tag:blogger.com,1999:blog-6190237197177393342024-02-18T19:53:13.427-06:00Phil's Opera and Musical Opinion PageVarious and sundry opinions and some stuff about me.
My Music composition lessons on the web can now be found here: http://philfried.com/compositionlessons/
log in as a guest.Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.comBlogger118125tag:blogger.com,1999:blog-619023719717739334.post-44708424824298960642021-08-01T23:56:00.001-05:002021-08-01T23:56:41.065-05:00<p><br /></p><iframe src="https://anchor.fm/magdalena-gomez/embed/episodes/Jazz-Ready-Episode-218--Season-3--Phil-Fried--Composer--Educator--Collaborator--His-Motto-No-sonic-prejudice-e15b2o2/a-a50mqif" height="102px" width="400px" frameborder="0" scrolling="no"></iframe>Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-35555195929671883182021-01-25T07:47:00.007-06:002021-01-25T16:12:56.304-06:00<p><i><span style="font-size: large;"> <span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql rrkovp55 a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id" dir="auto" style="font-size: x-large;">It
is impossible to come up with rules for successful compositions. Much depends on how you define the
question of <u>what is successful</u>? One reason that comes to mind is that so many works are
exceptions.</span></span></i></p><p><i><span style="font-size: large;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql rrkovp55 a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id" dir="auto" style="font-size: x-large;">That a rule can be turned into an assessment that can be graded says more about rules than works of art.<br /></span></span></i></p><p><i><span style="font-size: large;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql rrkovp55 a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id" dir="auto" style="font-size: x-large;"> Words fail to describe music as they are always at a
distance to the sounds themselves. </span></span></i></p>Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-70968996826392987972020-08-10T14:13:00.010-05:002020-08-20T08:56:22.948-05:0012 Problems of American Opera Composition.<p>
</p>
<p style="margin-bottom: 0in;"><br />
</p>
<h2 style="margin-bottom: 0in; text-align: left;"><span style="font-size: x-large;">12 Problems of American Opera
Composition.</span></h2>
<p style="margin-bottom: 0in;"><br />
</p>
<p style="margin-bottom: 0in;"><span style="font-size: x-large;"><br /></span>
</p><span style="font-size: x-large;">
</span><ol><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">Not enough work is produced by
Major institutions. <i>Maybe one a year? We need at least 50-75 new major works a year, otherwise opera composition is a zero sum game. </i></span></p><p style="margin-bottom: 0in;"><span style="font-size: x-large;"><i>
</i></span></p><ol><p style="margin-bottom: 0in;"><span style="font-size: x-large;"><i>Instead of all these stage
directors rewriting the librettos of the standard rep, why not create a new
opera?</i></span></p></ol>
<p style="margin-bottom: 0in;"><span style="font-size: x-large;"><i> </i>Exclusive commissioning of movie
composers (famous, or at least well know) or instrumental composers
inexperienced with a lyric form. (also pop stars). <i> </i></span></p></li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;"><i>Underscoring
is an instrumental form. </i></span>
</p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">It does not matter that a work
fails, <i>the performance itself is the success.</i></span></p>
<p style="margin-bottom: 0in;"><span style="font-size: x-large;">So, no way or reason to improve ones
work or refine it.
</span></p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">Fear of non tonal music has lead
to “place holding” compositions where <i>the music is the least
important part of the opera. </i></span>
</p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;"> New music theater is not grand
opera though <i>we pretend it is, because its the only new activity
out there. </i></span>
</p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">“Straight” theater is decades
ahead of new opera in content and context. Where else but in opera
could inexperience be called avant-garde?</span></p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">Too many cooks -that is producing
institutions want to “mold” their creations and their composers.
</span></p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">Most America opera works are based
on Verdi's Falstaff –his last work, or late Wagner which have no
arias. So the result is through composed plays.
</span></p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">New Music theater is <i>Broadwayish</i>,
and squarely in the “third and fourth (pop) stream.”
</span></p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;"> Cultural appropriation? A casual
glance at operatic subjects show that cultural appropriation is
still central to opera. As are stereotypes.</span></p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;">Sexism <i>More women composers
commissions please.</i></span></p>
</li><li><p style="margin-bottom: 0in;"><span style="font-size: x-large;"> Oh, did I mention <i>Racism? </i>As
for the many forms of racism one could point out; <i>opportunity, pay,
visibility, leadership, and content</i>, one could note that Classical
music seems hell bent on making itself <i>and its composition tools</i>
irrelevant.
</span></p>
</li></ol>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-77514850691523410152019-08-31T08:40:00.003-05:002020-08-10T23:23:21.819-05:00On ignorance <div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
<span class="ILfuVd"></span><br />
<div class="d9FyLd">
</div>
<span class="ILfuVd">
<span class="e24Kjd"> <span style="font-size: x-large;">"There is a cult of <b>ignorance</b>
in the United States, and there has always been. The strain of
anti-intellectualism has been a constant thread winding its way through
our political and cultural life, nurtured by the false notion that
democracy means that my <b>ignorance</b> is just as good as your knowledge." </span></span></span><span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd"><b>Isaac Asimov </b></span></span></span></div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
</div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd">An article in the NY Times made me think of this.</span></span></span><span style="font-size: x-large;"><br /></span>
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd"><b><br /></b></span></span></span></div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
</div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><i>How the Art world has co-opted the musical arts and the consequences thereof.</i> </span></span></div><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading"><span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"> </span></span></div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
</div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd">You see in the visual arts "Training" is just another <i>style. </i>In the music world skills such as performing or composing take a lifetime to learn. In the visual arts said skills are just another <i>style.</i> That is to say at least in the art world "my ignorance is equal to your knowledge." In previous posts I pointed out how this "ignorance" is trumpeted as an "advance" and how that overlooks the fact that<i> rigorous training in art is required</i>, just not in music. As hypocritical as that is, we have to face the fact that museums are offering more and more concerts as they have become <i>presenters and producers.</i> The irony here is that traditional performance organizations have been disparaged as "Museums". Yet in all cases institutions present their own version of orthodoxies and stay in their lanes. Personally, </span></span><span style="font-size: x-large;">I only found the performances of the AACM members of interest.<br /></span>
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><br /></span></span></div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
</div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd">I am not sure how this will all play out. I am happy to see more work by artists of color and different genders. </span></span><span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd">Yet because performance is everything today m</span></span>y question is about the effect of artistically narrow "curated" *opportunities. Who gets performed and why? Does art create the artist or does the artist create the art?</span></span></div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><br /></span></span>
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd">* </span></span><span style="font-size: x-large;"><br /></span>
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd">Artistically narrow opportunities: refers to the following:</span></span></span></span><span style="font-size: x-large;"><br /></span>
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd">When Institutions offer commissions to the semi-famous rather than trained musicians. </span></span></span></span><span style="font-size: x-large;"> </span>
