What can indie musicians do to replace the revenue lost from the death of cd sales? I have been getting a steady stream of content marketing emails from DiscMakers. They seem almost desperate to keep in touch with their customers. But who is going to order more CDs? Our garages are full of unsold inventory. They are pushing vinyl now. They sell download cards but those seem obsolete now. I saw a funny post, where a musician showed a picture of his CDs and said I feel like a buggy whip salesman.
I sell CDs and USB keys at live shows (about 50/50). I think I will print 200 CDs max for my next release, probably with a download code included. Also vinyls and USB keys (I had one made as a bottle opener, the blues/rock audience lived it), don't know the quantity yet, surely no more than 150 each at first. When you play jazz or blues festivals though you can sell a lot, like 70 pieces in one gig, so it depends. I was talking to major blues labels like Alligator and they sell mainly at live shows.
I've wondered about this, I buy the odd CD and digitise it. But sleeves notes with an essay, info on band members and beautiful artwork may be as a beautiful booklet to accompany digital music.
Would love to see some written book reviews. I remember reading a great article from yourself on how you read, so would love to see some reviews either of books you read in the past or books you’re reading now.
Thank you for being a great contributor to my Substack feed!
Very excited for all the planned articles! I'll bang the same drum here that I have for a while: a reflection of growing up in Hawthorne, in the shadow of the Beach Boys. I'm endlessly fascinated by that era, by that part of America, and I'd love to read your firsthand experiences about it. I remember you saying you came from a pretty similar working class milieu as the Wilsons.
I’d love to hear your thoughts on the music listening habits of generation alpha kids. As a fifth grade teacher, who loves incorporating music in my classroom and learning about new music from my students, I’m fascinated by how the music interest of my students seem to be changing over the years. Their listening habits tend toward video game soundtracks instead of actual recording artists or complete albums. I wrote some of my observations here: https://open.substack.com/pub/adrianneibauer/p/know-thy-music?r=gtvg8&utm_campaign=post&utm_medium=web
I would like to read about the fall (and rise?) of opera as an art form, especially in the English-speaking world. It seems like more and more operas are being produced in English each year, and that it is being used as a medium for artistic experimentation rather than retreads of Verdi, Wagner, Puccini, etc.
One interesting aspect I would like to learn more about as well is the impact of surtitles, which make it viable to actually follow the opera as it happens, rather than requiring you to either know the language of the libretto and be able to parse the sung words, or have memorized the plot beforehand.
What I’d like to know is if all these contemporary English operas are any sort of good. Most of what I hear come out of the Met or otherwise large opera hubs in America are either painfully unlistenable for any impressionable melody, or old school rehash.
At this summer's World Science Fiction Convention a brand new opera will have its premiere. It is called "Morrow's Isle", a blend of the stories of Jules Verne's The Island of Doctor Moreau, and The Men Who Stare at Goats (2009) , a novel and movie about the study and use of paranormal powers by the US military. The libretto is by noted British SF writer Ken MacLeod, and the music by Gary Lloyd. From what I have heard on the preview it will both be listenable and tell a compelling story.
The dark side of culture, as in a playful dance between the positive and negative effects.
You’ve often described the impact and power of culture, but it would be interesting to see you explore the positive impacts as well as the darker side, and to compare them.
People have definitely stared into the culture wars abyss for too long, and that has distracted many from other more important or noble endeavours.
That being said, culture and politics can never be really separate, in my opinion. I think it depends on how they are related. Are they weaponized or just used as a form of escapism and distraction, or is something more potent and real being allowed to freely proliferate?
Naturally, we’re not in a perfect world and there will always be attempts to weaponize or propagandize art, but at the end of the day culture does have to stand for something. And politics will always be downstream from culture, as even Plato observed in regards to the role of poets as chief “image-makers” in Ancient Greek society. Today has has arguably just been supplanted with a more modern form with the advent of the Silver Screen and Hollywood, but the function has arguably remained essentially the same.
In any case, whether a Beethoven or Aeschylus, Shakespeare or Sappho, they were hardly just aesthetes doing art for art’s sake, or creating art as merely a form of distraction or entertainment. There was always a higher transcendent purpose or aim. And it was very much a sacred vocation.
