Since last summer, I've definitely gotten a bit distracted. I've been thinking about the environment less and less, but thankfully it hasn't left my mind completely. My sense of purpose just got a much-needed boost this afternoon while watching an episode of Planet Earth. Every time I watch that show, I feel like I need to do something. As somebody who cares deeply about our Earth, I feel a certain responsibility to protect it and to encourage everyone to do the same.
But how do I do that with music? I'm still trying to figure that out. I'm still trying to figure out how to motivate people to conserve, and while I've always known that it has to be a multifaceted approach, I'm still trying to figure out what those facets should be. So far, I'm sure that they should include publishing music in the most nature-nourishing way possible, printing small environmental messages right on the music to spread awareness, and writing for nature-nourishing genres (a cappella vocal music set to nature-nourishing poetry, for example), and there are thousands of other options that I haven't heard of or thought of yet. We need to transform the ways in which we do absolutely everything, and because I'm going into a career in music, that is the part of our culture and economy that I am trying to change.
The most important thing that I have to keep in mind is that the environment can't take the back seat as I study, compose, sell, and enjoy music. It has to be my top priority. It has to be at the front of my mind. Hopefully I can incorporate some of these ideas at my senior recital this coming semester.
Friday, December 26, 2008
Sunday, October 26, 2008
A major change of direction
It looks like the environmental studies major isn't going to pan out. Oh, well. I'm not too worried about that right now. I'm more worried about getting my jury materials together and getting some music composed for next semester's senior recital.
Last night, I made a lot of progress on a new jazz piece I've been working on. I like the chord progression, and I'm hoping to tap some of UMM's jazz talent and see how this thing would actually sound. There's also a choral arrangement of an American folk tune in the works, and that should be done within the next two weeks. I'll probably get the choir to at least look at it so I can find out how that sounds with an ensemble, too. So although I'm not getting as much composition done as I'd like to, I'm still getting something accomplished. I just have to make sure the ideas keep circulating.
Last night, I made a lot of progress on a new jazz piece I've been working on. I like the chord progression, and I'm hoping to tap some of UMM's jazz talent and see how this thing would actually sound. There's also a choral arrangement of an American folk tune in the works, and that should be done within the next two weeks. I'll probably get the choir to at least look at it so I can find out how that sounds with an ensemble, too. So although I'm not getting as much composition done as I'd like to, I'm still getting something accomplished. I just have to make sure the ideas keep circulating.
Saturday, September 13, 2008
Spontaneity in music
I'm not talking about improvisation, at least not right now. I'm talking about spontaneous performances of composed music. One example I have come up with is a way for people to suddenly break into choral music that can be sung with any combination of the soprano, alto, tenor, and bass parts. The basic form is strophic (e.g. using the same music for each verse) with one modification: the first verse is sung in unison. This allows everyone to have access to the melody, which is crucial, and the reason for this will become apparent in the following scenario:
In this scenario, anybody who wants to participate wears a button with an S, A, T, or B, according to that person's vocal range. This button is worn anytime the performer is free and willing to strike up a song with someone else, most likely with strangers. A woman wearing an A comes across a man wearing a T. They agree to sing something. They pick a tune with which they are both familiar and, as is common practice in this system, sing the first verse in unison. Then, the alto takes the melody and the tenor sings his part, which is written in such a way that it sounds decent when sung with the melody alone. Then they switch, the tenor taking the melody and the alto singing a similarly fitting line. At the third verse, a man wearing a B button approaches, and the three sing together. After finishing this first tune, they sing a second, and then they continue doing whatever they were doing before. All this without a soprano, the part that typically has the melody.
If all four parts were familiar with the melody and at least one harmonization, then any combination of people could sing. Any part could be included or left out. In order to facilitate people of varying skill levels, much of the music would have to be fairly simple with limited ranges. That makes it no less fun, however, to surprise people on the sidewalk or at the mall by singing a few independently rehearsed songs.
