Howdy to everyone out in internet land. Once again, I took a little break from writing. Glad to back to it though. Just moved last weekend to a new apartment in Mountain View. That–along with QUADRE's recent concert with Richard King–has inspired the topics today: Space and Collaboration.
SPACE
Never can have enough space, can you. As I emptied my 5x10 storage space and moved into my new place, I came to wonder how I had acquired so much stuff. Do I really need six ponchos? When will I ever come to need a double cassette player again? And who had the bright idea of starting a hat collection?
In terms of the group, we've gathered our fair amount of stuff over the years. With our tenth anniversary coming up this February (this won't be the last time I mention it-get your balloons ready!), I have seen the ensemble buy all sorts of things over the years. Our collection of stuff includes: 3000 of our albums, 100 demo cassette tapes, 10 music stands, 4 stools, dozens of various percussion, embroidered apparel galore, videos, posters, cups, plates, napkins, and a lifesize cut-out of Nathan Pawelek (don't ask.) Add on top of that my music library that includes all our horn quartet repertoire (over 200 titles) plus various other combinations (over 200 more), and you have a lot of stuff.
This week we were considering moving all of it into a storage unit. (Currently it occupies the basement at my parent's house - Thanks Mom and Dad.) The cost - $83/month for a 5x6x10 space with a light. If you're interested, they have 6 units available at Stowit Mini Storage in Mountain View. However, it looks like it is going to stay in the basement for now which saves the group $1000/year.
However, one must ask why? Why do we seem, as a society, in love with our stuff? We gather up stuff every chance we get only to have to find a place to put it. And we seem to be getting more enamored each decade. Back in the 1960s, storage facilities didn't exist. In 2001, Public Storage which operates over 2000 storage centers nationwide posted sales over $800 million. Along with its competitors, that is over a billion dollars spent to store extra stuff!! Where is the fun in it all.
I'm afraid I don't have any answers. However, I, for one am going to try and eliminate the clutter by giving my stuff to other people. I figure why deal with the problem when you can just pass the buck, right? It will all work itself out in land fills and incinerators I'm sure. Until then, do you have any free space? I got a bunch of great hats and ponchos that you would love.
COLLABORATION
Over the years, QUADRE has had the opportunity to work with some truly amazing artists. These enriching artistic endeavors help to give your art context. For instance, working with a dance troupe makes you understand the relationship between your music and their movement and, in turn, gives you a chance to reflect on how your music is expressed by itself. Additionally, the talents and different perspectives that collaborators bring to the table is immense.
Our organization has primarily had other horn players as collaborators. Some of the individuals that we've had the pleasure to work with include: Michael Thompson, Richard Watkins, Bill Bernatis, Douglas Hull and Robert Watt. Most recently, Richard King joined the ensemble for two works as part of the Music in the Vineyards summer festival in Napa, CA. Each of these experiences has been completely unique and enriching. The group dynamic of a chamber music ensemble can be a delicate thing at times, so adding another person to the mix can be a challenge. However, we've been fortunate not to have any jerks work with us yet. (Keeping my fingers crossed on that one.)
In addition to horn players, we've worked with vocalists, pianists, tuba players, symphony orchestras, jazz bands, and wind ensembles as well as a couple dance companies. The most important thing is to keep the lines of communication open and be willing to embrace a new artistic viewpoint. Half the fun is enjoying the shared moment of mutual creativity. Even if you have no idea how the product is going to turn out.
Tuesday, August 21, 2007
Tuesday, July 24, 2007
Perspective
Hope everyone is having a good week. I took a little break from the writing. Been crazy busy the last couple weeks. This week I introduce some musings of my own.
PERSPECTIVE
I've come to believe that most of the problems in the world today could be solved with perspective. Now, I'm not talking about a perspective where everyone sees their environment as it relates to chamber music. I may be optimistic, but I'm not nuts. While I love what we do, I recognize that it is a small niche in the grand scheme of things. No, the perspective I'm thinking of is where everyone is always aware how truly vast the universe is.
