Thoughts on Modern Art
May 13, 2009
Charles Veilleux wrote this exclusive article for us. Charles is the owner of Veilleux Fine Art. On May 31, 2009, Veilleux Fine Art transitions into a private artist studio tour business. Charles has owned and operated contemporary art galleries in Santa Fe since 1993.
Thoughts on Modern Art
Art a term that is used so broadly, not to mention Modern Art comes with varied opinions, revised histories finally noting the women artists of history, and many categories. So, were do we begin?
Having worked in the gallery world for 28 years and being an artist myself I am sure that my views are varied further to say the least.
Contemporary Art, also have many definitions, it can quite simply mean living artists. It has also become a term that catches art that usually is not representational. It also can mean artists that push media to the limits presenting them in a new and contemporary way.
So, art in the modern time encompasses so many things which are exciting, challenging, and controversial at times. This art is a deep expression of the artists creating in a world that for lack of a better word currently dwells on the negative which is often the exact opposite of most artists’ works. It is true that many art images are a direct reflection of the times with images that cry out for social change, this can also be noted throughout history during times of war, and crimes against man and nature.
Living and working in the Santa Fe, the second largest art market in the United States, I tend to look at art as beauty, uplifting and inspiring.
With that said, you can see almost anything in Santa Fe; from the roots of the Native American and Spanish history so very rich in the culture here to everything else. Having the only Museum dedicated to a woman artist, Georgia O’Keeffe, to the NM Museum of Art, and the International Folk Art Museum, and the Native American Museum to name just a few of many.
Along side of the museums are over 200 art galleries making Santa Fe an art center of the southwest. We have the pioneer galleries that brought contemporary art to Santa Fe before it was popular here to now having a very large selection of contemporary galleries including Veilleux Fine Art.
Often times I am asked about how to invest in art, or why to collect a certain artist, of do I think it will match the sofa? All good and important questions as you are selecting something very personal for your home or office.
My response is that you should buy art because you love it. All the other factors will work themselves out. If you collect what you love it will go with the sofa and the artist may be a noted artist in history one day. Of course it is always good to know what level an artist is currently, which is often reflected in the pricing of an artist.
Then there is always the current trend in art which seems to be Asian at the moment, so you will see serge of art in American galleries and museums. I often wonder why everyone hops on the band wagon with trendy art. With that said, there is room for all art as it is the creative expression of the artist weather we appreciate it or not. If art provokes emotion that it truly has done its job.
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To the audience of music
February 22, 2009
Gunnar Colding is a former professional cellist who for 25 years has been employed by chamber orchestras as well as symphony orchestras of Sweden. This is an exceptional article he wrote for us.
To the audience of music
There was recently given a concert in New York mainly consisting of works by Mozart. When a soprano afterwards would perform some songs by Webern (music soon a hundred years old but Atonal) the audience BOOED her out! OPUS, the leading musical magazine of Sweden, therefore put the question, why Swedes don’t boo at concerts.
The short answer is simple. They are brought up not to, and whoever violates the pattern therefore risks “making a fool of himself”. The longer answer is somewhat more complicated, but still logic to those who have the energy to look a little deeper into the crystal ball.
All avant-gardists who have advanced to some level live in some kind of symbiosis with the culture knowledgeables of the media. Together they form a hype and a trademark. This trademark is in most cases equivalent to the personal name of “the artist”. After a number of times in the limelight they are suddenly celebrities.
Then it’s especially important to remember, that this celebrity status has only been reached by “State sponsorship” and clever (culture) lobbyists who all pull in the same direction tonally. All this, however, has been done over the heads of the audience, which, at a first night, has no choice but to join in the collective ritual of applauses.
The only alternative would be to boo or to refuse to applaud, that is civil disobedience, which most people lack the civil courage to carry through in for instance a direct transmission. If the audience would be disinterested, it wouldn’t come to a first night at the town concert hall? Oh yes, it certainly would.
