Flaskaland
Friday, April 04, 2008
I missed reading "Considerable Sounds: The Music That Matters" when it first appeared on Duly Considered.
Here's the opener:
"Molecular Mysticism and The Music of the Spheres
The musician integrates into the social fabric, but is not of it. Art simply does not exist unassailed by social forces and the material world. One must turn inward in a process that is both personal and universal, emerging in the end outwardly via art. Music requires that it's performer be completely centered, concurrently maintaining a delicate balance between self and selfless. These concepts are not mutually exclusive. There are direct parallels between the story of the Zen Archer and the musician. One must know, exactly who and where one is in the cosmogony, have accumulated a vast array of cognitive content, and honed variety of techniques and resources. Yet the creation of art then requires abandonment of all of this to the moment. The finest musicians serve the music. The essential musician becomes the music."
DC Music Editor Benjamin New then goes on a wild solo, contemplating the zen of archery, easing into a sonic reference to "Music Matters", and creating a grand burning finale comprised of Frank Zappa, the Plastic People, Lou Reed, Vaclav Havel, and a NY show with Gary Lucas. I'd read Gary's account of that show when he first posted it and was happy to find this reference to help prove all that music is still living and breathing and echoing around in people's memories.
Considerable Sounds ... czech it out! And, gentle reader, please overlook a coupla typos in the interest of passion. ¶ 4/04/2008 08:06:00 PM
Here's the opener:
"Molecular Mysticism and The Music of the Spheres
The musician integrates into the social fabric, but is not of it. Art simply does not exist unassailed by social forces and the material world. One must turn inward in a process that is both personal and universal, emerging in the end outwardly via art. Music requires that it's performer be completely centered, concurrently maintaining a delicate balance between self and selfless. These concepts are not mutually exclusive. There are direct parallels between the story of the Zen Archer and the musician. One must know, exactly who and where one is in the cosmogony, have accumulated a vast array of cognitive content, and honed variety of techniques and resources. Yet the creation of art then requires abandonment of all of this to the moment. The finest musicians serve the music. The essential musician becomes the music."
DC Music Editor Benjamin New then goes on a wild solo, contemplating the zen of archery, easing into a sonic reference to "Music Matters", and creating a grand burning finale comprised of Frank Zappa, the Plastic People, Lou Reed, Vaclav Havel, and a NY show with Gary Lucas. I'd read Gary's account of that show when he first posted it and was happy to find this reference to help prove all that music is still living and breathing and echoing around in people's memories.
Considerable Sounds ... czech it out! And, gentle reader, please overlook a coupla typos in the interest of passion. ¶ 4/04/2008 08:06:00 PM
Hey, kids, what time is it?
It's time for EMP!
EMP's Pop Conference: A lot of talk about music
By Patrick MacDonald
Seattle Times music critic
Event preview
2008 Pop Conference: "Shake, Rattle: Music, Conflict and Change"
Thursday-April 13, Experience Music Project, Seattle Center; free (preregistration recommended: 206-770-2745 or e-mail to PopConference Registration@empsfm.org).
If writing about music is like dancing about architecture, as the old saw goes, then talking about music, at an academic level, can really be a stretch.
At Experience Music Project's annual Pop Conference, now in its seventh year, the presentations can go from fascinating and enlightening to pretentious and boring, as well as several levels in between. Sometimes you get the feeling that those who yammer endlessly about music don't really like it, don't seem to get pleasure or insight from it, but rather yearn to examine it, pull it apart, try to understand what others find in the musical experience.
Other times, you encounter a writer or scholar full of enthusiasm and ideas, one who makes listening to music richer because you understand and appreciate it better.
And the best thing about EMP's Pop Conference is that it's free. You can browse among the many offerings — some 40 sessions and panels, with more than 160 presenters reading their papers — and take 'em or leave 'em, never feeling that time or money has been wasted (and there's always the museum to explore for the general admission fee).
As with many contemporary academic pursuits, gender, politics and ethnicity are big at this year's conference. The theme is "Shake, Rattle: Music, Conflict and Change." That takes in a lot of territory. Several panels are connected to one of the museum's current exhibits, "American Sabor: Latinos in U.S. Popular Music." Hip-hop is, of course, well-represented, including a performance by Blue Scholars. Several panels deal with music in time of war.
