http://www.newmusicbox.org/index.php/articles/a-visit-to-banglewood/#comment-9172
Phil Fried says:
“..I hope more composers take a cue from our man Beuys…”
Sam I’m a little surprised that you didn’t take Mr. Youngman (Youngman?)as a tongue in cheek spoof. That said many composers find art exhilarating and a source of inspiration. Well perhaps not with the same emphasis as you suggest. As too the lack of “personal mythology” in living composers are you kidding?
Phil Fried says:
“..I hope more composers take a cue from our man Beuys…”
Sam I’m a little surprised that you didn’t take Mr. Youngman (Youngman?)as a tongue in cheek spoof. That said many composers find art exhilarating and a source of inspiration. Well perhaps not with the same emphasis as you suggest. As too the lack of “personal mythology” in living composers are you kidding?
Phil Fried says:
Sam we are going off topic and I think my point was clear. The question of avatars and their use or misuse has come up before. My personal preference has always been to look outside the frame. Sorry.
Sam we are going off topic and I think my point was clear. The question of avatars and their use or misuse has come up before. My personal preference has always been to look outside the frame. Sorry.
“…Phil, please correct me if I’m wrong, but I think that your point is that there is no dearth of this sort of mythologizing among composers….”
Bingo David!
Phil’s very short list of composer mythologists.
Any composer on the internet, or with a presence on the internet.
Any composer with a web site. (University web sites count).
Any composer who also performs.
Any composer who wears black to performances(their own or others).
Any composer who’s personal look reflects their sound.
Any composer who studiously avoids trying to look like a composer.
Any composer with students.
Any composer who works within the tradition.
Any composer who works outside the tradition.
Any composer who switched styles.
Any composer who works in many styles.
Any composer who is style free.
Any composer part of a school.
Any composer who is called; uptown, downtown, bridge and tunnel, out of town, mid town etc.
Any composer who is a Mod or Rocker.
Any composer who is “new” or “old” or “young” etc.
Any composer who write impenetrable prose.
Any composer who writes concisely.
Any composer who blogs.
Any composer who knows a composer who blogs.
Any composer who avoids blogging.
Any composer who knows a composer who avoids blogs.
Any composer who is part of a trend.
Any composer who claims to be outside the trends.
All insiders and all outsiders.
Any composer who does not know how to read or write music and can’t wait to tell you.
Any composer who is pushy.
Any composer who pretends not to be a composer.
Any composer who lives for their art.
Any composer who is modest.
Any composer who is personally wild but composes staid music.
Any composer who is boring but composes wild music.
Any composer who is a brainiac.
Any composer who is brain dead.
Any composer who is disgruntled.
Any composer who is successful.
Any composer who is successful and disgruntled.
Any composer, former composer, or budding composer.
Did I leave anyone out? Yanni and John Tesh-just kidding—-maybe
Its all of us.
As much as I would like a particular composer and their music to be treated as separate values, the composer reflects the music.
True, its also a question of degree. Some more than others. Many times its not the composer who initiates this labeling but entrepreneurial marketing creates this need.
Labels stick.
addenda
Any composer who pretends to be a composer.
Any composer who is mainstream yet pretends to be revolutionary.
Any composer who pretends to be mainstream.
Any composer who pretends.
Any composer who does not pretend.
All sound artists.
All songwriters.
Anyone who confuses the character with the actor.
__________________________________________________________________
http://www.newmusicbox.org/articles/back-on-the-streets-again/
July 30, 2011 at
“Is there any evidence that shortening attention spans are bad for society?…Is there any evidence that people in power have any real interest in controlling the duration of our attention spans? ”
It could well be argued that there is a difference between newspapers that cover a subject in depth and tabloids which don’t. It could then be argued that their is a financial incentive to pander to short attention spans. In depth reporting cost more and takes more of the readers time. On the other hand perhaps reading cliff notes versions of books is just as good as reading the originals. It kind of depends on how you view your society.
I for one don’t believe in conspiracies. Many a time unintended consequences happen and humans, rations beings they, put them into an orderly fashion that only seems true. Conspiracies tend to tidy things up especially if they fit into our personal prejudices. On the other hand certain actions can become so numerous that generalizations might be drawn. So Joseph. My problem with your mention of “progress” and “important shared values” is that you are leading us to a political debate which cannot take place here.
Bingo David!
Phil’s very short list of composer mythologists.
Any composer on the internet, or with a presence on the internet.
Any composer with a web site. (University web sites count).
Any composer who also performs.
Any composer who wears black to performances(their own or others).
Any composer who’s personal look reflects their sound.
Any composer who studiously avoids trying to look like a composer.
