly do not agree that all musical knowledge is of equal value, it is sophomoric to arbitrarily dismiss some musical traditions as worthless altogether and elevate others as the "only way" to musical nirvana. Certainly, there are values of "good" and "bad" within the context of each musical tradition which are important to learn and master for its professed practitioners. But in order to contribute to an edifying commonly shared musical experience, participants must be musically or culturally ecumenical sensitivity: to gracefully cooperate with others from different musical backgrounds, knowledge, and tastes, by a willingness and openness to examine different musical practices via channels other than one's own.
Classical Music: Stuff White People Like
I found this post on "Stuff White People Like" another blog I read from time to time. For those of you who aren't familiar with it, Stuff White People Like is pure satire, poking fun at liberal, upper-middle class white culture. Each post lists a new item white people supposedly like- Barak Obama, diversity, apple products, etc.- and goes on to explain it as if writing to an outsider trying to understand white culture.
Anyway, entry #108 is "Appearing to enjoy Classical Music". It describes how white people don't actually like classical music, but like to see themselves as "the type of people who would enjoy it" in order to impress other white people. Thus, they go to one or two concerts in a given season and maintain a very limited knowledge of a few key composers while living in fear of "being called out for a lack of familiarity with the early works of Antonin Dvorak."
The whole post reminded me of Levine's discussion of the elites who set classical music up as "high culture" in order to maintain their own social status. He also explains how they propagated the idea that one must possess a huge knowledge base in order to really enjoy classical. Clearly, these stereotypes are still alive and well!
Anyway, entry #108 is "Appearing to enjoy Classical Music". It describes how white people don't actually like classical music, but like to see themselves as "the type of people who would enjoy it" in order to impress other white people. Thus, they go to one or two concerts in a given season and maintain a very limited knowledge of a few key composers while living in fear of "being called out for a lack of familiarity with the early works of Antonin Dvorak."
The whole post reminded me of Levine's discussion of the elites who set classical music up as "high culture" in order to maintain their own social status. He also explains how they propagated the idea that one must possess a huge knowledge base in order to really enjoy classical. Clearly, these stereotypes are still alive and well!
Classical explosion on Netflix.com
In an attempt to cheat the system, I signed up for a netflix.com account last summer, hoping to find a budget-friendly, hassle-free way to watch some of the more popular recordings of important concerts, operas, and documentaries (at least the ones that made it to dvd). What I found on netflix was disappointing. An handful of operas mostly filmed in the 80’s and a scattered array of Mozart and Bach’s “life and works”-type specials, all put in a “will release” category that didn’t seem encouraging. I decided then to give up on netflix.com as a research medium and focus my attention on audio recordings.
On a fleeting whim, I decided to give netflix another try, and I’m glad I gave them some time to catch up. Ballet, opera, great symphonic concerts, even an entire series devoted to the late and great Pavarotti, is now available through this exploding medium. My queue has doubled with the sheer volume of available concerts, and if you are not a Macintosh snob like me, you can watch some of these as an instant download (apparently, the price I pay for not dealing with viruses!).
Netflix is a cheap investment, I only pay 7.99 a month, and I’m sure that copycat companies charge less. Anyone else living on a budget who isn’t looking for the rarest recordings should check it out. My next great adventure is a new release of a 1973 Arthur Rubenstein concert at Amsterdam's Concertgebouw. Rubenstein (in addition to being my hero when I first began playing piano in middle school) gives a revealing interview from his home in Paris called “Rubenstein at 90”. Hopefully, this venture will pay off with some wholesome musical exposure.
On a fleeting whim, I decided to give netflix another try, and I’m glad I gave them some time to catch up. Ballet, opera, great symphonic concerts, even an entire series devoted to the late and great Pavarotti, is now available through this exploding medium. My queue has doubled with the sheer volume of available concerts, and if you are not a Macintosh snob like me, you can watch some of these as an instant download (apparently, the price I pay for not dealing with viruses!).
