Posts Tagged ‘music’

Winter Reading

Sunday, January 4th, 2009

Nothing like a couple of weeks off to get some long-delayed reading in.  With ten days of plane rides and hotel rooms, there was plenty to be had.  Here’s what’s been through my brain:

I finally finished Joseph Campbell’s The Hero With a Thousand Faces.  I’ve been working on it since October, and through a combination of being busy, tired and, unfortunately, not as interested as I hoped, I finally finished it before we left for Christmas.  Campbell’s thesis is quite compelling, but perhaps I came to this book too late.  When one watched as many sitcoms as I did when I was a kid, one realizes that there are only so many stories.  For all the heroic myths to be basically the same myth… well, sure.  I buy it.  On the other hand, I could do without the Freudian psycho-sexual mumbo-jumbo.  That’s what I get for reading a book written in the 1940s.  Some things to think about though, even though the book felt like assigned reading toward the end.

Next up was Walter Isaacson’s biography of Albert Einstein.  I would highly recommend this.  I was never a great student in physics in either high school or college, due more to distraction than anything else, but Isaacson does a reasonably good job of explaining the science while never letting it get in the way of the story of the man.  Particularly interesting to me was the role that music played in Einstein’s free time, and even in his humanitarian work.

Then came John Adams’ new memoir, Hallelujah Junction.  I will have to reread parts of this to try to gain insight from the composer’s descriptions of how he works–I think our approaches may be similar.  In all, well-written, if a bit self-indulgent (but then, it’s a memoir).  I sometimes got the impression that Adams was trying to pronounce on certain issues that he felt were required, and there were several sections that seemed to run “That’s what I think about composer Y, now this is what I think of composer Z, and in a minute I’ll tell you all about composer X.”  But–really nice to read a memoir by a living composer that isn’t sensational or mean or tell-all in nature.  I’ve never met John Adams, but his book makes him seem like someone with whom I could have a really good conversation, with me doing most of the listening.

Now, if you haven’t read Thomas L. Friedman’s new book, Hot, Flat and Crowded, you must go get it.  I hope Friedman wins another Pulitzer, because he makes the case for saving the planet and then proceeds to show how we can do it, without saying that it will be easy, or that we won’t have to make sacrifices.  If our leaders will read this book and overcome politics to get on top of this problem, Friedman makes it seem like we will be living in a Star Trek world by the middle of the century.  If you think environmentalism is just recycling and hugging trees and wearing sandals, or just preachiness from Al Gore, you must read this book.  There is money to be made.  Can a national approach to tackling global warming have the benefit of getting us out of this recession?  It sure seems that way.  I hope someone gave Barak Obama this book for Christmas.

Then, yesterday, I started Brian Fagan’s 2000 book The Little Ice Age.  It’s good so far, although I’m not sure the author is clear enough about the way that ocean currents and prevailing weather systems work together to drive climate…I may have to look for some clarification on that.  I’m also afraid that I may have spoiled my supper on this one by watching a History Channel (I think) documentary, Little Ice Age: Big Chill.  Oh well.

On deck–The Best American Short Stories 2008, the latest Music Theory Spectrum, and the rest of the counterpoint textbook I’ll be teaching from this semester.  I’ll also be rereading the Bible.  If anyone has recommendations, I’d love to hear them.  I’ll be travelling quite a bit the next few months.

Reaction: The Cult of the Amateur

Sunday, September 7th, 2008

I just finished reading Andrew Keen’s The Cult of the Amateur.  An indictment of what I’m doing right this second, of course.  I may have all of my students read his section on the music business.  Keen discusses Tower Records, and I remember well going to their Atlanta store in about 1995 or 1996, and having the feeling that if there was a recording I wanted, they had it, or they could get it.  It was the last place I ever saw new LPs on sale, too.  Now, I couldn’t even tell you where the nearest good record store could be found (though I did pick up a used copy of a CD of solo piano music by Charles Wuorinen and Morton Feldman at the Hastings store in Liberal).  I order from Amazon, CDBaby, and Archiv, none of which is as much fun or as satisfying as some of the fantastic record stores (and music departments of bookstores) I’ve frequented over the years (the highlights–Barnes & Noble at Easton Towne Centre and Borders on Henderson Road in Columbus, Joseph-Beth Bookseller in Cincinnati, Tower Records in Atlanta, Used Kids and Magnolia Thunderpussy in Columbus, Streetside Records in Cincinnati) .  The BMG Classical record club has shrunk its monthly selection of classical music to four pages in an omnibus catalog–an insult, really, although as I get older there is more music that I already own, so it gets tougher to please me.

More to the point–I would respond to Keen by saying that, while the surge of technological music-copying has been disastrous for the “record industry,” it has been a boon for the “average” musician.  I would remind Keen that his precious “music industry” has–put simply–conned much of society into believing that you need a record contract and a team of professionals to make music.  For the past fifty years, Americans have been letting others make their music for them, and I see that changing now. 

Any public school music teacher or church music minister can tell you that musical talent is spread around fairly thickly.  There are many who can sing or play well enough to entertain themselves and those around them, or to use their musical skills in worship, and it doesn’t require a college degree or a big break.  It appears that the public is starting to once again recognize this. 

I never understand the person who comes to me after hearing me play or after listening to one of my pieces saying, “that’s amazing, I could never do that.”  Those people are selling themselves short.  The human mind is a flexible, resourceful thing, and it can learn to do nearly anything, given time and motivation.  I don’t believe that anyone is musically hopeless, but the music industry wants us to believe that we are.  No more!  Any teenager who has played with Garage Band for ten minutes can create a decent sounding song… not strikingly original, but an indicator of a strongly developed sense of musical taste.    To paraphrase one of my professors, Gregory Proctor, if you ask the mechanic down at the garage to come up with a song, he can do it… maybe not a good song, but a conventional song that fits the musical culture he has been steeped in.  We now hear more music than ever–it surrounds us, and compared to our ancestors, we are all probably musical geniuses.

To the end though, because it’s late, and there isn’t that much point in inflating the blogosphere with my midnight musings.  In the realm of music, technology has the potential to remake folk music–where Keen sees billions of self-taught musicians condemned to anonymity, I see the nameless, shapeless forces of true folk music, building a common culture on the backs of unremembered musical mediocrities.  Where today my students don’t have four folk songs in common, perhaps Web 2.0 will allow the culture of personal, meaningful music to be restored to the vast millions who don’t have record deals.  I don’t know what technology means for music–especially for my music.  I hope it means more live music, more amateur music and a greater importance in our culture for music as an activity that enriches the lives of those who participate.