Hoday,
I'd like to elaborate more on the previous two blogs. I don't intend to be disrespectful to the great composers of our past. I just want to be disrespectful to those who think their music, no matter what level of composition, is original. To think that music today is original is arrogant. So why should anyone continue to compose? Well, there is an outside chance that you can come up with something never done before. Anything can happen.
Let the young have their opportunity and watch them grow. Let the old continue to try. Keep trying to improve yourself in whatever it is that you love. But always remember the masters before you that enabled you to do what it is that you do. Study your history, and give the past its unbidden respect.
Later
Saturday, September 15, 2007
Friday, August 31, 2007
BEETHOVEN WAS POISENED?
Hoday,
Recently an article was written stating that Beethoven was poisened. http://www.playbillarts.com/news/article/7003.html
"Christian Reiter, a forensic scientist of the Medical University of Vienna, published his findings last week in The Beethoven Journal, published by San Jose State University's Ira F. Brilliant Center for Beethoven Studies."
I personally believe...that DNA can reveal evidence of lead and other substances in a person, but how can we tell that someone who died 180 years ago died from a slow death of lead poisoning? Did the medical profession in the 1820s have the ability to test for this? Was it documented? Have they tested other remains of the dead buried nearby since most people back then were thrown into a big grave site together - I'm sure this doesn't apply to Beethoven.
The music historians must love this one...proove it wrong, there's no way anything can change Duckles, go get 'em!
Later
Recently an article was written stating that Beethoven was poisened. http://www.playbillarts.com/news/article/7003.html
"Christian Reiter, a forensic scientist of the Medical University of Vienna, published his findings last week in The Beethoven Journal, published by San Jose State University's Ira F. Brilliant Center for Beethoven Studies."
I personally believe...that DNA can reveal evidence of lead and other substances in a person, but how can we tell that someone who died 180 years ago died from a slow death of lead poisoning? Did the medical profession in the 1820s have the ability to test for this? Was it documented? Have they tested other remains of the dead buried nearby since most people back then were thrown into a big grave site together - I'm sure this doesn't apply to Beethoven.
The music historians must love this one...proove it wrong, there's no way anything can change Duckles, go get 'em!
Later
UNLOCKING SECRETS
Hoday,
When it comes to music composition, theres little that can be truly original. Music theory is finite since there are only 12 tones. So how can we arrange those 12 tones to make new sounds? Steal them and re-arrange them!
Igor Stravinsky once said that he stole music from Mozart. He also said that Mozart would have wanted us to steal from him - (Balanchine DVD,D2448) And even though higher education reveals the secrets of music theory, it also reveals the facts that all music has already been written.
Pop music for example, starts on a root chord for 4, 8, 12, or 16 measures then moves to the major 4th in major, or the minor 4th in minor, and stays on the 4th for 4, 8, 12, or 16 measures and then it goes back to the root chord for 4,8,12, or 16 measures again. Sometimes it will go astray to minor 6th chord or even a 2-minor to a 5 chord. Sometimes the minor-2 chord will contain a flat 5, or maybe other altercations, but no matter what extension, it's still the same 2-5-1 movement in theory. Symphony music works the same way, no matter what extension of the chord it's still basically 2-5-1, ABA, ABACA, or ABACABA if it's sonata rondo, or some other extension of theory that has already been tried.
So all music is essentially written and leaves little room for originality. Augmented sixth chords, appogiaturas, escape tones, neighbor tones and groups, pedal points, diatonic seventh chords, neopolitans, and simultaneities, or what ever enharmonic re-interpretation you compose are also extensions of theories already used. So go ahead and analyze your favorite music and alter changes in chord and melody to compose your piece. The late and great Charles Ives even used passages from different composers building blocks of musical statements to make up one large piece (song).
There, now you have it!
Later
When it comes to music composition, theres little that can be truly original. Music theory is finite since there are only 12 tones. So how can we arrange those 12 tones to make new sounds? Steal them and re-arrange them!
