Who cares about live music?

"Tell Someone Who Cares"Time for a rant/ rave/ vent, methinks. It’s been a while. Bear with me:

Who cares about live music?

Everywhere I look there are stories of musicians being yelled off their stage, performers crying for “decent” pay, orchestras and opera houses closing down, music schools diminishing beyond recognition, and a host of other music-related news that simply doesn’t play a pretty tune.

So, who actually still cares about music?

  • Musicians do (instrumentalists, singers, composers, conductors).
  • Politicians will if it makes them popular.
  • Some film producers and directors do.
  • Music writers and administrators do.
  • Music teachers and professors do.
  • Some corporate executives hoping to make their company look good by supporting local musical establishments might.

Who else?

  • And don’t tell me dancers do – if they did we’d still have live musicians at every performance.
  • And don’t tell me most audiences do – if they did they’d willingly pay the costs of every concert.
  • And don’t tell me clergy do – if they did they wouldn’t be promoting celebrities who sing to pre-recorded tracks.

But despite the seemingly exhaustive list of supporters, first: look how many people who experienced music directly in their lives are those who remain passionate about it, and second: I can’t help but feel an underlying podium of obligation and hidden-agenda persuasion.

The fact is, in 2013 there are very few people who care about one of humankind’s most fundamental forms of expression. “Music” has been around for as long as birds could whistle and people could control the pitch of their voices. For centuries it was just a part of everyday life for just about everyone.

16th Century Gregorian Chant Song Book

This 16thC songbook in Seville Cathedral contains many chants “composed” over hundreds of years

Then, about 500+ years ago, someone figured out a way to write it down so others could repeat what was being expressed. (Actually, music was used in the church to aid priests with their memorization of liturgical text – a trick that is still used today.) I’ve seen one of the earliest songbooks known to exist, currently housed in Seville cathedral, and when people stop to consider what it represents, it is an awesome thing. But, like so many museum pieces, most people just wander by and say ¡Qué Bueno! (“That’s nice.”) You can hear the apathy in their tone.

Since then, there’s been a direct split between formal music and popular music. Even these words seem insufficient to describe the horrors of classifying and labeling just about each individual’s specific tastes, desires, likes and academic output of organized sound-based expression.

But what really scares me are these two facts:

1. Older generations are telling younger generations that music is unworthy, not to be valued, and an interrupting annoyance. Instead, we are taught by decision-makers and influencers that it is a gimmick, a sometimes useful but very expensive tool of persuasion, and wholly unessential or unnecessary for anyone’s well-being. Example: “Our youth groups don’t want to see an orchestra on stage – that’s not our vision for them.” Example: “Oh! That youth orchestra is just way too loud whilst we’re shopping. C’mon, let’s leave.” Example: This whole flashmob was commercially staged, including the little girl at the beginning – the bank the performers were in front of was celebrating its 130th birthday.

2. Musicians are out to prove their relevance/ worth/ value, demand certain rights, and are using Music as a political means to get what they want (be that income, satisfaction, their own worth/ value, proof that they matter or haven’t wasted their lives pursuing something pointless, etc.).

Ouch.

And I’m fed up with it.

In today’s technological digitized world, is there even a future for music? At all? We have created machines that compose and conduct, and devices that source every piece of music that has ever been recorded or constructed as an audio file. [And that’s a whole other rant – are we listening to the performers, or the sound system? More on that another time.] Music provides some sort of background sensory stimulation in almost every activity many Western humans undertake, including shopping, using public toilets, driving, office work, jogging, and so on.

The recent spike in popularity of orchestras playing music whilst a film is displayed above them is an extension of the old piano-playing cinemas of… wait for it… not even a hundred years ago. In Beethoven’s time it was rare for concert halls to have seats. People mingled, chatted, ate & drank, and had a good old time hanging out. In Mozart’s time, operas told stories of faraway places and unknown cultures with drama and costumes and scenery and, of course, dramatic music.

Mention opera nowadays and most people yawn.

What’s happened? What’s going on? Where are humans headed next? Hardly the dearly desired World Peace, that’s for sure! And I fear the loss of music and the senses that rely on it for their useful/ proper/ full development, will transform humans into unthinking creatures of survival habit.

And yet we’ve come so far…

What do you think? Add a comment below and let’s talk about it…

Maybe it’s just in specific cultures. Maybe this is all totally imagined. Regardless, I’m upset so many humans around us are dismissing live music making, and I’m getting angry enough to do something about it in my little circle of influence. More about that soon!