The programme committees always place the new work together with great acknowledged music on the same concert. So the audience gets force-fed in the same way as by water chlorination. The audience has no possibility to drop the newwritten piece by going home in advance, although they would want to. For then they would miss also the rest of the repertoire for which they bought an expensive subscription!
Certainly there are many who are curious about “novelties”, but how many would return, if the work is given a second or a third time, to a separate concert, without tickets paid for in advance? If in spite of all the audience would hear this novelty one more time, it would for sure be allocated by quotas by some State financed institution or commission, for instance the music radio channel, only acclaimed by the Modern Music Ghetto people themselves.
Just look at for instance the statistics of the radio Concerts by Request for the last 30 years. In this sole instance, where the audience decides the programme, yours truly can not recall one single Atonal work, although it must have occurred in later years, as a particular exception…
European and especially Swedish musical audiences have thus become reduced to a kind of “cattle voice”, the acclaim of which seldom marks the quality of a piece. The applauses have become more concerned about the celebrated soloist, conductor or symphony orchestra and their performances!
To complete the hypocrisy, all reviewers then write about “standing ovations” and “the critically acclaimed work” etc. etc. Do you think they ever disclose, that the “voluntary” demand in the record shops by the audience is completely absent? All contemporary known composers have lobbyists and pushers everywhere in every single musical institution. Together with the media they constitute today a formidably heavy group.
They have succeeded in the trick of forcing commissioners to also view the matter as an issue of equality between Atonal and Tonal music! At the same time the audience is indirectly accused of being rigid and to have prejudices that have to be broken. So, all natural processes of selection have been eliminated, just like they are in the world of the wars between the sexes by quota allocation.
By this system and evolutionary science, nothing will then be created fit for life. Men and women do have most in common in their constitution and are therefore of equal value as human beings. This is so to say scientifically proved. But it is equally scientifically proved, that the language of the Atonal music has nothing in common with its Tonal counterpart!
Atonal music lacks a grammar understandable to the ear. Therefore everything sounds like undefinable dissonances with no possibility of memorization. Tonal music (pop and classical) on the other hand has a very well defined grammar consisting of major and minor keys, which can be perceived by anyone except the deaf.
In that kind of music both consonance and dissonance are intermixed according to an accepted grammar. In a study from ”Brain – A Journal of Neurology” the researchers even arrived at the conclusion that only brain-damaged people could have preferences for music mainly consisting of dissonances.
Contrary to what avant-gardists with interpretation monopolies advocate, the Tonal music language is neither culturally nor socially determined. Preferences to Tonal music have, hark well, a purely biological explanation in the brain.
This has been easily proved by studies in babies and animals, after which a highly merited fundamental researcher in psychology (Diana Deutsch, USA) proved already in 1983, that not even normal, grown-up musicians’ brains could ”process” Atonal music.
Therefore I hereby nominate the modern “Atonal sect” to one of the most arrogant groups ever within culture.
All necessary research, analysis and background to these claims are presented in the book “Reverse Polka, or, Cheated of the Music”. (Yet only published in Sweden: “Baklängespolkan går eller Blåst på musiken”)
The painful thing is, that even without pressure groups, the works of the dead Tonal composers remain a hundredfold more alive than the works of their modern “colleagues”.
Classical music has only diverse “Societies” that run a sort of internal activity of meeting and sharing mutual interests.
That music has no other “pushers” than Unorganized private consumers without “votes”, commonly called the audience. My question to the modern State quota people: For whose benefit are you working? For the benefit of the audience or for the benefit of all potentially unemployed “composers”? I already know the answer. You only work by instructions “from above” as they vaguely call it…
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Surveying the Land of Scape
February 18, 2009
Taegen Carter is a movie director. He is also the owner of Mythmaker Entertainment, a company that produces shorts and features in the genres of adventure, sci-fi, thriller and drama. Taegen tells us about the production of Scape, that should be completed around June of ’09. Let’s read his words, in this exclusive article that could be a page of a well written diary or a best selling novel.