The fact that the hunk of rock that we are on called Earth is the only hunk of rock we have at our disposal should make some people think a little before they act. It appalls me to no end at how short-sighted us humans can be. "Let's toss junk in the water. Nature will fix it." "Let's go to war, because war always solves problems." "Let's spend money on the latest gadget and gizmo. We'll just throw away our old gadget we bought 3 years ago and have it join millions of other gadgets in landfill."
The funny thing about perspective though, is that we all have at least one. And even if we all used them from time to time, none of our perspectives are going to agree most of the time. That's why I say that we focus on just the "vast universe" one. We may not get anything done and just lie down in despair. However, we'll definitely kill less and ruin our planet more slowly. Just a thought.
PERSPECTIVE
I've come to believe that most of the problems in the world today could be solved with perspective. Now, I'm not talking about a perspective where everyone sees their environment as it relates to chamber music. I may be optimistic, but I'm not nuts. While I love what we do, I recognize that it is a small niche in the grand scheme of things. No, the perspective I'm thinking of is where everyone is always aware how truly vast the universe is.
The fact that the hunk of rock that we are on called Earth is the only hunk of rock we have at our disposal should make some people think a little before they act. It appalls me to no end at how short-sighted us humans can be. "Let's toss junk in the water. Nature will fix it." "Let's go to war, because war always solves problems." "Let's spend money on the latest gadget and gizmo. We'll just throw away our old gadget we bought 3 years ago and have it join millions of other gadgets in landfill."
The funny thing about perspective though, is that we all have at least one. And even if we all used them from time to time, none of our perspectives are going to agree most of the time. That's why I say that we focus on just the "vast universe" one. We may not get anything done and just lie down in despair. However, we'll definitely kill less and ruin our planet more slowly. Just a thought.
Tuesday, June 26, 2007
Digital Downloads and Engaging Art
Hello everyone. This week's installment is care of two emails in the inbox. Nothing like electronic inspiration!
DIGITAL DOWNLOADS
QUADRE's music from its latest CD, Citrus can now be downloaded electronically from PayPlay.fm - an MP3 download store that is selling our music as part of CD Baby's Digital Distribution.
They work kind of like Apple's iTunes except that there is no software that needs to be installed. As CD Baby's CEO, Derek Sivers says, "They've got a nice easy-to-use website that is a great no-nonsense place to send fans that want to buy your MP3s. And since they're regular MP3 files, they'll work in every computer, and any portable player."
So if you know anyone that loves to download MP3 files, point them to PayPlay. They have a huge selection.
ENGAGING ART
Douglas McLennan has written a new book titled, Engaging Art: The Next Great Transformation of America's Cultural Life. View abstracts of the book by clicking here. I especially found chapter 4 to be compelling as it discussed how the culture of the arts has changed into passive and active models of participation. I feel strongly that the more one engages with the audience through the given art form, the more connected and satisifed the patrons are. Rather than watch the canvas come alive before my eyes, I'd rather be the canvas.
DIGITAL DOWNLOADS
QUADRE's music from its latest CD, Citrus can now be downloaded electronically from PayPlay.fm - an MP3 download store that is selling our music as part of CD Baby's Digital Distribution.
They work kind of like Apple's iTunes except that there is no software that needs to be installed. As CD Baby's CEO, Derek Sivers says, "They've got a nice easy-to-use website that is a great no-nonsense place to send fans that want to buy your MP3s. And since they're regular MP3 files, they'll work in every computer, and any portable player."
So if you know anyone that loves to download MP3 files, point them to PayPlay. They have a huge selection.
ENGAGING ART
Douglas McLennan has written a new book titled, Engaging Art: The Next Great Transformation of America's Cultural Life. View abstracts of the book by clicking here. I especially found chapter 4 to be compelling as it discussed how the culture of the arts has changed into passive and active models of participation. I feel strongly that the more one engages with the audience through the given art form, the more connected and satisifed the patrons are. Rather than watch the canvas come alive before my eyes, I'd rather be the canvas.