This type of performance fits perfectly with the compositional philosophy that I'm trying to create for myself, which is centered on environmentalism but includes performing music for the performer's sake. Today, performances are generally regarded as an event that includes an audience that attends specifically to see the performance. Why can't music be performed just because the musicians feel like doing it? If it is done in public, then the audience consists of anyone who happens to be around, and people may stop and listen if they choose. Most important is that this type of choral performance is a zero-emissions performance: it happens under circumstances where the performance site requires no special lighting, sound systems, or physical preparation. Additionally, because the audience consists of people who are already at the performance site for completely different reasons, no fuel is consumed by people seeking music. The only resources consumed would be by those learning the music, most likely in the form of paper or electricity.
The challenge to composers in this medium, then, is to write and arrange music that it can be sung by any combination of the vocal parts. I believe that this can be done, and I hope to see something of this nature develop because it provides an outlet for people who wish to sing, and it also brings free entertainment to anyone who cares to listen—or chime in.
In this scenario, anybody who wants to participate wears a button with an S, A, T, or B, according to that person's vocal range. This button is worn anytime the performer is free and willing to strike up a song with someone else, most likely with strangers. A woman wearing an A comes across a man wearing a T. They agree to sing something. They pick a tune with which they are both familiar and, as is common practice in this system, sing the first verse in unison. Then, the alto takes the melody and the tenor sings his part, which is written in such a way that it sounds decent when sung with the melody alone. Then they switch, the tenor taking the melody and the alto singing a similarly fitting line. At the third verse, a man wearing a B button approaches, and the three sing together. After finishing this first tune, they sing a second, and then they continue doing whatever they were doing before. All this without a soprano, the part that typically has the melody.
If all four parts were familiar with the melody and at least one harmonization, then any combination of people could sing. Any part could be included or left out. In order to facilitate people of varying skill levels, much of the music would have to be fairly simple with limited ranges. That makes it no less fun, however, to surprise people on the sidewalk or at the mall by singing a few independently rehearsed songs.
This type of performance fits perfectly with the compositional philosophy that I'm trying to create for myself, which is centered on environmentalism but includes performing music for the performer's sake. Today, performances are generally regarded as an event that includes an audience that attends specifically to see the performance. Why can't music be performed just because the musicians feel like doing it? If it is done in public, then the audience consists of anyone who happens to be around, and people may stop and listen if they choose. Most important is that this type of choral performance is a zero-emissions performance: it happens under circumstances where the performance site requires no special lighting, sound systems, or physical preparation. Additionally, because the audience consists of people who are already at the performance site for completely different reasons, no fuel is consumed by people seeking music. The only resources consumed would be by those learning the music, most likely in the form of paper or electricity.
The challenge to composers in this medium, then, is to write and arrange music that it can be sung by any combination of the vocal parts. I believe that this can be done, and I hope to see something of this nature develop because it provides an outlet for people who wish to sing, and it also brings free entertainment to anyone who cares to listen—or chime in.
Saturday, August 30, 2008
School
Now that school has begun, I feel like I've just been struck by a train while my ideas of eco-composition remain planted in the ground beside the tracks, quickly fading as the engine, with its speed and inertia, pulls me farther and farther away. So now, I have to get myself together, climb to the top of this train and somehow manage to gather my thoughts again while trying to duck for all those low-clearance overhead recitals and manage to hold on and not get thrown off the top of a boxcar while we speed around a curve around some gigantic concert. Meanwhile, I have to stay in touch with my artistic vision. Is this really something I can do?