Surveying the Land of Scape
Making a film sucks. It’s hard. Really hard. When it’s finished, and people sit in darkness, silently watching in a matter of minutes what may have cumulatively taken years of work, it’s worth it. But really, the process couldn’t be harder. Start with the fact that an alarmingly high number of people will look at you in utter pity when you mention you’re making a feature film. Mix in some healthy doses of family doubt, maybe a pinch or two of high school friends making ten times more money than you in a real job, and that’s just the beginning. But don’t get me wrong, I’m an optimist.
Maybe it’s my optimism that continues to lead me, often blindly, toward my goal of becoming a professional (see definition of professional: paid) director. Having directed a ninety-five minute feature film already, you might be wondering if the guy writing this article enjoys pain. Sure, maybe a little. But with experience at my fingertips, my second feature had to be easier, right? No. Not a chance. The following is a chronicle of my pain experience, and some of the many problems that arose.
I spent six months writing the script and raised a budget mainly by begging investors (see definition of investors: family) for money. The sum of which was not very much. Just enough to pay a skeleton crew of ex-students, get a deal with the acting union SAG and rent some camera equipment. The law of filmmaking says this: the closer one gets to filming, the more will go wrong. One week before filming and things were really getting dicey. I was still converting my script to a series of shots that I wanted to film, rehearsing with actors, coordinating logistics and dealing with problems. That’s what filmmaking really is, by the way, problem solving.
Problem A: the actor in your opening scene, the scene that is the most important save for the ending scene, tells you a week before filming that he doesn’t own a car and the filming location is 300 miles away. Problem B: the costume rental house will not accept insurance, so you must charge 4 times the value of the clothes on your credit card as insurance. And it’s a period piece movie, so there’s a lot of expensive clothes. And the total charge is so much you don’t have enough credit cards to put the charges on. Scratch that, there’s a credit card you never use in your chest of drawers at home. So you max out your credit cards, hope to hell no one damages or loses or steals the clothes, buy your actor an Amtrak ticket and make a note to pick up a very large bottle of antacids at Costco to help stave off ulcers that you know are on their way. Yes, this is all true.
Even now, I dread looking at a FICO score. Four days before we were to leave from Los Angeles for Santa Cruz, disaster struck. A quarter mile from the sixty-acre horse ranch we were going to film on, a fire started. I had no backup locations. Half the budget for the film had already been paid out. I couldn’t get it back. We had to film. I checked the fire report hourly, popped antacid tablets and realized that we’d film in some random forest even if it meant getting arrested for trespassing or filming without a permit.
All ten of us drove up to a summer rental house and crammed ourselves into our tiny, modest hovel. Later that day the fire dissipated, the police barricades came down, and we found out our location had been saved. Now came the fun stuff. Filming. I had a total of 12 days to film 76 pages. A Hollywood film typically shoots about 3 pages per day. Do the math on my movie. Yeah, we had a lot to film in a really short amount of time. The first shot of the first day took place in a colony for the diseased. We had ten extras to help make the colony feel real. Five actually showed up on a very cold morning. Three actually got back into their cars thirty minutes before filming and left. And these were people who were going to get paid! We had two extras to make a colony feel like a colony. Equipment wasn’t working right. Light was changing fast. And as always, there were lots of things to think about. Those antacids became like Pez to me. I put myself and most of the crew in early nineteenth century clothes and we started filming. Problem solved. Kind of.
Every second on set sends a problem the director’s way. People have questions. People want to know what you think about fill-in-the-blank. It is a director’s medium, for his better or worse. Throughout the twelve days, we had more problems than grains of sand on every beach in the world. I had arguments with the crew. A production assistant got bored four days in and left. Not good when your production assistant is also your makeup artist, wardrobe and caterer. The main prop for the film, a mask the villain wears, showed up very very late into filming via mail.
