SNOB-MUSAC, Google Edition

As promised, here is the Google backlinks edition of the Semi-annual Naming of Blogs Mostly Used to Scribble About Classical music. Unlike with Technorati, which only counts links in the last six months, Google backlinks can accumulate. Thus older blogs gain a benefit. The average gain in links from last December is 382, all but three of the 224 blogs measured had gained (excepting one blog that changed URLs). Like the Technorati edition, I am including the change in Google links in brackets.

1 The Rest is Noise: 7730 [+1170] Alex Ross (Crit)
2 On an Overgrown Path: 3680 [+1100] Bob Shingleton (producer)
3 Ionarts: 3450 [+1570] Charles T. Downey (A)
4 An Unamplified Voice: 3370 [+2858] JSU (O) [the big mover of the list!]
5 Sandow: 3170 [+610] Greg Sandow (consultant)
6 PostClassic: 3070 [+280] Kyle Gann (C)
7 Sequenza21: 2870 [+1310] Jerry Bowles (C)
8 Jessica Duchen: 2820 [+1200] (Crit)
9 Sounds and Fury: 2740 [+1420] AC Douglas (L)
10 Opera Chic: 2670 [+2458] (O)
11 The Iron Tongue of Midnight: 2590 [+1460] Lisa Hirsch (Crit)
12 Night after Night: 2400 [+990] Steve Smith (Crit)
13 Soho the Dog: 2320 [+1300] Matthew Guerreri (C)
13 Musical Perceptions: 2320 [+1230] Me (A)
15 The Standing Room: 2220 [+1444] Monsieur C (voice)
16 Slipped Disc: 2210 [new to list] Norman Lebrecht (consultant)
17 Think Denk: 2160 [+1241] Jeremy Denk (piano)
18 The Concert: 2120 [+1358] Anne-Carolyn Bird (voice)
19 La Cieca: 2090 [+1385] James Jorden (O)
20 Classical Music: 2000 [+970] Janelle Gelfand (Crit)
21 Oboeinsight: 1780 [+916] Patty Mitchell (oboe)
22 Vilaine fille: 1730 [+1039] (Crit)
23 Aworks: 1700 [+978] Robert Gable (L)
24 Mad Musings of Me: 1680 [+610] Gertsamtkunstwerk (O)
25 The Rambler: 1670 [+1016] Tim Rutherford-Johnson (A)
26 Deceptively Simple: 1630 [+779] Marc Geelhoed (Crit/administration)
27 Listen: 1530 [+797] Steve Hicken (C and Crit)
28 Trrill: 1440 [+1014] Nick Scholl (O)
29 Sieglinde’s Diaries: 1420 [+806] Leon Dominguez (O)
30 ANABlog: 1410 [+1100] Analog Arts Ensemble
31 Dial “M” for Musicology: 1380 [+888] Phil Ford and Jonathan Bellman (A)
32 Mostly Opera: 1370 [new to list] (O)
33 Musical Assumptions: 1150 [+862] Elaine Fine (C and viola)
34 The Well-Tempered Blog: 1140 [+525] Bart Collins (piano)
35 Prima La Musica, poi le parole: 1130 [+587] Sarah Noble (O)
36 Meanwhile, here in France: 1120 [+517] Ruth (cello)
37 Renewable Music: 1080 [+684] Daniel Wolf (C)
38 Wellsung: 1070 [+448] Alex and Jonathan (O)
38 Twang Twang Twang: 1070 [+356] Helen Radice (harp)
40 BLOGregular: 1030 [new to list] Bobregular (L? in Italian)
41 A View from the Podium: 1010 [+703] Kenneth Woods (conductor)
42 Felsenmusick: 932 [+462] Daniel Felsenfield (C)
43 My Favorite Intermissions: 929 [+670] Maury D'annato (O)
44 Feast of Music: 919 [+725] (L?)
45 Roger Bourland: 909 [+462] Roger Bourland (C)
46 Thirteen Ways: 892 [+599] eighth blackbird (ensemble)
47 Collaborative Piano: 872 [+592] Chris Foley (piano)
48 Yankeediva: 841 [new to list] Joyce DiDonato (voice)
49 Daily Observations: 835 [+397] Charles Noble (viola)
50 Notes From the Kelp: 829 [new to list] Alex Shapiro (C)

SNOB-MUSAC, Technorati edition

Here is the semi-annual listing of the bløgösph¥re, only one month late! This is the version based upon Technorati. I'll post the Google version on Monday. Based on previous complaints, I have omitted Terry Teachout's blog. However, a new blog has taken his place at the top, perhaps also controversial. However, it is definitely about classical music. Much movement, and many new blogs in the list, thanks to Chris Foley's extensive list at Pageflakes. I'm including the change in Technorati authority this time, so you can see how much movement there was.

