What else?
By philmusic - philmusic@aol.com
Why Blitzstein's Airborne Symphony of course!
Phil Fried
Tuesday, August 12, 2008, 5:58:45 PM
_______________________________________________________________________
http://newmusicbox.org/chatter/chatter.nmbx?id=5667
Kyle replies-more about his personal vision--yet his reply is a reminder that even downtown --there is a pecking order. Guess who is on top!
I agree
By philmusic - philmusic@aol.com
"..the "simple-complex" continuum is a very tidy way to understand developments in contemporary music:.."
Art, like life, is never tidy.
Phil Fried
Wednesday, August 13, 2008, 3:20:23 PM
nota bene
For a number of years now cultural "critics" have taken aim at famous classical composers, and music types, making many extravagant claims about them and their music. Due to their academic positions outside music departments or the music industry these "opinions" (no matter how controversial) are always risk free. They are also "headline grabbing" in a way esoteric scholarship can never be.
The question remains whether this type of "imaginative" scholarship adds any lasting insight.
Comments: 0 Edit
this weeks nmb-plus a poem
By: Philip Fried Date: Aug 1, 2008 - 05:08 PM
http://newmusicbox.org/chatter/chatter.nmbx?id=5647
odd topic odd replies -my attempts to be "real" are subverted by everyone! By the way Kyle will not answer Ryan after the his last "invented opinion." Nor did I realise just how hatefull Billy is. My thought on uptown/down thing are in my review of Mr. Argue way below.
Confessions of a curmudgeon composer
By philmusic - philmusic@aol.com
Frank, I know that anything is possible in music-anything. Also, I reject a sonic prejudice based merely on style alone. That said I do reserve the right to like and dislike as I please. Then again its never a style but perhaps particular practitioners of that style.
I know myself and some of the reasons I like and dislike some ones music are not necessarily rational.
In fact my opinions are informed by many unmusical factors including: personal interactions, snubs, high handedness, fair dealing, helpfulness or not, and sometimes (to my own disadvantage) just to prove my own independence.
Finally I understand one important point-
I can be wrong.
Phil Fried, plunk'in the bass again
Tuesday, July 29, 2008, 8:45:27 PM
ok-foreced to listen? I mean really!
my apologies in advance
By philmusic - philmusic@aol.com
I was forced to love Boulez
I had to do what Mama says
Or she made me wear a Fez
I had to listen to Boulez
I tried to make my big escape
I had a boat out by the cape
But Mom was in much better shape
I had to listen bound with tape!
The records snapped and popped
This was no teen-age record hop!
I couldn't make the music stop
Mom was a "new music cop"
Why did I ever move to France?
Was it coincidence by chance?
That I should take it on the lam
from the agents of IRCAM!
Now I've learned to handle Mom
and I do it with aplomb.
So I take a different tack
and complain behind her back!
Phil Fried--sorry
Wednesday, July 30, 2008, 10:10:18 AM
I ignore billy this time but Kyle by way of-- "lisa" who I think is....CD?
now that you mention it...
By philmusic - philmusic@aol.com
"..that as the amount of complex, opaque music in the world grows, the time available for the dramatic needs of his own contribution shrink in proportion..."
Nonsense.
There is always room at the top!
Phil Fried
Wednesday, July 30, 2008, 2:10:40 PM
life after school
By philmusic - philmusic@aol.com
I'm not sure I'm getting this new thread right but,
America is a country (and I think the only one) where a career as a composer is not dependent on either academic standing or position.
Its true that many of my performances involve the academy indirectly; some of my best friends are professors and independent/non college performance spaces are comparatively few.
I won't tell tails out of school about tails within it. My own experience there was singular, but much of academic life at that time seemed to be about personal ambition and the luck of choosing or being chosen by the "right" team.
As a composer outside the academy the only pressure I feel is artistic.
Phil Fried
Comments: 1 Edit
On tonality and some other notes
By: Philip Fried Date: Jul 28, 2008 - 02:51 PM
Tonality some old stuff Category:
Music Speaking of Tonality……………….. "
I hate that stuff-its not music----why can't composers write some good, tonal, music?"