I am very much behind the ideas and creativity that transcend politics and its ugly characters. This is why I am under my headphones when I can not listen through my PSB speakers
Politics is of some value, but creativity is higher and greater and longer lasting. Part of the reason the culture wars become so heated is that Politics is too high on peoples hierarchy.
> That being said, culture and politics can never be really separate, in my opinion.
Not entirely, at all times, BUT: they can be separated using various techniques for short periods of time. Most people have little to no skill in such things, similar to why they have little to no skill in juggling 3 balls: they never try, let alone practice.
As an example of unrealized skills: notice how you said "in my opinion" - usually, people cannot realize they are expressing their opinion on such matters...but imagine if a couple hundred people could be trained up such they could *reliably* distinguish between opinion and fact, and then that group of people were assigned the task of sorting out some of the many "intractable" problems facing humanity!
What is your daily schedule? How are you so prolific? Do you take time to shower or sleep? Also, why do you think people "get the band back together" later in life?
Get the band back together to relive the glory days of their youth. A rather sad objective. Get the band back together to make new music would be a righteous goal.
Ted, I'd love it if you took a look at one of the specific differences between American vs European conservatories and musicologists: where and when the Western Classical Music tradition begins. I have been become increasingly fascinated with what's often called Early Polyphony, and have been surprised to discover that in US conservatories, Classical Music basically begins in the 17th C. with Monteverdi. European conservatories include music 2-3 centuries earlier and incorporate the great composers of the Franco-Flemmish tradition (e.g. Machaut, Josquin, Ockeghem, Obrecht, etc). As a result, there are performances all over Europe and tickets for these events often sell out. What's more, the ensembles performing this music today are generally led by musicologists who over the past 20-30 years have investigated connections to Arabic, Jewish, Greek, and Corsican vocal traditions. (The ensemble directors often write extensive "liner notes" available as PDFs with downloaded music files. They're generally fascinating, especially those written by Bjorn Schmelzer, musicologist and director of the ensemble Graindelavoix.) Contemporary ensembles tend now to include unique voice tonalities that often don't blend in that angelically perfect British mode (of say the Hilliard or Tallis Scholars), and there's also actual improvisation.
Contemporary composers like Arvo Pärt, Caroline Shaw, David Lang, and some of the so-called minimalist composers like Reich or Glass or Riley, acknowledge the debt they owe to 15th and 16th century polyphony. But you won't hear it at Juilliard or Yale.
Our son is a songwriter/producer in a pop r&b band, signed to a major label. Sounds good, right? Except that they can't make a living. We know - because both of us, his parents, were songwriters, producers and session musicians back in the 80s/90s. We did fine, made a great living and had a good time doing it. But those royalty streams are now all but gone. When I asked my ex-publisher from back in the day (SONY music) how these young musicians can possibly survive in the streaming era, she answered "Make sure they have rich parents." Seriously? Is this the fate of pop music ffs? Only for rich kids? And why aren't older established artists going to bat for the younger generation? They've make a show of leaving Spotify over something Joe Rogan said, but seem unconcerned that an entire generation of young musicians has been totally impoverished by corporate platforms. Talk about generational inequity!!
You’re doing extraordinarily well. Keep following your gut. I like reading about things I wasn’t thinking about. What’s the old saying, the role of intellectuals is to raise the bar. That’s what you’re doing. It’s working. It’s informative, educational, and entertaining.
I would like to read more about concepts like the overtone series and different tunings and notation systems across cultures. Also, I have been thinking lately about what does easy and hard music actually mean.
(I have draft articles regarding all the above but it would be nice to read them from you too)
Easy and hard music is entirely contextual to what you’re identifying as the challenge to execute. It’s also relative to a performer’s skill. Things become “simple” (as in easy to execute and express to others) as a performer develops knowledge and skill. But certain musical lines will naturally present more technical or otherwise expressive challenges than others, regardless of who is performing them, when compared.
