Category: Arts & culture

How to write quickly

According to biographer W. Jackson Bate, Dr. Samuel Johnson could write with extraordinary speed. Bate points to Johnson’s work for the London Magazine, when he was in his early thirties, and writing out Parliamentary debates as if he had recorded them verbatim, but based solely on second-hand and often fragmentary reports of the debates:

[Johnson] had always … been able to write rapidly. But now, as John Nichols said, “Three columns of the Magazine, in an hour, was no uncommon effort, which was faster than most persons could have transcribed that quantity.” Since a column there contains a little more than six hundred words, this would mean an average rate of at least eighteen hundred words an hour, or thirty a minute. On one day — “and that not a long on, beginning perhaps at noon, and ending early in the evening” — he wrote twenty columns (about twelve thousand words)…. —Samuel Johnson: A Biography, W. Jackson Bate (New York: Harcourt Brace Jovanovich, 1975; Berkeley: Counterpoint, 1998), pp. 205-206.

At my most productive, I have only been able to write about 2,500 words a day, which I found mentally exhausting; Johnson wrote nearly five times that amount, and what he wrote was of better quality than mine.

Bate goes on to quote a passage from James Boswell’s Tour of the Hebrides, in which Johnson is quoted as saying:

BOSWELL. “We have all observed how one man dresses himself slowly and another fast.” JOHNSON. “Yes, sir, it is wonderful how much time some people will consume in dressing: taking up a thing and looking at it, and laying it down, and taking it up again. Everyone should get in the habit of doing it quickly. I would say to a young divine, ‘Here is your text; let me see how soon you can make a sermon.’ Then I’d say, ‘Let me see how much better you can make it.’…

Since I am in the process of writing a sermon (in which Dr. Johnson makes a guest appearance), I had better take his advice, and begin writing quickly.

Classical music video no. 6

There are several young classical composers that critics are calling “indie-classical,’ because they combine the singer-songwriter sensibility of indie rock with classical music complexity and depth. Today you get three videos, all of “indie-classical” music:

Continue reading “Classical music video no. 6”

Classical music video no. 5

Yesterday I mentioned composer Conlon Nancarrow (1912-1997); today’s video is of the Bang-on-a-Can All-Stars playing one of his works. “Study 3a” was originally written for player piano, and was not playable by a human pianist. This transcription, playable by humans, divides up the music among several musicians playing piano, electric guitar, clarinet, sax, cello, bass, and percussion.

Here’s another example of music that defies the boundaries of musical genre. Is it jazz? classical? or what? Nancarrow had played jazz when he was young, before studying “classical” music with Walter Piston, Roger Sessions, etc. This piece is obviously influenced by classical music of the mid-twentieth century, but check out that groovy boogie-woogie left hand on the piano that just gets under your skin and makes you want to dance.

If you’re curious what the original work sounded like, here’s a player piano rendition on Youtube. Me, I like the human-performed version better.

Classical music video no. 4

Today we have the Asphalt Orchestra doing “Zombie Woof” by Frank Zappa (1940-1993): new music meets marching band and weirdo rock n roll. As with Anthony Braxton, the second of yesterday’s composers, Frank Zappa can’t be easily contained within the boundaries of conventional musical genres. He made a living as a rock musician, recording on rock labels and playing in rock venues. But he was heavily influenced by contemporary classical composers, received commissions from renowned “classical” conductor Pierre Boulez, and developed a critically acclaimed multimedia piece in Berkeley. Avant-garde classical or rock n roll — who can tell? Zappa blurs the boundaries.

Zappa was often frustrated by the inability of human musicians to perform his music up to his standards. Even his early rock recordings contain lots of post-production manipulation (overdubbing, etc.). Like the somewhat older composer Conlon Nancarrow, Zappa spent the latter part of his career composing for a machine; Zappa used a programmable synthesizer, while Nancarrow punched out player piano scrolls by hand.