And on top of all of that, our opening scene became a disaster. If you can’t hook people in the first five minutes of your film, what’s to keep them from continuing to watch? No pressure. The opening included two horses. Not a problem when shooting on a horse ranch, right? The ranch would only give us one horse, and told us this fact an hour before filming. Next problem, it was an Appalachian horse. And it kicked my actor off several times. I was near tears. The scene was definitely not working. The actor who came up via Amtrak for the day had come in vain. And he was going to leave for Los Angeles the next morning. And I had four days of filming left. I was not going to cover the number of pages I needed to finish the film. And on top of that, I now needed to write a new opening scene after a very difficult and very long 12-hour day.
Every morning, after 6 hours of sleep, I would get up, figure out what scenes we were shooting and prepare for each scene. We’d spend the entire day and sometimes nights filming. We’d usually get back to the house around 8pm, eat dinner, watch the footage we shot during the day, transfer the footage and sound to hard drives, go to sleep and start the process over. Now, with only 4 days left, I also had to come up with a new opening. I wrote something and we filmed it on our last day. Having already cut 8 pages from the script while we were filming, I wasn’t too happy about filming a scene twice.
But the new opening scene has cut together incredibly well. In fact, the film is my finest work to date. If a filmmaker’s problem solving skills are his tools to building the film, then problems are the essence of filmmaking. Without these problems, creativity stagnates and the product is awful. I’m convinced that Scape wouldn’t be as good as it is without the stomach-churning dilemmas that appeared throughout the process. Now, as I finish writing this, I’m preparing to write my next screenplay. You’re probably wondering if I read what I just wrote. I know, I don’t make sense. Oh well, you have to do what you love. I wonder if the person who coined that phrase did?
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Social Networking and the Left Coast Eisteddfod 2009
February 2, 2009
Ceri Shaw is a Web Designer and freelance writer. If you remember, he wrote What is Anglo-Welsh Literature and why Should Anyone Care?. Ceri is a former college lecturer from Cardiff, South Wales. He wrote this article for us.
Social Networking and the Left Coast Eisteddfod 2009
There is an art to constructing social networks. Anyone can join Facebook, start a group, give it a catchy title and invite everyone on their contacts list. But building a true online “community” involves a lot more than that. My preferred tool for this job is the “Ning” platform.
One such project that I am involved in at the moment is Americymru. The site itself is an American Welsh heritage site and it welcomes members from anywhere in the world who are either Welsh, of Welsh ancestry or who have a love of Wales ( Cymruphiles? ) for whatever reason. The site has proved highly popular and is rapidly approaching the 1000 member mark.
The question is, of course, what purpose should such a site serve? Should we all vie with one another in forum discussions for the distinction of being the most enthusiastic supporter of Welsh culture? Should we all devote ourselves to learning the Welsh language? ( not a bad idea ) Or perhaps we should all exchange holiday snaps of our most recent visits to Snowdonia? Of course Americymru is a social network and so it is used for all of the above purposes and a host more besides.
How much better though to put these networks to a novel and creative purpose. In Wales the “Eisteddfod” tradition ( which is basically a talent competition ) dates back to the 12th century. Here is how the Wikipedia defines it:-
‘An eisteddfod is a Welsh festival of literature, music and performance. The tradition of such a meeting of Welsh artists dates back to at least the 12th century, when a festival of poetry and music was held by Rhys ap Gruffydd of Deheubarth at his court in Cardigan in 1176 but, with the decline of the bardic tradition, it fell into abeyance. The present-day format owes much to an eighteenth-century revival arising out of a number of informal eisteddfodau. The word eisteddfod is derived from the Welsh word eistedd, meaning “sit”.’
We decided to use Americymru to organise an international “online” Eisteddfod.
We have departed from the traditional formula in several significant respects. There are Welsh Pirate Lookalike and Tom Jones Impersonators competitions along side the standard literary and poetic categories. We feel that these features will enhance the appeal of the “event” and give it a more contemporary feel
All the competitions are open to everyone. Neither Americymru membership nor Welsh origin are requirements.
The poetry and short story competitions are already starting to attract some talented entrants and judges Lloyd Jones ( short stories ) and Peter Thabit Jones and John Good ( poetry ) will have some hard choices to make.