<span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd">For one example of many; when the MN Opera commissioned "Doubt" the composer said (I paraphrase) </span></span></span></span></div><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading"><span class="ILfuVd" style="font-size: x-large;"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd"> </span></span></span></span></div><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading"><i><span class="ILfuVd" style="font-size: xx-large;"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd"> How upsetting it must be for "real composers" that he got this opportunity" -overlooking that the opportunity was never available to a "real" composer. </span></span></span></span></i></div><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading"><span style="font-size: x-large;"><br />
<span class="ILfuVd"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd"> On the museum end it seems to be </span></span></span></span><span class="ILfuVd"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd"><span class="ILfuVd"><span class="e24Kjd">coolest thing at the moment or</span></span></span></span> any musical event that does not feature the music. </span></span></span></span></span></div><span style="font-size: x-large;">
</span><div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading"><span style="font-size: x-large;">
</span><span class="ILfuVd"><span class="e24Kjd"><br /></span></span></div>
<div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
</div>
<div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
</div>
<div aria-level="3" class="LGOjhe" data-hveid="CAsQAQ" role="heading">
</div>
</div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-29809276726862462122019-03-10T15:32:00.003-05:002019-03-10T16:17:48.751-05:00Marnie--I made 20 minutes <div dir="ltr" style="text-align: left;" trbidi="on">
So the offset arpeggios create some interesting textures and as much as I found the intersection of motor rhythm and minimalism of interest--I hear Dumbarton Oaks a lot--the music fades to back or underscores <i><b>its all story. No songs, text forced into the musical line, unintelligible text in the faster sections--and mostly in the slow sections too but you can hear some but then you also hear the unfortunate accents on 2nd syllables; Moth-ER, Mar-NIE, etc. </b></i>Text repetition helps some.<br />
Its beautifully done of course this is the MET-- but for the content of the music. The scenes have shape but the music neither helps nor delineates it. Since you can't understand the words its up to the underscoring to create some clarity. It does, but nothing in the music feels necessary or motivated. It meanders.<br />
<br />
In the opera transatlantic the composer put the motor rhythms into everything including the vocal lines --this failed spectacularly and you would think that composers would learn the lesson. On the other hand the disconnect between the accompaniment and the vocal lines persists here.<br />
And why a countertenor?<br />
<br />
I also stand by my former comments.<br />
<br /></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-27206897813716901032019-02-08T23:10:00.002-06:002019-02-10T09:44:27.851-06:00fictional non fiction and cultural appropriation <div dir="ltr" style="text-align: left;" trbidi="on">
<br />
The problem with; TV, Movies, and books is that they are all fictional non fiction--in some way based on fact. That means that all these stories and plots are stuck in the grove of of creating simple and obvious understanding, That is, the need to be commercial. So there is no moving on. There is no obscurity only <i>slice of life. </i>Cultural appropriation occurs as an attempt to mix things up without bending any rules of patterns of necessity. Everyone is stuck on the island. The conventions of these entertainments, and I have to include fashion as well, build on their own private histories rather than the understanding of the world at large. This gives folks the cover to pretend that they can describe other cultures that they have no knowledge. Presenting without authenticity is the root of this, That is why it is common and will continue...<br />
<br />
other odd thoughts<br />
<br />
Tried to watch Avenging Angel. That lasted 5 minutes. See --the film ends when it is discovered that the main characters are on actually in a stage performance and as characters they can't leave the stage. The film starts as if they are in the real world. The opera <i>starts </i>on the stage completely ruining the effect. Just like composing an opera about a singer who refuses sing yet sings constantly this creates a complete dramatic misfire. Not to mention the screaming and yelling {sing high sing loud} rendering the text irrelevant. The music did not help<br />
This work seems to be inline with those recent works that hark back to the one of the worst traditions of opera; <i>praising the powers that be/were. </i></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-71575168065826305712018-11-10T13:43:00.002-06:002018-11-10T13:43:40.968-06:00I failed you Nico<div dir="ltr" style="text-align: left;" trbidi="on">
Today I could not go to the Met simulcast of Nico Muhly's new opera.<br />
After listening again to his Two Boys the technical issues were to much for me--I knew I would walk out of the performance of Marnie. <br />
<br />
The vocal lines in Two Boys neither lead or follow and exist only as as heterophonic space to declame the text. The story falls flat.<br />
<br />
Two Boys has some first rate instrumental music but that too is a problem. I kept thinking the vocal parts should switch with the instrumental parts or at least be part of that instrumental texture. <br />
<br />
<br />
It's not just because underscoring is an instrumental technique and opera is a lyric one, but because his vocal models; that is Glass and Adams, have never had the same success telling traditional opera stories as with their Tableau. A static tableau is not just different from a traditional operatic setting of, for example, a commercial mystery novel, but the audience expectation of the results is also different. The expectation is grand opera. Also Glass and Adams are successful because of what they are not (serialists)-not because of what they are. Hating serial music is not enough anymore.<br />
<br />
I also wanted to go because of the reviews I read which I feel do a disservice to the composer-- faint praise and faint damnation as well. Even the usually reliable New Yorker found time to talk about many things other than Nico's music.<br />
<br />
When you start at the top what inducement would their be to improve your technique? Obviously only those folks who can provide performances have opinions that matter.<br />
I will catch this on the MET on line when It gets there. <br />
<br />
<br />
</div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-36628447561265464842017-12-12T16:23:00.001-06:002017-12-12T16:23:05.535-06:00Four Moments in MN Symphony 4, Mov 4 Philip Fried<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/sdDDGab9Z7U" width="480"></iframe>Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-63851270745612716162017-09-01T10:58:00.008-05:002020-09-20T11:47:33.318-05:00Stuff in the time of fluff.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span>It started with small things—rejection of the “*great composer” who then became the straw "bogie" man of innumerable blog posts and musical articles and interviews. The constant drum beat to connect with audiences. The redefinition of progressive rock as classical music, the worship of Frank Zappa over Varese. <br /><br />What caused this sad state of affairs? The collapse of the classical music market. The overwhelming financial success of popular music/media Juggernaut. The new rich, the interneters, who are uninterested in the arts. <br /><br />This reminds me of the phrase “we had to destroy the village to save it.”<br /><b><br />So what is my problem?</b><br /><br /><br />If you remove the “great composer” what is left? Only the successful ones </span></span><span style="font-size: x-large;"><span><span style="font-size: x-large;"><span><i>and that supports the status quo. </i></span></span>You also remove any <i>conscious</i> art may have. Or that there might be some other criteria for judging a work other than a high profile performance itself. You remove the concept that artistic talent needs skill, not just experience. <i>Skill creates the kind of musical complications that are judged to be no longer marketable or user friendly.</i> We no longer wish to confront the prejudices of the listener we want to exploit them. We have given up trying to educate the audience—that’s not true exactly rather funds for musical education have been eliminated and we now have to pick up the pieces. <br /><br />That returns us to this concept: “popular” success is the same as artistic success. That has always been the status quo. <br /><br /> <b>The collapse of the classical music market. </b><br /><br /> A casual look at the classical music top albums on billboard is instructive—not much classical music there. Included is a number of film scores and the focus on "crossover" and the circus aspects of our craft. In any event the number of classical sales is tiny. Of course classical music activity has no real relation to the billboard numbers (or classical radio), but the bottom line is this; the only way that classical music can compete with the popular media is to match its marketing budget. <b>We have to stop thinking that this is impossible. </b>Then again, why do we need to mimic popular music when its success is based merely on its huge marketing budget. <br /><br /> <b>Fire Sale</b><br /><br />At these prices the institutions of new music are up for grabs. For example; “New Music” has been partially hijacked by wealthy museums. They present a very white establishment view of the “recent” musical arts, and they have a mixed record when it comes to cultural sensitivity </span><span><span> </span></span><span><span><span>(at least with the Native American Community). </span></span></span><span><span><span>Sonic prejudice has no place. </span></span></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: x-large;"><span><span><span> </span></span><br />Museums are not the only ones hijacking new music. There is a well funded effort to replace "new instrumental music" with multimedia experiences where the music is the least important part. Whatever it is the music comes last. New music theater is another topic.</span><br />