I feel like I have this fantastic idea—a music major that focuses on piano and composition and an environmental studies major that focuses on music—but I feel that, as a super-senior, time and expense are not on my side. On one hand, I do need to graduate at some point. On the other hand, I never had a clear sense of direction, at least not one I could stick to, and that alone has extended college for me. Music, Spanish ed, global studies, music, a year in China, music... I've covered a lot of ground, but my movement hasn't been very linear. Why should it be? What in the natural world is linear? Earth's orbit is elliptical, its shape spherical, its weather unpredictable, but an education often turns out to be linear and one-dimensional. I've had a very rich education so far, touching three different majors and taking place at three different universities on two continents. All of this has brought me to this point. I actually have what I think is a good idea now, and I think it's a worthy investment. In order for it to work, though, I need to really apply myself this year in my music studies, more than ever before. I also need to find a few faculty members and bounce some ideas off them.
I don't want to do anything typical. Enough people are doing that already. I don't want to simply major in music and teach piano and live happily ever after. I don't want to major only in environmental studies and go into some predictable field like "policy" or "consulting". I want to carve my own path, and even if a few other people share my goals (I'm not going to pretend that my ideas are totally unique), at least I can offer a fresh route, and it requires preparation. That is why I want to take on this new major. The more I think about it, the less unfeasible it seems. I think it's time for me to go to approach the right people and say, "I'm a super-senior with a really neat idea." I am here, after all, for my education. It follows, then, that it should take the form that I think it should take. With this semester completely locked up in music credits, there's no way I could start any substantial work in environmental studies right now, but I do need to explore. Next step: find out how to do it.
I feel like I have this fantastic idea—a music major that focuses on piano and composition and an environmental studies major that focuses on music—but I feel that, as a super-senior, time and expense are not on my side. On one hand, I do need to graduate at some point. On the other hand, I never had a clear sense of direction, at least not one I could stick to, and that alone has extended college for me. Music, Spanish ed, global studies, music, a year in China, music... I've covered a lot of ground, but my movement hasn't been very linear. Why should it be? What in the natural world is linear? Earth's orbit is elliptical, its shape spherical, its weather unpredictable, but an education often turns out to be linear and one-dimensional. I've had a very rich education so far, touching three different majors and taking place at three different universities on two continents. All of this has brought me to this point. I actually have what I think is a good idea now, and I think it's a worthy investment. In order for it to work, though, I need to really apply myself this year in my music studies, more than ever before. I also need to find a few faculty members and bounce some ideas off them.
I don't want to do anything typical. Enough people are doing that already. I don't want to simply major in music and teach piano and live happily ever after. I don't want to major only in environmental studies and go into some predictable field like "policy" or "consulting". I want to carve my own path, and even if a few other people share my goals (I'm not going to pretend that my ideas are totally unique), at least I can offer a fresh route, and it requires preparation. That is why I want to take on this new major. The more I think about it, the less unfeasible it seems. I think it's time for me to go to approach the right people and say, "I'm a super-senior with a really neat idea." I am here, after all, for my education. It follows, then, that it should take the form that I think it should take. With this semester completely locked up in music credits, there's no way I could start any substantial work in environmental studies right now, but I do need to explore. Next step: find out how to do it.
Wednesday, August 6, 2008
Which role?
In my most recent thoughts about a possible future career in music composition, I've been thinking about whether I should focus on composing or on compositional theories. Then I concluded that I can do both, so there doesn't need to be an "or" in there anywhere. It's always nice when decisions become easy, when "or" becomes "and".
Also, I've been thinking again about adding a major in environmental studies. I feel that if I want to be a composer who focuses on environmental issues, it would be useful to know a lot about both music and ecology. Maybe this will become an "and", too. It would add even more time to my already drawn-out undergraduate education, but I think it could be worthwhile.
Also, I've been thinking again about adding a major in environmental studies. I feel that if I want to be a composer who focuses on environmental issues, it would be useful to know a lot about both music and ecology. Maybe this will become an "and", too. It would add even more time to my already drawn-out undergraduate education, but I think it could be worthwhile.
Monday, July 14, 2008
Addressing a need.