 

Why the next 20 years of classical music will smash the last 20

OPINION. That’s all this is. Totally unmerited, unfounded, unresearched, unverified 🙂

I’m in the UK right now, where I spent my childhood and early professional career. My teens and current professional career were/are in the USA. My college life was mostly spent up & down the UK, throughout East & West Europe, and later a sojourn in a couple of countries in the Southern parts of Africa. Next stop? Ah well, wouldn’t you like to know!

Conductor Composer Stephen P Brown grew up and lived in both the USA and the UKBut as I’m sitting here for a few moments, pondering the extraordinary life I’ve lived split primarily between two continents, cultures and languages (yes, I’m bilingual: I speak English and American), I find it remarkable how much our environment has changed but our enterprise has not. For example, in the late 1980s I predicted that orchestras would start dying out in 20 years or so if they didn’t radically change, and I was correct.

So what about 20 years from now? Hmmm…

“Keep classical music live!”

First, I still believe that acoustic/ unplugged performance affects us in so many more ways than anything reproduced through loudspeakers (click it to tweet it) if only we can be bothered to listen & allow ourselves to fully engage in it, and it cannot be replaced.

From that perspective, I wonder what was I doing 20 years ago that I’m still doing now? Am I doing it differently? How will I be doing it in the future?

Classical Music

  • “Classical music” was an art form studied by many, performed by a few, and enjoyed by a multitude.
  • No-one wants to call “Classical Music” Classical Music anymore. It has a stuffy reputation and technically only refers to the period in history in which Mozart and Haydn lived. We are confused.
  • “Contemporary Music” will be only a [major] part of intimate and huge all-encompassing events that remind us there’s a form of communication that isn’t verbal or visual, but emotional.

 

The Towaco Story by Conductor Composer Stephen P Brown

Composing

  • Manuscript paper could be bought or drawn, and music was created & shared by using a pencil, ruler and eraser/ rubber (see? I told you I’m bilingual).
  • Computer software is readily available, both audio-based used primarily for output such as films, and visual-based used primarily to print music for live performers to read.
  • Even without Steve Jobs around, composition technology will continue to grow and astound those of us born before 2009.

Music Theory

London Sinfonietta Postcard Score Event

The music score of “One for Vonnegut”

  • Musical rules and regulations developed over 400 years were studied and followed rigorously prior to being broken and expanded upon.
  • Sometimes musical rules and regulations are followed, sometimes not, sometimes they don’t even apply, especially in graphical scores.
  • People will like music that affects them, whether it is disturbing, pleasing or in-between, and the rules and regulations of multiple cultures’ musical traditions will be meshed together to create new musical theories.

Commercialization

  • Specific performers were adopted by a benefactor such as the aristocracy, a publisher or a record label, who paid the performer to perform or the composer to compose in order to entertain themselves & their staff, or make money.The Three Tenors became a commercial goldmine
  • Anyone can self-publish, self-record, and self-promote. Many consumers are getting fed up of hearing the same financially viable repertoire pumped into their ears time and time again.
  • Private enterprise will promote performers and composers through hosting or advertising at large live events and online, kind of like Pepsi and Verizon have been doing with (currently-commercialized) female pop stars. Consumers will favor living composers but still occasionally wallow in the music of Dead White Men.

Funding

  • As above, musicians struggled or were adopted by a benefactor. In the Olden Dayes of Classical Music, there was no public government funding.
  • Musicians still struggle, but many are supporting themselves handsomely through ‘entrepreneur-like’ activities such as teaching, producing (live & recording), publishing, retail, and performing all combined. Some governments still spend as much as 0.5% of their nonviable budgets on all the arts.
  • Musicians will still struggle and many will be a part of larger organizations and co-ops. But, administrators will support not direct, and Boards will over-see not make decisions. Public funding will still be a hot topic but far less influential.

 

One thing I can assure you about classical music in 20 years’ time: it will still be here. It is not dying. There will always be someone scraping a wooden violin, someone tooting down a metal tube, and someone banging on an array of so-called ‘instruments’ (aka Percussion). It may morph, shrink and grow, expand and minimalise itself to 1 note (or nothing, in the case of John Cage’s 4’33”), but it will still exist.

After all, the community and youth orchestra scenes are enjoying unprecedented success and are clearly still on the upswing (if not just reaching their height).