<br />
<span><b>Where is the Money? </b><br /><br />Internet Billionaires have shown little interest in the arts and if they do its to create tributes to popular music. The Internet has also lead to an over focus on presenters (the net) over artists. We reward composer/entrepreneurs not for their art but for their function as presenters and producers. They are the grownups. Still nobody knows who these people are because other than careerism, and their influence with some of their peers, they have no connection to the general public. </span><br />
<br />
<span><b>That leaves the older arts funders.</b><br /><br /> I have been told by an important commissioning officer that “art for art’s sake is dead.“ I was told by a Chamber Music America staffer some time ago that they will support commissions of "anything as long as its<i> not serial or atonal.</i>" On the other hand the fact that a grant opportunity represents social work does not mean the artist is invested in the topic other than fulfilling the task. Don’t get me started on cultural appropriation. </span><br />
<span>
</span><br />
<span>
</span><span><br />Ok so we are a day late and a few billion dollars short. That is no reason to throw the intellectual wing of classical music under the bus.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: x-large;"><span> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: x-large;"><span>* </span></span>
<p style="margin-bottom: 0in;"><i><span style="font-size: x-large;">In my unorthodox view any composer
who is more interested in their art than in the commercial success from
that art<u> aspires</u> to be a “great composer.” Rather it is the handlers and gatekeepers racism that floats the idea of some kind of artistic "purity" that (in their own time) never really existed. (Is this an excuse?) </span></i><i><span style="font-size: x-large;"><i><span style="font-size: x-large;">A great composer is inclusive not exclusive or should be. </span></i> <br /></span></i></p><p style="margin-bottom: 0in;"><i><span style="font-size: x-large;"></span></i></p><p style="margin-bottom: 0in;"><i><span style="font-size: x-large;">That is; greatness is
a living aspirational goal for all not reserved for DWM. If you remove the
aspirational goal from art all you have left is success which is
today's status quo.</span></i><br /></p></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-88060210577528078532015-11-07T10:48:00.002-06:002015-11-07T10:48:56.801-06:00random thoughts<div dir="ltr" style="text-align: left;" trbidi="on">
1.<br />
<br />
<br />
As to saving musical arts in the USA we need two things; funding and grassroots support.<br />
Funding; Unfortunately the Internet and computer folks don't give much or anything to the arts.<br />
Orchestras and opera companies strive to connect with the audience through the latest sound fashion, or through artists in residence, etc, and other newsworthy events, when the focus should be on training and supporting music teachers in the K-12 schools. Look no music teachers, no future audience. NCLB has done great damage here and unless those tech companies start ponying up, well that is our world right now.<br />
<br />
2.<br />
<br />
It has occurred to me that the most important opera that has influenced all American opera is Verdi's Falstaff. There are several reasons for this the view that a composers work is cumulative advancement that is that the last work represents the best practice. Every older work is then outdated and unworthy of study. The lack of song in recent opera is noticeable and its sometimes replacement by a fourth stream music pop song/classical combo has yet to reap dividends. <br />
<br />
Besides the question of style all American operas seem set text exactly the same way--event underscore event-underscore etc. That is only one idea is dramatized at a time.<br />
This ignores the musical advances of the 19 century and earlier where contradictory musical ideas and emotions can occur simultaneously not to mention the theatrical advances up to the 1960's.<br />
<br />
<br />
</div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-44769085554184993352015-08-14T23:18:00.002-05:002020-09-20T12:14:12.124-05:00of populism; musical and political.<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<br />
Many folks in the arts who espouse left leaning politics seem to be on the run. Our most successful artists are paid for directly or indirectly by the one percent and further the call is out for artists to be entrepreneurs!!!!! That is to start a viable business and not expect hand outs from the state etc. (This stems indirectly from the change in grant making where grants are no longer given directly to artists but to the producers of art). On the other hand we know that collages and universities support some artists. <br />
<br />
Naturally to have a viable business as an artist you are required to be commercial, <br />
<br />
These days that means creating<i> friendly, tonal, populist music. </i></div><div dir="ltr" style="text-align: left;" trbidi="on"><i> </i></div><div dir="ltr" style="text-align: left;" trbidi="on"><i>and in our commercial society having a better product is not as important as keeping the competition down. </i><br />
<br />
<br />
Anyway what was my point?<br />
<br />
<span style="font-size: large;"><i>Its that folks who present themselves as politically progressive, personally toe a different line in their artistic work and dealings. </i></span><br />
<br />
for example: <br />
<br />
anti-intellectual art? check<br />
inoffensive art? check<br />
art works that praise our leaders and famous folks? check<br />
art celebrating diversity with narrow stereotypes? check <br />
protest art with a narrow focus that almost everyone agrees with? <br />
art that features incomprehensibility so it can be described as almost anything? check<br />
Friendly art? Check<br />
Using terms such as: avant-garde, cutting edge, innovative, taking a risk, revolutionary etc. to describe safe conservative art or imitation Americana from 50 years ago. check<br />
artists who do as they are told or collaborate with who they are assigned? check<br />
<br />
These days many claim that the artist is more important than their art. It follows then that its not about the musical content its about appearances. .Appearances decisive. Then its not about sustaining artistic success, its about how you "spin" your failures. <br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><br />
<br />
and <i>that</i> folks is politics. </div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"><br />
<br />
<br />
<br /></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-30958519036740869272015-06-16T17:54:00.001-05:002015-06-16T18:19:39.619-05:00Authenticity and Cultural Appropriation <div dir="ltr" style="text-align: left;" trbidi="on">
<h3 class="western">
</h3>
Art is limitless as are the approaches, so when do we know if we have
crossed the line into cultural appropriation? Where is the point when a
subject for one artist becomes the cultural appropriation of another?
If you are asking these questions it means that you are interested in
telling the story of another culture as many have done before you. Even
avoiding stereotypes can be difficult.<br />
<ol>
<li> Who's history are you reading? </li>
<li>What are your sources? </li>
<li>What is so compelling about this story that you need to risk telling it?</li>
<li>What is your fresh perspective? </li>
<li>What are you planning to return to that community in exchange for telling their story?</li>
</ol>
I'm not saying “stick to your own kind.” Outsiders, Genet's <i>The Blacks</i>
for example, can have much insight to offer. Genet never denies his
whiteness, in fact he make a ritual of his white privilege. <br />
The litmus test for Cultural Appropriation is simply this; <u>is the art part of the <i>solution</i> or part of the<i> problem</i>? </u>
Of course it is we who must decide which is which. Or not. That makes
it, finally, a political issue. Politics does not generally favor the
weak. Differences of opinion will continue (even on such mainstream
works as Porgy and Bess).<br />
<br />
Issues can range from the sincere and misguided to that of <u>exploitation</u>, from simply advancing the meme of the moment to sheer commercialism. Or in the case of academia, <i>conservation to careerism</i>.