Last year's conference resulted in the book "Listen Again: A Momentary History of Pop Music," published by Duke University Press. One fascinating aspect of the conference is that you learn how many scholars are out there in academia seriously studying pop music. (At the conference, I often hear Mick Jagger in my head, singing "It's only rock 'n' roll ... ").
For the latest information about the conference schedule, visit EMP online: www.empsfm.org/education.
Patrick MacDonald: 206-464-2312 or pmacdonald@seattletimes.com
Copyright © 2008 The Seattle Times Company ¶ 4/04/2008 03:31:00 PM
It's time for EMP!
EMP's Pop Conference: A lot of talk about music
By Patrick MacDonald
Seattle Times music critic
Event preview
2008 Pop Conference: "Shake, Rattle: Music, Conflict and Change"
Thursday-April 13, Experience Music Project, Seattle Center; free (preregistration recommended: 206-770-2745 or e-mail to PopConference Registration@empsfm.org).
If writing about music is like dancing about architecture, as the old saw goes, then talking about music, at an academic level, can really be a stretch.
At Experience Music Project's annual Pop Conference, now in its seventh year, the presentations can go from fascinating and enlightening to pretentious and boring, as well as several levels in between. Sometimes you get the feeling that those who yammer endlessly about music don't really like it, don't seem to get pleasure or insight from it, but rather yearn to examine it, pull it apart, try to understand what others find in the musical experience.
Other times, you encounter a writer or scholar full of enthusiasm and ideas, one who makes listening to music richer because you understand and appreciate it better.
And the best thing about EMP's Pop Conference is that it's free. You can browse among the many offerings — some 40 sessions and panels, with more than 160 presenters reading their papers — and take 'em or leave 'em, never feeling that time or money has been wasted (and there's always the museum to explore for the general admission fee).
As with many contemporary academic pursuits, gender, politics and ethnicity are big at this year's conference. The theme is "Shake, Rattle: Music, Conflict and Change." That takes in a lot of territory. Several panels are connected to one of the museum's current exhibits, "American Sabor: Latinos in U.S. Popular Music." Hip-hop is, of course, well-represented, including a performance by Blue Scholars. Several panels deal with music in time of war.
Last year's conference resulted in the book "Listen Again: A Momentary History of Pop Music," published by Duke University Press. One fascinating aspect of the conference is that you learn how many scholars are out there in academia seriously studying pop music. (At the conference, I often hear Mick Jagger in my head, singing "It's only rock 'n' roll ... ").
For the latest information about the conference schedule, visit EMP online: www.empsfm.org/education.
Patrick MacDonald: 206-464-2312 or pmacdonald@seattletimes.com
Copyright © 2008 The Seattle Times Company ¶ 4/04/2008 03:31:00 PM
Thanks to Dave Marsh and the fine folks at www.rockrap.com, got a movie for you today ... They want to know ...
Who owns what? What is the purpose of copyright? What is the purpose of music?
Good Copy Bad Copy is a 58 minute 2007 Danish film (in English) which explores, worldwide, how corporations, lawyers, artists, DJs, and fans are using or ignoring copyright. Filming was done in the U.S., Sweden, Nigeria, Brazil, England, and Russia. It's very well made and blasts out a wild ride of ideas and music.
Watch it at http://nofilmschool.com/2008/03/seen-good-copy-bad-copy/
The cast of characters who appear in one form or another include:
The Beatles
Jay-Z
Publishers
Lawyers
NWA
George Clinton
DJs
MPAA, IFPI
Producers
Danger Mouse
Dancers
U.S. Congress
In a world where 3 billion people live on less than $2 a day, do we need a new business model or a new model for society?
Let the music play. ¶ 4/04/2008 03:15:00 PM
Who owns what? What is the purpose of copyright? What is the purpose of music?
Good Copy Bad Copy is a 58 minute 2007 Danish film (in English) which explores, worldwide, how corporations, lawyers, artists, DJs, and fans are using or ignoring copyright. Filming was done in the U.S., Sweden, Nigeria, Brazil, England, and Russia. It's very well made and blasts out a wild ride of ideas and music.
Watch it at http://nofilmschool.com/2008/03/seen-good-copy-bad-copy/
The cast of characters who appear in one form or another include:
The Beatles
Jay-Z
Publishers
Lawyers
NWA
George Clinton
DJs
MPAA, IFPI
Producers
Danger Mouse
Dancers
U.S. Congress
In a world where 3 billion people live on less than $2 a day, do we need a new business model or a new model for society?
Let the music play. ¶ 4/04/2008 03:15:00 PM