What YOU think “Classical Music” will be like in 20 years…

Contact Us

New psalm composition #6: Warrior Peace

Well, this was an unexpected mammoth!

(If you are not aware of my current composition quest, click here to read the introduction.)

I knew that composing for larger ensembles would take time, and was sort of risking things a little when I decided to write for a larger-than-normal ensemble but I didn’t plan for this piece to take a full month. Think of a chamber orchestra that plays Mozart and Haydn symphonies. Then take away all the string players. That’s what this composition is for! It’s not a standard combination of instruments, so I decided to call it a “Chamber Orchestra Non-Strings” ensemble. Says what it is, right?!

Conductor Composer Stephen P Brown completes composition #6 in his 7 year questThe actual difficulties were not the size of the ensemble, or the tone colours I was exploring. It was not even hard to distribute voices or create strong or interesting textures. Actually, the hardest part was the harmony – the chord progression.

It seems like I would have had as much trouble with this composition if it was for solo cello as for a large ensemble.

This piece is based on Psalm 144. It’s structure (as explained previously) is in six sections with two of them repeated: A B C, A C D. In summary, the story starts out with “bold praise” followed by a reflection on how fleeting life is in the scheme of things. Then there’s a request that God lead the battle and if the pray-er’s side prevails, then the author will sing another song of [bold] praise. Finally, the nerves settle in as there’s another prayerful request that God get involved but the author begins to dream about future possibilities, especially the peaceful joy of living that soothes the people after a warrior (in this case, God) has won a victory.

Stephen P Brown Composition Warrior Peace

Psalm 144 reflects on the peace that follows a warrior’s victory in battle.

I started writing (I’ll explain what that means in my next “How I compose” post) but didn’t like it, so deleted it and started again. And again. And again. Six iterations of section A before I got into a groove. Section B, the fleetingness of life, is hardly fleeting but was very satisfying to write and contains some of my favourite parts of this composition. Section C was fun and as a timpanist, I could not resist basing it on a drum-based warrior-like call-to-arms song (even though the word “drum” does not appear anywhere in the entire Bible! Check out opposing responses to that here and here.)

Section A repeats, then Section C repeats.

The last section, D, also went through several iterations before it eventually settled as a chorale. Chorales are a form of four-part harmony that Bach used a great deal to explore (define and break) some basic rules of composition, including harmony and voice-leading (making each part tuneful, singable, and likable). Most composition students study and experiment using the chorale form but it can also be a beautiful entity unto itself. So the last section begins with solo flute, moves into the chorale proper, and ends with a joyful upbeat melody (that reminds me of the March at the maze scene in Harry Potter IV:)

Anyway, I like this composition. It passed the ‘run-through’ test (forcing my wife to sit through it and give feedback) and so here it is for your listening pleasure:

Click here to get your copy of the score and parts (and give a copy to your local orchestra if you’d like to hear it live!)

Please let me know in the comments below what you think – your feedback is important, helpful, and usually quite fun to read. Thank you!

How I compose: Step 2 – Instrumentation

A couple of weeks ago I shared how I start composing each of the pieces in my composition quest. It seemed to be a popular post!

So after I’ve read the psalm, understood its meaning through commentary, and established the structure for my piece, the next step in composing music for me is choosing the instrumentation.

Instrumentation.

The purpose of this quest is to improve my composing skills. One of my dream goals is to finish the quest by writing a piece of music based on Psalm 33 for large chorus and full orchestra. That’s a lot of people and parts, and like an Olympic Triathlete or Astronaut, there is a ton of preparation. Knowing the insides and out of every instrument, including the human voice, is imperative before tackling a huge opus.

That’s partly why this quest will take 7 years and 150 pieces – writing for solo and small groups of instruments will teach me a great deal about how those combinations work together and how they don’t. Think of Ravel’s “masterpiece” Bolero. Familiar with it? Very popular nowadays but guess what – it was an exercise. Maurice Ravel wrote the piece to learn what different instrumentation combinations would sound like. He never meant it to be a concert hall piece, or a film score! (10, starring Dudley Moore and Bo Derek). Below is a truly awe-inspiring ensemble Blast! performing Bolero:

 

Therefore, for this first year I am selecting mostly small chamber music ensembles for my instrumentation – a wind quintet, a brass quintet, a string quartet, trios, duets, solos. Piece #6 is a little more ambitious as I’m combining both the winds and brass together. In fact, it’s written for “Chamber Orchestra Non-Strings!” Think of a chamber orchestra that plays Mozart or Haydn, and take away all the violins, violas, cellos and double basses. I’m composing for everyone else.

