- The harpist was forced into retirement after four years.
- The ratio of male to female is 136 to 1 in the Philharmonic, 141 to 4 in the Opera Orchestra.
- There is only one person of color in the orchestra
- The only female violinist was fired in very troubling circumstances.
Saturday, December 30, 2006
Friday, December 29, 2006
On January 11th the Imani Winds are featured on the "Basic Black" show and podcast.
In describing their music The New York Times said, “Imani Winds spices up chamber music with global flavors.” The quintet was founded in 1997 and its CD, The Classical Underground, was nominated for a Grammy in 2005 for Best Crossover Classical Album.
The "Basic Black" episode features an interview with guest host Howard Manly as well as performances in the WGBH studio.
Wednesday, December 27, 2006
Two are continued efforts to grow my cornetto recordings collection, and three are continued efforts to grow my contemporary music collection. I enjoy pointing out that the seven-CD collection is of music composed by and performed by a person who gave me a hard time during a public interview. I don't take it personally, as Rzewski treats everyone that way. I also could see that he wanted to get to the truth, which I can respect. Plus I found his music very moving. The Moon, sun and all things is a fabulous collection of Baroque music from Latin America, performed by Ex Cathedra and the Quintessential Sackbut and Cornett Ensemble. Eighth Blackbird is poetry in sound, and I haven't had a chance to listen to the Golijov yet.
Also see Scott McLemee's thoughts on the Godfather of Soul.
Sunday, December 24, 2006
This piece is in sonata-rondo form, though I feel it leans more towards the rondo feel rather than sonata, primarily because the C section doesn't develop previous motives from the movement. Instead, it presents entirely new material, which is in a very different feel from the rest of the movement, which is very stormy and passionate.Starting with the (oh so horrible) textbook definitions of sonata and rondo forms, he latches onto an important feature of this particular movement, the radical change in mood from the passionate storms of the first part to the calm waters of the middle section. But he also recognizes that this new section has a developmental feel, hence the label of sonata-rondo instead of rondo.
Jeremy himself tempers all his criticisms with humorous caveats at the end, which seem to be missed by some of his commentors. The relevant quotes to make this a timely post:
Let's imagine the baby Jesus, analyzing the song of the Magi. I think he would love and tolerate talk of cadences, even Schenkerian diagrams. Why do I imagine him treating theorists as he did Mary Magdelene? This suggests a conception of theory as a particularly unsexy form of prostitution. No, wait, I can do better: the expectancy of the Christmas ritual, the presents wrapped under the tree, the smell of the tree, the candles, the late night, the early morning awakening, stumbling out to the family room in your pajamas, getting ready to convert the whole beautiful waiting thing into a storm of crumpled paper. Sometimes it seems Theory wants you to unwrap the gift, but not to see what's inside. It is cold-hearted: it wants you to "understand" expectancy. But I assure you, Theory for all its jargon wants you to receive music's gift too; to receive with gratitude the ingenuity of the composer, the generosity of invention, to appreciate the process of composition, a kind of wrapping and unwrapping of the human spirit. That is why, finally, we suffer through Form and Analysis. Mr. Spiegelberg's students seem to be in good humor about the whole thing, interjecting irony, sarcasm, etc., which is a victory for both student and teacher.I hate the idea that musicians suffer through theory and analysis courses. But I completely agree that they are meant to help unwrap the layers to perceive all the marvels of music. Happy Holidays, everyone!
Friday, December 22, 2006
Thursday, December 21, 2006
Sample phrases include:
* "I think you should go with a bigger mouthpiece"
* "Nobody's playing 88H's anymore"
* "You'll never win an audition if you play it like that"
* "You need to get a Thayer conversion"
* "I'm sick of teaching, let's go get a beer"
to celebrate the winter Sol-stice.
Wednesday, December 20, 2006
In related news, a student composer at Sagan's old stomping grounds of Cornell composed a tribute to him. Peter Salvi composed In Memoriam Carl Sagan in 1997 for flute, clarinet, and bassoon.
Tuesday, December 19, 2006
1) There is an entry fee of $20 for each work submitted (maximum of 2 per composer allowed).
2) There is a cash prize of $1000, and a performance with the CSUN Symphony.
3) If you want your score or recordings back, send a SASE.
4) The scores are submitted anonymously.
5) The judges are Dan Hosken, Daniel Kessner, Liviu Marinescu, John Roscigno, and Elizabeth Sellers.
6) The only other criteria are the length (7-15 minutes) and the instrumentation (orchestra or chamber orchestra, no soloists).