Tuesday, June 12, 2007
Music in the Schools and Publishing
This week's tidbits are inspired by the emails I've received in the last 48 hours. Now how did we get on before email came along? I wonder.
MUSIC IN THE SCHOOLS
Melissa Hendrickson, a former member of QUADRE from 1998-2001, sent me this wonderful link for a blog she frequents. The author who goes by tristero makes reference to an individual who believes schools should do away completely with all fictional content. Tristero's response, I believe, is completely inspired! :-) Another blog that also offers a response is written by Chad Orzel. His blog is here.
PUBLISHING
You may wonder how the music that gets played in our concerts gets in the hands of the artists. Well, for music that has been written and performed before, much of it is available to purchase from a music store. Like a bookstore, the music store buys their music from publishers. In the case of a lot of the music QUADRE plays though, it is unpublished. We have to call up friends of friends to get music that some woman who plays the horn in Canada has written. Or it is a piece that one of us in the group composed. In the case of the latter, I am starting to get each of them published with Emerson Horn Editions in Colorado.
The first work to be published is Reason to Rhyme by yours truly. It will be available to purchase for the first time at the International Horn Symposium in Switzerland mid-July. After almost ten years, it is nice to see our music make its way into the hands of horn enthusiasts.
MUSIC IN THE SCHOOLS
Melissa Hendrickson, a former member of QUADRE from 1998-2001, sent me this wonderful link for a blog she frequents. The author who goes by tristero makes reference to an individual who believes schools should do away completely with all fictional content. Tristero's response, I believe, is completely inspired! :-) Another blog that also offers a response is written by Chad Orzel. His blog is here.
PUBLISHING
You may wonder how the music that gets played in our concerts gets in the hands of the artists. Well, for music that has been written and performed before, much of it is available to purchase from a music store. Like a bookstore, the music store buys their music from publishers. In the case of a lot of the music QUADRE plays though, it is unpublished. We have to call up friends of friends to get music that some woman who plays the horn in Canada has written. Or it is a piece that one of us in the group composed. In the case of the latter, I am starting to get each of them published with Emerson Horn Editions in Colorado.
The first work to be published is Reason to Rhyme by yours truly. It will be available to purchase for the first time at the International Horn Symposium in Switzerland mid-July. After almost ten years, it is nice to see our music make its way into the hands of horn enthusiasts.
Tuesday, May 29, 2007
Queries and Creation
QUADRE Queries
One of things that fascinates me is how we interpret our world. It seems that there as many perspectives as people on the planet. There are certainly tastemakers that influence our views, but by in large, I feel we each have a source of worldly insight that is unique given our upbringing, milieu, and experience.
For this reason, asking questions about the horn and music seem like a great opportunity to see some of those perspectives come to light. One of the pages on our ensemble's website is dedicated to these questions and answers. It is our QUADRE Queries page. For a laugh check it out here. And I pose a challenge to each of you - think of a question you'd like some perspective on and ask ten people independently. At the very least, it should provide a sense of connection between you and these ten individuals. At the most, you'll gain insights into your character and theirs. Good luck!
Composing for the Masses
Success is in the eye of the beholder. We live in a world where one hit wonders abound. Where the latest and greatest artists on the pop circuit today, may be a distant memory tomorrow. With these high peaks and deep valleys, how does a modern day "classical" composer function?
My first thought as one of those aforementioned composers is to just compose whatever comes to mind and disregard the establishment. However, I think that if one takes this approach a lot of opportunities can be missed. For example, a local brass quintet may want or better yet, need, a new piece for their concert. Do you turn down the work based on the fact that you're in the thick of constructing your requiem?
On the other hand, I think that bowing continually to societal pressures and composing what you think people will want is a recipe for artistic failure as well. While the monetary rewards may be great, I think taking such an approach can prevent the composer from finding their voice and establishing their style.