The online Eisteddfod will culminate in a live event in Portland in August 2009. It is here that winners will be announced and prizes awarded. It is also our intention to hold a series of concerts featuring major Welsh and American Welsh artists and performers. In short the “Left Coast Eisteddfod” will be a celebration of all things Welsh and in particular of the American Welsh heritage which has so enriched the history of the American nation. It will also introduce this tradition to a whole new audience and seek to involve the widest possible participation.
It is also possible to build a “constellation” of supporting blogs around your social networking “event”. In our own case we have been fortunate to enjoy the support of artists such as David Western who is probably the worlds finest carver of traditional Welsh lovespoons. He explains the reasons and the means of his supoport for the event in the following quote from his “David Western’s Portland Eisteddfod Lovespoon” blog:-
“To support the development of the Left Coast Eisteddfod next year, I am donating a handcrafted, one-of-a-kind Welsh lovespoon which Americymru will raffle off to help raise needed funds.
I’m proud to be able to contribute to the creation of the Eisteddfod and to help highlight Welsh people and their culture here in North America. Everyone knows the Scottish and Irish and it is through events like the Eisteddfod that people will come to know the Welsh.”
David’s blog has already encouraged others to try their hands at this ancient craft and his work in general is vital in order to ensure that this art form continues and thrives into the 21st century.
It is my belief that the potential for social networks to drive artistic creation and collaboration is immense and I am very excited to be a part of a project which is exploring this potential.
In closing I would urge you check out the online Eisteddfod ( linked and accessible from the home page of Americymru ), consider entering one of the competitions and above all, think of novel ways to utilise your own social networks so that they can become a real spur to human creativity and not merely glorified “chat” rooms.
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A new year ahead, and Arts win
January 1, 2009
First day of the New Year… what can we say about the old one? Many problems we faced, worldwide. The crisis is still ahead, but all the Countries are working to solve it soon. I feel a new atmosphere today. People are more relaxed, the New Year brings fresh air of positive energy.
A new year ahead, and Arts win
When economy, pragmatism, materialism and left brain methods fail, Arts help and right brain can give you what you need: love, hope, creation, imagination, a change.
Museums record higher than expected attendance in all the world.
But it is not only a kind of healing salve. Arts help you understand better the world, yourself, the others and the society.
Many of you will say: but we just need to be Rational, Analytical, Objective. Wrong! you are not a machine!
Arts will teach you that problems can have more than one solution, that in complex forms of problem solving purposes are seldom fixed, but change with circumstance and opportunity.
Small differences can have large effects.
You don’t live to work, you work to live, and you live to be happy and to love.
We just need to grab the intuition we lost with all the materialism in the world. I know it’s not an easy task :) but 2009 will be an year of change for everyone, and for the best. I wish you all the best, my friends, and Happy New Year!
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Global Financial Crisis and Books
December 11, 2008
While the entire world is facing the global financial crisis, publishers rush to get crisis books out. Not exactly a complaining, there are some interesting writings to check out. But I would like to know your ideas about this rush. Anyway, here are my suggestions for these months:
Global Financial Crisis and Books
The Subprime Solution: How Today’s Global Financial Crisis Happened, and What to Do about It. In this trenchant book, best-selling economist Robert Shiller reveals the origins of the crisis and puts forward bold measures to solve it. He calls for an aggressive response, a restructuring of the institutional foundations of the financial system that will not only allow people once again to buy and sell homes with confidence, but will create the conditions for greater prosperity in America and throughout the deeply interconnected world economy.
The New Paradigm for Financial Markets. George Soros argues that the current crisis differs from the various financial crises that preceded it. He bases that assertion on the hypothesis that the explosion of the US housing bubble acted as the detonator for a much larger “super-bubble” that has been developing since the 1980s. The underlying trend in the super-bubble has been the ever-increasing use of credit and leverage.