This isn’t to say that “everything is relative or subjective”, just that it’s important to clarify what you’re talking about with regard to the performance of music. Expressive capabilities for a young student may seem more difficult to them than to a seasoned professional, but as they learn the language, it will become easier. But both may look at, idk some brutal orchestral excerpt, and recognize that as their skill improves and the challenge becomes easier, the technical demands don’t change.
I agree with your take. But it is funny how we think about these things. For example, depending on the musical piece physical virtuosity might be the main blocker for a great performance while for another piece the conceptual virtuosity that is required is the obstacle. And usually, the conceptual virtuosity is invisible to the audience versus the physical. It is far easier to have an opinion as a non musician about the Flight Of The Bumblebee than Ben Johnston’s 7th String Quartet which might not seem particularly hard on the average ear. Same with fast versus very slow tempos which slow are generally harder to play along.
And as you rightly pointed out, depending on where you are in your musical journey you face different challenges, and different things appear to be hard or easy. I guess the road to true mastery is a never-ending journey of discovery, curiosity, and hard work.
Hmm, what do you mean by conceptual virtuosity? A concept means nothing tangible if a performer is incapable of translating and expressing a desired idea. You mean the kinds of complexity that can be developed through the cultivation of theoretical music theory? I think I’m just re-wording what you already described haha.
I agree with Milton Babbitt’s take that there is a point where artistic (and to an extent, scientific) interests in the abstract deviate from popular interests and tastes. That’s been the fundamental flaw in classical-descendant musics in America at the very least, there’s been a miscommunication between the abstract ideas that many such trained musicians have, and their ability to communicate these ideas to audiences in a consistent manner that would allow for the development of nascent cultures and genres. That scene has become too individualized and eclectic.
Tangent aside, I agree with you. It’s a shame the large part of society isn’t often exposed to the likes of avant-garde styles like Ben Johnston, but I take that to be a failing of classical academia as much as I do the the culture industry.
A gift or lack of “conceptual virtuosity” might most easily been seen in the ability to interpret a graphic or textual score -- not the ability to execute a series of notes, but to understand what is demanded or constrained in the absence of bar lines and staves.
I’ve played graphic scores. Interpreting such images/art in a musical way still relies on the performer’s ability to execute the concepts they derive from attempting to express the emotions that a graphic score gives them.
The original commenter and I continued talking, I misunderstood that by “conceptual virtuosity” he meant for an individual’s ability to comprehend what they’re hearing musically, as in someone hearing Giant Steps or Rite of Spring the first time they were premiered.
However, I do agree that it is still important for a performer to initially be sensitive towards the interests of what a composer desires to express with a graphic score, and to also have the ability to conceptualize those interests as they are presented through the imaging of the score in a way that they can process it emotionally so that they may make expressive musical decisions.
*“You mean the kinds of complexity that can be developed through the cultivation of theoretical music theory?”*
Yes this, but also being able to conceptualize — form the idea in your head — about what is happening although you have the technical ability to play it. You might hear Coltrane’s Giant Steps for example and learn the theory and changes but to play it you must really hear the music in your head and have a point of reference to anchor and develop your ideas. When it was first released no one could play over it because no one knew what they were hearing but today you can see teenagers do it. (Actual example in the recording of Giant Steps when Tommy Flanagan stops in the middle of his piano impro. His issue clearly wasn't that he didn't know the chords or theory)
I imagine a similar thing might have happened when the fugue was introduced(in the 16th century I think). It was probably harder to hear it than to play it. Don't know.
Ohhhh gotcha! You’re not confusing mate, no worries.
I would describe that as being able to properly “hear” a musical concept, as in being able to understand what’s really going on harmonically/melodically, and what is meant to (or possible to) be expressed emotionally when that concept is performed. That’s why I still associate concepts so much with performance, the only way an audience can hope to understand a complex expression when they’re unfamiliar is if the performer is sensitive and deft enough to convey it despite its complexity.
But you’re making good sense, and you’re right that the unfamiliar takes some time to get comfortable with as a listener (especially if you’re trying to decide if something’s just new, or if you really just don’t like it for certain reasons!). Honestly I think if you had substituted “conceptualize” with “understand a musical concept” I would have gotten it immediately, but that’s totally my bad 😂
Being a pianist generally means being locked into equal temperament. On the other hand, Ted often includes various non-tempered examples on his playlists so he's probably not your normal pianist.