Netflix is a cheap investment, I only pay 7.99 a month, and I’m sure that copycat companies charge less. Anyone else living on a budget who isn’t looking for the rarest recordings should check it out. My next great adventure is a new release of a 1973 Arthur Rubenstein concert at Amsterdam's Concertgebouw. Rubenstein (in addition to being my hero when I first began playing piano in middle school) gives a revealing interview from his home in Paris called “Rubenstein at 90”. Hopefully, this venture will pay off with some wholesome musical exposure.
Saturday, September 20, 2008
Opening Concert at Longy last night
How’s this for food for thought? For those of you who were there, you recall that the first half of Longy’s opening night concert last night ended with Teddy Bor’s piece “Bach at the Double”. Funny to think that this decidedly merciless parody on the sacredness of “classical music” is a joke we are all privy to. If we go with the assumption that what can be parodied is what is widely known in the general populace, then what is common in our culture is the idea of classical music as serious business. This idea or image, then, is what classical music is to the general public: the affectation and pretension surrounding classical music has become its defining characteristic, not the great, “sacred” music itself.
This is just a musing of mine. What do you think? Does this ring true? Is there more to it?
This is just a musing of mine. What do you think? Does this ring true? Is there more to it?
Daniel Barenboim's new book and my grandmother
I received the following article (http://www.economist.com/books/PrinterFriendly.cfm?story_id=11959117) in the mail from my grandmother today. In her accompanying letter she wrote:
"If music is so influential in our lives and society, then in the classroom it should be as important as English or Math. Do you know of any organized effort in the musical world whose goal is to pursue this idea? I believe with Plato that music is anchored in moral and political reality or 'that music-making are forces for social and political good' and most importantly that "everything is connected". Of course, there is no one as ignorant as I am about music!!!"
She then asked me if people were making more music and art, would we have less of a war-like society?
Two interesting things here:
1. Does anyone have a response to these questions?
2. The fact that ‘non-musician’ feel compelled to qualify their statements about music with a sentence like the above. (Much like the critics Levine complains of!) Do you encounter this in conversations with others? Does it make you wonder how we define ‘musician’ and what the prevailing beliefs are about this definition?
Check out the article in its entirety, but here’s the first paragraph to peak your interest!
"For Plato the art of music was so firmly anchored in moral and political reality that any alteration to the musical system would necessarily require a corresponding political shift. Two and a half millennia later, when classical music is generally seen as a high-class lifestyle accessory, Plato’s conception seems outlandish, even absurd. To be sure, most people involved in classical music today consider their art to be of profound cultural importance, but there are very few who are able to articulate this convincingly."
"If music is so influential in our lives and society, then in the classroom it should be as important as English or Math. Do you know of any organized effort in the musical world whose goal is to pursue this idea? I believe with Plato that music is anchored in moral and political reality or 'that music-making are forces for social and political good' and most importantly that "everything is connected". Of course, there is no one as ignorant as I am about music!!!"
She then asked me if people were making more music and art, would we have less of a war-like society?
Two interesting things here:
1. Does anyone have a response to these questions?
2. The fact that ‘non-musician’ feel compelled to qualify their statements about music with a sentence like the above. (Much like the critics Levine complains of!) Do you encounter this in conversations with others? Does it make you wonder how we define ‘musician’ and what the prevailing beliefs are about this definition?
Check out the article in its entirety, but here’s the first paragraph to peak your interest!
"For Plato the art of music was so firmly anchored in moral and political reality that any alteration to the musical system would necessarily require a corresponding political shift. Two and a half millennia later, when classical music is generally seen as a high-class lifestyle accessory, Plato’s conception seems outlandish, even absurd. To be sure, most people involved in classical music today consider their art to be of profound cultural importance, but there are very few who are able to articulate this convincingly."
