tag:blogger.com,1999:blog-3819229401787936427.comments2022-08-26T03:14:57.736-07:00John Oliver on music and lifeJohn Oliverhttp://www.blogger.com/profile/09044963515952062303noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-3819229401787936427.post-44579860826335887202012-08-12T23:35:53.780-07:002012-08-12T23:35:53.780-07:00The use of team development tools for source code ...The use of team development tools for source code control and other issues will tend to help avoid communication errors as well. <br /><br /><a href="http://www.eduberry.com/communications/" rel="nofollow">Communication Software</a>Anonymoushttps://www.blogger.com/profile/13299920644015317124noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-81542194948586730172012-08-01T21:23:56.904-07:002012-08-01T21:23:56.904-07:00I sent it to the entire board first and also publi...I sent it to the entire board first and also published a link to the petition on my facebook profile and page and my own web site. Thanks for your kind comments and for organizing this petition.John Oliverhttps://www.blogger.com/profile/09044963515952062303noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-51566827537341588612012-08-01T19:52:00.822-07:002012-08-01T19:52:00.822-07:00John, if you haven't already, and would like t...John, if you haven't already, and would like to send your letter direct to all the board members of Avid, please visit www.sibeliususers.org and go to the Take Action tab, where you will find auto-emailers to the entire board in one go, or to individual members. Delete the template text provided and paste yours in its place.<br /><br />That's a mighty powerful letter you wrote, and it deserves to be widely circulated. We have provided links to several other apposite commentary sites that you may wish to share your letter with.<br /><br />I already shared to my Facebook site too. You might also like to paste it into Status update on the Save Sibelius Facebook page, reachable via the above web URL.<br /><br />Best wishes<br />Derek Williams<br />Save Sibelius Campaign Organiser.Derek Williamshttps://www.blogger.com/profile/00085136692007300361noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-30533035735301101142011-09-22T10:33:31.836-07:002011-09-22T10:33:31.836-07:00Good job!Good job!Roberto Scarduahttps://www.blogger.com/profile/11384385413055079697noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-31490624510645586242010-04-18T20:37:34.278-07:002010-04-18T20:37:34.278-07:00This comment has been removed by a blog administrator.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-75903496495507825972010-03-31T05:26:36.345-07:002010-03-31T05:26:36.345-07:00This comment has been removed by a blog administrator.茂一https://www.blogger.com/profile/05600281194192624936noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-18920461915640131342010-03-21T19:19:07.970-07:002010-03-21T19:19:07.970-07:00This comment has been removed by a blog administrator.也許https://www.blogger.com/profile/10431228874595521036noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-81981556986817913062010-03-04T00:54:32.006-08:002010-03-04T00:54:32.006-08:00This comment has been removed by a blog administrator.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-55973187666523214792009-07-29T00:18:30.641-07:002009-07-29T00:18:30.641-07:00I agree with Paul that Partch was someone seeking ...I agree with Paul that Partch was someone seeking to free himself from the constraints of style and touch this universal, or "world" music. By creating tunings and instruments that would technically exist outside society's norms, he challenged each of the three necessities. Partch also reminds me that there is one aspect missing in the Kandinsky triumvirate: place. For me, a sense of place has had a big impact on my work.<br /><br />"Every artist as a child of his time, must express what is peculiar to his own time (elements of style ...) – and place?<br /><br />In the case of Partch, his place played an important role in his music (the heat of the desert, the wandering from place to place).<br /><br />"Place" first reverberates us when we experience it, then exists in memory. (I think of Gaston Bachelard's book "The Poetics of Space" in this regard.) And it is this memory of place that can have an influence on musical composition and performance. Yet musical memories are planted in early childhood acculturation and become, through practice or repetition, part of a kind of body memory. So in Kandinsky's time, he separated the expression of "personality" and "style", whereas in current urban culture, one's personality may be in constant flux (if one chooses to enter the stream), and so the expression by the artist of personality and style may become confused. <br /><br />(I wonder if the translation "must" might be better served by the word "will", as in "Every artist, as creator, will express what is peculiar to himself." this removes the imperative from the statement and opens it up to discussion.)