First things first; its OK to like or dislike any music. That said, it seems that a personal statement of displeasure for some is not enough-- composers hear these complaints all the time. Your music is; ugly, its unnatural to listen to that I don't think that's music It's not tonal."
"Why don't you listen to the radio it proves that tonality is the natural state for humans-so get with it."
Though some criticize non tonal/experimental music as too "intellectual" many will speak of the necessity of tonal logic. Further many non western cultures have a long tradition non tonal, non equal tempered music and they do just fine.
I don't feel that music has to be tonal to be coherent nor do I feel that a tonal approach guarantees a compositions success, plenty of bad tonal music out there.
What is meant by tonal anyway? Is it a living concept that grows and changes or is it an El Derado where all music is equal tempered, diatonic, and in 4/4 time?
Well the problem is-there isn't any music like that. Besides the fact that all great music is made up of exceptions to the rules consider: All symphonies and operas and many concertos, chamber music etc. would have to be discarded, as only keyboards and fretted instruments use equal temperament in actual performance. It was Famed chamber musician Julius Levine who told me that
"the piano is always out of tune!"
Questions about tonality are difficult because who's tonality are we to refer to? Beethoven, Mozart Benjamin Britten Berg, Busoni, Gershwin Guido ArrezzoVarese Brahms Strauss, Wagner? The Talking Heads Sonic Youth, Pete Fountain, or John Coltrain, The Kingsman-(Louie Louie for example has a minor V?) Theres a lot of tonality out there.
The question of how our own works as composers are related to tonality, if at all is an interesting one. I don't intend to tread on the toes of a music theorist, I would like to take a more conversational tack. This brings us back to the problem that tonality and diatonicism is not the same.
The diatonicism that I think that critics refer to is recent in nature Music can delight and upset it can enlighten and confound, it can entertain and ennoble. Music is also many things to many people -not so much a political party but as a faith. And we humans feel strongly about our faiths.
The point I am trying to make is that---
Like or dislike always proceeds the question of a challenging works tonality.
To those who say that experimental (but what composition isn't an experiment)Common practice Tonality has not existed for some time (if ever)and it may surprise many readers that their favorite 20th century works are at best only partially tonal. It should point out that many leading scholars disagree about the nature of tonality, and the extent of tonalities reach into other musics pre tonal and post tonal , We live in a time where we believe that our own personal experiences, that is our own world as the most important.
Today we look for tonality everywhere in older music rather then find renaissance and Mediaeval functions lurking behind todays tonalities. Tonality as we know it has not been around very long-it mutates from generation to generation. Even today "tonal" music genres can sound very different and use tonality in completely different ways new age which emphasizes stasis and Minamalism which emphasizes motion.
Today many different musical styles have there own musical feature which are unique, intro schonberg Oddly enough for every theorist who criticized Schoenberg for his non-tonal works for being non tonal and therefore incoherent, he had defenders who said these works were in fact tonal, and coherent and produced tonal analysis to prove it. Again in this argument tonality was seen as a given.
The question was not whether Schoenberg was tonal at all but whether the theorist likes the music. It is understood but nowhere stated that a work could not be coherent without tonality. Of course this was separate from Schoenberg's own ideas.
Schoenberg described his music as pantonal not atonal.
Again this brings me back to an important point that the like or dislike of a composition precedes questions of tonality. (Can you imagine a scientific theory that decided it didn't like the concept of say for example Black Holes and left them out)?
Notes from the underground
The problems facing presenters and educators of the classical music arts today are:
1. A strong focus on popular music which creates a low level of music culture.
2. The rise of the new "populist movements" (which will be covered in a later article).
3. The scarcity of funds for the arts. The arts must pay their own way. Institutions, such as schools and arts presenters, need to attract students, therefore, they can't afford to alienate their clientele by being different or visionary.