I'm curious if -- in an era of streaming platforms such as Spotfiy, et al -- you think radio (terrestrial, satellite, streaming) "airplay" is still relevant for musicians? I'm thinking especially of work-a-day jazz musicians trying to get their music heard. Thanks for considering the topic!
Travel guides! A friend and I were discussing a trip from Memphis to Mississippi; where would you suggest we go? I guess we could follow blue plaques, but I'd much rather have an itinerary from the author of Delta Blues. (Ditto on your suggestions for a few days in New Orleans or anywhere else for a worthy music pilgrimage...)
Yes! That would be a fun topic. It sounds like you’ve done a bit of traveling and I’m certain you have interesting, entertaining stories. I’d love to read those.
What can indie musicians do to replace the revenue lost from the death of cd sales? I have been getting a steady stream of content marketing emails from DiscMakers. They seem almost desperate to keep in touch with their customers. But who is going to order more CDs? Our garages are full of unsold inventory. They are pushing vinyl now. They sell download cards but those seem obsolete now. I saw a funny post, where a musician showed a picture of his CDs and said I feel like a buggy whip salesman.
I have noticed the price of some sought after CDs actually increasing.
Given the choice I would buy a CD at a gig.
I have heard of thumb/usb drives being used for the same purpose and at least these can be reused for the next album if not sold.
I sell CDs and USB keys at live shows (about 50/50). I think I will print 200 CDs max for my next release, probably with a download code included. Also vinyls and USB keys (I had one made as a bottle opener, the blues/rock audience lived it), don't know the quantity yet, surely no more than 150 each at first. When you play jazz or blues festivals though you can sell a lot, like 70 pieces in one gig, so it depends. I was talking to major blues labels like Alligator and they sell mainly at live shows.
I've wondered about this, I buy the odd CD and digitise it. But sleeves notes with an essay, info on band members and beautiful artwork may be as a beautiful booklet to accompany digital music.
Would love to see some written book reviews. I remember reading a great article from yourself on how you read, so would love to see some reviews either of books you read in the past or books you’re reading now.
Thank you for being a great contributor to my Substack feed!
Have you seen the archive of old reviews Ted has here on substack? It’s for paid but I have found already quite some books I was interested in.
I have not. Perhaps I should upgrade to paid!
Very excited for all the planned articles! I'll bang the same drum here that I have for a while: a reflection of growing up in Hawthorne, in the shadow of the Beach Boys. I'm endlessly fascinated by that era, by that part of America, and I'd love to read your firsthand experiences about it. I remember you saying you came from a pretty similar working class milieu as the Wilsons.
Reminds me (I've seen Ted's mentions of Hawthorne):
I lived there for four years 1979-1983. Actually, the unincorporated island right up against the 405.
I’d love to hear your thoughts on the music listening habits of generation alpha kids. As a fifth grade teacher, who loves incorporating music in my classroom and learning about new music from my students, I’m fascinated by how the music interest of my students seem to be changing over the years. Their listening habits tend toward video game soundtracks instead of actual recording artists or complete albums. I wrote some of my observations here: https://open.substack.com/pub/adrianneibauer/p/know-thy-music?r=gtvg8&utm_campaign=post&utm_medium=web
I’m curious what you think.
There’s a growing scene in New York jazz circles that are adapting popular video game tracks into a “new video game songbook”.
That orchestras are commonly programming movie or video game soundtrack concerts and touring them is huge as well.
Do they improvise or just play the the tracks live?
Oh there’s improv, they’re often arranged like jazz standards where the melody acts as the head/bridge and then solo takes into recap/outro.
I would like to read about the fall (and rise?) of opera as an art form, especially in the English-speaking world. It seems like more and more operas are being produced in English each year, and that it is being used as a medium for artistic experimentation rather than retreads of Verdi, Wagner, Puccini, etc.