I suppose the worst are works that are intended to have no point of
view at all (yet they do in spite of themselves). It's easy to point
out: <br />
<ol>
<li>Those who create arrangements of others music and who present them as their own original compositions. <i>Stealing.</i></li>
<li>Those who record and notate sacred ritual music and then present it out of context to the general public. <i>The built in assumption is that the "other culture" would never be part of the general public. Class and racism.</i></li>
<li>Those who wear other's cultural regalia in pop culture, advertising, real life, and media. <i> Impersonation, stereotypes, myths, and falsehoods. </i></li>
</ol>
Examples of cultural appropriation are not limited to culture, race,
class,education, gender, age, or politics (to name a few). This can
create a tension with the American tendency to reinvent oneself. <br />
<br />
I wrote the blog post below and I think it points the way in this direction.<br />
<br />
<h3 class="western">
<a href="http://philipfried.blogspot.com/2014/06/about-klinghoffer.html">about Klinghoffer</a> </h3>
<div align="LEFT" style="margin-bottom: 0in;">
This so reminds me the Paul
de Man episode; the supporters support, the haters hate. Besides the
music there is, at least for me, one problem with this work. <br />
<br />
<br />
<a href="http://www.newmusicbox.org/articles/readers-respond-to-death-of-klinghoffer-simulcast-cancellation/" target="_blank">"This is a straw man."</a><br />
<br />
No
actually its Mr. Klinghoffer a real person and a victim. To my
knowledge the authors chose not to get the permission of the Klinghoffer
family to use his name. That falls under the category of <i>cultural appropriation</i>.
This is a mistake especially as other characters in the opera are
fictionalized. I suppose what the Klinghoffer family experience is not
much different from what Native Americans have been experiencing for
some time. Mr. Klinghoffer is executed in a depiction he did not chose
to illustrate someone else's reading of these tragic events. <br />
<br />
Why use his name at all?<br />
<br />
Anyway,
this is not an isolated case. Cultural appropriation is the dirty
little secret of the entertainment industry. Many award wining films,
plays, books and their respective actors etc. take part. <br />
<br />
<i>Running roughshod over the oppressed to tell their story is simply wrong.</i></div>
<div align="LEFT" style="margin-bottom: 0in;">
<br /></div>
<div align="LEFT" style="margin-bottom: 0in;">
<i><br /></i></div>
<div align="LEFT" style="margin-bottom: 0in;">
<br /></div>
<div align="LEFT" style="margin-bottom: 0in;">
<br /></div>
</div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-55712140392285942642014-12-30T21:33:00.001-06:002014-12-30T21:33:39.096-06:00Locket Arias<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/videoseries?list=PLZccCflC0Sq7eiKm23e2iC0Fk5ZwZtul5" width="425"></iframe>Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-67921778718226727332014-11-23T18:15:00.001-06:002014-11-23T18:15:53.237-06:00Locket Arias <div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.operabob.org/locketarias/">http://www.operabob.org/locketarias/</a></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-57848007392180452732014-08-03T11:12:00.001-05:002014-08-03T13:00:18.983-05:00The triumph of the editorial<div dir="ltr" style="text-align: left;" trbidi="on">
A while back there was some debate if art for arts sake was dead. It is certainly down for the count as much recent music has become a place holder, or a backdrop for something else. Style* is not an issue, works can be consonant or dissonant as long as they are incomprehensible and associated with the current cause of the day. Oddly, in an area of artistic discernment the more we judge musical "books" (titles), and composers by their covers. Before today composers were noted for their individuality, and if they belonged to certain schools or styles that were musical. Now composers represent concepts that are extra musical.<br />
<br />
Joining music and politics leads us down the road of grant generated art where social work can be celebrated without the artist doing any social work. Granting organizations and the curators for the 1 percent can be enablers for these concepts. Its a new subset of the call to patriotism. Being a "cause" composer is the acceptance that the music is secondary to the cause. But, music being secondary to the composer themselves is already well known. Lets say it plainly; composers and their editorial are more important than their music. If a composers message is ecology then listening to the music must purify water. Everything taken at face value and listeners and critics alike abandon critical thinking. There is no interest in abstract music except that it can be pined to an editorial. The only possible upside here is the long neglected discovery and nurturing of Indigenous artists unless they too are asked to represent stereotypes. <br />
<br />
The reality that composers could work the system is well founded, especially as critics have no interest in those who are not constantly performed. The composer as lonely hero or heroine genius is dead but what replaces that idea? Everyone is an artist? The artist is integrated into society? Artist as yuppie? The artist purified in the crucible of the people? Unfortunately, the jettison of composer individuality or genius does not
remove careerism or the need for constant activity to prove success. <br />
We must not close our eyes to the dirty business of success. <br />
<br />
Don't believe the hype.<br />
<br />
<br />
<span style="font-size: x-small;"><i> *anything as long as its not serial</i></span></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-14733552466234141102014-07-22T16:30:00.003-05:002014-07-22T16:48:08.239-05:00Random thoughts about music on the net<div dir="ltr" style="text-align: left;" trbidi="on">
<span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">We
have always privileged presenters over artists in music. (Hence the push for new musicians to be entrepreneurs). Right now the net has grown into one of the largest repositories of music. </span></span></span><br />
<span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">On the net Music is
content and someone is going to make money from that content.</span></span></span><br />
<span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">Period. If its
not the artists getting paid then its going to be the <i>web providers</i> (the presenters).</span></span></span><br />
<span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">Those who think that music on the net is free are kidding themselves because the whole apparatus of the net and its inherent costs, subscriptions, and fees are required before you can download or listen to anything.</span></span></span><br />
<br />
<span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">The
all encompassing <i>scale </i>of content that these providers present is the
end result of the destruction of the relationship with the artist. Its the presenters profits that are based on this destruction. Its just the same as when the profits of scale destroy businesses that feature relationships, i.e. mom and pop stores. </span></span></span><span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0"><span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">Relationships are expensive to maintain as they require time and husbandry, and dare I say it, you have to <i>care about the artist. </i></span></span></span></span></span></span><br />
<br />
<span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0"><span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">Not much profit in that. </span></span></span></span></span></span><br />
<span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0"><span data-ft="{"tn":"K"}" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body"><span class="UFICommentBody" data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0"><span data-reactid=".15.1:3:1:$comment10204067725035565_10204069305155067:0.0.$right.0.$left.0.0.1:$comment-body.0.$end:0:$0:0">Applying scale to music </span></span></span>is the <i>Wallmarting of art.</i></span></span></span></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-9482724214266377972014-07-16T10:38:00.002-05:002014-07-16T10:55:09.546-05:00What happened to progressive American Music?<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: large;">I think two things killed the progressive spirit of American music.</span><br />
<span style="font-size: large;"><br /></span>
<br />
<ol style="text-align: left;">
<li><span style="font-size: large;">The Arnold Schoenberg Institute leaving America.</span></li>
<li><span style="font-size: large;">Pierre Boulez replacing Leonard Bernstein at the NY Philharmonic.</span></li>
</ol>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;">The first one is direct -not here no influence. The Second one is indirect. </span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;">In the American mind Bernstein can not be replaced.</span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;">Period. </span></div>
<div>
<span style="font-size: large;"><br /></span></div>
<div>