Our artistic leaders have decided to become followers of popular culture. Value is the issue. The belief is facts are facts, holding to the idea that there is no difference between them, or that there can not be a set of facts that has more value than another. The entire concept of value has been disregarded.
Discernment based on knowledge and artistic judgment is seen as reactionary.
One important, and pernicious, idea of our times is that skill/technique and knowledge of one's art destroys creativity. We admire the child prodigy who's talent seems to appear as if by magic, not by the hard work and encouragement that it really takes. Most professional musicians were never prodigies.
Today we judge artists first, by their financial success and popularity, second, by their authority, and lastly, by their artistic knowledge. A large faction of the financially successful artists are unskilled, so it is impossible to judge them by any other criteria. Mass media reflects the foothold of these winners and sets the standard for acceptance.
The idea that knowledge destroys creativity also plays into the hands of the music and advertising industries who want to sell the cheapest product at the highest price. Money dictated that the symphony orchestra be replaced by a less expensive big band, which was replaced by an even less expensive rock band, which finally was replaced by the digital sampler. Today, a live concert only needs a computer and a technician. Every year the "new sound" gets cheaper to produce with more profit for the music companies. The classical record producers are also held to this profit margin.
Popularity and marketing win out over edification and meaning. They no longer spend money on music education as in the past – e.g. The Victor Music Company and its education publications and recordings.
Today culture in America is advertisements, jingles, and commercial holidays. Pop music accompanies them all. Popular arts, music, film etc. must focus on literal representations of its ideas since they need to be obvious to be salable.
This kind of art does not confront or challenge our imagination. The popular entertainment business has real money and power. Institutions like, rather need, to associate with money and power, it is their only hope of survival today. These institutions must fight for funds and paying customers, they can't afford to challenge the prospective client's love of pop music. Even more unlikely is popular music's claim of intellectual content.
The marketing of "New Music Seminars," which imply that knowing about the latest rock music product is learning. Look at any 50's teen magazine and you will see that teenagers were expected to know and own classical music as well as pop. Times have changed. It is a well known fact that knowledge can set you free and improve your life, yet musically we are "dumbing down" our artistic horizons. Why is it that in this age of self interest we rob ourselves of the advantages of skill?
Why do we feel that knowing who plays guitar faster is a sign of erudition? We let commercial media control the limits of our knowledge through radio, TV, print, and now the Internet.
We know that some ideas are more important than others. Our limited time on this planet requires artistic investigation and challenge Yet, more than ever to be labeled "cultured" is to be different, and to be out of touch with the real world. I heard on the radio this week that the best selling, number one hit record on the classical charts was composed by a composer who does not read or write music. And, this recording in turn knocked off the previous number one classical hit of piano music performed by a pianist who can't play.
I guess we should be thankful that there is a classical music chart and classical radio at all. Where does one look to find alternatives to this nonsense? We can't always rely on others to solve this problem. Go to the museums, go to concerts, find out what is going on.. Take music lessons for yourself and your children from reliable teachers, attend lectures, and get involved in culture. Minnesota is far ahead of other states in arts support, take advantage of the richness of music in its many forms.
Popular music is like simple geometry easy to understand but there are many more shapes and objects to explore. It is up to us, the music educators, to bring choice into our lives and those lives we touch in our teaching.
Comments: 0 Edit
even more NMB
By: Philip Fried Date: Jul 25, 2008 - 06:19 PM
http://newmusicbox.org/chatter/chatter_comments.nmbx?id=5645
I love a piano!.
Actually I've seen the permanent modification of many high priced instruments for "art" to their destruction of tone and value. That seems the point. If its to get a particular sound, a cheaper instrument, will certainly do.
and now... a word
By philmusic - philmusic@aol.com
So Ms. Stienway, how do you feel about be prepared?
Thats the irony of it all --no one tells me a thing! They just go ahead and rearrange my insides whether I like it or not!. Sometimes they don't even bother to repolish my case!