One interesting aspect I would like to learn more about as well is the impact of surtitles, which make it viable to actually follow the opera as it happens, rather than requiring you to either know the language of the libretto and be able to parse the sung words, or have memorized the plot beforehand.
Alex: Conrad L Osborne has a website devoted to these issues. His comments are worth reading.
What I’d like to know is if all these contemporary English operas are any sort of good. Most of what I hear come out of the Met or otherwise large opera hubs in America are either painfully unlistenable for any impressionable melody, or old school rehash.
At this summer's World Science Fiction Convention a brand new opera will have its premiere. It is called "Morrow's Isle", a blend of the stories of Jules Verne's The Island of Doctor Moreau, and The Men Who Stare at Goats (2009) , a novel and movie about the study and use of paranormal powers by the US military. The libretto is by noted British SF writer Ken MacLeod, and the music by Gary Lloyd. From what I have heard on the preview it will both be listenable and tell a compelling story.
Unfortunately, melodies are old school.
And all been written already (as many musicians have lamented over the last century)...
How and why do the economics of the arts differ from other products and services?
The dark side of culture, as in a playful dance between the positive and negative effects.
You’ve often described the impact and power of culture, but it would be interesting to see you explore the positive impacts as well as the darker side, and to compare them.
I think that some of the dark side of American culture is being playing out on the political stage as we speak.
You are not wrong.
And I think that’s the case in terms of both the positive and negative.
I hesitated to bring politics up since we will all have our fill over the next months ahead.
People have definitely stared into the culture wars abyss for too long, and that has distracted many from other more important or noble endeavours.
That being said, culture and politics can never be really separate, in my opinion. I think it depends on how they are related. Are they weaponized or just used as a form of escapism and distraction, or is something more potent and real being allowed to freely proliferate?
Naturally, we’re not in a perfect world and there will always be attempts to weaponize or propagandize art, but at the end of the day culture does have to stand for something. And politics will always be downstream from culture, as even Plato observed in regards to the role of poets as chief “image-makers” in Ancient Greek society. Today has has arguably just been supplanted with a more modern form with the advent of the Silver Screen and Hollywood, but the function has arguably remained essentially the same.
In any case, whether a Beethoven or Aeschylus, Shakespeare or Sappho, they were hardly just aesthetes doing art for art’s sake, or creating art as merely a form of distraction or entertainment. There was always a higher transcendent purpose or aim. And it was very much a sacred vocation.
We need more of that haha.
I am very much behind the ideas and creativity that transcend politics and its ugly characters. This is why I am under my headphones when I can not listen through my PSB speakers
Politics is of some value, but creativity is higher and greater and longer lasting. Part of the reason the culture wars become so heated is that Politics is too high on peoples hierarchy.
> That being said, culture and politics can never be really separate, in my opinion.
Not entirely, at all times, BUT: they can be separated using various techniques for short periods of time. Most people have little to no skill in such things, similar to why they have little to no skill in juggling 3 balls: they never try, let alone practice.
As an example of unrealized skills: notice how you said "in my opinion" - usually, people cannot realize they are expressing their opinion on such matters...but imagine if a couple hundred people could be trained up such they could *reliably* distinguish between opinion and fact, and then that group of people were assigned the task of sorting out some of the many "intractable" problems facing humanity!
Humans are so weird.
"will all have our fill over the next months ahead"
Only if that is what you desire
If you ignore the problem then you too will also fulfill your desire for none of it! ;)
I did not mean to sound glib but I am going through some prolonged health problems, i.e. no sense of smell and taste for the last four years.
What I desire has nothing to do with politics.
What is your daily schedule? How are you so prolific? Do you take time to shower or sleep? Also, why do you think people "get the band back together" later in life?
Get the band back together to relive the glory days of their youth. A rather sad objective. Get the band back together to make new music would be a righteous goal.