Despite his frustrations with human musicians, I suspect Zappa would have been pleased at this performance/ arrangement by the Asphalt Orchestra: the Orchestra manages to sort through the multi-level overdubbing of the original rock recording and create an arrangement for marching band; then they give the arrangement a tight performance that’s coupled with sassy choreography.

And can you imagine having a marching band like this walk into a Sunday services? Or how about stealth marching band performances in public places in the style of What Cheer Brigade?

Classical music video 3.5

Bonus — you get an extra video today!

Part of the problem with trying to define “classical music” is that musical genres are not so easily delineated. These days, musical genres are mostly created by people who want to sell you music: when you listen to a recording that you like, or attend a concert that you like, people want to sell you more recordings and more concert tickets of music that sounds pretty much exactly like what you just heard. So it is we have increasingly narrow genres, within the boundaries of which all the music sounds pretty much exactly alike.

But there are many composers who stretch the boundaries of musical genres. For example, is Anthony Braxton (b. 1945) a jazz musician? Well, he has recorded on jazz labels, played jazz clubs with some of the great jazz musicians, and is typically identified as belonging in the “free jazz” genre. But Braxton acknowledges a debt to “classical” composer John Cage, and you can see a Youtube video of him lecturing on Henri Messaien and Karheinz Stockhausen, and he has premiered his compositions at “new music” (i.e., contemporary classical music) concerts. So maybe he’s a classical composer?

The lines between jazz and new music are blurry at best, and sometimes the only difference between a jazz composer and a classical composer is that the jazz composer is black and the classical composer is white. Composer Anthony Braxton is black, he’s placed into jazz. Composer Terry Riley, who has worked as a jazz musician, is white, he gets put into classical. Duke Ellington is black, he’s a jazz composer; Gunther Schuller is white, he must be a classical composer. We accept these definitions, and even defend them, but at a certain point they don’t make a lot of sense.

I was hoping to present you with a really good video of Braxton’s music. Unfortunately, there just aren’t any good online videos of his music: only the usual crummy handheld video from someone sitting in the audience, or excerpts from one of his recordings with a static visual of the cover of the CD. But to give you a taste of Braxton’s music, I did find one 20 second clip of his mammoth “Composition No. 19 (For 100 Tubas),” written in 1971 and first performed in 2006. That’s Braxton in the foreground, with the drum major’s baton, conducting:

Classical music video no. 3

Today’s classical music video is of the Bang on a Can All-stars rocking out on Steve Reich’s “2×5” (2008). Steve Reich (b. 1936) started out as a jazz drummer, but soon switched to composing lcassical music. He is best known for his early minimalist compositions. Bang on a Can is a group of composers and musicians who have produced some remarkable performances and compositions in the twenty-five years since they were organized. If you have a chance to attend their 12 hour Bang on a Can Marathon, held each summer in North Adams at Mass MOCA, go — it will change your image of “classical” music forever.

Alas, the videography is boring. On the other hand, it’s fun watching the interaction of the musicians without constant intrusions from the videographer.

By the way, this video proves something I had though impossible: you can have a group of four electric guitar players in which not one is an egomaniac. There are four electric guitars, and two bass guitars, in this video, and every guitarist is an extremely disciplined musician showing very little ego in a very tight band.

Classical music video no. 2

Today’s classical music video is a collboration between Ben Frost (b. 1980) and Daniel Bjarnason (b. 1979). Frost is both a performer, primarily heavily modified electric guitar, and a composer; he has worked with Nico Muhy, Bjork, and Brian Eno, among other musicians. Bjarnason has also worked with classical and rock musicians in his native Iceland.

This is another meditative piece: “Cruel Miracles” is part of a longer work titled “Solaris,” which was inspired by the brilliant 1972 film of the same title directed by Andrei Tarkovsky. The visuals are in fairly standard music video format, but I do like the way the videographer emphasizes the computers and sound boards necessary for this performance: this is not nineteenth century classical music.