But Ms. Stienway--
Oh please, my friends call Ms. 88
Well, Ms. 88 then, there are so many expressive possibilities that can only be revealed through-how shall I say this-through alternative manipulations of your strings -say with a plectrum or fingers and the introduction of foreign objects into them.
Well, I do like foreigners, but don't get me started on that Betty Bechstein. It's just, well, you see, it tickles!. There, I said it! You see its a little bit embarrassing for me. As you know I am an experienced performer. Well, besides that -- no problem.
So Ms. 88, --
I remember dear Mr. Cage. He was so gentile and polite. Yet my poor cousin Paula was burned alive and then unceremoniously thrown from a hovering helicopter! There ought to be a law! The cads!!
So Ms. 88, --
Well I love composers dearly you know--always have. I only ask that what you need do can be undone.
Thank you Ms. 88.
Phil Fried, ok--I made it all up!
Friday, July 25, 2008, 6:20:54 PM
Ms 88 replies...
By philmusic - philmusic@aol.com
"..Well... I have to say that while watching someone destroy a worthless spinet piano is indeed gratifying..... "
So thats how it is?
A cracked sound board, lose pins, some rusty strings, a broken pedal, and its off to the garbage heap!
Oh the pianity!
Phil Fried, I swear she told me!
Friday, July 25, 2008, 10:30:13 PM
well...
By philmusic - philmusic@aol.com
Practically speaking I use 3 different bows in my solo string bass performances. For col legno--the beater bow!
Anyway, I have seen a number of permanent modifications, or applications, of vintage instruments to their ruin. Though I understand this from a political stand point, it seems that a cheaper substitute works quite well.
Phil Fried,
Saturday, July 26, 2008, 11:14:48 AM
Billy starts talking to himself again!
is it a statue..or a painting?
By philmusic - philmusic@aol.com
"...There are two levels to the conversation here, one from pianists involved with the practicalities of performance, and one from composers concerned with broader philosophical, aesthetic, and historical issues..."
Dear me. I thought I was blogging about musical issues.
Phil Fried, Ms. 88 withholds comment!
Sunday, July 27, 2008, 10:40:31 AM
Ms. 88 concurs
By philmusic - philmusic@aol.com
Blood!!! Well its flattering that one would chose to suffer for my sake.
Anyway, many times the touch of the fingers is a most welcome relief from my very own hammers. Yet Moma, she was a square, always told us to avoid chiselers.
As told to Phil Fried-I swear it!
Sunday, July 27, 2008, 1:08:03 PM
exactly so
By philmusic - philmusic@aol.com
"..I am interested in breaking down the stereotypes, not reinforcing them..."
I agree.
Phil Fried
I'm every opinion its all in me..
By philmusic - philmusic@aol.com
"but we might find that women pianists performing new music only became more common after Crumb
The piano has long been coded as a partially feminine instrument. "
So uh Bill, I think its obvious that you don't really care at all about your many conflicting statements -rather you just want to pull every bodies chain.
Please do--I have a few more poems in me.
Phil Fried
I'm starting to get really uncomfortable here-- Sarah is agreeing with Bill?, In addition, Is Sarah saying that Women compose a certain type of music better than the "others?" Is she saying that those who reject stereotypes are at best clueless. That may be the way the world works, but some of refuse to accept it. (Even if we fail)
--ok It seems that I misunderstood Sarah she was speaking specifically--anyway I won't censer here.
Lets be clear
By philmusic - philmusic@aol.com
So [Sarah]:
Are you saying that (gender) stereotypes are OK if they help promote a career?
I know that the advertising industry would concur.
Phil Fried
Monday, July 28, 2008, 10:29:48 AM
ok
By philmusic - philmusic@aol.com
Sorry about your name Sarah:
Your words
In my experience, many of the really stunning and most visceral recent pieces for interior piano have been composed by women.
[Those.]. who claim they just focus on "good music," without regard to gender or race, are usually the ones who end up programming exclusively white male composers.."
Besides your first comment, you state that "good" music in this case is merely a "cover" for the status quo. Ok. This would also reflect a covert world where everything is in play, including stereotypes.