<span style="font-size: large;">That it would be by Boulez was a strategic blunder for progressive music because this led to musical-political tensions that still remain. It did not matter how great Boulez was as a composer, or as a conductor, Boulez didn't actually replace Bernstein as a composer. In the game he trumped an American Icon, and as imaginary as that is, it is also how the game played out. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Oddly, Boulez was not that interested in American Serial Music preferring to perform the European composers, or the leading American composers of other styles. </span></div>
</div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-75964022236537218292014-07-16T10:18:00.000-05:002014-07-16T10:18:00.823-05:00NMB round ups <div dir="ltr" style="text-align: left;" trbidi="on">
http://www.newmusicbox.org/articles/who-is-creative-placemaking-new-music-integrity-and-community/<br />
<br />
<header class="comment-meta comment-author vcard" style="background-color: white; border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 14px; line-height: 14px; margin: 0px 0px 1rem; overflow: hidden; padding: 0px; position: relative; vertical-align: baseline;"><cite style="border: 0px; display: block; font-size: 1.071428571rem; font-style: normal; line-height: 1.42857143; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;"><span class="fn" style="border: 0px; font-size: 15px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url" href="http://philfried.com/" rel="external nofollow" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #444444; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;">Phil Fried</a></span></cite><a href="http://www.newmusicbox.org/articles/who-is-creative-placemaking-new-music-integrity-and-community/#comment-691738" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #5e5e5e; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;"><time datetime="2014-07-12T11:25:22+00:00" style="border: 0px; display: block; font-size: 0.857142857rem; line-height: 1.714285714; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;">July 12, 2014 at 11:25 am</time></a></header><section class="comment-content comment" style="background-color: white; border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
The question is who has been commissioned in this context and what were the results?</div>
<div style="border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
Its true that market forces rule and if a grants organization wants to emphasize a particular style of art or music they do that, and not just at “artplace.” The fear that trained classical composers are an unlikely fit here and that these opportunities seem more appropriate for sound artists seems real enough.</div>
<div style="border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
Yet who are composers that artsplace intends to place? Not our leading or star composers certainly. Who is left? On the other hand there is a tension between a composer and the community even if that has been denied on these very pages by a few of our very successful fellow composers. That artists are an agent for community revitalization there is no doubt, that a plan can be created to keep them in place is speculative but perhaps worth trying.</div>
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Just because 1920′s Paris, among others, is gone does not mean that all artist colonies devolve into tourist traps or gentrification. </div>
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<span style="color: #4d4d4d; font-family: Franklin, arial, sans-serif;"><span style="line-height: 24.150001525878906px;">http://www.newmusicbox.org/articles/mary-rodgers-1931-2014-a-woman-of-many-talents/</span></span></div>
<header class="comment-meta comment-author vcard" style="border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 14px; line-height: 14px; margin: 0px 0px 1rem; overflow: hidden; padding: 0px; position: relative; vertical-align: baseline;"><cite style="border: 0px; display: block; font-size: 1.071428571rem; font-style: normal; line-height: 1.42857143; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;"><span class="fn" style="border: 0px; font-size: 15px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url" href="http://philfried.com/" rel="external nofollow" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #444444; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;">Phil Fried</a></span></cite><a href="http://www.newmusicbox.org/articles/mary-rodgers-1931-2014-a-woman-of-many-talents/#comment-690055" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #5e5e5e; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;"><time datetime="2014-07-09T15:54:41+00:00" style="border: 0px; display: block; font-size: 0.857142857rem; line-height: 1.714285714; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;">July 9, 2014 at 3:54 pm</time></a></header><section class="comment-content comment" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
How I loved the Mad Show, I wore that record out. My parents refused to let me see the show. Evidently not for kids. The “Hate song” still has its power. I loved that song so much that I transcribed it from the recording because the music was out of print.<br />Farewell Mary Rodgers.</div>
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<span style="color: #4d4d4d; font-family: Franklin, arial, sans-serif;"><span style="line-height: 24.150001525878906px;">http://www.newmusicbox.org/articles/of-new-music-and-the-99/</span></span></div>
<article class="comment" id="comment-689071" style="border-bottom-color: rgb(237, 237, 237); border-bottom-style: double; border-width: 0px 0px 4px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 14px; line-height: 14px; margin: 1.714285714rem 0px 2rem; padding: 0px; vertical-align: baseline; word-wrap: break-word;"><header class="comment-meta comment-author vcard" style="border: 0px; margin: 0px 0px 1rem; overflow: hidden; padding: 0px; position: relative; vertical-align: baseline;"><cite style="border: 0px; display: block; font-size: 1.071428571rem; font-style: normal; line-height: 1.42857143; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;"><span class="fn" style="border: 0px; font-size: 15px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url" href="http://philfried.com/" rel="external nofollow" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #444444; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;">Phil Fried</a></span></cite><a href="http://www.newmusicbox.org/articles/of-new-music-and-the-99/#comment-689071" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #5e5e5e; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;"><time datetime="2014-07-07T22:51:40+00:00" style="border: 0px; display: block; font-size: 0.857142857rem; line-height: 1.714285714; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;">July 7, 2014 at 10:51 pm</time></a></header><section class="comment-content comment" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="border: 0px; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
The point of “occupy” is to speak truth to power and in the best American sense perhaps level the playing field. For this to work in an arts context there are some real problems to consider.</div>
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Arts its a different kettle of Fish. Unlike the arts no one lives in a “banking community.” For many the arts are their life.<br />Also Wall Street and the banks have a lot of customers.<br />Musical institutions make very few commissions and they tend to use the same or similar people over and over. Also popular music is a gigantic industry with a very small percentage of successful musicians. In both cases those empowered with success become celebrities, but more important they are the power. At least for the moment. Who are these famous people going to speak truth to? Or for? Certainly they have nothing to risk. Can Philip Glass speak for me and my music? Will he give up a commission so I and others can be performed in his place? I’m not sure he could do this even if he wanted to.</div>
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How can we propose a revolution in classical music when the folks claiming its leadership are the very folks we need to replace.<br />The dragon does not slay itself.</div>
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<li class="comment odd alt depth-2" id="li-comment-689078" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><article class="comment" id="comment-689078" style="border-bottom-color: rgb(237, 237, 237); border-bottom-style: double; border-width: 0px 0px 4px; margin: 1.714285714rem 0px 2rem; padding: 0px; vertical-align: baseline; word-wrap: break-word;"><header class="comment-meta comment-author vcard" style="border: 0px; margin: 0px 0px 1rem; overflow: hidden; padding: 0px; position: relative; vertical-align: baseline;"><img alt="" class="avatar avatar-44 photo grav-hashed grav-hijack" height="44" id="grav-25d2f373afe914219214b9c9aae1cf7d-1" src="http://0.gravatar.com/avatar/25d2f373afe914219214b9c9aae1cf7d?s=44&d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D44&r=G" style="border: 0px; float: left; line-height: 0; margin: 0px; padding: 0px; vertical-align: baseline;" width="44" /><cite style="border: 0px; display: block; font-size: 1.071428571rem; font-style: normal; line-height: 1.42857143; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;"><span class="fn" style="border: 0px; font-size: 15px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url" href="http://philfried.com/" rel="external nofollow" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #444444; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;">Phil Fried</a></span></cite><a href="http://www.newmusicbox.org/articles/of-new-music-and-the-99/#comment-689078" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #5e5e5e; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;"><time datetime="2014-07-07T23:18:13+00:00" style="border: 0px; display: block; font-size: 0.857142857rem; line-height: 1.714285714; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;">July 7, 2014 at 11:18 pm</time></a></header><section class="comment-content comment" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="border: 0px; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