Friday, September 19, 2008
from Covent Garden, free opera on the Web
This past summer, the Bayreuth Festival offered a full-length performance on the Web at a price that some considered extortionate (49 euros--$77). Today, the New York Times reported the following: "The Royal Opera House in London will present a full-length opera online for the first time beginning Oct. 5, when audiences will be able to log on to the company’s Web site and watch a performance of Mozart’s 'Don Giovanni.'” Click here for more.
One can but contemplate the implications.
One can but contemplate the implications.
Wednesday, September 17, 2008
Internet is a paradise for geeks
Having never posted to a blog before (oh the humanity!) I found myself drawn to one of Alex Ross’s older essays published in the New Yorker, published in their October 22 issue in 2007. This essay, entitled “The Well-Tempered Web” expressed Ross’s reflection of the impact his and other music lover’s blogs have had on the output of public discussion, as well as emerging trends in the distribution of music online. Although it was published last year, I feel that much of the observations are relevant to the music trends we discussed in class. Certainly the accessibility of ideas alone is a great contribution. I feel a surge of hope when I read that “no demographically driven executive could suppress, say, a musicology student’s ruminations on György Ligeti’s Requiem on the ground that it had no appeal for twenty-seven-year-old males, even if the blogger in question—Tim Rutherford-Johnson, of The Rambler —was himself twenty-seven.”
This article held a particular relevance to the Napster and file-sharing discussion we had in class. I continue to struggle with the paradox of music on the Internet, caught between the desire to listen to as much as possible without the limitations of buying expensive recordings, and supporting the majority of musicians who make an alarmingly small fraction of their living in CD sales. Klauss Heymann, the founder of Naxos Records and the forerunner of classical music on the Internet, put his entire catalogue online for free in 1996, though later jumping on the strategy of charging a cheap annual fee ($19,95 for a year subscription is still much better than any offers I’ve seen on the internet even today).
What I think is most encouraging about this article is an emergence of a new strategy in the struggle to change the world of music. Classical labels are making more money now by cheaply posting larger volumes of music and selling them in smaller quantities. Explained in the business book “The Long Tail” by Chris Anderson, this “selling less of more gives big music sellers like Amazon and Naxos a chance to make more money on a wider variety of their offered material, even though they may only sell one particular album a few times a month. Anderson says, “about a quarter of Amazon’s book sales come from outside its top 100,000 titles.” This means that people who may be intimidated by the daunting amount of classical literature available can explore at their own pace, buy music exposure without a committed investment, and become a bolder advocate for live performance, as buying tickets on the web is as easy as singing up for netflix. I see music geeks all over the world growing more and more daring in the quest for musical knowledge, and maybe even the Internet community setting the youtube aside for an hour or two to go to a real concert.
This article held a particular relevance to the Napster and file-sharing discussion we had in class. I continue to struggle with the paradox of music on the Internet, caught between the desire to listen to as much as possible without the limitations of buying expensive recordings, and supporting the majority of musicians who make an alarmingly small fraction of their living in CD sales. Klauss Heymann, the founder of Naxos Records and the forerunner of classical music on the Internet, put his entire catalogue online for free in 1996, though later jumping on the strategy of charging a cheap annual fee ($19,95 for a year subscription is still much better than any offers I’ve seen on the internet even today).
What I think is most encouraging about this article is an emergence of a new strategy in the struggle to change the world of music. Classical labels are making more money now by cheaply posting larger volumes of music and selling them in smaller quantities. Explained in the business book “The Long Tail” by Chris Anderson, this “selling less of more gives big music sellers like Amazon and Naxos a chance to make more money on a wider variety of their offered material, even though they may only sell one particular album a few times a month. Anderson says, “about a quarter of Amazon’s book sales come from outside its top 100,000 titles.” This means that people who may be intimidated by the daunting amount of classical literature available can explore at their own pace, buy music exposure without a committed investment, and become a bolder advocate for live performance, as buying tickets on the web is as easy as singing up for netflix. I see music geeks all over the world growing more and more daring in the quest for musical knowledge, and maybe even the Internet community setting the youtube aside for an hour or two to go to a real concert.