I think?
Phil Fried
Monday, July 28, 2008, 11:44:20 AM
well said Sarah
By philmusic - philmusic@aol.com
Now that you mention it I go a long, a very long, way back with JoAnn Falletta.
So, to quote Emily Letella:
Never mind!
Phil Fried
Monday, July 28, 2008, 5:37:15 PM
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http://newmusicbox.org/chatter/chatter.nmbx?id=5644
Randy faces the "struggle"
waiting is the hardest part..
By philmusic - philmusic@aol.com
Randy, for any artist the "trick" is simply to remain.
"..If anyone here in the dead zone has any suggestion on how to kill the time, please add your thoughts.."
Not to worry. Usually its the other way around.
lol
Phil Fried
Thursday, July 24, 2008, 4:16:05 PM
http://newmusicbox.org/chatter/chatter.nmbx?id=5643
a wider issue
By philmusic - philmusic@aol.com
The fact that naturally occurring phenomenon can be subverted or enhanced by the powerful in order to make more money is a hallmark of capitalism. Though the internet is new why would we expect it to be treated differently from any other information delivery system the rich folks get their hands on?
In America we have accepted, or told to expect, that public decisions about music are free and clear -they decide -no payola, no play for pay no manipulations, no peeer group pressure, no indirect consequences from cutting arts programs for kids.
The good news is being under the radar has its advantages. We will survive.
_________________________________
http://newmusicbox.org/chatter/chatter.nmbx?id=5641
William does character assassination and brown nosing all at the same time--I try to remain on topic.
chicken or egg?
By philmusic - philmusic@aol.com
There is nothing that puts the music over better than the sure hand of a professional orchestrator/arranger. Whether its the composer themselves or others. I think that many works of the "new music theater" type especially those composed by song writers could be improved in this way. Yet the problem is;
how does one get access to an orchestra for your performance in the first place?
Phil Fried
Friday, July 25, 2008, 3:17:24 PM
Comments: 0 Edit
this weeks all around
By: Philip Fried Date: Jul 18, 2008 - 12:19 PM
http://newmusicbox.org/chatter/chatter.nmbx?id=5638
Lisa X has been playing the agent provocateur for some time now. yawn! "Her" posts seem very close in character to another poster around here---hmmmm?
I have decided not to address this directly but to stay on topic.
Laughing all the way to the bank
By philmusic - philmusic@aol.com
One of the subtexts of commercial music is that:
cheaper and faster = better!
Phil Fried still trying to sell out--any offers?
Thursday, July 17, 2008, 12:21:45 PM
_______________________________________________________
http://newmusicbox.org/chatter/chatter.nmbx?id=5638
I use my post to point out the inconsistencies here. Just because an artist and a composer are friends does not mean that their respective arts are compatable
The music comes first-doesn't it?
By philmusic - philmusic@aol.com
"there's something about the very existence of a surrealist aesthetic in music that continues to gnaw at me.""
Frank could it be that to say Poluenc and Varese are representatives of the same school of thought might be a little dicey since their music is so very different.
Or perhaps this an "appearances V.S. reality" problem where the needs of the profession/scholarship/programing trump the needs for lets say musical accuracy.
There can be surrealist music but I would think that it would be revealed by the music itself, not by descriptive editorial.
Phil Fried
a pont of clarity
By philmusic - philmusic@aol.com
..not by descriptive editorial.
I mean a "pundit's" descriptive editorial.
Phil Fried, senior pundit skid-Roe U.
_______________________________________________
http://newmusicbox.org/article.nmbx?id=5635
I don't want to comment on yet another self-congratulatory, self serving, provincial, "downtown," New York centric view of the current jazz "wars." You know the same old stuff where the music educators are the bad guys who just don't get it because they just don't happen to live in NYC where the only action is.
How can you avoid presenting anything but a status quo reading of current "history" when it concerns not only your own circle of operation but also the very people who could make or break your career?