The fee is less and the prize is more, but is that enough? Now fifty entries are needed to cover the cost. What are appropriate criteria to publish for judging a composition contest?
Monday, December 18, 2006
Saturday, December 16, 2006
Music07 and eighth blackbird are pleased to announce a competition for composers:Music07 is the latest installment of the annual new music festival hosted at the University of Cincinnati. If you have questions, email Prof. Hoffman or eighth blackbird.
There will be one prize, which consists of a performance by the premiere new music ensemble EIGHTH BLACKBIRD during Music07 (10 through 16 June, 2007 in Cincinnati, OH) and $500 in cash. One or more honorable mentions may also be awarded at the discretion of the judges (These awards do not include a performance or a cash prize).
Applicants can either apply to the competition or to Music07 or both.
The application fee for the competition is $25 (payable by check to“University of Cincinnati” and marked “Music07 competition fee”). The application fee for Music07 Is $25 (payable by check to “University of Cincinnati” and marked “Music07 application fee”). Each submitted composition must be accompanied by a separate application form and application fee. The competition reserves the right to not award any prizes. The decision of the judges is final and no correspondence will be entered into.
The competition will be judged by members of eighth blackbird and by the directors of MusicX. The competition will be judged anonymously; the score and CD should be marked only with a pseudonym. Accompanying the submission should be an envelope marked with the pseudonym on the outside and the application form with application fee on the inside.
The receipt deadline is 20 March, 2007. Results of the competition will be announced by 15 April. The instrumentation of eighth blackbird is: flute (piccolo, alto flute), clarinet (b-flat, a and bass), violin (viola), cello, percussion and piano. Composers are welcome to submit works either for the whole group or any sub-set of it. Participants may be citizens of any country, and there is no age limit. All submitted works should be 8-15 minutes in length. Submitted compositions cannot have been performed during previous editions of MusicX in Cincinnati.
-Score (parts will be requested only of the winning composer)
-CD, either of a live performance or MIDI
(submissions without CD will also be considered)
-Application form (downloadable at www.ccm.uc.edu/musicx) and application fee, both of which in an envelope marked only with the pseudonym on the outside
-SASE, if you wish your materials returned
Update: Read the comments here and this post for arguments against this competition.
Friday, December 15, 2006
The ultimate goal of any improvisation pedagogy is the engendering of quick creativity. The ability to create with innovation and coherence is developed through the development of various cognitive skills. The improvisation pedagogy presented is based upon recentBerliner, Paul. 1994. Thinking in Jazz.
cognitive studies, identifying what skills are necessary and how best to develop them. This method for stylistically-neutral improvisation is intended to fit within a core two-year aural skills sequence in post-secondary studies. Students learn to improvise in a collaborative environment, one that also encourages the development of keyboard skills. Working in pairs, the performers trade soloing and accompanying duties. This provides a safer environment for exploration, and frees the professor to evaluate performances. It also provides varied experiences from the different duties and from the alterations and imperfections inserted by the partner during practice. Studies such as Pressing (1984), Berliner (1994), Sarath (1996), Johnson-Laird (2002), and Mendonça and Wallace (2004) have stressed the importance of temporal cognition in improvised performance. Thus rhythmic and metric accuracy is placed at the forefront of this improvisation pedagogy. Memory is also a key component of improvisation. Performers must be able to remember what they already played and the form of the improvisation. Kenny and Gellrich (2002) describe eight cognitive processes during improvisation, including three temporal levels each of recall and anticipation. Memorization of self-composed melodies and mimicking exercises help to develop these skills. Sarath's (1996) concept of cognitive event cycles is taken as an important measure of improvement. Greater frequencies of cognitive events, as measured through numbers of possible solutions to a given musical event, give rise to more creative responses to stimulus from the improviser and from collaborators. This is evidenced by variety demonstrated in multiple performances of the same exercise. Pressing (2000) provides an estimate of the expected limits for "improvisational novelty" at ten actions per second, based upon error correction times measured by Welford (1976). This paper summarizes the various cognitive models of improvisation and the framework for the pedagogical system. Sample exercises are demonstrated for both instructional and assessment purposes.
Johnson-Laird, P.N. 2002. How jazz musicians improvise. Music Perception 19(3), 415-442.
Kenny and Gellrich
Mendonça, David, and William A. Wallace. 2004. Cognition in jazz improvisation: an exploratory study. 26th Annual Meeting of the Cognitive Science Society.
Pressing, Jeff. 1984. Cognitive processes in improvisation. In Cognitive processes in the perception of art, (ed. W.R. Crozier and A.J. Chapman). North-Holland, Amsterdam.