Ted, I'd love it if you took a look at one of the specific differences between American vs European conservatories and musicologists: where and when the Western Classical Music tradition begins. I have been become increasingly fascinated with what's often called Early Polyphony, and have been surprised to discover that in US conservatories, Classical Music basically begins in the 17th C. with Monteverdi. European conservatories include music 2-3 centuries earlier and incorporate the great composers of the Franco-Flemmish tradition (e.g. Machaut, Josquin, Ockeghem, Obrecht, etc). As a result, there are performances all over Europe and tickets for these events often sell out. What's more, the ensembles performing this music today are generally led by musicologists who over the past 20-30 years have investigated connections to Arabic, Jewish, Greek, and Corsican vocal traditions. (The ensemble directors often write extensive "liner notes" available as PDFs with downloaded music files. They're generally fascinating, especially those written by Bjorn Schmelzer, musicologist and director of the ensemble Graindelavoix.) Contemporary ensembles tend now to include unique voice tonalities that often don't blend in that angelically perfect British mode (of say the Hilliard or Tallis Scholars), and there's also actual improvisation.
Contemporary composers like Arvo Pärt, Caroline Shaw, David Lang, and some of the so-called minimalist composers like Reich or Glass or Riley, acknowledge the debt they owe to 15th and 16th century polyphony. But you won't hear it at Juilliard or Yale.
The Beatles "White Album"
Not to be rude, but I remain bemused by the sheer appetites of Beatles fans -- you really want yet *more* text generated about that?
Joan Didion already wrote about that ;)
But not from Ted's perspective.
Our son is a songwriter/producer in a pop r&b band, signed to a major label. Sounds good, right? Except that they can't make a living. We know - because both of us, his parents, were songwriters, producers and session musicians back in the 80s/90s. We did fine, made a great living and had a good time doing it. But those royalty streams are now all but gone. When I asked my ex-publisher from back in the day (SONY music) how these young musicians can possibly survive in the streaming era, she answered "Make sure they have rich parents." Seriously? Is this the fate of pop music ffs? Only for rich kids? And why aren't older established artists going to bat for the younger generation? They've make a show of leaving Spotify over something Joe Rogan said, but seem unconcerned that an entire generation of young musicians has been totally impoverished by corporate platforms. Talk about generational inequity!!
You’re doing extraordinarily well. Keep following your gut. I like reading about things I wasn’t thinking about. What’s the old saying, the role of intellectuals is to raise the bar. That’s what you’re doing. It’s working. It’s informative, educational, and entertaining.
Happy 2024!
R
I would like to read more about concepts like the overtone series and different tunings and notation systems across cultures. Also, I have been thinking lately about what does easy and hard music actually mean.
(I have draft articles regarding all the above but it would be nice to read them from you too)
Easy and hard music is entirely contextual to what you’re identifying as the challenge to execute. It’s also relative to a performer’s skill. Things become “simple” (as in easy to execute and express to others) as a performer develops knowledge and skill. But certain musical lines will naturally present more technical or otherwise expressive challenges than others, regardless of who is performing them, when compared.
This isn’t to say that “everything is relative or subjective”, just that it’s important to clarify what you’re talking about with regard to the performance of music. Expressive capabilities for a young student may seem more difficult to them than to a seasoned professional, but as they learn the language, it will become easier. But both may look at, idk some brutal orchestral excerpt, and recognize that as their skill improves and the challenge becomes easier, the technical demands don’t change.
I agree with your take. But it is funny how we think about these things. For example, depending on the musical piece physical virtuosity might be the main blocker for a great performance while for another piece the conceptual virtuosity that is required is the obstacle. And usually, the conceptual virtuosity is invisible to the audience versus the physical. It is far easier to have an opinion as a non musician about the Flight Of The Bumblebee than Ben Johnston’s 7th String Quartet which might not seem particularly hard on the average ear. Same with fast versus very slow tempos which slow are generally harder to play along.
And as you rightly pointed out, depending on where you are in your musical journey you face different challenges, and different things appear to be hard or easy. I guess the road to true mastery is a never-ending journey of discovery, curiosity, and hard work.
"never-ending journey." That's one of the beauties of music. At 85 I'm still discovering new things to play.
Hmm, what do you mean by conceptual virtuosity? A concept means nothing tangible if a performer is incapable of translating and expressing a desired idea. You mean the kinds of complexity that can be developed through the cultivation of theoretical music theory? I think I’m just re-wording what you already described haha.