I think there can be a wonderful compromise in the middle that doesn't impinge upon a composer's aesthetics and allows them to be flexible to their artistic climate. What do I speak of? Why, the village bard of course!
These qualities seem central to the village bard's repertoire:
1. Finding the connections between their art and the community
2. Free expression of their thoughts and feelings
3. Learning to move on if the present crowd isn't into their style
The world has become so large, why not simplify it by bringing back the village bard. I'm all for it. Let the strings be strum.
One of things that fascinates me is how we interpret our world. It seems that there as many perspectives as people on the planet. There are certainly tastemakers that influence our views, but by in large, I feel we each have a source of worldly insight that is unique given our upbringing, milieu, and experience.
For this reason, asking questions about the horn and music seem like a great opportunity to see some of those perspectives come to light. One of the pages on our ensemble's website is dedicated to these questions and answers. It is our QUADRE Queries page. For a laugh check it out here. And I pose a challenge to each of you - think of a question you'd like some perspective on and ask ten people independently. At the very least, it should provide a sense of connection between you and these ten individuals. At the most, you'll gain insights into your character and theirs. Good luck!
Composing for the Masses
Success is in the eye of the beholder. We live in a world where one hit wonders abound. Where the latest and greatest artists on the pop circuit today, may be a distant memory tomorrow. With these high peaks and deep valleys, how does a modern day "classical" composer function?
My first thought as one of those aforementioned composers is to just compose whatever comes to mind and disregard the establishment. However, I think that if one takes this approach a lot of opportunities can be missed. For example, a local brass quintet may want or better yet, need, a new piece for their concert. Do you turn down the work based on the fact that you're in the thick of constructing your requiem?
On the other hand, I think that bowing continually to societal pressures and composing what you think people will want is a recipe for artistic failure as well. While the monetary rewards may be great, I think taking such an approach can prevent the composer from finding their voice and establishing their style.
I think there can be a wonderful compromise in the middle that doesn't impinge upon a composer's aesthetics and allows them to be flexible to their artistic climate. What do I speak of? Why, the village bard of course!
These qualities seem central to the village bard's repertoire:
1. Finding the connections between their art and the community
2. Free expression of their thoughts and feelings
3. Learning to move on if the present crowd isn't into their style
The world has become so large, why not simplify it by bringing back the village bard. I'm all for it. Let the strings be strum.
Tuesday, May 15, 2007
Artists in Today's World and Momentum
Artists in Today's World
Check out this article forwarded by Derek Sivers of CD Baby. Fabulous piece about independent artists in today's world. Click here to read all about it.
Momentum
On Friday May 11, I spoke on a panel for the arts in Mountain View. The panel was brought together by Leadership Mountain View and moderated by Patricia Cheng, a local pianist. My hat is off to the great artists and arts organizations we have here in Mountain View. Participants on the panel included Scott Whisler, Executive Director of the Mountain View Center for the Performing Arts; Jeffry Walker, Executive Director of the Community School of Music and Arts; Karen Simpson, Executive Director of Peninsula Youth Theatre; Phil Santora, Manager Director for TheatreWorks and Laura Deem, a local visual artist.
I found the discussions and ideas raised from the panel very illuminating. Questions like how are the arts relevant to our community, what would be an ideal future for the arts, and what does it take to create an atmosphere of creativity were raised. We even started a dialogue about the formation of a Mountain View Art Collective. We'll see how that develops.
In addition to the panel in the morning, each Leadership Mountain View (LMV) student chose a local non profit arts organization (either PYT, TheatreWorks, Quadre, or CSMA) to research. In the afternoon, the LMV students went over to Freestyle Academy where they worked with those students to create a public service announcement (PSA) based on the question, "Why is X organization important to Mountain View?".
I got a chance to hear and see the Quadre PSA done by LMV and Freestyle students in the afternoon. (Thanks to Sharlene Gee for getting it.) It went like this: "Caltrain's not the only horn in Mountain View... QUADRE - The Voice of Four Horns." Very clever.