The Finance Crisis and Rescue: What Went Wrong? Why? What Lessons Can Be Learned?. It features thought leaders from the Rotman School explaining the financial crisis and rescue from a variety of perspectives.
E-commerce, a cultural fact?
November 1, 2008
E-commerce, online marketing, shopping, globalization, innovation are all linked together. It is becoming a real huge cultural fact, to be studied, to be understood to comprehend our world and where this world is going to in the near future.
E-commerce, a cultural fact?
Global E-Commerce and Online Marketing: Watching the Evolution By Nikhilesh Dholakia is a great book that explains all of this.
Specialists from business and academia present a meticulously researched, compelling examination of the effect that globalization, innovation, and relentless technological competition are having on the development of e-commerce and marketing. The editors offer practical managerial insights, important empirical findings, and new ways to comprehend the intricacies of the fast-morphing world of electronic business.
Another book that really catched me is Cyberpop: Digital Lifestyles and Commodity Culture by Sidney Eve Matrix.
Cyberpop: Digital Lifestyles and Commodity Culture is an analysis of cyberculture and its popular cultural productions. Each chapter focus on a particular cyberfiguration, including Hollywood films (GATTACA, The Matrix), popular literature (William Gibson’s Neuromancer, Scott Westerfeld’s Polymorph), advertising for digital products and services (AT&T’s “mLife” campaign), video games (Tomb Raider). Each close reading illustrates the ways in which representations of digital lifestyles and identities which typically fetishize computers and celebrate a “high tech” aesthetic encourage participation in digital capitalism and commodity cyberculture.
What I’m seeing on Internet and around me is an impressive and crazy explosion of virtual shops, like StreetWear-And-Red.com (also StreetWearAndRed.com). Goal of the shop is providing cool designs for the urban and street fashion along with elegant ideas for the modern gentlemen.
In the same explosion I can put my ebook and also my new CD with Rock and Metal Guitar Solos for Multimedia.
I’ve got just a fear, that all of this is going to result in a soap bubble in the future. How much will we be fascinated by the virtual world and how much can we stay far from reality? (Or virtuality is going to be our new reality?).
Walk Hard: a Retro-Styled Philosophy?
August 2, 2008
Yesterday I’ve seen Walk Hard: The Dewey Cox Story with a great John C. Reilly. It is a parody movie, a spoof of every musical biopic where John as music star Dewey Cox covers every musical style from Elvis to the Beach Boys over five decades. Dialogue and sequences are funny and goofy and the jokes never are boring. Since this is not exactly a review, I won’t tell more about the movie. What I would like to focus on is the philosophy behind the movie.
Walk Hard: a Retro-Styled Philosophy?
Dewey Cox kills his brother and begins an impressive quest to become a legendary artist. All is based on the “feeling guilty” system. He feels guilty, so he swear he’ll become big to please his brother soul (that was a talented young pianist). Feelings of guilt occur because deep down in your subconscious you have become emotionally attached to an event that you feel in some way responsible for, either you feel that you did something wrong, feel that you didn’t do enough or feel that you should have done something.
Of course, he killed his brother! Yes, but can we say he is punishing himself trying to become a legend? In the end of the movie there is the answer to this question.
Another philosophy behind the movie is the “Walk Hard” philosophy. It’s also the first song of the movie (and of the soundtrack album, a must!) and I really love it. Dewey say, that even if you’ve been told time and time again that you’re always gonna lose, life’s a race, and he is in it to win it. Some kind of people always try to control us, making us obedient. It’s a kind of psychological war out there! Dewey says no to this system and wants to free himself and walk hard up to the top of the mountain high. He still got a dream and a burning rage to live.
This is everything about being artists, about artists goals and principles. Probably also a retro-styled philosophy of the past, maybe also modern someway. But it is connected also to the “feel guilty” issue.
