Posts Tagged ‘Music’
The Northern California Chapter of the Society for Ethnomusicology will hold its annual meeting on Saturday, March 2, 2013, at the University of San Francisco.
Proposals for papers, panel discussions, workshops, video screenings, or musical performances are being accepted until January 28, 2013. Please send a proposal of not more than 250 words to firstname.lastname@example.org
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Brian Eno has been a creative force for decades now, producing a wide range of entertaining and challenging music with an admirable collection of collaborators. Thanks to 99% (Developing Your Creative Practice: Tips from Brian Eno by Scott McDowell) for pointing me to a new e-book by Eric Tamm, BRIAN ENO, HIS MUSIC AND THE VERTICAL COLOR OF SOUND, that “delves deeply into Eno’s creative process.” What Eno himself calls (from Tamm’s book):
…a practice of some kind … It quite frequently happens that you’re just treading water for quite a long time. Nothing really dramatic seems to be happening. … And then suddenly everything seems to lock together in a different way. It’s like a crystallization point where you can’t detect any single element having changed. There’s a proverb that says that the fruit takes a long time to ripen, but it falls suddenly … And that seems to be the process.
McDowell presents a list of tools Eno has relied upon to assist the creative process when he gets stuck — No 5, the Oblique Strategies deck of cards is the bit of whimsy, something all creative workers needs to get the juices flowing again.
1. Freeform capture. Grab from a range of sources without editorializing. According to Tamm, one of Eno’s tactics “involves keeping a microcassette tape recorder on hand at all times and recording any stray ideas that hit him out of the blue – a melody, a rhythm, a verbal phrase.” He’ll then go through and look for links or connections, something that can form the foundation for a new piece of music.
2. Blank state. Start with new tools, from nothing, and toy around. For example, Eno approaches this by entering the recording studio with no preconceived ideas, only a set of instruments or a few musicians and “just dabble with sounds until something starts to happen that suggests a texture.” When the sound texture evokes a memory or emotion that impression then takes over in guiding the process.
3. Deliberate limitations. Before a project begins, develop specific limitations. Eno’s example: “this piece is going to be three minutes and nineteen seconds long and it’s going to have changes here, here and here, and there’s going to be a convolution of events here, and there’s going to be a very fast rhythm here with a very slow moving part over the top of it.”
4. Opposing forces. Sometimes it’s best to generate a forced collision of ideas. Eno would “gather together a group of musicians who wouldn’t normally work together.” Dissimilar background and approaches can often evoke fresh thinking.
5. Creative prompts. In the ‘70s Eno developed his Oblique Strategies cards, a series of prompts modeled after the I Ching to disrupt the process and encourage a new way of encountering a creative problem. On the cards are statements and questions like: “Would anybody want it?” “Try faking it!” “Only a part, not the whole.” “Work at a different speed.” “Disconnect from desire.” “Turn it upside down.” “Use an old idea.” These prompts are a method of generating specifics, which most creatives respond favorably to.
- Brian Eno Oblique Strategies (itsnicethat.com)
- Listen: New Brian Eno Non-Album Track (pitchfork.com)
- Genius at work (theage.com.au)
- Brian Eno Readies New Collaborative Album (pitchfork.com)
I spent a good portion of Monday at the latest edition of the SF Music Tech Summit. My name tag this time said “SF Weekly” instead of “Deciphering Culture” (I asked for dual identification) so a lot of people buttonholed me to get coverage for a new service. Not surprisingly, most of them fell into the “recommendation and discovery” segment although none of the pitches left me convinced of the efficacy of any of the new spins on the work of the established players. Also, not surprisingly my blog post for SF Weekly’s All Shook Down blog focused on a SRO panel that featured some of the heavy hitters in R & D. The relevant excerpt below.
S.F. MusicTech Summit: How Do Listeners Want to Discover New Music?@ All Shook Down
- by Jeffrey Callen on 5/10/11 @ 7:29 pm
….The standing-room-only “Recommendation & Discovery” panel offered one of the more interesting glimpses into the internal logic of the music industry machine. Chaired by Kevin Arnold of IODA (also creator of S.F.’s annual Noise Pop festival), the panel brought together some of the heavy hitters in the music search business, including MOG, Rovi Corporation, The Filter (a Peter Gabriel brainchild), and Slacker.