What we need is more opportunity, not new star composers to replace the old ones.</div>
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<li class="comment even depth-3" id="li-comment-689540" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><article class="comment" id="comment-689540" style="border-bottom-color: rgb(237, 237, 237); border-bottom-style: double; border-width: 0px 0px 4px; margin: 1.714285714rem 0px 2rem; padding: 0px; vertical-align: baseline; word-wrap: break-word;"><header class="comment-meta comment-author vcard" style="border: 0px; margin: 0px 0px 1rem; overflow: hidden; padding: 0px; position: relative; vertical-align: baseline;"><img alt="" class="avatar avatar-44 photo grav-hashed grav-hijack" height="44" id="grav-25d2f373afe914219214b9c9aae1cf7d-2" src="http://0.gravatar.com/avatar/25d2f373afe914219214b9c9aae1cf7d?s=44&d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D44&r=G" style="border: 0px; float: left; line-height: 0; margin: 0px; padding: 0px; vertical-align: baseline;" width="44" /><cite style="border: 0px; display: block; font-size: 1.071428571rem; font-style: normal; line-height: 1.42857143; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;"><span class="fn" style="border: 0px; font-size: 15px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url" href="http://philfried.com/" rel="external nofollow" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #444444; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;">Philip Fried</a></span></cite><a href="http://www.newmusicbox.org/articles/of-new-music-and-the-99/#comment-689540" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #5e5e5e; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;"><time datetime="2014-07-08T16:23:02+00:00" style="border: 0px; display: block; font-size: 0.857142857rem; line-height: 1.714285714; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;">July 8, 2014 at 4:23 pm</time></a></header><section class="comment-content comment" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="border: 0px; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
Unlike occupy wall street, its not easy to tell the good guys from the bad guys in the art world.<br />Further complications include the fact that the 1 percent are usually arts benefactors, and that no one is in actually charge of the American musical arts scene. There is no donkey to pin a tail on. On the other hand success for an American composer means sponsorship and composers can freely chose to align themselves with the workers or the management.</div>
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<span style="color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: medium;"><span style="line-height: 27.599998474121094px;">http://www.newmusicbox.org/articles/music-criticism-is-broken-and-its-all-your-fault/</span></span></div>
<header class="comment-meta comment-author vcard" style="border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 14px; line-height: 14px; margin: 0px 0px 1rem; overflow: hidden; padding: 0px; position: relative; vertical-align: baseline;"><cite style="border: 0px; display: block; font-size: 1.071428571rem; font-style: normal; line-height: 1.42857143; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;"><span class="fn" style="border: 0px; font-size: 15px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url" href="http://philfried.com/" rel="external nofollow" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #444444; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;">Phil Fried</a></span></cite><a href="http://www.newmusicbox.org/articles/music-criticism-is-broken-and-its-all-your-fault/#comment-687128" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #5e5e5e; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;"><time datetime="2014-07-03T12:28:59+00:00" style="border: 0px; display: block; font-size: 0.857142857rem; line-height: 1.714285714; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;">July 3, 2014 at 12:28 pm</time></a></header><section class="comment-content comment" style="border: 0px; color: #4d4d4d; font-family: Franklin, arial, sans-serif; font-size: 14px; line-height: 14px; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="border: 0px; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
The song in question is a comic song. Comedy is can be dangerous because its habit of offending someone. Jobs have been lost on private jokes made public. It is easy to misunderstand or be offended by a joke that tells a positive story in a negative or profane way. It seems that few of my fellow composers are known for their sense of humor. My own attempts at humor here have been misunderstood more than once.</div>
<header class="comment-meta comment-author vcard" style="border: 0px; margin: 0px 0px 1rem; overflow: hidden; padding: 0px; position: relative; vertical-align: baseline;"><cite style="border: 0px; display: block; font-size: 1.071428571rem; font-style: normal; line-height: 1.42857143; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;"><span class="fn" style="border: 0px; font-size: 15px; margin: 0px; padding: 0px; vertical-align: baseline;"><a class="url" href="http://philfried.com/" rel="external nofollow" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #444444; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;">Phil Fried</a></span></cite><a href="http://www.newmusicbox.org/articles/music-criticism-is-broken-and-its-all-your-fault/#comment-686792" style="-webkit-transition: all 150ms ease-in-out; border: 0px; color: #5e5e5e; margin: 0px; outline: none; padding: 0px; text-decoration: none; transition: all 150ms ease-in-out; vertical-align: baseline;"><time datetime="2014-07-02T22:23:14+00:00" style="border: 0px; display: block; font-size: 0.857142857rem; line-height: 1.714285714; margin: 0px 0px 0px 4rem; padding: 0px; vertical-align: baseline;">July 2, 2014 at 10:23 pm</time></a></header><section class="comment-content comment" style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="border: 0px; font-size: 1.15em; line-height: 1.5em; margin-bottom: 1.714285714rem; padding: 0px; vertical-align: baseline;">
Isaac it looks like the above folks have it covered as it were. All 3 above make interesting reading, besides them there are 1000′s of composer blogs out there. A brief goggle of any of the posters here for say the last few months will show that most of them have their own blogs.<br />I do.</div>
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My problem with mainstream criticism is that it only focuses on mainstream activity. Another problem is that critics are not hired because of respect for their opinions but because their bosses believe that their opinions reflect the majority of their readers.</div>
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Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-65908527755909875432014-06-26T20:50:00.004-05:002014-10-17T11:01:44.415-05:00about Klinghoffer<div dir="ltr" style="text-align: left;" trbidi="on">
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This so reminds me the Paul de Man episode; the supporters support, the haters hate. Besides the music there is, at least for me, one problem with this work. <br />
<br />
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<a href="http://www.newmusicbox.org/articles/readers-respond-to-death-of-klinghoffer-simulcast-cancellation/" target="_blank">"This is a straw man."</a><br />
<br />
No actually its Mr. Klinghoffer a real person and a victim. To my knowledge the authors chose not to get the permission of the Klinghoffer family to use his name. That falls under the category of <i>cultural appropriation</i>. This is a mistake especially as other characters in the opera are fictionalized. I suppose what the Klinghoffer family experience is not much different from what Native Americans have been experiencing for some time. Mr. Klinghoffer is executed in a depiction he did not chose to illustrate someone else's reading of these tragic events. <br />
<br />
Why use his name at all?<br />
<br />
Anyway, this is not an isolated
case. Cultural appropriation is the dirty little secret of the
entertainment industry. Many award wining films, plays, books and their
respective actors etc. take part. <br />
<br />
Running roughshod over the oppressed to tell their story is simply wrong.<br />
<br />
Right now their are protests to <a href="http://www.playbill.com/news/article/192036-Native-American-Artists-Will-Protest-Minneapolis-Production-of-Bloody-Bloody-Andrew-Jackson" target="_blank">Bloody Bloody Andrew Jackson</a> in MN for similar reasons.<br />
