Rachel and I were just watching a story that Nightline covered about this man and his family living in a minimalist fashion in New York City. The man calls himself "no impact man," and he does everything devoid of electricity, carbon monoxide emissions, and materials that require trees for their production. His life is changing in more ways than one; completely different behaviors and patterns to his everyday living.
Given the circumstances of global warming and environmental concern, we may think such a shift in life is a noble one. However, if the environment was not at the front of our minds we might think this guy to be ready for the loony bin. I think composers of minimalist music probably experienced something of the sort when they presented their ideas - this-stuff-is-crazy-and-whomever-calls-it-music-is-a-loon-too. (I'm sure they still get such sneers.) Why? Because it is against the grain. It causes people to think a bit differently about music, to look at it from a different angle, in a different light. It causes people to empathize with something new.
Why are some folks so apt to block certain things from their minds? Is it because they are afraid of empathizing with new things? Is it a narrow-minded environment from which they might come? (But if that's the reason, then people are enslaved to a way of thinking, and we know that slavery in America is unconstitutional...just thought I'd throw that in, I guess...) So what is it? Why are people quick to cast aside, and slow to consider?
Wednesday, July 18, 2007
Wednesday, July 11, 2007
Los Angeles, CA
I've been in LA this week, and it has been such a good trip...it would be better with Rachel, though. Yesterday our group went to the Ronald Reagan Library and Santa Barbara. Today we went to the Richard Nixon Library, Hollywood, and Beverly Hills. Tomorrow, we go to a couple of Missions and San Diego.
On Reagan's tomb memorial is written, "I know in my heart that man is good, that what is right will always eventually triumph, and there is purpose and worth to each and every life." This is one of the final messages the world has of former President Reagan, even from a man who was almost fatally shot and certainly severely wounded. Reagan wrote in his personal diary describing the shooter as "a mixed up young man" and did not seem to harbor any resentment toward that young man. Something worthy of respect.
Today is actually an historic date for the Nixon Library. Before we toured the facility, some staff members were cleaning up from a reception held in the main lobby, and we learned that the Library was being included in the National Presidential Library Circuit, which means the facility will now be eligible for federal funding, whereas before it had only been a museum and raised all of its own funding. Interesting to be a part of history so close.
On Reagan's tomb memorial is written, "I know in my heart that man is good, that what is right will always eventually triumph, and there is purpose and worth to each and every life." This is one of the final messages the world has of former President Reagan, even from a man who was almost fatally shot and certainly severely wounded. Reagan wrote in his personal diary describing the shooter as "a mixed up young man" and did not seem to harbor any resentment toward that young man. Something worthy of respect.
Today is actually an historic date for the Nixon Library. Before we toured the facility, some staff members were cleaning up from a reception held in the main lobby, and we learned that the Library was being included in the National Presidential Library Circuit, which means the facility will now be eligible for federal funding, whereas before it had only been a museum and raised all of its own funding. Interesting to be a part of history so close.
Saturday, July 7, 2007
Poppity pop music
NPR does a segment entitled, "This I Believe," where they feature solid essays written by people who convey worthy-of-sharing beliefs. Like them, I have beliefs too, and right now they happen to be about mainstream music.
Some good. Some not-so-good. Some never gets old no matter how much it's played. Some just isn't old enough and will always be immature crap. Some folks ask me about my work, and I tell them that I'm a choral director at a high school who hopes to further pursue the field with higher degrees. After the conversation goes so far, they ask something like, "So do you listen to any country or rap or rock?" My response is, "If it's good."
I do know some who believe the radio is completely ridiculous these days because "music just ain't what it used to be." And to such statements I would have to agree that music certainly isn't at all what it once was. But I would be agreeing for a different reason, rather than in support of sulky, pouting comments. Music can't help but change. It always will, and you can lay a high bid on that.
I believe pop music can be good. Of course there is a lot that isn't because I can't help but notice how poorly the musical lines are written or how less than thought provokingly scratched down lyrics can come out, as if these folks were in a hurry to write the song, produce the song, and sell it only to drive the market to feed their green pockets. But sometimes it's done well. There are those out there who actually think about solid material to present to the public and actually fearlessly (perhaps fearfully) put it out there for people to enjoy and connect with. Some folks ask me what constitutes good music and want me to name off specific people for them to listen to, but I tell them to listen for those people who cause you to reflect on your life, your current mode of operation, or anything that makes you stop and say to yourself, "I truly enjoyed that because of what it communicated to me personally, and not just because it's what other people are tuned into." When you can say things like this about a singer or songwriter, it is then you have encountered a musician, an artist.