The list shows the rank, the blog, the TA and change from the last listing, the author(s), and the category: C = composer, Crit = critic, O = opera, A = academic, L = listener, AD = arts director, and the rest are self explanatory.
UPDATE: Corrections have been made, based on comments and email.

1 Music Meets Tech: 705 [new to list] Hugh Sung (piano)
2 The Rest is Noise: 497 [-153] Alex Ross (Crit)
3 Sequenza21: 151 [-632] Jerry Bowles (C)
4 Opera Chic: 147 [-34] (O)
5 PostClassic: 129 [0] Kyle Gann (C)
6 Nico Muhly: 118 [new] (C)
7 Sandow: 107 [0] Greg Sandow (Consultant)
8 Violinist.com Diaries: 106 [-52] (violin)
9 Ionarts: 103 [-30] Charles T. Downey (A)
10 La Cieca: 101 [-2] James Jorden (O)
11 Adaptistration: 98 [+30] Drew McManus (orchestra management)
12 Dial “M” for Musicology: 93 [+14] Phil Ford and Jonathan Bellman (A)
13 On an Overgrown Path: 91 [-53] Bob Shingleton (producer)
14 Classical Life: 87 [+46] Timothy Mangan (Crit)
15 Soho the Dog: 83 [-37] Matthew Guerreri (C)
16 Jason Heath's Double Bass Blog: 80 [-32] (bass)
17 Collaborative Piano: 78 [+23] Chris Foley (piano)
18 Musical Perceptions: 76 [+14] Me (A)
19 Think Denk: 73 [-33] Jeremy Denk (piano)
20 Darcy James Argue's Secret Society: 73 [new to list] (piano, C)
21 Jessica Duchen: 71 [-22] (Crit)
22 Night after Night: 70 [-52] Steve Smith (Crit)
23 Sounds and Fury: 70 [-6] AC Douglas (L)
24 Deceptively Simple: 62 [-12] Marc Geelhoed (Crit/orchestra administration)
25 The Concert: 62 [-9] Anne-Carolyn Bird (voice)
25 Mostly Opera: 62 [new] (O)
27 Oboeinsight: 59 [+1] Patty Mitchell (oboe)
28 CBC Radio 2: 58 [new] Li Robbins (radio director)
29 A Beginner's Guide to Classical Music: 57 [+41] Classical Convert (L)
30 The Standing Room: 56 [-9] Monsieur C (voice)
31 Roger Bourland: 54 [+7] Roger Bourland (C)
32 The Rambler: 53 [-7] Tim Rutherford-Johnson (A)
32 Mad Musings of Me: 53 [+23] Gertsamtkunstwerk (O)
34 Sieglinde’s Diaries: 51 [+12] Leon Dominguez (O)
35 Yankeediva: 45 [new] Joyce DiDonato (voice)
36 The Iron Tongue of Midnight: 43 [-21] Lisa Hirsch (Crit)
37 Renewable Music: 41 [+3] Daniel Wolf (C)
38 A View from the Podium: 39 [+13] Kenneth Woods (conductor)
39 My Favorite Intermissions: 38 [-4] Maury D’annato (O)
39 Daily Observations: 38 [+18] Charles Noble (viola)
39 Africlassical: 38 [new] William J. Zick (A)
42 Musical Assumptions: 37 [+2] Elaine Fine (C and viola)
43 The Metropolitan Opera Blog: 36 [new] Philipp Brieler (O)
44 CSO Bass Blog: 35 [-14] (bass)
44 Aworks: 35 [-5] Robert Gable (L)
44 Thirteen Ways: 35 [+7] eighth blackbird (ensemble)
44 The Well-Tempered Blog: 35 [+8] Bart Collins (piano)
48 Chicago Classical Music: 34 [-2] (L)
49 Arts Addict: 34 [new] Jason Heath (bass) yes, a second blog on the list
50 Brian Dickie: 34 [+1] (AD)
51 Vilaine fille: 33 [+3] (Crit)
52 Classical Music: 31 [+5] Janelle Gelfand (Crit)