There is an audio clip that goes with the slogan. Be sure to check it out by clicking here.
Check out this article forwarded by Derek Sivers of CD Baby. Fabulous piece about independent artists in today's world. Click here to read all about it.
Momentum
On Friday May 11, I spoke on a panel for the arts in Mountain View. The panel was brought together by Leadership Mountain View and moderated by Patricia Cheng, a local pianist. My hat is off to the great artists and arts organizations we have here in Mountain View. Participants on the panel included Scott Whisler, Executive Director of the Mountain View Center for the Performing Arts; Jeffry Walker, Executive Director of the Community School of Music and Arts; Karen Simpson, Executive Director of Peninsula Youth Theatre; Phil Santora, Manager Director for TheatreWorks and Laura Deem, a local visual artist.
I found the discussions and ideas raised from the panel very illuminating. Questions like how are the arts relevant to our community, what would be an ideal future for the arts, and what does it take to create an atmosphere of creativity were raised. We even started a dialogue about the formation of a Mountain View Art Collective. We'll see how that develops.
In addition to the panel in the morning, each Leadership Mountain View (LMV) student chose a local non profit arts organization (either PYT, TheatreWorks, Quadre, or CSMA) to research. In the afternoon, the LMV students went over to Freestyle Academy where they worked with those students to create a public service announcement (PSA) based on the question, "Why is X organization important to Mountain View?".
I got a chance to hear and see the Quadre PSA done by LMV and Freestyle students in the afternoon. (Thanks to Sharlene Gee for getting it.) It went like this: "Caltrain's not the only horn in Mountain View... QUADRE - The Voice of Four Horns." Very clever.
There is an audio clip that goes with the slogan. Be sure to check it out by clicking here.
Tuesday, May 1, 2007
Will virtual sounds replace live music?
Last weekend I received an email from a student at Los Altos High School asking me for my thoughts on "digital music." He was trying to figure out if live music will be replaced by virtual sounds. What follows is a copy of the letter on the subject. By the way, this is certainly a great topic to utilize the comments feature on this blog. Hint, hint. :-)
VIRTUAL LETTER ON VIRTUAL MUSIC
(Written by Daniel Wood to a HS student in Los Altos, CA)
Glad you're taking this topic on. A great many people in the American Federation of Musicians have been talking about this for years. However, some of the recent advancements in technology have created an environment with disturbing trends. Synthesizers have reduced the numbers of musicians in Broadway pit orchestras. Musician unions, under pressure, reduced the minimum number of musicians required for services. Samples of live musicians utilized in notated programs such as Sibelius and Notion now offer the ability to tap a tempo with real-time playback thus allowing one person to literally tap an entire score.
For more information
1. Call the SF Musicians' Union (415)575-0777. Ask them for more resources on this topic.
2. Investigate the software NOTION online. There are higher end products out there that can do the same things with much more realistic results. However, this will give you a feel for it. Scroll down to hear Tchaikovsky's Nutcracker using this software.
QUESTIONS ABOUT DIGITAL MUSIC
Q) Do you believe that digital music can replace an orchestral sound?
A) I feel that, ultimately, digital music can get incredibly close to replicating an orchestral sound. If samples using live musicians are used, it can be very convincing. I heard a score at the beginning of April that sounded very realistic. It was a trailer for a movie. The composer was in Utah and was pitching the idea to a producer in Los Angeles. He did it in one night. It wasn't quite right, but very close. Enough to get the job.
The one thing that digital music will take a long time to do is interpret the same performance differently. Variety is a quality that some of us hold very dear. It will be a while yet until digital music not only replicates the sound accurately, but interprets the music in the myriad of ways that live musicians do.
That said, digital music is already replacing orchestral sounds on albums for rock, country, r&b, classical, jazz, soul, etc. If the audience isn't discerning or doesn't care, it is hard to justify the extra expense of hiring an entire orchestra for a studio session or tour.