Lack of funding brings bad tidings
One thing that struck me in Levine's reading was the importance of funding, and the various means through which some of our more prominent orchestras were able to find solid footing. However, what about our smaller, regional orchestras?
I am a native of Cleveland, whose orchestra is of course well and prospering, in part part due to its endowment. However, I lived in Columbus for five years before coming to Boston, and the same unfortunately cannot be said for the Columbus Symphony Orchestra. Having been to Columbus recently, I heard that the orchestra had completely shut down. I looked into this, and found it to be incorrect, but was alarmed to find that it had cancelled its summer pops season, in addition to its October and November calendar events. It is still trying to continue its season in December, but these cancellations are a product of severe monetary issues.
I looked into this, and found that part of the issue is the inability to meet the demands of musicians' union. The orchestra is also, of course at the whim of the economy, and has had other periods through which it struggled, some of which even began in the early 90s. None unforunately compare to what it now faces. I was also surprised to find out about all of the other orchestras who are currently struggling, some of which have had to shut down completely. For example, Honolulu's orchestra was unable to cover payroll last year, and Seattle's orchestra (this was a surprise to me, because Seattle is such a fast-growing city right now) is having substantial problems with its deficit.
I forget how much endowments can secure an orchestra's future. With the economy the way it is right now, (and knowing what audiences numbers are like in the midwest :-) ) I fear for these smaller orchestras. Really, where are they going to find the money?
I am a native of Cleveland, whose orchestra is of course well and prospering, in part part due to its endowment. However, I lived in Columbus for five years before coming to Boston, and the same unfortunately cannot be said for the Columbus Symphony Orchestra. Having been to Columbus recently, I heard that the orchestra had completely shut down. I looked into this, and found it to be incorrect, but was alarmed to find that it had cancelled its summer pops season, in addition to its October and November calendar events. It is still trying to continue its season in December, but these cancellations are a product of severe monetary issues.
I looked into this, and found that part of the issue is the inability to meet the demands of musicians' union. The orchestra is also, of course at the whim of the economy, and has had other periods through which it struggled, some of which even began in the early 90s. None unforunately compare to what it now faces. I was also surprised to find out about all of the other orchestras who are currently struggling, some of which have had to shut down completely. For example, Honolulu's orchestra was unable to cover payroll last year, and Seattle's orchestra (this was a surprise to me, because Seattle is such a fast-growing city right now) is having substantial problems with its deficit.
I forget how much endowments can secure an orchestra's future. With the economy the way it is right now, (and knowing what audiences numbers are like in the midwest :-) ) I fear for these smaller orchestras. Really, where are they going to find the money?
Tuesday, September 16, 2008
Some Thoughts on the Reading
As I was reading the Prologue to H/L, I was reminded of a dream I once had while taking World Music as an undergrad. Everyone who ever takes this class is particularly struck by a certain "peasant wayno" recording, where the girl makes noises that could be described as screeching, horrific, and painful to the Western ear.
Now, in my dream, I came across this girl at no place other than Karaoke. Everyone was booing her and throwing things, but despite the fact that I hated the sound as well, I stepped in yelling "No, but this is really good in her culture!"
The purpose of this anecdote is to reveal the feelings on the issue of highbrow v. lowbrow I didn't even know I had, that everything should be given its own fair chance even though maybe its terrible.
The American culture scene of the first part of the 19th century sounds sort of fun, with all the mishmashing going on, but being a product of a later time, I also find it sort of appalling. I think this duality is where we are today. Also as an undergrad, I was part of a show of a sort of "Beethoven's 9th Medley" done by the marching band. It was fantastic to play in, but I also felt guilty because I thought, as a "serious" musician, I should side with the professor who ranted and raved that it was a sacrilege. Americans today often think of themselves as living in sin, simultaneously playing around with music and culture without intent of stopping but thinking of the practice as somehow wrong.