Igor Stravinsky once said that he stole music from Mozart. He also said that Mozart would have wanted us to steal from him - (Balanchine DVD,D2448) And even though higher education reveals the secrets of music theory, it also reveals the facts that all music has already been written.
Pop music for example, starts on a root chord for 4, 8, 12, or 16 measures then moves to the major 4th in major, or the minor 4th in minor, and stays on the 4th for 4, 8, 12, or 16 measures and then it goes back to the root chord for 4,8,12, or 16 measures again. Sometimes it will go astray to minor 6th chord or even a 2-minor to a 5 chord. Sometimes the minor-2 chord will contain a flat 5, or maybe other altercations, but no matter what extension, it's still the same 2-5-1 movement in theory. Symphony music works the same way, no matter what extension of the chord it's still basically 2-5-1, ABA, ABACA, or ABACABA if it's sonata rondo, or some other extension of theory that has already been tried.
So all music is essentially written and leaves little room for originality. Augmented sixth chords, appogiaturas, escape tones, neighbor tones and groups, pedal points, diatonic seventh chords, neopolitans, and simultaneities, or what ever enharmonic re-interpretation you compose are also extensions of theories already used. So go ahead and analyze your favorite music and alter changes in chord and melody to compose your piece. The late and great Charles Ives even used passages from different composers building blocks of musical statements to make up one large piece (song).
There, now you have it!
Later
Tuesday, August 21, 2007
PRACTICE ALERT
Hoday,
Stop playing Mustang Sally, Celebrate, Brick House, I like the way you move, etc.
Virtually every night club band shares clones of musicians who play the same material. And it doesn't matter really what style of music we choose as even the symphony is stuck in a rut playing ever popular themes ripped off by John Williams, and others (you know who you are)!
Why, because it's easy to go from one band to another without rehearsing - (ok so the symphony has to rehearse, or should I say re-hash). Some even go as far to say that these are the tunes "people want to hear." Then there's the ever popular, "we have to play these songs so people will dance." Or, we have to play this symphony because people will come to hear it." Stop playing this music, it's boring and insulting. The CSO even went as far as to play Star Trek Movie Themes - which I would have seen but I already know every last note Goldsmith uses and the fact that they could play it only revealed that they too can do it - congrats.
I know music doesn't revolve around me but does anyone remember what it really takes to compose and practice the act until it's ready for the public? The answer is not really, but who has the time? The only problem is that groups who don't rehearse, fail. I don't know about you but I like to perform an act that is ready to perform... And the only key to this musical success is rehearsal. Rehearsal changes the songs and the act. When you make the songs interesting to the band, you make the songs interesting to the public.
Later
Stop playing Mustang Sally, Celebrate, Brick House, I like the way you move, etc.
Virtually every night club band shares clones of musicians who play the same material. And it doesn't matter really what style of music we choose as even the symphony is stuck in a rut playing ever popular themes ripped off by John Williams, and others (you know who you are)!
Why, because it's easy to go from one band to another without rehearsing - (ok so the symphony has to rehearse, or should I say re-hash). Some even go as far to say that these are the tunes "people want to hear." Then there's the ever popular, "we have to play these songs so people will dance." Or, we have to play this symphony because people will come to hear it." Stop playing this music, it's boring and insulting. The CSO even went as far as to play Star Trek Movie Themes - which I would have seen but I already know every last note Goldsmith uses and the fact that they could play it only revealed that they too can do it - congrats.
I know music doesn't revolve around me but does anyone remember what it really takes to compose and practice the act until it's ready for the public? The answer is not really, but who has the time? The only problem is that groups who don't rehearse, fail. I don't know about you but I like to perform an act that is ready to perform... And the only key to this musical success is rehearsal. Rehearsal changes the songs and the act. When you make the songs interesting to the band, you make the songs interesting to the public.
Later
Monday, August 20, 2007
CONTRIFACT
Hoday,
Yes, There is music in everything you do. Walk the down the street and march to a tune you just heard on the radio. Can't figure out how to fix something - so improvise. Have to close an important deal - use past experience. Have to write a paper - collect resource material. Must make a putt - envision.
