Sound // Technology // Politics //
And, man, do they sound awesome! I am incredibly thankful for their time working on this piece. They are really bringing it to life!
September, 20, 2013, 7:30pm
Greenwich House Music School
46 Barrow Street
New York, NY
$15 regular/$10 student
Performing works by Eric Lemmon, Alex Weiser, Florent Ghys, and Caleb Burhans as part of a fundraising concert for their 2013-14 season.
Deborah speaks of the “momentum” of the music in its very structure. A piece of music is not a mere sequence of notes, but a tightly organized organic whole. Every bar, every phrase, arises organically from what preceded it and points to what will follow. Dynamism is built into the nature of melody. And over and above this, there is the intentionality of the composer, the style, the order, and the logic which he has created to express his musical ideas and feelings. These, too, are present in every bar and phrase
Very nice! Even in process based music (like totally integrated, or chance music), we humans relate everything we hear to occurrences before and then project those expectations into the future. Sacks rightly cites David Huron’s book Sweet Expectations near by.
We are a linguistic species—we turn to language to express whatever we are thinking, and it is usually there for us instantly. But for those with aphasia, the inability to communicate verbally may be almost unbearably frustrating and isolating; to make matters worse, they are often treated by others as idiots, almost as nonpersons, because they cannot speak. Much of this can change with the discovery that such patients can sing–sing not only tunes, but the words of operas, hymns, or songs. Suddenly their disability, their cut-offness, seems much less–and though singing is no propositional communication, it is a very basic existential communication. It not only says, “I am alive, I am here,” but may express thoughts and feelings that cannot be expressed, at this point, by speech…
I love this excerpt. The quote, “It not only says, ‘I am alive, I am here,’ but may express thoughts and feelings that cannot be expressed, at this point, by speech…”, is a stunning way of describing not only how music affects these people with aphasia, but how music affects us all.
Sacks, O. W. (2007). Musicophilia: Tales of music and the brain. New York: Alfred A. Knopf.
Performing works by Eric Lemmon, Alex Weiser, Florent Ghys, and Caleb Burhans as part of a fundraising concert for our 2013-14 season.
Greenwich House Music School
46 Barrow Street
New York, NY
$15 regular/$10 student
I am finally working my way through Musicophilia by Oliver Sacks, about four years after I received the book as a gift. While the reading is mostly anecdotal, there are also some general ideas that I find are spot on and others that are wildly inaccurate. I’ll start with the end of the opening chapter of Part II in the book as an example of something beautifully stated.
The examples of George and Cordelia introduce a theme that will be echoed and explored in many of the clinical case histories that follow: that what one calls musicality comprises a great range of skills and receptivities, from the most elementary perceptions of pitch and tempo to the highest aspects of musical intelligence and sensibility, and that, in principle, all of these are dissociable one from another. All of us, indeed, are stronger in some aspects of musicality, weaker in others, and have some kinship to both Cordelia and George.
Sacks, Oliver. Musicophilia. Vintage Books. New York. 2008. Page 104.
As a performer, this quote is displayed day after day, sitting in colloquiums or performance classes in school, or even in a section of an orchestra. All of these highly trained and hard working people have strengths and weaknesses to their musicality. For example, one may be stunningly coordinated with their playing, but flat and uncaring with their sound, while another might have a rich, deep tone, but be unable to sight read at all.
On the other hand, in the very first page of the Preface, Sacks makes a statement that many theorists would certainly disagree with, and even fellow scientists in his field have conducted research on and found the opposite of his claim.
[Music] has no concepts, makes no propositions; it lacks images, symbols, the stuff of language. It has no power of representation. It has no relation to the world.
Ibid. Page ix.
In Aniruddh Patel’s Music, Language and the Brain, Patel devotes a significant section of the book to discussing how leitmotifs in Wagner’s Tristain und Isolde act as referential objects to characters and The Potion, essentially become specific musical symbols. The crazy thing is that Sacks has read this book and at the very least did not take the time to correct his preface in later editions.
This idea goes beyond Wagner’s attachment of leitmotifs to characters or abstract psychological concepts in his operas though, in that music can, and has referenced specific objects that are not ‘generated’ through a composer’s imagination. In Copland’s music, woodblocks are frequently used to recall and imitate a horse’s gallop, in such a way that is unmistakeable for individuals who’ve heard horses gallop and have been steeped in the ontology of ‘Americana’. For these listeners, the music does recall a specific image! Exactly the opposite of what Sacks posits in his book.
Of course there is a little philosophical issue called the intentional fallacy that impedes absolute certainty of reference in our non-discursive language of music. But music being referential as opposed to absolute is an important part of our experience. Tone poems by Strauss and Liszt wouldn’t have quite the same meaning if Don Juans weren’t romping about in our ears.
I performed in this concert as part of Trevor New’s and Bryan Reeder’s String Quartet/Piano Quintet. Check it out here, applicable quotes below:
The evening kicked off with Trevor New’s “Sloan”, a piece written for string quartet, with a viola soloist. The strikingly surreal and melancholic viola melodies were complemented by a crescendo of rising and uplifting pulses that evolved into a sad and beautiful harmony. “Sloan”, which featured some ambient bow noise and pizzicato violin, elegantly combined influences that spanned several centuries. The inclusion of an electric bass was a unique addition to the traditional string quartet.
…
Bryan Reeder’s “Piano Quintet” was an impressive piano piece that featured a string quartet. Reeder conducted his own piece, the complexity of which was apparent in Schoenberg-like leaps in melody and dynamics. The string quartet held together a tight and cohesive ambience, while the piano interlude featured the sparse, spacious, subtle dissonances that gave the composition it’s own distinct flavor.
Aleatoric, in the ‘rationalists’ usage, means dependent on chance or, in the usage of the advocates of New Music, set free from the ‘subject’.
Here the subject is clearly meant to be the composer’s ‘ego’.
But even if the ‘integral rationalisation’ succeeds and everything is ‘calculated’ in advance down to the last detail, there must be a ‘subject’ to do the calculations. Even the most formidable electronic computer can only calculate what a man gives it to calculate.
Krenek, E. (1966). Exploring music; essays. New York: October House.
Fantastic observation! Even in totally serial music, indeterminate music and chance music, the ego of the composer cannot be removed because the subject is still making choices about the process! What question we ask as composers immediately limits the answers we will receive.
Aleatoric, in the ‘rationalists’ usage, means dependent on chance or, in the usage of the advocates of New Music, set free from the ‘subject’.
Here the subject is clearly meant to be the composer’s ‘ego’.
But even if the ‘integral rationalisation’ succeeds and everything is ‘calculated’ in advance down to the last detail, there must be a ‘subject’ to do the calculations. Even the most formidable electronic computer can only calculate what a man gives it to calculate.
Krenek, E. (1966). Exploring music; essays. New York: October House.
Fantastic observation! Even in totally serial music, indeterminate music and chance music, the ego of the composer cannot removed because the subject is still making choices about the process! What question we ask as composers immediately limits the answers we will receive.