Pressing. 2000. Improvisation: methods and models. In Generative processes in music.
Sarath, Edward. 1996. A new look at improvisation. Journal of Music Theory, Vol 40, No. 1, 1-38.
Welford, A.T. 1976. Skilled Performance.
Wednesday, December 13, 2006
Update #2: ANABlog, a group blog of the Analog Arts Ensemble, holds the coveted 20a slot with a ranking of 89,361.
Update #3: Two more blogs brought to my attention: Dr. Dick's Blog (180,464 Dick Strawser radio director) and ClassicallyHip (264,567 John Clare violin). Please also let me know if there are any mistakes with name, rank, or designation. In fact, I've decided to renumber the list, cutting off the bottom ones to stay at 51. ClassicallyHip just misses the cut now, but I'll definitely keep this blog in mind. I'll do a new list after the spring semester, perhaps a regular feature.
Update #4: NewMusicBox would be in the #2 position if I included it (22,637). Should I include these e-magazine types of blogs?
1 The Rest is Noise: 6,577 Alex Ross (Crit)
2 Sequenza21: 23,260 Jerry Bowles (C)
3 On an Overgrown Path: 25,137 Bob Shingleton (producer)
4 Ionarts: 27,639 Charles T. Downey (A)
5 PostClassic: 31,123 Kyle Gann (C)
6 Sandow: 36,793 Greg Sandow (Crit)
7 Sounds and Fury: 44,607 AC Douglas (L)
8 La Cieca: 45,144 James Jorden (O)
9 The Rambler: 50,718 Tim Rutherford-Johnson (A)
10 Adaptistration: 54,276 Drew McManus (orchestra management)
11 Night after Night: 56,128 Steve Smith (Crit)
12 Think Denk: 57,134 Jeremy Denk (piano)
12 Jessica Duchen: 57,134 (Crit)
14 Aworks: 58,196 Robert Gable (L)
15 Oboeinsight: 59,315 Patty Mitchell (oboe)
16 Terminaldegree: 60,452 (kazoo)
17 Musical Perceptions: 78,160 Me (A)
18 The Well-Tempered Blog: 80,219 Bart Collins (piano)
19 Red Black Window: 84,277 Roger Bourland (C)
20 The Concert: 86,494 Anne-Carolyn Bird (voice)
21 ANABlog: 89,361 Analog Arts Ensemble
22 The Standing Room: 97,231 Monsieur C (L and voice?)
23 Deceptively Simple: 97,392 Marc Geelhoed (Crit)
24 Classical Pontifications: 100,373 Professor Heebie McJeebie (C TANDY)
25 Listen: 100,373 Steve Hicken (C and Crit)
26 Meanwhile, here in France: 103,674 Ruth (cello)
26 Soho the Dog: 103,674 Matthew Guerreri (C)
28 The Iron Tongue of Midnight: 107,080 Lisa Hirsch (Crit)
29 Sieglinde’s Diaries: 110,824 Leon Dominguez (O)
30 Dial “M” for Musicology: 114,825 Phil Ford and Jonathan Bellman (A)
31 My Favorite Intermissions: 119,158 Maury D’annato (O)
32 Wellsung: 119,158 Alex and Jonathan (O)
33 Eric Edberg: 123,899 (cello)
34 In the Wings: 128,993 Heather Heise (piano)
35 Renewable Music: 134,457 Daniel Wolf (C)
36 Classical Music: 134,457 Janelle Gelfand (Crit)
37 Kenneth Woods: 154,184 (conductor)
37 Trrill: 154,184 Nick Scholl (O)
39 Twang twang twang: 161,853 Helen Radice (harp)
40 Fredosphere: 170,319 Fred Himebaugh (C)
41 Opera Chic: 170,319 (O)
41 On a Pacific Aisle: 170,319 Josh Kosman (Crit)
41 An Unamplified Voice: 170,319 JSU (O)
44 Vissi d’Amore: 170,622 Ariadne Obnoxious (voice)
45 Felsenmusick: 179,647 Daniel Felsenfeld (C)
46 Dr. Dick's Blog: 180,464 Dick Strawser (radio director)
47 Tears of a Clownsilly: 190,048 PWS (student?)
48 NY Opera Fanatic: 201,435 Roy Wood (O)
49 Campbell Vertesi: 228, 958 (voice)
50 Café Aman: 244,758 Anastasia Tsioulcas (Crit)
51 Tomness: 245,375 Tom Meglioranza (voice)
Tuesday, December 12, 2006
Sunday, December 10, 2006
As I think more about this, the more it relates to Eric's research about entrepreneurship. Carving out a market involves networking with potential funders, potential clients, potential workers. Making music involves dealing with audiences, fellow musicians, etc. Even research, that potentially hermetic practice, necessitates interactions with editors, program committees, collaborators. While there are facts and practices, the mysteries of the music discipline, that must be imparted to the students, there are also the joys of interactions that also should be taught, and the ethics that govern those interactions. (The latter could make a nice tie-in to the coming Ethics Center.) Life should not be lived alone.