I guess it's not really all about music but more like using human elements to just figure things out. Improvising, however is a big part of our lives no matter what it is you do. In music, we improvise by using riffs or resources from other songs. Sometimes we actually play other songs within a song - this is what is called Contrifacting.
Take for example, in most 32 bar jazz songs you could play parts of other 32 bar songs that are in the same key and use the same chord changes. The formula is all set up and all you have to do is find one that works. Contrifacting is a great way to improvise and it also pays tribute to past composers in a musical form. Professors and musicians alike will respect those who use their knowledge of music history and implement it into a song.
Some other forms that are good are found within rhythm changes. More on that, next time.
Later,
John
Yes, There is music in everything you do. Walk the down the street and march to a tune you just heard on the radio. Can't figure out how to fix something - so improvise. Have to close an important deal - use past experience. Have to write a paper - collect resource material. Must make a putt - envision.
I guess it's not really all about music but more like using human elements to just figure things out. Improvising, however is a big part of our lives no matter what it is you do. In music, we improvise by using riffs or resources from other songs. Sometimes we actually play other songs within a song - this is what is called Contrifacting.
Take for example, in most 32 bar jazz songs you could play parts of other 32 bar songs that are in the same key and use the same chord changes. The formula is all set up and all you have to do is find one that works. Contrifacting is a great way to improvise and it also pays tribute to past composers in a musical form. Professors and musicians alike will respect those who use their knowledge of music history and implement it into a song.
Some other forms that are good are found within rhythm changes. More on that, next time.
Later,
John
Saturday, August 18, 2007
DEMAND MORE
Hoday,
As students we rely on our institutions for quality education but we most likely don't get it. My most recent experience disappointed me so greatly that I fired them like an incompetent employee.
And the most disappointing factor is that these students didn't even know what they were missing. They think that they're receiving a top-notch education. They would be shocked at the material being taught at other schools.
When I began teaching undergrad music at my graduate school, I was satisfied that my undergrad institution was far superior. This school shortened the weeks per semester quarter and taught the same amount of material used in normal 16 week semesters at most schools. But all this did was cut corners and deprive students from valuable information of the music system. No wonder they don't require their own undergrads take an entrance exam - they could never pass it.
We must demand more from our professors and administration. They have lost touch with the needs of the student, they have lost touch with their purpose as educators, and they are not receptive to criticism. Be careful, what comes around - goes around. I don't know about you but when my employees don't do their job right, they get fired.
I hope that my State College will one day have a graduate program.
Later
As students we rely on our institutions for quality education but we most likely don't get it. My most recent experience disappointed me so greatly that I fired them like an incompetent employee.
And the most disappointing factor is that these students didn't even know what they were missing. They think that they're receiving a top-notch education. They would be shocked at the material being taught at other schools.
When I began teaching undergrad music at my graduate school, I was satisfied that my undergrad institution was far superior. This school shortened the weeks per semester quarter and taught the same amount of material used in normal 16 week semesters at most schools. But all this did was cut corners and deprive students from valuable information of the music system. No wonder they don't require their own undergrads take an entrance exam - they could never pass it.
We must demand more from our professors and administration. They have lost touch with the needs of the student, they have lost touch with their purpose as educators, and they are not receptive to criticism. Be careful, what comes around - goes around. I don't know about you but when my employees don't do their job right, they get fired.
I hope that my State College will one day have a graduate program.
Later
Friday, August 10, 2007
TAKE A BREAK
Hoday,
There can come a point in time when you just have to step away from a career, especially when things are not working out the way you want. Is it wrong to step away? Perhaps it's ok if you have more than one career from which can choose.
The keys are to find more than one thing in your life that you love. Stay true to yourself and stay positive. Never give up on trying to make yourself a better person no matter what you do. And for those who think they are stuck pursuing something because of destiny - think again. There's always more than one thing you can be great at if you're willing to practice and persevere.
You'll never forget the things you learned in the past, and you'll only get stronger as a person. Don't live your life only to end up not doing something you wanted to do because you were scared of the future, or scared of failure, or just plain scared. Life's too short. Find a way to change. Research it, practice it, organize assignments to achieve, practice some more, and when the opportunity comes your way - you'll be ready.