Some good. Some not-so-good. Some never gets old no matter how much it's played. Some just isn't old enough and will always be immature crap. Some folks ask me about my work, and I tell them that I'm a choral director at a high school who hopes to further pursue the field with higher degrees. After the conversation goes so far, they ask something like, "So do you listen to any country or rap or rock?" My response is, "If it's good."
I do know some who believe the radio is completely ridiculous these days because "music just ain't what it used to be." And to such statements I would have to agree that music certainly isn't at all what it once was. But I would be agreeing for a different reason, rather than in support of sulky, pouting comments. Music can't help but change. It always will, and you can lay a high bid on that.
I believe pop music can be good. Of course there is a lot that isn't because I can't help but notice how poorly the musical lines are written or how less than thought provokingly scratched down lyrics can come out, as if these folks were in a hurry to write the song, produce the song, and sell it only to drive the market to feed their green pockets. But sometimes it's done well. There are those out there who actually think about solid material to present to the public and actually fearlessly (perhaps fearfully) put it out there for people to enjoy and connect with. Some folks ask me what constitutes good music and want me to name off specific people for them to listen to, but I tell them to listen for those people who cause you to reflect on your life, your current mode of operation, or anything that makes you stop and say to yourself, "I truly enjoyed that because of what it communicated to me personally, and not just because it's what other people are tuned into." When you can say things like this about a singer or songwriter, it is then you have encountered a musician, an artist.
Friday, July 6, 2007
90 miles a minute
So you're thinking, "a blog for recording aesthetic moments emoting from music"...who's this guy? Why would I want to read this emoting stuff, much less leave comments on posts?
The truth is, my mind runs, you guessed it, 90 miles a minute when it comes to "musical moments," and I need one more place to write them down so I don't forget them. I usually put them in a journal, but I thought why not put it out for the public so I can welcome thoughts of others and learn from you guys? Sounded pretty cool to me.
Being a conductor, though I'm quite young at it, comes with its nearly cultish ways. Constant thought about how to convey information to people in an understandable way through words and body language. But that's not the beginning of it all. A conductor primarily exists within his thoughts and communicates to the world first through a pencil, leaving its graphite (or colored pigments) on the musical score. First, the obvious work: marking the dynamics. These are the things that protrude from the page in black and white. The hard work comes in figuring out how to phrase the piece. Long phrase? Short phrase? What musical context works in conjunction with the text being sung? Now what are the heights of the phrase? Which parts of the phrase should be most important, and what makes the most sense with the entire work? What is it the composer wants people to learn or like about this piece? ...and on and on and on...
So, you see. A conductor's mind, at least mine, can go crazy. Thus I post to welcome comments, questions, and food for thought to apply a little breakage to the 90mph I often experience.
The truth is, my mind runs, you guessed it, 90 miles a minute when it comes to "musical moments," and I need one more place to write them down so I don't forget them. I usually put them in a journal, but I thought why not put it out for the public so I can welcome thoughts of others and learn from you guys? Sounded pretty cool to me.
Being a conductor, though I'm quite young at it, comes with its nearly cultish ways. Constant thought about how to convey information to people in an understandable way through words and body language. But that's not the beginning of it all. A conductor primarily exists within his thoughts and communicates to the world first through a pencil, leaving its graphite (or colored pigments) on the musical score. First, the obvious work: marking the dynamics. These are the things that protrude from the page in black and white. The hard work comes in figuring out how to phrase the piece. Long phrase? Short phrase? What musical context works in conjunction with the text being sung? Now what are the heights of the phrase? Which parts of the phrase should be most important, and what makes the most sense with the entire work? What is it the composer wants people to learn or like about this piece? ...and on and on and on...
So, you see. A conductor's mind, at least mine, can go crazy. Thus I post to welcome comments, questions, and food for thought to apply a little breakage to the 90mph I often experience.
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