Now, in my dream, I came across this girl at no place other than Karaoke. Everyone was booing her and throwing things, but despite the fact that I hated the sound as well, I stepped in yelling "No, but this is really good in her culture!"
The purpose of this anecdote is to reveal the feelings on the issue of highbrow v. lowbrow I didn't even know I had, that everything should be given its own fair chance even though maybe its terrible.
The American culture scene of the first part of the 19th century sounds sort of fun, with all the mishmashing going on, but being a product of a later time, I also find it sort of appalling. I think this duality is where we are today. Also as an undergrad, I was part of a show of a sort of "Beethoven's 9th Medley" done by the marching band. It was fantastic to play in, but I also felt guilty because I thought, as a "serious" musician, I should side with the professor who ranted and raved that it was a sacrilege. Americans today often think of themselves as living in sin, simultaneously playing around with music and culture without intent of stopping but thinking of the practice as somehow wrong.
One Giant Leap for the Dallas Opera?
An article in the New York Times discusses the appointment of George R. Steel as general director: http://www.nytimes.com/2008/09/13/arts/music/13stee.html . George R. Steel who was an executive director of the Miller Theatre at Columbia University has been hired as General Director at the Dallas Opera. The move to the Dallas Opera may have been surprising for a few reasons. The company is known for more traditional performances. Mr. Steel is not a traditionalist. Also, he does not have a lot of experience directing opera. Apparently, the Dallas Opera is in need of a real change. No one really knows what this means. At the Miller Theater, Mr. Steel, for the most part, tended to leave out the more popular composers. Although he did have series’ such as “Brahms the Progressive,” where he had Brahms’ chamber works played along side early twentieth century works of composers who where influenced by Brahms.
I am curious to see what Mr. Steel will bring to the Dallas Opera. His programs all included a great deal of contemporary music and some early music. The Dallas Opera gives him a lot more to work with than his previous post. He will even have the opportunity to conduct 3 performances. It will be interesting to see what innovations he will bring and what the audience reactions will be. The Dallas Opera is already commissioning the new opera “Moby Dick” by Jake Heggie. Mr. Steel wants the Dallas Opera to be a cultural leader. He thinks that if it is marketed as “hip,” it is very possible for this to happen. I don’t know anything about marketing (which is probably why I spend so much) but I do think it is important to commission new music and keep the art fresh and alive. There is a lot of interesting twentieth century opera out there that, I personally don’t think will ever be considered “standard repertoire.” Some of it is really old enough to be considered classic by now but for many of us, it still sounds too strange to sit through. It would be amazing indeed if a company as influential as the Dallas Opera dedicated itself to new music. This may be a stretch but imagine a major opera company that only presents contemporary works: Berio’s “Un re in ascolto,” Ligeti’s “Le Grand Macabre,” throw in “Bluebeard’s Castle” with just one or two standard-ish operas, such as say, “Pelleas et Melisande” and Britten’s “Turn of the Screw” as well as a newly commissioned work and there’s a whole season. I think I could get behind that. Perhaps if it were “hip” enough to suit me, I would even get a subscription. Sarah, a Harry Potter opera could be just the thing to entice me!
I am curious to see what Mr. Steel will bring to the Dallas Opera. His programs all included a great deal of contemporary music and some early music. The Dallas Opera gives him a lot more to work with than his previous post. He will even have the opportunity to conduct 3 performances. It will be interesting to see what innovations he will bring and what the audience reactions will be. The Dallas Opera is already commissioning the new opera “Moby Dick” by Jake Heggie. Mr. Steel wants the Dallas Opera to be a cultural leader. He thinks that if it is marketed as “hip,” it is very possible for this to happen. I don’t know anything about marketing (which is probably why I spend so much) but I do think it is important to commission new music and keep the art fresh and alive. There is a lot of interesting twentieth century opera out there that, I personally don’t think will ever be considered “standard repertoire.” Some of it is really old enough to be considered classic by now but for many of us, it still sounds too strange to sit through. It would be amazing indeed if a company as influential as the Dallas Opera dedicated itself to new music. This may be a stretch but imagine a major opera company that only presents contemporary works: Berio’s “Un re in ascolto,” Ligeti’s “Le Grand Macabre,” throw in “Bluebeard’s Castle” with just one or two standard-ish operas, such as say, “Pelleas et Melisande” and Britten’s “Turn of the Screw” as well as a newly commissioned work and there’s a whole season. I think I could get behind that. Perhaps if it were “hip” enough to suit me, I would even get a subscription. Sarah, a Harry Potter opera could be just the thing to entice me!
Thoughts and questions on H/L...
Well, once again, I am reminded that computers and the internet cannot be trusted. May I suggest to all of you to write your comments in a word document before posting to the blog...
The Sacralization of Culture or, Cultural Taxidermy. As I was reading, I began to imagine a taxidermist performing his operations on a still living being. His feverish obsession with preserving his beloved always as a perfect object overshadows the truth of the living being before him. This is the sacralization of culture and it is well exemplified in the cases of the Chicago Public Library, the Boston Museum of Fine Arts, and the NY Lennox library, among others. The temple – idealization, preservation – took the place of content – utilization, dissemination. The whole idea of “sacred culture” such as this is illusory. It is as if art’s inherent divinity was not sufficient; man had to give it physical confines in the form of tiered exclusiveness to confirm the fact.
Were Europeans as Eurocentric as Americans at this time? Judging from Mahler’s statements, I think not. It seems America suffered from an inferiority complex and became obsessed with what could never be realized, only idealized (Berlioz, anyone?). It is interesting to note that the most evangelical voices for the sacralization of music (at least the ones cited here) were not musicians but would-be musicians and critics. Poor Ives and the throngs of American artists whose artistic endeavors fell outside the confines of “culture” because they were real people working with real tools of the time. Real is never as appealing as the ideal, eh?
The story of paternal commercialism and the modern symphony in America is an interesting one. With independent financial backing, the orchestra was no longer dependent on the patronage of the community at large. It could sever all common ties with the community in which it lived and focus only on fulfilling its own whims and fancies. Is this art for arts sake? If not, who is it for? Who is it good for?
The Sacralization of Culture or, Cultural Taxidermy. As I was reading, I began to imagine a taxidermist performing his operations on a still living being. His feverish obsession with preserving his beloved always as a perfect object overshadows the truth of the living being before him. This is the sacralization of culture and it is well exemplified in the cases of the Chicago Public Library, the Boston Museum of Fine Arts, and the NY Lennox library, among others. The temple – idealization, preservation – took the place of content – utilization, dissemination. The whole idea of “sacred culture” such as this is illusory. It is as if art’s inherent divinity was not sufficient; man had to give it physical confines in the form of tiered exclusiveness to confirm the fact.
Were Europeans as Eurocentric as Americans at this time? Judging from Mahler’s statements, I think not. It seems America suffered from an inferiority complex and became obsessed with what could never be realized, only idealized (Berlioz, anyone?). It is interesting to note that the most evangelical voices for the sacralization of music (at least the ones cited here) were not musicians but would-be musicians and critics. Poor Ives and the throngs of American artists whose artistic endeavors fell outside the confines of “culture” because they were real people working with real tools of the time. Real is never as appealing as the ideal, eh?
The story of paternal commercialism and the modern symphony in America is an interesting one. With independent financial backing, the orchestra was no longer dependent on the patronage of the community at large. It could sever all common ties with the community in which it lived and focus only on fulfilling its own whims and fancies. Is this art for arts sake? If not, who is it for? Who is it good for?