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<img alt="" class="avatar avatar-44 photo grav-hashed grav-hijack" src="http://0.gravatar.com/avatar/25d2f373afe914219214b9c9aae1cf7d?s=44&d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D44&r=G" height="44" id="grav-25d2f373afe914219214b9c9aae1cf7d-0" width="44" /><cite><b class="fn"><a class="url" href="http://philfried.com/" rel="external nofollow">Phil Fried</a></b> </cite><a href="http://www.newmusicbox.org/articles/readers-respond-to-death-of-klinghoffer-simulcast-cancellation/#comment-680563"><time datetime="2014-06-19T14:08:44+00:00">June 19, 2014 at 2:08 pm</time></a> </header>
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Sadly, political battles have very little to do with the truth.<br />
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No sonic prejudice.<br />
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Phil Fried<br />
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Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-33996017778971462442014-05-18T10:51:00.000-05:002014-05-18T10:51:00.936-05:00NMB round ups<div dir="ltr" style="text-align: left;" trbidi="on">
http://www.newmusicbox.org/articles/defining-musical-quality/<br />
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There is nothing here. The point being that you can't turn artistic questions into true or false.</div>
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Sadly every time esthetics are called upon it to deny some style of music the right to call itself music. In this case its the gesture composers calling out the the serial composers. No matter how incomprehensible the gesture composers approach is they never see their own limitations (or their commonality with serial approaches) only their supposed freedom. <span></span> </div>
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<img alt="" class="avatar avatar-44 photo grav-hashed grav-hijack" height="44" id="grav-25d2f373afe914219214b9c9aae1cf7d-0" src="http://0.gravatar.com/avatar/25d2f373afe914219214b9c9aae1cf7d?s=44&d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D44&r=G" width="44" /><cite><b class="fn"><a class="url" href="http://philfried.com/" rel="external nofollow">Phil Fried</a></b> </cite><a href="http://www.newmusicbox.org/articles/defining-musical-quality/#comment-581774"><time datetime="2014-05-05T18:57:51+00:00">May 5, 2014 at 6:57 pm</time></a></header><header class="comment-meta comment-author vcard"><time datetime="2014-05-05T18:57:51+00:00"> </time> </header>
<section class="comment-content comment">
A music delivery system that would provide quality assurance is an interesting proposition.<br />
Perfection can certainly be achieved abstractly except for one thing.<br />
<br />
My problem is that unless we attach the system to actual music we have no idea what is what.<br />
On the other hand there is good reason not to mention any music at all,
because if you mention specific composers you will create problems for
yourself, your colleagues, and your teachers. Real music would spoil
the perfection of the system as folks endlessly argue the merits of this
composer or that. (Or this teacher or that).<br />
<br />
Since quality doesn’t equal success, real musical examples are
dangerous because those who are deemed unworthy have a disconcerting
ability to remain and prosper, and occasionally have influence on your
career. Despite the tradition of inter school rivalry the teachers of
the “poor quality” composers also frown on such criticism.<br />
<br />
Acceptance of the musical world can not be bound by any system unless
its a system of acceptance. We must all learn to live in a messy world.<br />
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Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-79719992511311644622014-04-27T12:46:00.000-05:002014-04-27T12:46:21.913-05:00NMB round ups<div dir="ltr" style="text-align: left;" trbidi="on">
http://www.newmusicbox.org/articles/performing-quality/<br />
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<i>The bunker mentality of these folks when questioned is obvious. They play games with meanings constantly moving the goal lines so you can't ever put your finger on their ideas. Then the payoff for the highfalutin language are very simple observations.</i> <br />
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<cite><b class="fn"><a class="url" href="http://philfried.com/" rel="external nofollow">Philip Fried</a></b> </cite><a href="http://www.newmusicbox.org/articles/performing-quality/#comment-578818"><time datetime="2014-04-22T18:15:37+00:00">April 22, 2014 at 6:15 pm</time></a><br />
<time datetime="2014-04-22T18:15:37+00:00"> </time>
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“..by demonstrating my text’s inflexibility to simplification you justify my own stylistic choices…”</section><section class="comment-content comment"><br />
Now that we are getting closer to brass tacks things are heating up a
bit. Still, at present, after reading all the comments here I am on
the side of those who feel that your ideas could be clearer. To tell a
tale is a fine thing. To tell a tale parsed through political ideas
does not guarantee insight. On the other hand If you state your facts
plainly the politics will become quite apparent.<br />
There is certainly nothing wrong with questioning aspects or even
the totality of a musical career, if that is what you are doing. You
can opt out at any time you know.</section><section class="comment-content comment"> </section><section class="comment-content comment"> <cite><b class="fn"><a class="url" href="http://philfried.com/" rel="external nofollow">Philip Fried</a></b> </cite><a href="http://www.newmusicbox.org/articles/performing-quality/#comment-578918"><time datetime="2014-04-23T12:40:04+00:00">April 23, 2014 at 12:40 pm</time></a></section><section class="comment-content comment"><time datetime="2014-04-23T12:40:04+00:00"> </time>
<section class="comment-content comment">
“..,To say, “if you don’t like this field, leave” is both childish and dangerous…”<br />
<br />
But I did not say that, (I did not mean to) –rather I was pointing
out that one can chose how they experience the musical profession. There
are alternatives. Some of which I have taken myself. Rules can be
broken.<br />
<br />
… “state the facts plainly”, as it were – have managed to say nothing
but “what? I don’t get it.” Clearly what he is putting forth is
interesting to a good deal of people – and so the burden of proof is on
the commenters…”<br />
<br />
Since we all have different backgrounds and training I asked
questions. My first question to Marek was technical. I wanted to
understand his idea of “quality” yet his answer did not help as it lead
me to a new term which I was also unfamiliar. Anyway, my lack of
understanding is not a criticism it is a challenge because I want to
understand.<br />
<br />
I’m not a hater.<br />
<br />
I believe my comments have been even
handed. If this blog was intended as a private party I apologize.
As for clarity, its own reward, I merely offer advise. <br />
The larger point is this; NMB is not a University forum, not a
graduate student forum, but a public forum. Anyone who wants to
communicate here needs to keep that in mind.<br />
</section></section><section class="comment-content comment"><br />
</section><br />
<br />
<header class="comment-meta comment-author vcard">
<img alt="" class="avatar avatar-44 photo grav-hashed grav-hijack" src="http://0.gravatar.com/avatar/25d2f373afe914219214b9c9aae1cf7d?s=44&d=http%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D44&r=G" height="44" id="grav-25d2f373afe914219214b9c9aae1cf7d-2" width="44" /><cite><b class="fn"><a class="url" href="http://philfried.com/" rel="external nofollow">Phil Fried</a></b> </cite><a href="http://www.newmusicbox.org/articles/performing-quality/#comment-579538"><time datetime="2014-04-26T10:51:09+00:00">April 26, 2014 at 10:51 am</time></a></header><header class="comment-meta comment-author vcard"><time datetime="2014-04-26T10:51:09+00:00"> </time> </header>
<section class="comment-content comment">
Referencing the hypothetical music festival described — it seems
that we have the equivalent of composer/performer speed dating. Bummer.
That said many friendships and lifelong relationships come from such
interactions. Careers are made. So festivals are not a discrete part
of a musicians life but part of the whole.<br />
—–<br />
I know very few professional or pre-professional performers who say they have too much work.<br />
—–<br />
Since composers and performers are both workers they have much common
ground. Yet I know many composers who do not align themselves with
workers as they see themselves as management because in their view they
work for whoever hires the musicians. Not me.<br />
—-<br />
The biggest change in the relationship between composers and performers
(what of composer/performers) is the distribution of grants. 30 years
ago grants were mostly given directly to composers now they are given to
ensembles or ensembles and composers. This may not of affected
composition but it does effect what is performed.<br />
<br />
http://www.newmusicbox.org/articles/new-music-is-academic-music/<br />
<br />
<a href="http://www.newmusicbox.org/articles/new-music-is-academic-music/#comment-577212"><time datetime="2014-04-14T16:59:32+00:00">April 14, 2014 at 4:59 pm</time></a>
<br />
<section class="comment-content comment">
“.. that Schoenberg initialized the academic turn… composers
turned their back on the audience, writing music more akin to jargon …
Babbitt’s … evidenced a project characterized by the insularity and
elitism …”<br />
<br />
I do appreciate, at last, the mention of composers in your essays.