Friday, December 08, 2006
Tuesday, December 05, 2006
I couldn't find any industry-wide data, but I looked at Deutsche Grammaphon's catalog to tally their number of releases each year. Here it is:
Year # of releases
A very steady upward climb, with the normal fluctuations expected from a random walk (so I understand from some Econ colleagues). Granted, the huge increase in 2005 and 2006 include re-releases as DG (and all the other record labels) rush to digitize their back catalog. But even so, there are plenty of new releases in these last two years as well. Finally, I point to a relatively old Wired article on the Long Tail. I think too many of my colleagues and their acquaintances are still thinking in the old brick-n-mortor economic mentality, including the speaker from last night. The new digital economy allows for niche markets to thrive, including the various Classical niches. Independent labels such as Canteloupe have taken off, with great access through Amazon, iTunes, eTunes, etc.
I will agree that the major labels did cut many of their artists during the late 90's, probably most from panic when sales temporarily levelled off in 1997. As Greg Sandow (via Eric) points out, Classical recordings did rely upon subsidies, so cutting high-priced artists would shave some expenses, at least from a knee-jerk middle-manager perspective. But I will have to see conclusive data refuting what I have seen, to convince me that the Classical recording industry has indeed died. So consider this a bleg, repeating what Eric asks for: actual statistics along the lines of: "In 1980, there were X new classical releases; in 1990, Y; in 2000 Z; etc."
*Estimated, based on shipping data.
Monday, December 04, 2006
Imagine a fugue written for a synthesizer. It is typical of the genre with this exception: its lowest note is at 30,000 hertz, above the range of human hearing. Also, consider a piece of about 300 measures in common time. In most respects, the work is ordinary, but the tempo is indicated as 'crotchet = five years.' The opening sixteen-bar theme lasts for more than three centuries; the performance is completed after 6 millennia. In a third case, a work specified for solo piccolo contains a single note, the C at 128 hertz. This tone lies more than two octaves below the instrument's range. Are these pieces musical works?Related to TTU's memory of another Davies example, Beethoven's Fifth Symphony played at quarter note = 1 year, I give you art imitating philosophy.
Saturday, December 02, 2006
Friday, December 01, 2006
Listening to that piece replicates every experience I have ever had with the music of Vaughan Williams - and I assure you, I've tried to listen to it. It seems to me that he endlessly tiptoes around in a formless cloud of sound out of which at any moment an actual melody might emerge, but one never does. I can see no consequence, no meaning to it. It doesn't make any sense to me. I can't say why not. It just doesn't, and all I experience is vague but mounting irritation, frustration and, eventually, resentment.And after this admission the other commentors do not ridicule him for his lack of appreciation, but share their own loves and hates. When I asked my students how to debate about music, this type of discussion was one possibility I was thinking about.
*Reasons that you may not agree with (I certainly don't, finding Vaughan Williams to be very comprehensible), but ones that can be understood and respected.
A mathematician has taken it upon himself to create music expressing well-known mathematical proofs.
And cookies have just come out of the oven, so I must go!
...they acquire minor prominence among low-traffic blogs before being picked up by a high-traffic one, from which many more low-traffic blogs snatch them. Contra blog-triumphal models of memetic bootstrapping, I believe most memes are—to borrow a term from Daniel Dennett's rebuttal of punctuated equilibrium—"skyhooked" into prominence by high-traffic blogs.
As I heard about the meme from Chad Orzel (I think), who has a relatively high-traffic site, I would be in the latter stage of low-traffic blogs snatching at his proffered meme.
Please help the experiment along by following the directions:
- Write a post linking to this one in which you explain the experiment. (All blogs count, be they TypePad, Blogger, MySpace, Facebook, &c.)
- Ask your readers to do the same. Beg them. Relate sob stories about poor graduate students in desperate circumstances. Imply I'm one of them. (Do whatever you have to. If that fails, try whatever it takes.)
- Ping Technorati.
Who knows, you may help to crash a campus server.