An interesting discussion on the nuts-and-bolts of music recommendation and discovery services offered some contradictory food for thought. Music consumers looking for recommendations “prefer a man-to-machine to a man-to-man relationship” (David Hyman of MOG), and if you focus on personalized user specs, you get information that is increasingly “granular” (David Roberts of The Filter). Yet R & D is a “human-centric task,” said Adam Powers of Rovi. Powers also asserted that when Rovi, a giant in the R&D world, was looking at other companies to acquire, it found 250 that thought they had R&D nailed. But from the number of R&D company reps in attendance at the SF Music Tech Summit, it seems that either that news hasn’t gotten out, or nobody’s actually nailed it.
- by Jeffrey Callen on 5/10/11 @ 7:29 pm
- Latest Rovi Moves Establish Consumer Presence (paidcontent.org)
- MOG To Go Freemium as Streaming Music From Apple & Google Looms (fakeiitian.com)
- Google tweaks Android Market to make app discovery easier (reviews.cnet.com)
- Google Retools Android Market for Better App Discovery (phonescoop.com)
- Headliner.fm + SoundCloud = artists reaching new fans (news.cnet.com)
- Music Hunter: Intelligent Music Discovery For iPad (macstories.net)
- Internet Radio’s MOG to Add Free Tier to Service (siriusbuzz.com)
- How We Got 150k Users In 3 Days (discovrmusic.com)
I must admit that I am not a big fan of folkloric performances. Straddling the gap between “traditional” and “popular” entertainment is difficult and the more context you strip away, the more difficult it becomes. Of courses the very effort to do so creates the gap. This dilemma came up for me last week when I sat down to write a preview of the upcoming appearance of the legendary Cuban folkloric troupe Los Muñequitos de Matanzas at Mission High School in San Francisco on April 4, 2011.be. With only a cd and some less than satisfying videos to work with, it was hard to get a real feel for their live performance. What I came up with began as a riff on the multi-sensual nature of the musical experience:
By Jeffrey Callen Wednesday, Mar 30 2011
Music is a multisensual experience. Putting aside synesthesia — a rare condition in which what a person experiences in one sensory realm (like seeing) activates a second sensory realm (like hearing) — musical performances are most fully experienced when they are heard, seen, felt, and moved to in a communal space. Recorded music is great — how else could you listen to metal or a symphony while driving your car? — but you shouldn’t forget that the multisensual experience of live music is something special. For some styles of music, it is essential. This digression is by way of encouraging you to see the legendary Cuban ensemble Los Muñequitos de Matanzas when they perform this week at Mission High School.
Previewing Los Muñequitos de Matanzas’ 2007Grammy-nominated album Tambor de Fuego during a car trip last week, I realized the necessity of hearing this music live. Deprived of the visual elements and unable to move freely, I was struck by the seeming sameness of the tracks. An archetypal rumba pattern on claves (a pair of wooden sticks) sets the beat. A male vocalist then establishes the primary melody of the piece, supported by the pattern of interlocking rhythms set by the drummers on the quinto (a high-pitched conga — the lead drum), and two or more tumbadores (low-pitched congas). (to read the rest…)
Late night in the Mission, the class begins with the sound of kirtans accompanied by slowly pumped chords on the harmonium. The class members respond hesitantly, repeating back the unfamiliar sounds chanted by the teacher. The call-and-response chanting subsides and the teacher announces the first asana as tinkling sounds from a kora replace the languid chords of the harmonium. For the next two hours, the class moves forward with the musical accompaniment of the kora and manipulations of its sounds through a small array of electronic devices. It’s not the background music typically heard in an American yoga studio, but it’s not quite foreground either. Solidly in the middle, it works sometimes, fitting perfectly with the slow movements; other times, it seems distracting, an extraneous element unconnected to the physical activity.
Every Friday night since October 2007, the Midnight Yoga class at Laughing Lotus Yoga Center in San Francisco’s Mission district has offered live music as accompaniment to yoga. Developed by the yoga center’s parent studio in New York City, the class features various genres and musical configurations: kora and electronics; freestyle guitar, bass, and keys; cello, voice, loops, and percussion toys. Yael Kievsky, who has taught the class since December, says that live music to accompany yoga is simply an extension of the use of taped music as background that has been a part of yoga classes in the United States for decades.