Any composer with students.
Any composer who works within the tradition.
Any composer who works outside the tradition.
Any composer who switched styles.
Any composer who works in many styles.
Any composer who is style free.
Any composer part of a school.
Any composer who is called; uptown, downtown, bridge and tunnel, out of town, mid town etc.
Any composer who is a Mod or Rocker.
Any composer who is “new” or “old” or “young” etc.
Any composer who write impenetrable prose.
Any composer who writes concisely.
Any composer who blogs.
Any composer who knows a composer who blogs.
Any composer who avoids blogging.
Any composer who knows a composer who avoids blogs.
Any composer who is part of a trend.
Any composer who claims to be outside the trends.
All insiders and all outsiders.
Any composer who does not know how to read or write music and can’t wait to tell you.
Any composer who is pushy.
Any composer who pretends not to be a composer.
Any composer who lives for their art.
Any composer who is modest.
Any composer who is personally wild but composes staid music.
Any composer who is boring but composes wild music.
Any composer who is a brainiac.
Any composer who is brain dead.
Any composer who is disgruntled.
Any composer who is successful.
Any composer who is successful and disgruntled.
Any composer, former composer, or budding composer.
Did I leave anyone out? Yanni and John Tesh-just kidding—-maybe
Its all of us.
As much as I would like a particular composer and their music to be treated as separate values, the composer reflects the music.
True, its also a question of degree. Some more than others. Many times its not the composer who initiates this labeling but entrepreneurial marketing creates this need.
Labels stick.
addenda
Any composer who pretends to be a composer.
Any composer who is mainstream yet pretends to be revolutionary.
Any composer who pretends to be mainstream.
Any composer who pretends.
Any composer who does not pretend.
All sound artists.
All songwriters.
Anyone who confuses the character with the actor.
__________________________________________________________________
http://www.newmusicbox.org/articles/back-on-the-streets-again/
July 30, 2011 at
“Is there any evidence that shortening attention spans are bad for society?…Is there any evidence that people in power have any real interest in controlling the duration of our attention spans? ”
It could well be argued that there is a difference between newspapers that cover a subject in depth and tabloids which don’t. It could then be argued that their is a financial incentive to pander to short attention spans. In depth reporting cost more and takes more of the readers time. On the other hand perhaps reading cliff notes versions of books is just as good as reading the originals. It kind of depends on how you view your society.
I for one don’t believe in conspiracies. Many a time unintended consequences happen and humans, rations beings they, put them into an orderly fashion that only seems true. Conspiracies tend to tidy things up especially if they fit into our personal prejudices. On the other hand certain actions can become so numerous that generalizations might be drawn. So Joseph. My problem with your mention of “progress” and “important shared values” is that you are leading us to a political debate which cannot take place here.
phil fried says:
“…I am sure we can agree that dismissing and insulting musicians (and yes I feel this is common here at NMBx) who dedicate their lives to improving and innovating our musical landscape from a centralized position withing popular culture is counterproductive as an advocacy strategy for your work on the periphery…”
So those composers in “a centralized position” can run roughshod over the “periphery” and expect no push back? Why? Because in your opinion they “improve and “innovate?” To accept musical predestination is contrary to being an artist.
Diversity makes us stronger.
Thank you Ratzo for your comments–just what I was thinking. Did you see today’s NY Times cover?
_______________________________________
http://www.sequenza21.com/2011/07/kickstarter-as-a-successful-fundraising-tool/
“It’s being quickly proven that, in the 21st century, great art is sustainable art. This is our green movement…”
Chris this implies musical predestination. If it succeeds with kickstarter its good?
Kickstarter does not keep records or give statistics of those projects who fail, even if you want to learn from those mistakes.
“…I am sure we can agree that dismissing and insulting musicians (and yes I feel this is common here at NMBx) who dedicate their lives to improving and innovating our musical landscape from a centralized position withing popular culture is counterproductive as an advocacy strategy for your work on the periphery…”
So those composers in “a centralized position” can run roughshod over the “periphery” and expect no push back? Why? Because in your opinion they “improve and “innovate?” To accept musical predestination is contrary to being an artist.
Diversity makes us stronger.
Thank you Ratzo for your comments–just what I was thinking. Did you see today’s NY Times cover?
_______________________________________
http://www.sequenza21.com/2011/07/kickstarter-as-a-successful-fundraising-tool/
“It’s being quickly proven that, in the 21st century, great art is sustainable art. This is our green movement…”
Chris this implies musical predestination. If it succeeds with kickstarter its good?
Kickstarter does not keep records or give statistics of those projects who fail, even if you want to learn from those mistakes.