At first I thought there would be a trend of all the blogs having reduced numbers of links, perhaps because I waited until the middle of July when everyone is on vacation. But then it seemed that while some big name blogs have lost links, they are balanced by others gaining in links. Finally, I did some math. Among the blogs already listed previously, there has been an average reduction of 24.1 in Technorati Authority, bigger than I thought. The median is a reduction of 2 TA, so the average is definitely influenced by the really big losses in Sequenza21 and Alex Ross. Taking those two outliers, the average is -4.7, much closer to the median, and reflects my second impression. So both thoughts were correct: some significant blogs have lost Technorati rank, but most have had minimal losses.

Rhythm as signifier

I just watched a new political ad by the Democratic National Committee, showing how John McCain has changed his estimates of how long American troops will be in Iraq. No new information, but the background music is fascinating. At first I thought it was in an asymmetric meter, or more likely a changing meter, with 12/8 as the predominant meter mixed up with a 2/4 or 9/8 to make it sound clumsy. But it is more subtle than that. The music stays in 12/8 for the whole time. What gives this insidious feeling of incompetence is the use of syncopation. The upper strings at points sound like they are slowing down, though they always end on the right beat. The bass line at a few points shifts to an almost duple, but it isn't exactly duple, thus making it even more uneasy. But what is truly amazing is that the musicians demonstrate a real skill in playing complex rhythms that purposely sound wrong. Thus they are really good at sounding bad. I want to know who wrote this music.

Telly Monster must be excited!

Yesterday's Indianapolis Star had an article about a new local company, Musical DNA, which is producing a software program for visualizing music. From what I can tell, the software maps notes played on a piano or from a recording onto a pitch-class space, with lines connecting simultaneous notes. Thus any standard triad will be represented as a triangle (leading to my post title). The founder, Ken Lemons is a pianist with a BM from Nebraska and an MM from local Butler University. He (and his funders) think that this will be useful for teaching music, either hooked up to a piano or as part of some toys:

A projector that attaches to a child's crib, projecting color-coded animated geometry of music of whatever source the parent desires.

A 12-note Simon Says game of musical geometry that teaches basic shapes of sound in a game format, including connect-the-dots.

A child's guitar, with four buttons: happy, sad, spooky, dreamy -- the four basic triangles of musical sound.

Let's see, happy = major triad, sad = minor triad, spooky = diminished triad and that leaves the augmented triad as dreamy? Wow, I do not associate the augmented triad with dreaminess. Alien, yes. Tense, absolutely. I'll even go with exotic. But not dreamy.

Overall, I don't see the big deal about this software. The "same shapes" Ken talks about do not map into any sameness on the piano: the hand position for a C major triad feels considerably different from the hand position for a B major triad; but is very similar to the hand position for an A minor triad, which is a different "shape". I don't see how the colors are used with the shapes, beyond mere aesthetics. Some of the suggested future uses imply that rhythm is also encoded, and that pitch-classes beyond the 12 chromatic steps can also be encoded. But the demonstration and the toys mentioned certainly don't show this. Does anyone else have an opinion or insider knowledge about this?

SunPod: Why I'm not president

I just read a new iPod meme, which reminded me that I hadn't done my FriPod since restarting my blog. The meme, from Chad, who got it from Matt Yglesias, is the following:

1. Take out your iPod [I go straight for iTunes on the computer]
2. Press shuffle songs.
3. Answer the following: a) How many songs before you come to one that would absolutely disqualify you from being President? b) What is that song? [I'm going to list all of the songs leading up to the incriminating music.]