But the addition of live music changes things: The class becomes an event — a “full-on experience”… (to read more go to East Bay Express)
After a minor medical emergency and a ridiculously busy week, I am back to my major endeavor for the month of March, rewriting the first chapter of my manuscript on Moroccan alternative music. It opens with a musical vignette that introduces the music, sets the scene and sets up the theoretical framework for the book. It’s a tricky section to write: writing about music is always tricky. Attempting to capture a primarily aural experience in print is an exercise in capturing lightning in a bottle, especially if you are writing for an academic audience. Too often “serious” writing on music loses the immediacy of the musical experience in overly careful prose designed to maintain some misguided allegiance to accurate representation — misguided because losing the truth of an experience is a high price to pay for obsequious fealty to maintaining the real. And is it a choice we have to make? This is one area where ethnographic fiction opens up possibilities that call out for exploration and new sources of inspiration.
Some the best writing on music is found in fiction and James Baldwin’s work abounds in striking descriptions of musical experience. The following excerpt is from his story “Sonny’s Blues” (an extended excerpt is featured in the Sun magazine this month).
all i know about music is that not many people ever really hear it. and even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. but the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. what is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. and his triumph, when he triumphs, is ours. i just watched sonny’s face. his face was troubled, he was working hard, but he wasn’t with it. and i had the feeling that, in a way, everyone on the bandstand was waiting for him, both waiting for him and pushing him along. but as i began to watch creole, i realized that it was creole who held them all back. he had them on a short rein. up there, keeping the beat with his whole body, wailing on the fiddle, with his eyes half closed, he was listening to everything, but he was listening to sonny. he was having a dialogue with sonny. he wanted sonny to leave the shoreline and strike out for the deep water. he was sonny’s witness that deep water and drowning were not the same thing-he had been there, and he knew. and he wanted sonny to know. he was waiting for sonny to do the things on the keys which would let creole know that sonny was in the water.
and, while creole listened, sonny moved, deep within, exactly like someone in torment. i had never before thought of how awful the relationship must be between the musician and his instrument. he has to fill it, this instrument, with the breath of life, his own. he has to make it do what he wants it to do. and a piano is just a piano. it’s made out of so much wood and wires and little hammers and big ones, and ivory. while there’s only so much you can do with it, the only way to find this out is to try; to try and make it do everything.
and sonny hadn’t been near a piano for over a year. and he wasn’t on much better terms with his life, not the life that stretched before him now. he and the piano stammered, started one way, got scared, stopped; started another way, panicked, marked time, started again; then seemed to have found a direction, panicked again, got stuck. and the face i saw on sonny i’d never seen before. everything had been burned out of it, and, at the same time, things usually hidden were being burned in, by the fire and fury of the battle which was occurring in him up there.
- HW Pick: James Arthur Baldwin (harlemworldblog.wordpress.com)
- Poetry Analysis:Langston Hughes’s “The Weary Blues” (brighthub.com)
Most of the members of Staff Benda Billi, a pop band from Kinshasa (Congo), are homeless polio victims who live in or around Kinshasa’s zoo. The founders of the band formed the ensemble because other local musicians refused to play with them. The membership of the band soon was supplemented by street kids, including an 18 year-old boy who plays guitar-like solos on an electrified one-stringed lute he fashioned from a tin can. In the last few years, Staff Benda Billi has found success at home and abroad with successful albums and now a documentary Benda Bilili, which debuted at Cannes this week. Check out the review of the film by Will Gompertz of the BBC:
Cannes: There are over 1,000 films at this year’s Cannes Film Festival, which means it’s horribly possible to spend your entire time watching duds. Cannes is a game of chance; we hacks are like metal detector enthusiasts who go out each weekend with hopes of finding treasure but know the odds are stacked against them.
Well, on Thursday, just 24 hours after the festival opened, I struck gold.
It was in the relative backwater of the Director’s Fortnight that I stumbled on a French documentary called Benda Bilili. It opens with a middle-aged man with polio dancing on a dusty street in the Congolese city of Kinshasa.
The story then moves onto its main subject: a group of musicians that goes by the name of Staff Benda Bilili. The words “benda bilili” mean “beyond appearances”; for this band of brothers, it’s a statement with profound meaning.
The group’s original core is made up of three paraplegic middle-aged street-dwellers who live in cardboard boxes in this lawless city and stay sane by making music. They are joined by a 12-year-old drummer and by Roger, a 13-year-old runaway who makes music by connecting a tin can to a stick with a piece of nylon. (to read the rest, click here)