That said your comments, or perhaps not your comments (you imply that
someone else told you this), are sadly, in line with many of the
disparages of these composers. Sigh. <br />
Perhaps its ironic that many of the folks who say they reject
Babbitt’s approach to composition, fully embrace Babbitt’s prose style
to explain their own work. </section><section class="comment-content comment"><br />
No sonic prejudice</section><section class="comment-content comment"><br />
Phil Fried</section><section class="comment-content comment"><br />
</section><section class="comment-content comment">http://www.newmusicbox.org/articles/new-musics-quality-problem/<br />
</section><section class="comment-content comment"><br />
</section><section class="comment-content comment">… a “discourse of quality”—a mode of talking, abstractly, weirdly, about our musical agencies. ”
I’m from a different generation Marek so I’m not sure what you mean by “agencies”. Could you explain further? <br />
If by “quality” you mean the possession and understanding of
technique it is my understanding that many composers feel that,
borrowing from the visual arts, technique is just another style. Not to
mention which styles and their related techniques are in question.<br />
<br />
Perhaps this is just a renewal of the “sizzle or the steak” debate.<br />
<br />
Phil Fried<br />
<br />
<cite><b class="fn"><a class="url" href="http://philfried.com/" rel="external nofollow">Phil Fried</a></b> </cite><a href="http://www.newmusicbox.org/articles/new-musics-quality-problem/#comment-576049"><time datetime="2014-04-08T12:52:06+00:00">April 8, 2014 at 12:52 pm</time></a><br />
<time datetime="2014-04-08T12:52:06+00:00"> </time>
<br />
<section class="comment-content comment">
Your a hard man to pin down.<br />
</section><br />
</section><section class="comment-content comment"><br />
</section>
</section></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-47223736527254740062014-03-20T14:26:00.001-05:002014-03-20T19:03:49.435-05:00<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="margin-bottom: 0in;">
<span style="font-size: large;">Exclusivity and community.</span></div>
<b>
</b>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Well it seems that at a recent Ted
Talks… a composer, who I respect, talked about the importance of
turning away from the cliché of the inward looking artist to join
the greater “community" to great acclaim. Did I mention he took a
little time off his 1 year residency from American Academy in Rome
to do this? Oh did I mention that the Ted community features such
regulars guys as the president of Microsoft. Am I missing something
here. What community are we talking about?
</div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
In a similar vein films based on true
stories may win awards for their portrayal of victimized characters
and communities who then never see a dime from the production. This
is also true for those academics who build careers off studies of the
poor and give nothing back. Moving up and out is in this sense is your one way ticket to exclusivity. Just as in academia the more important you are the less you teach. As a composer your commission price goes up and you get more performances, and featured as a speaker at conventions. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
Is that the state of the art of
our artistic communities? </div>
<div style="margin-bottom: 0in;">
The real world is merely the “other”. </div>
<div style="margin-bottom: 0in;">
<br /></div>
<div style="margin-bottom: 0in;">
The top down approach is the disconnect
of our time. As the choir preaches to the choir, the status quo is
maintained. Nothing changes.
</div>
<div style="margin-bottom: 0in;">
<br /></div>
</div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-60671942657814490662014-02-15T18:34:00.001-06:002014-02-15T18:34:20.711-06:00Big change in the new music world<div dir="ltr" style="text-align: left;" trbidi="on">
<section class="comment-content comment"><b>Big change in the new music world</b></section><section class="comment-content comment"><i> </i></section><section class="comment-content comment"><i>Fact:
30 years ago most composer grants and commissions were awarded directly
to the composer today they are mostly given to performers and ensembles
to dole out. </i> In this sense composers are no longer the top of the
food chain even if they are self funding or have institutional
sponsors. <i></i></section><br />
Its different now, but is it better? <i> </i><i><br /></i></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-81655146540166970892014-02-01T14:45:00.003-06:002014-02-01T14:45:34.144-06:00Same old song...<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
In my last experience with an academic conference I discovered that though many composers were jettisoning rigorous music they were loath to eliminate the rigorous rigamarole rhetoric that "explained" it. <br />
<br />
I might have thought that the "recent" move to simplicity would imbue the entire enterprise of music making. I was wrong. Perhaps its Babbitt's revenge, because as these younger and older composers who abandon intellectual musical rhetoric they still embrace Babbitt's approach to prose. They need to prove they are smart composers who know exactly what they are doing. Of course the requirements of the classroom are requirements after all and grad students and faculty are no different. One can't overlook the fact that explanations <u>are</u> part of the profession. But for me a blueprint is not a building, an explanation is not a performance </div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0tag:blogger.com,1999:blog-619023719717739334.post-55101202778525081142014-01-26T13:29:00.004-06:002014-01-26T15:26:48.201-06:00On the Money....<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<br />
<br />
<br />
<section class="comment-content comment">
<a href="http://www.newmusicbox.org/articles/finding-the-right-balance/" target="_blank"> http://www.newmusicbox.org/articles/finding-the-right-balance/</a><br />
<br />
"...Just 2.8 percent of albums sold in 2013 were categorized as
classical. By comparison, rock took 35 percent; R&B 18 percent;
soundtracks 4 percent. Only jazz, at 2.3 percent, is more incidental to
the business of American music..."<br />
<br />
<br />
<i>And comparatively speaking what are the marketing budgets, not to
mention the synergy, of the popular music industry spends VS the
classical music or jazz world? The point is that in the now and the near
future “art” music will be outspent by “commercial” music I suspect by
at least 10 fold. Period. What does that mean for classical and jazz
music? I think we must answer for ourselves. I know what I’m going to
do –play some jazz and compose some more serial music.</i><br />
<br />
On reflection I think that the popular media industry spends more than 10,000 times what classical music spends to market its products.<i> If this stuff is so popular why market it at all?</i><br />
<i><br /></i>
<i>My point is this; the attempts to piggyback on popular culture's coattails will continue to fail. The problem is not those gnarly intellectual composers who have lately been thrown under the bus for giving new music a bad name, (and by the way gave new music its name in the first place). It's folks like David Bowie with his corporate muscle that will always stand as more authentic. The New York Rock and Roll ensemble </i><i><i><i><i><i>and Ars Nova</i></i></i> </i>with the strength of Atlantic Records behind them</i><i> did not sell. </i>I liked them but I suppose that was the problem.<br />
<br />
We turn a blind eye to the difference between the musical world, which has discrete parts, and the music business which is monolithic and only concerned with money.<i> True, when these two ideas intersect interesting things can happen, or not. </i> The market calls the shots and composers don't control the market anymore. On the other hand, Classical music is an iceberg and to claim that only the top counts is ludicrous. <i><br /></i><br />
<br />
<i> By the way "finding the right balance" is a question for presenters <u>not composers.</u></i><br />
<br />
<i>Attempts to make pop musicians film composers has been much more successful than making them opera composers but that's a different topic. </i><br />
<br />
<br />
</section></div>
Phil Friedhttp://www.blogger.com/profile/01178433945642115228noreply@blogger.com0