1. Lullaby and Doina by Osvaldo Golijov.
2. Eine Alpensinfonie by Richard Strauss.
3. String Quartet, Op 18 No. 5 by Ludwig von Beethoven
4. "Asia felice hor ben posso chiamarmi" by Andrea Gabrieli. This is actually from a CD called Politics, Dialogues and Pastorales, but I don't think it disqualifies me.
5. Su le sponde del Tebro by Alessandro Scarlatti.
6. The Natural World by John Harbison.
7. "Southwest Blues" by Bob Levy.
8. Gloria by Francis Poulenc.
9. Piano trio by Martin Bresnick.
10. Trumpet concerto in Eb by Georg Philipp Telemann.
11. "Cocktails for Two" by Arthur Johnston and Sam Coslo. Ooh, this one advocates smocking and drinking, but not really a problem.
12. "Roll 'Em Pete" by Joe Turner. Well, if leaving a wife for someone else didn't disqualify John McCain, this isn't a problem.
13. "Ich hab'im Traum geweinet" from Dichterliebe by Robert Schumann. Weeping did in Edmund Muskie, but that was public, not in dreams.
14. Symphony No. 2 by Johannes Brahms.
15. Clarinet Quartet, K 496 by WA Mozart.
16. "The First Time" by U2.
17. Concerto for Orchestra by Jennifer Higdon.
18. Trumpet Concerto in C by Johann Christian Fischer.
19. The Nutcracker by Pyotr Tchaikovsky. It's got battles, so everything's good.
20. Symphonie funebre et triomphale by Hector Berlioz. The composer did take opium, but for a different piece.
21. "Searchin'" by Lieber and Stoller. It can sound like stalking, but also compares the narrator to police.
22. "A Heart Full of Love" from Les Miserables. Okay, this is both an elitist latte-sipping musical, which also advocates revolution, and has an escaped convict as the good guy and the police officer committing suicide. Not good for a presidential candidate.

Doctor, it's terminal!

A colleague in the Theater department is working on an interesting paper about what counts as a terminal degree in the arts. In doing so, he asked for feedback on the unique situation of music departments, which have a potential of three different terminal degrees: PhD, DMA, and MM. Since our university does accept the MM as a terminal degree for studio professors, my colleague was wondering why a musician would pursue the DMA. My interpretation is that music departments/schools/conservatories are very slowly transitioning from an old model of professional experience to the newer model of academic credentials, allowing many gradations within. Wikipedia claims that the first DMA program was started by Boston University in 1955, though I have memories of Eastman's Howard Hanson being involved in the creation. And here is some confirmation.

Hanson introduced the Doctor of Musical Arts in creation or performance (previously only given for musicology). “A doctorate in piccolo playing?” sniffed a critic. “That’s right,” Hanson agreed, “but only for good piccolo players. At least we won’t make bad musicologists out of good performers which should be a boon to both musicology and performance.”

Regardless, the introduction of a new degree takes time to gain acceptance. At this point, there are still many music professors who finished schooling before DMAs became widespread. But this isn't the only reason MM's are still accepted as terminal degrees. A premium is still placed on professional experience, often gained by musicians who had no plans to become university teachers and thus did not pursue the doctorate. This "doing" expertise is echoed by the MFA for Theater, Creative Writing, and Studio Art that is also accepted as a terminal degree.

How do you feel about the differences between a college professor who has a DMA versus one with an MM as the terminal degree? And what do you think is the future of academic credentials in music performance/conducting/composing? (I'm especially looking at you, if you aren't too busy remodeling your house and planning a wedding.)

Bob Dylan, Attorney at Law

A family member and Dylanophile sent me this interesting International Herald Tribune story about Supreme Court Chief Justice Roberts citing the Bard of Duluth in his dissent last week:

''The absence of any right to the substantive recovery means that respondents cannot benefit from the judgment they seek and thus lack Article III standing,'' Roberts wrote. '''When you got nothing, you got nothing to lose.' Bob Dylan, Like a Rolling Stone, on Highway 61 Revisited (Columbia Records 1965).''

Alex Long, a law professor at the University of Tennessee and perhaps the nation's leading authority on the citation of popular music in judicial opinions, said this was almost certainly the first use of a rock lyric to buttress a legal proposition in a Supreme Court decision. ''It's a landmark opinion,'' Long said.

Is this truly meant to be convincing? As the article points out, Roberts doesn't use the quote with the meaning Dylan had intended. Roberts twists a statement of anti-materialism into a justification for protecting a phone company's money. So why even bother quoting from a poet/songwriter with whom Roberts clearly doesn't agree? My guess is that Roberts is trying to fool himself, either that he is cooler than he really is, or that there is some poetic truth to his money-grubbing ways. Either way, it is just sad.