I love music. So, so much! I also love the environment. But go to a major performance, and other than the performance itself, what do you get? Lights, amplifiers, air conditioning, rows and rows of cars, hundreds and sometimes thousands of programs printed on paper—all kinds of things that are bad for the environment. People often drive, sometimes even fly, hundreds of miles to catch these performances. Seems like a lot of energy to consume just for a few hours of live entertainment.
This is where I step in and say, "Let me make a suggestion." Everyone is responsible for conserving resources, so I don't see any reason why we eco-minded musicians need to compromise our integrity by putting on evening performances in windowless halls with lights and paper programs, or even use sheet music printed with toxic ink on the chemical-treated remnants of tree corpses. My goals are to eliminate as much stuff from my compositions as possible and to greatly reduce the amount of energy and paper that performances consume. What effect this has on my music remains to be seen.
My first major project in this style is a small musical. It is still in the early planning stages, but it will have no set, use no electronic instruments or amplification, and have no programs. Because the cast will be very small, introductions and credits can be done orally, eliminating the need for the audience to be given any paper. To conserve or perhaps even prevent the use of electricity, the performance will be held in a sunlit room. The artistic challenge here is to make it a moving and involving show without a set or lighting or any other such effects. All I will use are music, words, and the performers because that's all I'll need. People need even less than that to be wrapped up in a conversation, so I don't need anything else. This also makes the show extremely portable. A show that requires no specific physical setup other than the absence of a specific physical setup can be done anywhere. I won't be making the story public for a while, but I think there's no problem in discussing the general setup. If anything, this paragraph is for my own benefit, to get some juices flowing.
I have a few other minor ideas for compositions, but none of them includes any sort of staging requirement. It's just standard piano music, but that should be fun as well. And, sadly, I may even have to print it and perform it in the evening in a windowless hall with lots of lights.
This is where I step in and say, "Let me make a suggestion." Everyone is responsible for conserving resources, so I don't see any reason why we eco-minded musicians need to compromise our integrity by putting on evening performances in windowless halls with lights and paper programs, or even use sheet music printed with toxic ink on the chemical-treated remnants of tree corpses. My goals are to eliminate as much stuff from my compositions as possible and to greatly reduce the amount of energy and paper that performances consume. What effect this has on my music remains to be seen.
My first major project in this style is a small musical. It is still in the early planning stages, but it will have no set, use no electronic instruments or amplification, and have no programs. Because the cast will be very small, introductions and credits can be done orally, eliminating the need for the audience to be given any paper. To conserve or perhaps even prevent the use of electricity, the performance will be held in a sunlit room. The artistic challenge here is to make it a moving and involving show without a set or lighting or any other such effects. All I will use are music, words, and the performers because that's all I'll need. People need even less than that to be wrapped up in a conversation, so I don't need anything else. This also makes the show extremely portable. A show that requires no specific physical setup other than the absence of a specific physical setup can be done anywhere. I won't be making the story public for a while, but I think there's no problem in discussing the general setup. If anything, this paragraph is for my own benefit, to get some juices flowing.
I have a few other minor ideas for compositions, but none of them includes any sort of staging requirement. It's just standard piano music, but that should be fun as well. And, sadly, I may even have to print it and perform it in the evening in a windowless hall with lots of lights.
It begins!
Well, here I am. I feel that I need a blog related to my adventures in creating music, and my personal blog isn't really suited for this. So here it is! I call it Practically Minimal. What on Earth this means will become more apparent to you and me as time passes. Hopefully.
Unfortunately, I don't have much to say in terms of what I've done so far. I've written a few things, sure, but this post is more of a ribbon-cutting ceremony than anything else, and with luck, this blog will give me a little extra motivation to create what I need to create.
Here we go!
Unfortunately, I don't have much to say in terms of what I've done so far. I've written a few things, sure, but this post is more of a ribbon-cutting ceremony than anything else, and with luck, this blog will give me a little extra motivation to create what I need to create.
Here we go!
Subscribe to:
Posts (Atom)