Anyway, I was at the ISIM conference in "Chicago" and it seems that the "war" for jazz authenticity is unending. This question of authenticity is not at all like the provincial manufactured uptown/downtown dichotomy.
Anyway, why is this "war" a bad thing?
_________________________________________________________
http://newmusicbox.org/article.nmbx?id=5632
I wonder why the American experimenters before John Cage are left out of this, and why the focus on the famous -whether trained musicians or not. This reminds me of rock music history where only the big hits and names appear ignoring the many different systems that support them. A lot of obscure folks had major influences here and they are ignored-George Antheil for example. Yoko Ono may be the world's most famous composer, for the art crowd, but for a lot of musicians she has no resonance in that capacity. Who does for example? With hindsight we tend to look at things for how they ended up today--not what was happening then.
Comments: 0 Edit
my string quintet No.2 sound file is here
By: Philip Fried Date: Jul 13, 2008 - 04:43 PM
Ok folks --its all about me again
An old recording from June in Buffalo featuring the Boston composers quartet and Robert Black Bass. Old school lyric 12-tone stuff on the classical lounge!!!
Comments: 1 Edit
more of the same!!!
By: Philip Fried Date: Jul 12, 2008 - 11:01 AM
http://newmusicbox.org/chatter/chatter.nmbx?id=5628
It seems that our Zietgiest concert made the blog!! Anyway, as a serial composer I find it hard to discover that I "fit in" Mathew argues that MN nice is best.t
We stand accused, or we sit on the fridge!
By philmusic - philmusic@aol.com
Charging Forward features composers:
Carol Barnett,
Philip Blackburn,
Jeffrey Brooks,
Mary Ellen Childs,
Brent Michael Davids,
Randall Davidson,
Mark Eden
Douglas Ewart,
Eric Fratzke,
Phil Fried,
Chris Gable,
Chris Granias,
Douglas Geers,
Brian Heller,
Dick Hensold,
Steve Heitzeg, Gao Hong,
Kathy Jackanich,
Marc Jensen, Libby Larsen,
David Means,
Scott Miller, Ann Millikan,
Mike Olson,
Justin Rubin,
Matthew Smith,
Carei Thomas,
David Evan Thomas,
Janika Vandervelde, and David Wolff.
Phil Fried--yea!! that one!!
A thought
By philmusic - philmusic@aol.com
When your not familiar with a composers other works I would think it difficult to judge them (style-wise) solely on a 2.5 minute work. Especially if this is not their typical mode of operation.
Advantage; song composers and miniaturists.
Phil Fried, very, very nice.
he said... he said?
By philmusic - philmusic@aol.com
Mathew, arguing against Colin's generalizations by proposing your own generalizations provides little insight into the wonderful compositions performed on this concert.
So let me get this straight -- "thinkers" (Matthew) who are "nice" (Colin) had better quit composing?
Right?
Phil Fried, Oh, I composed two band works, Commissioned by Augsburg college. I was just "thinking" about them. Isn't it nice?
Saturday, July 05, 2008, 4:03:38 PM
lets not quibble
By philmusic - philmusic@aol.com
My post was in between so I must addenda:
So let me get this straight -- "thinkers" (Matthew) and the "Emotional" (Colin) had better quit composing?
I thinks that just about covers all of us doesn't it?
Phil Fried, nice enough
very cool
By philmusic - philmusic@aol.com
Sorry to push Colin.
Phil Fried, who could be nicer if he really tried.
By philmusic - philmusic@aol.com
There are many of us, as artists, who chose to reject some aspects of our society. True this too has been domesticated by colleges and universities and by the compromises of everyday living not to mention the profession itself.
One could point out that the society of composers who reject society is still a society. Maybe its even larger than those who would be "nice."
Right or wrong motivation, true or false self knowledge is not the point--the music is.
Phil Fried, fairly nice
[the above refers to debate about music]
_____________________________________________________
http://newmusicbox.org/chatter/chatter.nmbx?id=5630
uptown, downtown, all around. Does geography trump inclination?
