12/3/14

Richard Kessler, Mannes, and New Music Curricula (I)

It always gets my attention when I learn about shakers and movers who are dragging music curricula (kicking and screaming or otherwise) into the current decade, century, and millennium. Richard Kessler at Mannes in NYC is one of them.

I’m grateful to my friend and improv buddy Lin Foulk (horn prof at Western Michigan U) for pointing out the follow article (which you should definitely read):

http://musicschoolcentral.com/one-nyc-music-school-changing-future-music-education/

11/28/14

CMS Study on Undergrad Music Major Curriculum – Highlights I

The College Music Society (CMS), under the leadership of President Patricia Shehan Campbell recently issued a “Report of the Task Force on the Undergraduate Music Major” (TFUMM): “Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors.”

We all should read the entire document, but it’s too long to be quoted here. Following are some key sentences that caught my eye:

The task force convened to consider “what it means to be an educated musician in the 21st Century.”

Despite repeated calls for change to assure the relevance of curricular content and skill development to music outside the academy, the academy has remained isolated, resistant to change, and too frequently regressive rather than progressive in its approach to undergraduate education.

Continue reading

10/29/14

Classical Improv Jam 3 – Pulsed Drone (video)

Third in a series of duo improvisation videos that illustrate improv games from Improvisation Games for Classical Musicians.

05/18/14

Byrne Quote #2

Phonographs

 (Photo credit: trp0)

p. 290 (Ch. 9 – Amateurs): In his book Capturing Sound: How Technology Has Changed Music, Mark Katz explains that prior to 1900, the aim of music education “was to teach students how to make make music.” The advent of the record player and recorded music in the early 20th century changed all that.

p. 291 In the modern age, though, people have come to feel that art and music are the product of individual effort rather than something that emerges from a community. … We often think that we can, and even must, rely on blessed individuals to lead us to some new place, to grace us with their insight and creation – and naturally that person is never us.

…The rise of commercially made recordings accelerated a huge shift in attitudes. Their promulgation meant that the more cosmopolitan music of folks who lived in the big cities (the music of professionals), and even the professional musicians in far-off countries could now be heard everywhere. Amateurs and local music makers music have been somewhere intimidated.

Enhanced by Zemanta
05/17/14

Byrne’s Book – How Music Works – Quote #1

English: David Byrne playing at Austin City Li...

English: David Byrne playing at Austin City Limits 2008 (Photo credit: Wikipedia)

I’ve been reading a fascinating book by Talking Heads star David Byrne: How Music Works. 358 thoughtfully written and researched pages, plus Acknowledgements, Footnotes, Suggested Readings, and Discography. Byrne has done his homework and writes engagingly about the creation of music, both his own and about many styles and genres, including pop and classical. I like the book so much that I have made it a required text for my fall course for non majors, Creativity in Music (i.e. where music comes from: improvisation and composition). I want to share in successive quotes some of Byrne’s thoughts on the subject. Here’s the first one, from Chapter Nine, Amateurs!
Continue reading

04/17/14

On the Road Again; KYMA

Music Auditorium in ASU Tempe campus

Music Auditorium in ASU Tempe campus (Photo credit: Wikipedia)

Last week was very busy; I gave lectures, presentations, and led improv games at the Arizona State University (John Ericson was the perfect host), then came back home (after a lot of airline delays) to segue into a tour with the Iowa Brass Quintet in Iowa, Wisconsin, and Illinois (no improv there, unless you count the little jazz cadenza I got to do in our Porgy and Bess medley). Then came a three-day residency at the University of North Dakota (which still has huge piles of snow…) where I did in equal measure brass and improv workshops and presentations. Great people there, great attitudes – lots of new BFFs. Many thanks to my wonderful UND host, Kayla Nelson.

I got to do two improv concerts. The first one was partly based around something new to me. Dr. Mike Witgraaf had me play into a microphone; then he processed the sound with a software program (KYMA) and effected further changes using two hand-held Wii (the game) controllers via Bluetooth. The result was played through speakers, which mixed with my live sound. You can listen to the results here

 

1 http://youtu.be/k4F-ELZD4Yo  4:05

2 http://youtu.be/NwRogbxIbyM   4:07

3 http://youtu.be/lFBQV7wQXsI   5:59

4 http://youtu.be/sRMazAfJVeM   4:53

Seal of the University of North Dakota

The second concert was also a lot of fun. I started off with a Daily Arkady (just start playing and see what happens). Then came an improv trio – me, Jim Popejoy on vibes, and a student djembe player (her name escapes me now to my great embarrassment, but she played wonderfully). We just did the classical improv thing – start playing, listen to each other, adjust/adapt to have a balance of unity and variety (the predictable and the unpredictable). Man, that was fun. We finished up with a Soundpainting. The ensemble had just learned about 30 or so SP gestures earlier in the day, but they did terrific on such short notice.

Enhanced by Zemanta
01/29/14

Improv Class #3, Spring 2014

Cover of "Free Play: Improvisation in Lif...

In the third improv (regular readers of this blog know that I mean classical improv, not jazz improv, not theatrical improv, and that by classical improv I don’t mean improvising as they did in the Classical Era, I mean improvising with your own voice as a classical musician) class, we did a review of the last session – using sticks (on cardboard, on padded chairs, on notebooks, etc.) to acquire basic skills in control – steady pulse, adding accents (duple, triple, clave), dynamics, basic rhythms, free mix-and-match, density (from lots of notes to lots of rests), imitate (what you hear others play), add multiple timbres (hit something different to get a different color). It is a lot of variables when you add them all up when we get to the free play sessions, but they did well. We stressed that the most important part of this is listening. It’s great to add variety to your free sticking, but listen to the group: imitate the ideas of others and stick (pun intended) to the beat; if you hear the group getting ragged, simplify, go back to the steady 8th notes without an accent. Listen to yourself; continually adjust, adapt, and (re)calibrate. It’s easy to feel like you are riding an effortless, continuous stream of notes, but we need to stay alert to what is happening every second and make micro-adjustments. Paying attention is important. Don’t let the brain turn dull as soon as it perceives a pattern (e.g. regular sticking) and fall asleep.

Although we haven’t officially gotten into it yet, I added some Soundpainting (see www.soundpainting.com) gestures that seemed appropriate: the Density Fader, Volume Fader, Finish Your Idea, Exit.

Continue reading