Later,
John
There can come a point in time when you just have to step away from a career, especially when things are not working out the way you want. Is it wrong to step away? Perhaps it's ok if you have more than one career from which can choose.
The keys are to find more than one thing in your life that you love. Stay true to yourself and stay positive. Never give up on trying to make yourself a better person no matter what you do. And for those who think they are stuck pursuing something because of destiny - think again. There's always more than one thing you can be great at if you're willing to practice and persevere.
You'll never forget the things you learned in the past, and you'll only get stronger as a person. Don't live your life only to end up not doing something you wanted to do because you were scared of the future, or scared of failure, or just plain scared. Life's too short. Find a way to change. Research it, practice it, organize assignments to achieve, practice some more, and when the opportunity comes your way - you'll be ready.
Later,
John
Wednesday, August 8, 2007
REAL WORLD
Hoday!
I have a beef with the higher education system.
If you're a graduate of a college such as DU or CU here in the Denver Metro area, you're exempt from taking entrance exams to enter their graduate degree programs. But if you graduate from another college, and want to attend their college, then you must take their entrance exams.
I graduated and I have the degree that proves I know the material. So why do grad students from other schools have to take entrance exams when their own students do not? Money? Perhaps it would prove embarrassing, and in some cases, down-right shameful if their own students couldn't pass the material they learned during undergrad studies - but then again they should know because obviously they received the degree - so why not test everyone, scared?
Later
I have a beef with the higher education system.
If you're a graduate of a college such as DU or CU here in the Denver Metro area, you're exempt from taking entrance exams to enter their graduate degree programs. But if you graduate from another college, and want to attend their college, then you must take their entrance exams.
I graduated and I have the degree that proves I know the material. So why do grad students from other schools have to take entrance exams when their own students do not? Money? Perhaps it would prove embarrassing, and in some cases, down-right shameful if their own students couldn't pass the material they learned during undergrad studies - but then again they should know because obviously they received the degree - so why not test everyone, scared?
Later
Friday, April 6, 2007
NEVER GIVE UP
Hoday,
As a music composer what do you do when you find yourself finished with your long or short term educational goals? What do you do when you start over again and again and again?
Well, the first thing is to evaluate yourself as a musician. Are you happy composing endless arrangements using various augmented sixth chords? Are you happy re-arranging symphonic sounds that were outdated 175 years ago? Although we must study the masters to understand the art and history of music, by the time we fully understand the last 6 periods of music, we're old!
Music today is all ABA or ABACABA form that originated from the Renaissance, to Mozart, to Beethoven, and passed down from there. It's all the same, the average listener just wants a good beat, the younger gens think they own their own originality, the older gens are complacent, ivory towers get taller, and glass ceilings get thicker.
No music is original. We listen to endless arrangements of the 12 bar blues, we hear a continual beat around 4/4 or 12/8 meter (I know, it's not a fraction, shut up), we watch un-educated singers pierce their mutational chink on television variety programs, we play low volume dinners so that people can talk, and we play for free because some young artist is playing for free at the local bar.
So what will you do? Try to get your symphony played? Try to record your great new stuff and sell it to a record company? Have your compositions played by local professors at some church or half-filled auditoriums? Teach? Perform? Play Golf?
Later,
John
As a music composer what do you do when you find yourself finished with your long or short term educational goals? What do you do when you start over again and again and again?
Well, the first thing is to evaluate yourself as a musician. Are you happy composing endless arrangements using various augmented sixth chords? Are you happy re-arranging symphonic sounds that were outdated 175 years ago? Although we must study the masters to understand the art and history of music, by the time we fully understand the last 6 periods of music, we're old!
Music today is all ABA or ABACABA form that originated from the Renaissance, to Mozart, to Beethoven, and passed down from there. It's all the same, the average listener just wants a good beat, the younger gens think they own their own originality, the older gens are complacent, ivory towers get taller, and glass ceilings get thicker.