By philmusic - philmusic@aol.com
"..This is why so-called musical purists find it so disconcerting to listen to rockers cover Cole Porter,.."
In the education field there is a difference between "exotica" I dig and "authentic" native materials. This is besides the point, what is the point is "motivation."
If rockers are interested in show tunes thats great and also interesting (the Doors doing Kurt Weill for example). On the other hand if its just a marketing ploy or just to make money--forgetaboutit.
Phil Fried, Da boss o' skid-Roe U
____
uptown or downtown what the boss says goes
By philmusic - philmusic@aol.com
"..- musicians jam together and figure out what they want the music to sound like through a process of collaboration. .."
Not always true.
Some popular groups and other ensembles have a "leader" who "dictates" what everyone will do and play notation or not. Sometimes that "leader" is not even a band member but a producer/A&R/arranger/manager/boyfriend/girlfriend/Mom/etc.
One of the most difficult gigs on earth is to work, or try to work, with one of these "leaders" who's idea of perfection is completely arbitrary and they don't give you a chart or a recording of the song or part to learn as they must micro manage---Its a lesson is survival even if it does sound great. Rehearsals take forever and not always because of musical issues.
On the other hand I've worked for leaders who throw an entire concert together in 5 minutes and hope it works.
Dr. Phil Fried, what was I thinking?
Tuesday, July 08, 2008, 11:23:32 PM
[in reference to Billy's nagging requests for his personal group of women bloggers to work at NMB]
Why not?
By philmusic - philmusic@aol.com
Hey Molly:
Why not ask Heather Barringer to join us?
Phil Fried
Wednesday, July 09, 2008, 11:02:55 AM
__
I'd love to have this problem
By philmusic - philmusic@aol.com
"..Determining the musicians who perform your music can be even more crucial a decision than an orchestration choice..."
Frank, many of us composers simply don't have this luxury. (Unlike University composers who have access to their allied new music ensembles and faculties).
Besides my own solo performances, I have managed to surround myself with a few dedicated friends who perform my music. I was also fortunate that the Minnesota Orchestra chose to commission me.
Phil Fried, Da Really Big Boss at Lilliput University
Comments: 0 Edit
summertime NMB replies
By: Philip Fried Date: Jul 5, 2008 - 03:44 PM
http://newmusicbox.org/chatter/chatter_comments.nmbx?id=5628
A sort of non-review of my recent concert when I wrote Colin privately he did tell me he liked my work and that it was different- it was a serial work so I was surprised that he let the MN nice moniker stick
We stand accused, or we sit on the fridge!
By philmusic - philmusic@aol.com
Charging Forward features composers:
Carol Barnett,
Philip Blackburn,
Jeffrey Brooks,
Mary Ellen Childs,
Brent Michael Davids,
Randall Davidson,
Mark Eden
Douglas Ewart,
Eric Fratzke,
Phil Fried,
Chris Gable,
Chris Granias,
Douglas Geers,
Brian Heller,
Dick Hensold,
Steve Heitzeg, Gao Hong,
Kathy Jackanich,
Marc Jensen, Libby Larsen,
David Means,
Scott Miller, Ann Millikan,
Mike Olson,
Justin Rubin,
Matthew Smith,
Carei Thomas,
David Evan Thomas,
Janika Vandervelde, and David Wolff.
Phil Fried--yea!! that one!!
Wednesday, July 02, 2008, 2:18:03 PM
_____
A thought
By philmusic - philmusic@aol.com
When your not familiar with a composers other works I would think it difficult to judge them (style-wise) solely on a 2.5 minute work. Especially if this is not their typical mode of operation.
Advantage; song composers and miniaturists.
Phil Fried, very, very nice.
______
this post came after Colins last so I ammenended it. I 'm not sure that Matthew was at the concert but both these grad students are showing their respective school ties rather than talk music.
he said... he said?
By philmusic - philmusic@aol.com
Mathew, arguing against Colin's generalizations by proposing your own generalizations provides little insight into the wonderful compositions performed on this concert.