Conductor Composer Maestro Stephen P Brown / Swedish Chamber Orchestra

Swedish Chamber Orchestra

There is lots of string music out there, but not much just for the winds and brass, so hopefully this instrumentation will work and it will become a part of the normal orchestral repertoire.

But for those of you waiting for a large orchestra piece… Sorry! You’re gonna have to wait awhile. At least another year or two.

Right. Time to get back to the music…

Thanks for reading.

 

I’ve got 7 years left – #PsalmQuest Compositions

Some of my compositions were recently submitted as materials for another Masters-level qualification which would permit me to teach higher education in the USA – something my experience and approach is well suited to. The application was not approved, and that hurt. When I shared the assessor’s report with my select circle, most of the reactions were along the lines of “These comments make no sense,” and “I haven’t got a clue what he’s on about.” One comment suggested how the assessor seemed to be looking for negative things to say and ended up saying the same thing about each piece that was submitted. There is no recourse to appeal the assessment, and therefore I particularly reveled in one friend’s description of the assessor as a “Schmuck” (all in good jest to lighten the weight I’d put on his career-jolting opinion.)

A colleague in the academic world seemed to corroborate but put it like this:

You have wonderful ideas and a sense of exploration. Maybe there is a voice in your head wondering if anyone will like what you are doing so you play it safe. As with any creative venture, safety does not result in efforts that fully show one’s capability. I also think you have been limited by [composing for] players with modest ability and so you have had to avoid writing anything that pushes the envelope too far. Break out of that. Quiet the voices of questioning that I can imagine are speaking to you and see what happens.

Wow! Nice! Thank you, G!

 

My action plan must be:

  • Something that doesn’t require seeking the participation of musicians I can’t afford or are of “modest ability.”
  • A project that doesn’t require coming to you with my hand out asking for funds.
  • Something with changing flavours, aromas and colors that last over a long period of time.
  • A project which produces results but is not dependent on what happens to them.
  • Something that can be created with the resources I already have, and that can be shared with you if you’re interested.

 

Major influences:

Heard of Chris Guillebeau? Several years ago he set himself the goal of visiting all the countries of the world by his 35th birthday. He just completed his quest ON his 35th birthday last month. 193 countries in less than 11 years. No-one else has ever accomplished it.

Most of Bach’s work, much of Mozart’s, Beethoven, Verdi, Poulenc, Vaughan Williams, Taverner, Part and a multitude of other composers have written music influenced by the Bible, including two of the most amazing pieces ever: the ultra-famous Messiah by Handel, and the incomparable Belshazzar’s Feast by William Walton (watch below). Even outlying members of the post-WWII British atheist movement, including composers such as Benjamin Britten and John Rutter, often turned to the Bible for source material. So why not me?

 

I recently heard a reading of Psalm 33 and it caught my attention. It is far from famous but its descriptive content is unique. There are many pieces of music in the world influenced by the psalms, but… all of them? Yes. Plenty. But that’s like asking if every country in the world has been visited. Until Chris G set his goal, no one person had visited every country in the world.

My Quest:

To advance my composition skills by writing 150 pieces of music based on each of the 150 psalms by my 50th birthday in 7 years’ time.

How on earth will that get done? I have a plan. [In fact, I’ve already started].

It’s going to be a fascinating journey! I hope you’ll stay the course with me.

 

keep-calm-and-stay-the-course

Update Jan 8, 2014:
Project going VERY well! 13 completed and two more underway. In the meantime, I’ve adopted the hashtag #PsalmQuest to help organize my composition project. Spread the word! [Click it to tweet it]

Update Sept 10, 2018:
Four years of web content got deleted through malware that also infected by backups. Regardless, this project was on hiatus for three years during my Dad’s rather cruel terminal illness (PSP) and I am only now figuring out how to re-incorporate the #PsalmQuest schedule back into my daily routine. I doubt the project will be finished by my 50th birthday, but the important thing for me right now is to simply finish.

 

Tell me in the comments below how you’ve overcome adversity or a big disappointment. Did it spur you into action? Did you setup a project or quest? Did you move onto something completely different? I’d love to hear how you managed to move on with your life. Go on, add a comment, and then share this post so others can benefit, too: