I have found that available tools, options, and gadgets have significantly improved since the time I started this blog. The result: this gets to look and function far more like I wanted it to then. :)
As you can see, I've started posting again and have also been cleaning out some deadwood in previous posts. I'm also slowly bringing pages online so this site has the ability to have some other uses than my personal musings. Visually, the capabilities are far greater than ever, especially with the ability to customize templates. Its nice to be regularly writing again, especially as this continues to get more the way I envision it.
Wednesday, August 10, 2011
Tuesday, August 9, 2011
Recommended Reading: Karlheinz Stockhausen
Many people know that I am a big fan of Stockhausen for many reasons. I've advocated some of his compositional ideas and have the opportunity to play some of his music. Most of the reasons I enjoy Stockhausen came from this book:
Stockhausen on Music: Lectures and Interviews, by Karlheinz Stockhausen and Robin Maconie
This book is a series of transcribed lectures and interviews which I found to be an enlightenment concerning some of Stockhausen's ideas and where they come from. I particularly recommend the section on "Intuitive Music." Not only have I found this to be an adequate guide to Stockhausen's own works, but the concepts presented in the transcribed lectures are a worthy source of pondering for any musician.
Stockhausen on Music: Lectures and Interviews, by Karlheinz Stockhausen and Robin Maconie
This book is a series of transcribed lectures and interviews which I found to be an enlightenment concerning some of Stockhausen's ideas and where they come from. I particularly recommend the section on "Intuitive Music." Not only have I found this to be an adequate guide to Stockhausen's own works, but the concepts presented in the transcribed lectures are a worthy source of pondering for any musician.
Monday, August 8, 2011
The Genius of John Cage
It is easy to laugh over the Italian Futurists. One can shrug away serial composition. It could be claimed that the day music died was actually about 1890. But, despite how quickly and easily it is for some to dismiss contemporary forms, I have found that most people meet their match when they try to spar with John Cage.
There is something about Cage that forces the concept of dismissal off of the table. Suddenly it can't simply be said, "That's not music!" Truly dueling with Cage requires no less than making personal decisions and declarations about music. I've often pondered why this is, and one of the paramount explanations I have is among the most obvious: he challenged the definition of music himself.
But, more so than his challenge is how he went about doing it. The nay-sayers of contemporary music must respond to a fine twist: to find what isn't music.
Cage makes this inversion and forces - by happenstance or intention, I do not know - the debater to play on his terms. The question of whether something is music is inherently comparative. Whether it is a dictonary definition or a personal taste, the question calls for an outside standard to be applied. On the other hand, to ask why a particular example isn't music is to necessarily consider it of its own merits. Rather than start from an ideal and work down, the case for any piece in question must be made from the ground up. For the purpose of demonstration, let's work through this with a specific example.
If one asks, "Is Stockhausen's piece, Kontakte, music?" ...the real curiosity concerns what standard will be used. If the standard is Palestrina, Stockhausen is in for a rough ride. But, if the standard of comparison is Webern, Stockhausen doesn't turn out too badly. It becomes evident though, that the outcome is quite different if you approach it working the other way. "Why isn't Kontakte music?" The examiner must necessarily make an evaluation on the content of the piece and the qualities of the composer.
But for the sake things, let's consider a more ludicrous example (I think most would consider Stockhausen to be a prolific composer, despite a potential lack of attraction to his work).
It is easy to label the Italian Futurist movement at the turn of the 20th century as crazy. There are numerous reasons for this, including the fact that they really weren't musicians... despite willingness to explain the future of music (Luigi Russolo, the author of The Art of Noises was actually a painter). But ultimately, down beneath the surface of the dismissal:
Cage turned the tables... and I'm glad.
To Be Continued with an upcoming post: Atonal Music is More than a Numbers Game.
There is something about Cage that forces the concept of dismissal off of the table. Suddenly it can't simply be said, "That's not music!" Truly dueling with Cage requires no less than making personal decisions and declarations about music. I've often pondered why this is, and one of the paramount explanations I have is among the most obvious: he challenged the definition of music himself.
But, more so than his challenge is how he went about doing it. The nay-sayers of contemporary music must respond to a fine twist: to find what isn't music.
Cage makes this inversion and forces - by happenstance or intention, I do not know - the debater to play on his terms. The question of whether something is music is inherently comparative. Whether it is a dictonary definition or a personal taste, the question calls for an outside standard to be applied. On the other hand, to ask why a particular example isn't music is to necessarily consider it of its own merits. Rather than start from an ideal and work down, the case for any piece in question must be made from the ground up. For the purpose of demonstration, let's work through this with a specific example.
If one asks, "Is Stockhausen's piece, Kontakte, music?" ...the real curiosity concerns what standard will be used. If the standard is Palestrina, Stockhausen is in for a rough ride. But, if the standard of comparison is Webern, Stockhausen doesn't turn out too badly. It becomes evident though, that the outcome is quite different if you approach it working the other way. "Why isn't Kontakte music?" The examiner must necessarily make an evaluation on the content of the piece and the qualities of the composer.
But for the sake things, let's consider a more ludicrous example (I think most would consider Stockhausen to be a prolific composer, despite a potential lack of attraction to his work).
It is easy to label the Italian Futurist movement at the turn of the 20th century as crazy. There are numerous reasons for this, including the fact that they really weren't musicians... despite willingness to explain the future of music (Luigi Russolo, the author of The Art of Noises was actually a painter). But ultimately, down beneath the surface of the dismissal:
"They aren't like Bach."
"They aren't like Chopin."
"There's just nothing like the classics, you know - Mozart, Haydn, Beethoven."
"This isn't music (because Debussy is)."If one was to start from the ground up... the least that could happen would be a bit of understanding concerning their thought process and the notions of heralding modern technology in art.
Cage turned the tables... and I'm glad.
To Be Continued with an upcoming post: Atonal Music is More than a Numbers Game.
Sunday, August 7, 2011
The Hidden Beauty in "Get Whitey"
One of my favorite tracks on the Frank Zappa/Ensemble Modern recording The Yellow Shark is "Get Whitey." It is remarkable in that in the middle of a deluge of the extreme, such an invitingly complex piece can take center stage. Don't get me wrong: I get a huge kick out of "Welcome to the United States" as much as anyone and this version of "Be-Bop Tango" is maybe, I think, second only to the Roxy and Elsewhere recording. But despite such incredible work, "Get Whitey" contains something special.
I particularly am attracted to the harmonic combinations (primarily the white notes of a keyboard) and how they complement the intricate figures spun over that base. While much of Zappa's work tends force your attention due to pitch content and never ending rhythmic complexities, "Get Whitey" is somewhat of a passing ghost that is alluring the listener into the music.
In addition to the base layer, the textural combinations are much more ethereal. Harsh tambours are afforded their place, but so much is based around warmer colors and naturalistic textures that, at least for me, it becomes much more relatable than most of Zappa's catalog.
All in all, this piece certainly has the distinction of being one of the few examples of Zappa's music that leaves you relaxed when you reach the last note. Give it a listen - you won't be disappointed.
Sunday, March 13, 2011
Performing Blog CPR...
Welcome to the site as of 3/13/11. I'm currently (albeit close to two years after I said I would-see date of previous post) out to revamp, re-master, reorder, and do everything else to tidy up this blog. I don't know when I'll be finished, but for now some layout changes are at least a token of the process. Thanks, and I'll get back in business pretty soon.
Friday, August 14, 2009
Ch- Ch- Changes
Ye' olde blog is getting a facelift. We'll be open for business shortly.
In the meantime, all past posts are in the archive.
Thanks,
Managment
In the meantime, all past posts are in the archive.
Thanks,
Managment
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