So let me get this straight -- "thinkers" (Matthew) who are "nice" (Colin) had better quit composing?
Right?
Phil Fried, Oh, I composed two band works, Commissioned by Augsburg college. I was just "thinking" about them. Isn't it nice?
lets not quibble
By philmusic - philmusic@aol.com
My post was in between so I must addenda:
So let me get this straight -- "thinkers" (Matthew) and the "Emotional" (Colin) had better quit composing?
I thinks that just about covers all of us doesn't it?
Phil Fried, nice enough
Comments: 0 Edit
sequenza21 and a nmb reply---marketing
By: Philip Fried Date: Jun 27, 2008 - 09:34 AM
http://www.sequenza21.com/index.php/829
To explain my objections here has to with the "spin." I have spoken before of the disconnect between the gate keepers and the public. The gate keepers repeatedly commission trendy works that the public will not show a long term interest. The strange thing here is that this seems to be a repeat of the arguments of the1960's except it was serial music that was the issue.
Comment from Phil Fried
Time: June 24, 2008, 4:34 pm
It is perhaps hard to understand conclusions developed from aggregate statistics, used for a specific case, in this case “contemporary music.” Of course it would be no surprise if our definitions of contemporary music differ, and in the extreme at that.
I could be wrong but besides the production, spectacle, stars, etc. I thought people go to the opera for the voice, the emotions, and the music/drama.
Unless these content issues are addressed your going to need a lot of advertising.
Phil Fried
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http://www.sequenza21.com/forum/?p=86#comment-22552
Why don't the famous teachers teah into courses?
Comment from phil fried
Time: June 14, 2008, 7:26 pm
“..I suppose this irony extends across the entire American education system: elementary school teachers are “more important” than college professors–since everyone by law must attend elementary school but not college. And yet the prestige is in teaching college–not kindergarten…”
David you have this reversed–In education its the teachers who teach the fewest students that are deemed the most important. Even with the same salary level those with fewer contact hours have the “better” jobs. Jobs and fellowships where you don’t have to teach at all are considered the best.
Phil Fried
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http://newmusicbox.org/chatter/chatter.nmbx?id=5624
Colin, thinks that composers are fascinating why not make it a marketing banner--OK! Well I try to be funny here!
Alpha males and females rejoice!
By philmusic - philmusic@aol.com
"..Would it be hopelessly superficial to market composers based on their personalities, making the case that their traits and quirks necessarily inform their music?.."
A fine thing Colin, but what if the composer doesn't happen to have a personality, just attitude?
Phil Fried, Chicken Little professor at the University of Lilliput, where small minds make small decisions.
Wednesday, June 25, 2008, 11:13:10 PM
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http://newmusicbox.org/chatter/chatter_comments.nmbx?id=5623
Frank mentions that the finds architectural incongruities; old/new
jarring-yet this is not a problem with music in a concert hall.
human nature maybe...?
By philmusic - philmusic@aol.com
Actually,it seems odd that we expect complete consistency in our edgy creative types.
Why must recent composers also love recent; visual arts, architecture, poetry, fiction, dance, theory, fashion, theater, musics, etc?
Its these differences that make us human.
Phil Fried, Skidroe U. Free Beer!
Comments: 0 Edit
same stuff.. NMB
By: Philip Fried Date: Jun 23, 2008 - 01:04 PM
http://newmusicbox.org/chatter/chatter.nmbx?id=5615
final report from the conference -again being positive just seems so hard!!
Everybody wants to rule the world
By philmusic - philmusic@aol.com
Taking responsibility is the hardest job in the world. I'm with you on this Frank.
Phil Fried
I forgot to add-if you didn't know-
By philmusic - philmusic@aol.com
Frank, taking responsibility is also a thankless task.
Phil Fried, the Chicken Little Scholar at U. of Lilliput
someone has to...
By philmusic - philmusic@aol.com
Dennis, doing the right thing, sometimes just trying, can be its own reward.
Phil Fried
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