Monday, September 15, 2008
Theodore Thomas
I'm intrigued by the story Levine relates of Thomas' career in the reading. I found it a bit depressing that he concluded that the "working class" simply can't enjoy classical music. I think- or at least hope- this elitist attitude that one must be educated properly to enjoy classical is a fallacy, and probably contributes quite a bit to the sense of intimidation people feel about going to the symphony or the opera.
On the other hand, Thomas was forced to resort to a lot of gimmicks to get a wide audience at his Central Park concerts. What do you guys think? Is it possible to combine high-quality music with a wider appeal? What can we do to help expose more people to classical?
On the other hand, Thomas was forced to resort to a lot of gimmicks to get a wide audience at his Central Park concerts. What do you guys think? Is it possible to combine high-quality music with a wider appeal? What can we do to help expose more people to classical?
New Opera
Hi everyone,
For any of you that are Amy Tan fans (she is the author of The Joy Luck Club), there is a review in the Times of the new opera "The Bonesetter's Daughter" of which she wrote the libretto. http://www.nytimes.com/2008/09/15/arts/music/15bone.html?_r=1&ref=arts&oref=slogin
It's pretty interesting. I have to admit that when I first read that an opera was made from this great book, I was alittle disappointed. This could be just because I'm often disappointed by many of the movies made from some other good books. Often, the movie is never as good as the book, or it changes parts, or characters are not as loveable. Either way, the images projected on the screen are never as enjoyable as the ones my own imagination can conjure up. So even before I read the review, I expected that it wasn't going to be good. It just seems especially strange that it's been made into an opera. Why not just a movie? But then again, now movies are being made into Broadway musicals, in case you didn't know, "Legally Blonde" is now a full fledged stage show, and so is "The Little Mermaid".
Is there no one out there who can come up with an original story? I mean I'm all for writing "Harry Potter, the musical", anyone in?
For any of you that are Amy Tan fans (she is the author of The Joy Luck Club), there is a review in the Times of the new opera "The Bonesetter's Daughter" of which she wrote the libretto. http://www.nytimes.com/2008/09/15/arts/music/15bone.html?_r=1&ref=arts&oref=slogin
It's pretty interesting. I have to admit that when I first read that an opera was made from this great book, I was alittle disappointed. This could be just because I'm often disappointed by many of the movies made from some other good books. Often, the movie is never as good as the book, or it changes parts, or characters are not as loveable. Either way, the images projected on the screen are never as enjoyable as the ones my own imagination can conjure up. So even before I read the review, I expected that it wasn't going to be good. It just seems especially strange that it's been made into an opera. Why not just a movie? But then again, now movies are being made into Broadway musicals, in case you didn't know, "Legally Blonde" is now a full fledged stage show, and so is "The Little Mermaid".
Is there no one out there who can come up with an original story? I mean I'm all for writing "Harry Potter, the musical", anyone in?
Speaking of Alex Ross...
In a recent issue of The New Yorker magazine, Alex Ross examined the trajectory of the classical concert from 19th century to present day (as well as plugging two new books about the transformation of concert culture). The article is called"Why So Serious?" and really compliments the Levine reading which explores the emergence of the distinctions between high and low culture (which is cited in the article).
ArtsJournals.com
Hi everyone,
I wanted to let you know about a newsletter I subscribe to online from www.artsjournal.com. This site provides news feed about the arts, culture and ideas from various newspapers and blogs. There are articles on music, theater, dance, and more-- plus there is a daily pick of a random but interesting video of the day from YouTube. Please check it out!
EL
Thursday, September 11, 2008
Welcome, Colleagues!
Welcome, colleagues from Longy School Future of Classical Music '08!
As soon as you can, please make your way to Alex Ross's blog, www.therestisnoise.com. He keeps his ear close to the ground; he even has a feed!
Looking forward to reading your posts and to seeing you Tuesday!
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