I agree with Milton Babbitt’s take that there is a point where artistic (and to an extent, scientific) interests in the abstract deviate from popular interests and tastes. That’s been the fundamental flaw in classical-descendant musics in America at the very least, there’s been a miscommunication between the abstract ideas that many such trained musicians have, and their ability to communicate these ideas to audiences in a consistent manner that would allow for the development of nascent cultures and genres. That scene has become too individualized and eclectic.
Tangent aside, I agree with you. It’s a shame the large part of society isn’t often exposed to the likes of avant-garde styles like Ben Johnston, but I take that to be a failing of classical academia as much as I do the the culture industry.
A gift or lack of “conceptual virtuosity” might most easily been seen in the ability to interpret a graphic or textual score -- not the ability to execute a series of notes, but to understand what is demanded or constrained in the absence of bar lines and staves.
I’ve played graphic scores. Interpreting such images/art in a musical way still relies on the performer’s ability to execute the concepts they derive from attempting to express the emotions that a graphic score gives them.
The original commenter and I continued talking, I misunderstood that by “conceptual virtuosity” he meant for an individual’s ability to comprehend what they’re hearing musically, as in someone hearing Giant Steps or Rite of Spring the first time they were premiered.
However, I do agree that it is still important for a performer to initially be sensitive towards the interests of what a composer desires to express with a graphic score, and to also have the ability to conceptualize those interests as they are presented through the imaging of the score in a way that they can process it emotionally so that they may make expressive musical decisions.
*“You mean the kinds of complexity that can be developed through the cultivation of theoretical music theory?”*
Yes this, but also being able to conceptualize — form the idea in your head — about what is happening although you have the technical ability to play it. You might hear Coltrane’s Giant Steps for example and learn the theory and changes but to play it you must really hear the music in your head and have a point of reference to anchor and develop your ideas. When it was first released no one could play over it because no one knew what they were hearing but today you can see teenagers do it. (Actual example in the recording of Giant Steps when Tommy Flanagan stops in the middle of his piano impro. His issue clearly wasn't that he didn't know the chords or theory)
I imagine a similar thing might have happened when the fugue was introduced(in the 16th century I think). It was probably harder to hear it than to play it. Don't know.
Hope I didn't confuse you.
Ohhhh gotcha! You’re not confusing mate, no worries.
I would describe that as being able to properly “hear” a musical concept, as in being able to understand what’s really going on harmonically/melodically, and what is meant to (or possible to) be expressed emotionally when that concept is performed. That’s why I still associate concepts so much with performance, the only way an audience can hope to understand a complex expression when they’re unfamiliar is if the performer is sensitive and deft enough to convey it despite its complexity.
But you’re making good sense, and you’re right that the unfamiliar takes some time to get comfortable with as a listener (especially if you’re trying to decide if something’s just new, or if you really just don’t like it for certain reasons!). Honestly I think if you had substituted “conceptualize” with “understand a musical concept” I would have gotten it immediately, but that’s totally my bad 😂
For me, if both concept and technique don't come with the plate, I don't order it.
Being a pianist generally means being locked into equal temperament. On the other hand, Ted often includes various non-tempered examples on his playlists so he's probably not your normal pianist.
What should be taught in a “classic” liberal arts education at the college level?
It seems like the liberal arts colleges have lost their way.
I'm curious if -- in an era of streaming platforms such as Spotfiy, et al -- you think radio (terrestrial, satellite, streaming) "airplay" is still relevant for musicians? I'm thinking especially of work-a-day jazz musicians trying to get their music heard. Thanks for considering the topic!
Travel guides! A friend and I were discussing a trip from Memphis to Mississippi; where would you suggest we go? I guess we could follow blue plaques, but I'd much rather have an itinerary from the author of Delta Blues. (Ditto on your suggestions for a few days in New Orleans or anywhere else for a worthy music pilgrimage...)
Yes! That would be a fun topic. It sounds like you’ve done a bit of traveling and I’m certain you have interesting, entertaining stories. I’d love to read those.
Check out Richard Grant