Classical music video no. 1

“Classical music” — an imprecise term for art/concert music in the Western tradition — has been getting a bad name in liberal religious circles. Its primary defenders promote classical music written in the nineteenth century. Its detractors rightly point out that nineteenth century music is outdated, but then typically go on to advocate commercial pop musics which are distinctly lacking in musical or intellectual depth.

Neither nineteenth century classical music nor contemporary commercial pop musics do much for my spiritual life. But I have been getting a lot of spiritual sustenance from twenty-first century “classical music,” better known to its listeners as “new music.” This week, I’m going to post some videos of new music that do something for me spiritually. First up is this fabulous music video — music composed by Anna Clyne (b. 1980) and artwork by Josh Dorman — which I would love to use as a “reading” or meditation in a worship service:

 

Oops! Did something wrong, and this didn’t publish Monday as I meant it to do; so here it is on Tuesday.

Music and empathy

The San Francisco Classical Voice Web site has an interesting article about musical activity and the development of empathy in children. Written by journalist Edward Ortiz, the article states:

The study defined empathy as a child’s having an understanding of the emotional state of another. A total of 52 children — 28 girls and 24 boys — were split, randomly, into three groups. One met weekly and was immersed in interactive musical games and was composed of 13 girls and 10 boys. A second undertook group activities that involved the use of written texts and drama, but no music. Another group took no interactive activities at all.

The children involved in musical group interactions scored higher on an empathy test given to all the children both before and after the activities. “The relationship between music and empathy seemed to be a particularly good match,” said [Tal-Chen] Rabinowitch, the lead researcher. [Link to full article]

According to the article, it may be that participation in other group activities could also result in higher scores on the empathy test; however, one of the control groups in the study did participate in other types of group interactive activities, with no increase in empathy scores. It also appears that individual consumption of music (e.g., listening to recorded music) or playing music as an individual (e.g., performing in a piano recital) would not result in increased empathy scores.

However, Ortiz writes, more research is needed: “Ultimately, the research can only be seen as preliminary because of the study’s small size, and must be tempered by the issue of confirmation bias….”

She’s wrong, but it’s OK

I started reading Maxine Hong Kingston’s memoir I Love a Broad Margin to My Life. I almost stopped reading before I finished the tenth page.

At the bottom of the ninth page, Maxine Hong Kingston begins talking with Mary Gordon:

[Mary Gordon says:] “It’s capitalistic
of us to expect any good to come from peace demonstrations,
as if ritual has to have use, gain, profit.”
I agreed, “Yes, it’s Buddhist to go parading
for the sake of parading.” “Can you think of a writer
(besides Chekov) who is holy and and artist?”
“Grace Paley.” She smiled. “Well, yes.”
Obviously. “Thoreau.” “Oh, no. Thoreau’s
too Protestant, tidy, nonsexual. He goes
home to Mom for hot chocolate. No
sex, no tragedy, no humor.”
Come to think of it, Thoreau doesn’t make
me laugh….

This is where I almost stopped reading. Doesn’t she get it? Walden is a hilarious parody of all those early nineteenth century adventure books where the protagonist travels to some exotic place and has adventures; the fact that Thoreau goes home to have hot chocolate is part of what makes it funny. Thoreau is constantly poking fun at himself. Admittedly, his puns are often terrible (the title Walden is itself a pun on Waldo, the name Ralph Waldo Emerson was known by, and on the poverty-seeking Waldensians). And Thoreau’s humor can be broad and even a little crude, like twelve-year-old boy humor. But when you read Thoreau out loud to a group of people, you get belly laughs. Maybe this is what comes when we no longer read literature out loud: the words just form in our heads, and we lose touch (literally) with the physical reactions words can provoke.

I decided to forgive Maxine Hong Kingston’s inability to get Thoreau’s humor. She can’t help it if she doesn’t have an inner twelve-year-old boy who likes bad puns and broad humor. And the rest of her memoir is pretty good, although it’s not very funny.