No music is original. We listen to endless arrangements of the 12 bar blues, we hear a continual beat around 4/4 or 12/8 meter (I know, it's not a fraction, shut up), we watch un-educated singers pierce their mutational chink on television variety programs, we play low volume dinners so that people can talk, and we play for free because some young artist is playing for free at the local bar.
So what will you do? Try to get your symphony played? Try to record your great new stuff and sell it to a record company? Have your compositions played by local professors at some church or half-filled auditoriums? Teach? Perform? Play Golf?
Later,
John
Sunday, April 1, 2007
NAMING MUSIC PERIODS
Hoday Hio,
Every musical era has been given a name by which we can recall its place in time but did that name exist during that period? I mean, did they call it The Time of Antiquity during the time of antiquity? Obviously not, since their name would have occured in their present! Actually we're now in the time of our antiquity 1500-or so-years from now, or are we!
Since we began naming the periods we have stereo typed a perception of what music will sound like even before we hear it. We must, for some reason, be able to determine the time and place the piece was written in human history to truly comprehend it. Do we appreciate it more if we know when it was written and what was going on at that time? Perhaps, but I submit that a beautiful piece of music doesn't have to be recognized by time but by its own arrangement of tones that pleases our individuality.
It seems as though we need a name for every possible permutation of musical style down to the dotted 8th, 16th note. And if we hear some sort of sequence we automatically shut it down as a particular style from the past. It is true that most musical ideas have been thought out by the masters - not Snoop Dog, dig a little deeper and you'll find that Beethoven pretty much put music and its history into perspective.
So where are we and what do we call it? I submit that we're lost for words at this point, we're moving too fast, and we're trying to hard. Why should we call it anything? Why do we need to classify whether it's a symphonic, a cool jazz, or a hip hop piece? Why do we always need to justify its worthiness like our opinion matters? Sometimes I feel like none of us humans know anything when we feel we know everything! However, one thing for sure is that when I finally get my doctorates, I will know everything and you will call me Doctor! Ha!
Stop naming periods, stop comparing, keep composing, keep playing, study your history and maybe we'll come up with something that will stay around for more than 10 weeks on a pop chart. I too, however want music to grow, but I seriously doubt that by the time we notice the growth, someone from the future will be naming it long after we've decomposed! Ouch!
Later!
John
Every musical era has been given a name by which we can recall its place in time but did that name exist during that period? I mean, did they call it The Time of Antiquity during the time of antiquity? Obviously not, since their name would have occured in their present! Actually we're now in the time of our antiquity 1500-or so-years from now, or are we!
Since we began naming the periods we have stereo typed a perception of what music will sound like even before we hear it. We must, for some reason, be able to determine the time and place the piece was written in human history to truly comprehend it. Do we appreciate it more if we know when it was written and what was going on at that time? Perhaps, but I submit that a beautiful piece of music doesn't have to be recognized by time but by its own arrangement of tones that pleases our individuality.
It seems as though we need a name for every possible permutation of musical style down to the dotted 8th, 16th note. And if we hear some sort of sequence we automatically shut it down as a particular style from the past. It is true that most musical ideas have been thought out by the masters - not Snoop Dog, dig a little deeper and you'll find that Beethoven pretty much put music and its history into perspective.
So where are we and what do we call it? I submit that we're lost for words at this point, we're moving too fast, and we're trying to hard. Why should we call it anything? Why do we need to classify whether it's a symphonic, a cool jazz, or a hip hop piece? Why do we always need to justify its worthiness like our opinion matters? Sometimes I feel like none of us humans know anything when we feel we know everything! However, one thing for sure is that when I finally get my doctorates, I will know everything and you will call me Doctor! Ha!
Stop naming periods, stop comparing, keep composing, keep playing, study your history and maybe we'll come up with something that will stay around for more than 10 weeks on a pop chart. I too, however want music to grow, but I seriously doubt that by the time we notice the growth, someone from the future will be naming it long after we've decomposed! Ouch!
Later!
John
Subscribe to:
Posts (Atom)