Q) Do you think the increase in use of digital music has made it harder for you to find employment as a musician?
A) My focus is on solo performances and chamber music. I have never relied on studio work, musical theater, symphonic work, opera or ballet as a means of income. Also, I utilize digital music technology in my solo shows a great deal, so for me, I've actually seen more opportunities emerge as a live musician with the advancements.
That said, I have noticed trends in the employment for my peers and colleagues. The hardest hit has been studio work. When a visual component serves as the dominant medium of an art form, then all other aspects - such as audio - become secondary. This can also be said for modern-day musical theater.
While there has been a reduction in services and size of the ensemble from time to time for symphonic, opera and ballet work, I do not believe that digital music has been the primary cause for this trend. While opera and ballet do have a strong visual component, I think that since these arts forms are more traditional and fine art in nature the music gets equal footing.
Q) What kinds of new things has digital music enabled to you to do in the creation of music?
A) Live looping. Playing with an accompaniment. Ability to hear ones composition in a way that somewhat reflects how it will ultimately sound. Effects - reverb, delay, distortion, etc.
VIRTUAL LETTER ON VIRTUAL MUSIC
(Written by Daniel Wood to a HS student in Los Altos, CA)
Glad you're taking this topic on. A great many people in the American Federation of Musicians have been talking about this for years. However, some of the recent advancements in technology have created an environment with disturbing trends. Synthesizers have reduced the numbers of musicians in Broadway pit orchestras. Musician unions, under pressure, reduced the minimum number of musicians required for services. Samples of live musicians utilized in notated programs such as Sibelius and Notion now offer the ability to tap a tempo with real-time playback thus allowing one person to literally tap an entire score.
For more information
1. Call the SF Musicians' Union (415)575-0777. Ask them for more resources on this topic.
2. Investigate the software NOTION online. There are higher end products out there that can do the same things with much more realistic results. However, this will give you a feel for it. Scroll down to hear Tchaikovsky's Nutcracker using this software.
QUESTIONS ABOUT DIGITAL MUSIC
Q) Do you believe that digital music can replace an orchestral sound?
A) I feel that, ultimately, digital music can get incredibly close to replicating an orchestral sound. If samples using live musicians are used, it can be very convincing. I heard a score at the beginning of April that sounded very realistic. It was a trailer for a movie. The composer was in Utah and was pitching the idea to a producer in Los Angeles. He did it in one night. It wasn't quite right, but very close. Enough to get the job.
The one thing that digital music will take a long time to do is interpret the same performance differently. Variety is a quality that some of us hold very dear. It will be a while yet until digital music not only replicates the sound accurately, but interprets the music in the myriad of ways that live musicians do.
That said, digital music is already replacing orchestral sounds on albums for rock, country, r&b, classical, jazz, soul, etc. If the audience isn't discerning or doesn't care, it is hard to justify the extra expense of hiring an entire orchestra for a studio session or tour.
Q) Do you think the increase in use of digital music has made it harder for you to find employment as a musician?
A) My focus is on solo performances and chamber music. I have never relied on studio work, musical theater, symphonic work, opera or ballet as a means of income. Also, I utilize digital music technology in my solo shows a great deal, so for me, I've actually seen more opportunities emerge as a live musician with the advancements.
That said, I have noticed trends in the employment for my peers and colleagues. The hardest hit has been studio work. When a visual component serves as the dominant medium of an art form, then all other aspects - such as audio - become secondary. This can also be said for modern-day musical theater.
While there has been a reduction in services and size of the ensemble from time to time for symphonic, opera and ballet work, I do not believe that digital music has been the primary cause for this trend. While opera and ballet do have a strong visual component, I think that since these arts forms are more traditional and fine art in nature the music gets equal footing.
Q) What kinds of new things has digital music enabled to you to do in the creation of music?
A) Live looping. Playing with an accompaniment. Ability to hear ones composition in a way that somewhat reflects how it will ultimately sound. Effects - reverb, delay, distortion, etc.
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