He has a dream, becoming a legend. Is it a real dream? Or he just wants to please his brother soul? He is not strong enough to resist to temptations. Sex, drugs are part of his everyday’s life. Is he really happy while pursuing his dream? Are we able to really understand what is our personal dream and life’s goal? I think that happiness is all about this, to really understand our goals. This is what Dewey finds at the end of his long and troubled life. I wish us all to discover this before the end of our lifes :)
A software that helps you to be a novelist
July 28, 2008
Erick Behymer wrote for us The Djinn Chronicles. Now he is back with the review of MyNovel. MyNovel is a novel writing software. It contains a complete word processor and will get you to think about and plan your characters, settings, and the events that will form the skeleton of your novel. But let’s read Erick review about this unique software.
A software that helps you to be a novelist
Rarely when testing software (mostly security related stuff), am I impressed by anything. I will spend hours picking apart a program, attempting to find any flaw or blemish, major or minor. When I was first approached to test MyNovel, I donned my glasses of pessimism expecting the worst. This is not meant as a detractment, it’s just something I do.
At a quick glance, MyNovel appears to be a standard word processing application, however, there are several major differences/enhancements. The first, and most striking is the ability to create a story template. At any point, you can change the details of your novel, add diagrams, events, characters, places, objects and even check progress/completion.
There’s even an “inspiration” option readily available. Specifically, the character and place generators are rather impressive, as you can choose between various name types. If that weren’t enough, you can choose and/or customize a color scheme.
Once you’re finished with your MyNovel project, there is a fairly comprehensive list of publishers available to choose from, along with relevant contact information and requirements. This takes a lot of the hassle of looking for a book publisher using a search engine.
All of these features are put together in an easy-to-use-easy-to-remember interface. MyNovel’s tools are put right at your fingertips, so there’s no endless searching to find what you need. Regardless of whether you’re a novice or a seasoned veteran to writing, I would strongly recommend that you take time to give MyNovel a try.
For the computer savvy, I have compiled a list of observations below:
MyNovel is fairly impressive, and has quite a bit of potential not only in features, but also performance. When idle, the program takes up a less than 3MB of RAM and during the most intensive states, 12-19MB. If that wasn’t impressive enough, it only requires ~25MB of disk space for a full install. Even running MyNovel at full throttle, it remained fairly quick and responsive to user interaction.
History of Music and Current Recording Industry Crisis
March 21, 2008
Roger L. Bagula wrote this exclusive article for ManuelMarino.com.
History of Music and Current Recording Industry Crisis
In a time when the whole future of how music is distributed is in question, maybe we should look at the history of music for a guide.
Many of us find music is a part of our everyday life; both in terms of listening and making it. I have an egroup on the archaeology of prehistoric men. Music seems to have been part of what distinguishes men for other beats. The discovery of a bone hollowed out to make a flute by Neanderthals has made many speculate that music is one of the oldest “preoccupations” that didn’t actually produce survival rewards.
We picture men with low foreheads sitting around the campfire playing bone flutes and beating on hollow logs. The man who was good on the flute had to be subsidized by the other hunters. In the Sahara Arab culture the women are the make the music. There are ancient Egyptian drawing of people playing stringed instruments, The god Mot is said to have had music in his temples. The ancient Greeks had a very well developed theory of 5 tone music as well.
In the European tradition what is called “church music” was actually scripted in a staff in 8 tones during the medieval era. In both church and secular life music was an everyday entertainment and some people spent their lives as singers in the Jewish Cantor tradition. At this time a distinction between “holy” and profane (dance) music seems to have been made.
The age of reason gave us Bach fugues and well tempered music with twelve major tones instead of just 8. Keyboard instruments appeared in churches and the drawing rooms of the rich and famous. Europe was a center of world culture in the arts and sciences with university courses being taught in music theory.
Revolt against this almost always pleasant sounding music turned up in the form of Schönberg and his ideas of twelve tone sequences. Others experimented with expressionism and what they called “tone color” in trying to match the music and art of a puzzling modern world.
But little known to the European intellectuals a new music form came to life in America based on a African folk form and being fostered by the black community quite by itself. Jazz was a free form music where chord forms called progressions were used and many of the people playing the music couldn’t read sheet music at all. It involved syncopation, drums and rhythm fugues as well as multi-melodies in an ad lib setting. It was involved in moods as the blues and dance in terms of swing and jitter-bug and was considered profane in many white communities. Until recording and radio it was pretty much played for free in clubs where blacks went at night . But even as simple as the chord progression were it displaced classical forms in the hearts of most of the world’s population in less than 50 years form Rag time in 1900 to the 1950’s Rock and Roll. In the materialistic society success came with money and records by these artists sold so well that they became the new rich of the 20th century.
In the ’60’s I met a black sargent (hard stiriper) in Army who did this odd kind of poetic singing that he called rap. We all scorned him because we knew that Rock and Roll was king and it was here to stay. Again out of the sub-community of the black in a America and off shot of funk music used as backing for this rap singing came out of seeming nowhere in the 90’s to become a real musical movement world wide. The poor black was angry: he had been promised “equal rights”, but he got welfare and lingering on street corners while dope dealers preyed on him and his community.
Urban renewal meant that he was shoved out of his generational neighborhoods so that up town whites could have new condos closer to work. Gangs took control of streets and whole communities and had shooting wars while the mostly white police forces hid in their substations until the shooting stopped. As far as I know there has been little reform in response to this widely popular music style and the angry and profane words involved.
Another trend in music has been multi-tonality. Everyone knows listening to a slide trombone that there are an infinite scale of notes possible to music. Mostly we think in terms of a scale based on powers of two. The twelve tone scale came about when the Greek pentatonic scale was rationalized with the church 8 tone scale. Adding an C flat and an F flat (or two more sharps) seems to even out the keyboard in 14 tones instead of 12. The Arab musical intellectuals who were influenced by ancient Indian musical theory added twelve “between” tones and special Indian like tuning forms. To western ears Indian and Arab music has a unique blue or “color tonal” feel to it that is attractive to a mind tired out by a limited tone scale of 12 tones.
In the early 20th century an electronic instrument called a Theremin was invented using the electronics that came with shortwave and AM radio. This instrument involved producing tones of all kinds of sine waves. By the 50’s this kind of music found it’s way into science fiction classics as Alien music.
In the 60’s with the use of computers the digital slicing and dicing of sound had started. The result as we all know is the compressed digital sound file called the mp3, but electronic music had become more than this ! From digital midi sequencing and interfaces that captured keyboard notes as score notes on an electronic staff to distortion electronics that could make a guitar sound completely different with feedback and reverberation effects, new music that had never been heard by human ears before was being invented and circulated. Like rap music, it wasn’t at first very easy to get such music to the mass audience, but the European “House” dance music of night clubs began to change that in the 80’s. Here a century long decline in European music began to turn around, so that the German school of electronic music is a leader in innovation and Americans seem to be trailing behind?
The conversion of the CD digital formate files (Aiff and wave) to mp3 in the 90’s by Classic Mac SoundJam which was taken over by Mac and called iTunes made upload of digital files to the Internet easy. People began to share their favorite music internationally. Downloads of digital music even at several megabytes each became very common.
The recording Industry being on the back end of this movement and historically behind in the innovation curve was caught unprepared. They began suing private citizens (college students who are the poor). For the rich to be openly prosecuting the poor for the crime of “downloading” became the democratically most unpopular move in ages.
It is the royalty money from the sale of recoded media that has made the new music rich like the Beetles. The failure of recording industry executives to find a way to plug this hole in revenues seems to signal a decline in such music as a way of passing music around that has been popular since the 1920’s and AM radio started it off. Before that it was sheet music that passed the music from one place to another.
The result of this crisis is that we are faced with a change in how music is given to the public. From my own experiences the recording industry corporate model hasn’t been a perfect one. We are looking at an art form where their are several kinds of artists who need to support their families: composers, performers and song lyrics writers. If these people “suffer”, then the listeners will be affected shortly after in not being able to get music that they want.
Survival and eating are usually a little above making music on the daily calendar.