<br /><br />I wonder if we live in a time where the first two of Kandinsky's three "mystical necessities" are disappearing in relevance, to be replaced, in the momentum of the merging world culture, by the primacy of the search for the "pure and eternally artistic." (But how do "we" define that?)<br /><br />If one believes that the artist is a "servant of art," (rather than the servant of vanity, or consumerism, or other extra-artistic matters), then one can see how personality and style are a given in any point in history – they will always be present to a greater or lesser degree of prominence. It is this illusive search for "the eternal" (that which touches beyond our close circle of friends, our immediate culture) that marks the project of art-making of serious intent.<br /><br />As Stefan remarked, there is no "native" musical language in any society any more. As Walter Zimmermann pointed out, all music is Local Music. So how can we search for the "pure and eternal"? Just as there is no "native" music, there is no pure and eternal music, at least not that any single person could define. It's all in flux. When Stefan says "composers can take part in these negotiations by facing the ensembles and the inherent aesthetic, technical, and social problems, with a note by note sensitivity that creates positive points of reference in their work, or not", he has identified the method for creating a situation in which some sincerity may begin to grow.<br /><br />The success of the expansion of the New World Music will depend on the participating composers and performers being able to put their own personality and style in the service of something larger than either of these. Personality and Style will need to coexist as twin babies in the arms of the nurturing Eternal Mother. May I suggest that the baby's first act is to touch, and the mother's first act is to sing. Thus, at the core of the Eternal World Music is rhythm and melody.John Oliverhttps://www.blogger.com/profile/09044963515952062303noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-49306983713255277982009-07-27T10:08:28.019-07:002009-07-27T10:08:28.019-07:00Hi John,
As I think I mentioned to you, your Kan...Hi John, <br /><br />As I think I mentioned to you, your Kandinsky blog entry, when it was up at MySpace, got me thinking about the subject so much that I wrote 3 blog entries of my own on the topic… Long winded, I know, but if you or anyone else would like to read them, here are links:<br /><br /><a href="http://clarkross.blogspot.com/2008/09/kandinskys-theories-part-1.html" rel="nofollow">Kandinsky's Theories (1)</a><br /><a href="http://clarkross.blogspot.com/2008/09/kandinskys-theories-part-2_30.html" rel="nofollow">Kandinsky's Theories (2)</a><br /><a href="http://clarkross.blogspot.com/2008/09/kandinskys-theories-part-3.html" rel="nofollow">Kandinsky's Theories (3)</a>Clark Rosshttps://www.blogger.com/profile/13153382609775397798noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-36900317702093735422009-07-26T04:47:51.850-07:002009-07-26T04:47:51.850-07:00Hi John, strong line of thought, thanks! Not only ...Hi John, strong line of thought, thanks! Not only is the Kandinsky-quote still very striking, I also agree completely that new music of the 21th Century must deal with the multi cultural and globalized merging of traditions. The multicultural society is probably the greatest challenge to Western art music in the 21st century. The emerging structures in society motivate an artistic paradigmatic shift and puts great demands on composer’s and performer’s sensitivity and creativity. In order to operate on ethically and artistically credible grounds, new music has to establish new points of contact towards other musical forms of expression:<br /><br />"On a more serious level of reflection, with our Western societies being more and more multi-cultural there are new problems facing composers. These problems represent the societies in which we live. The problems of multi-cultural living are plentiful and serious. Playing together, like living together, is always a negotiation between facts of diversity. Composers can take part in these negotiations by facing the ensembles and the inherent aesthetic, technical, and social problems, with a note by note sensitivity that creates positive points of reference in their work, or not." (Stefan Hakenberg, German composer quoted from a lecture at a UNESCO conference in Seoul.)<br /><br />A multi-cultural society like the Swedish presents many paradoxical situations to a musician or concert organiser: <br />- There is no single “native” musical language. Sweden hosts a substantial audience for traditional music from many parts of the world, for instance from Vietnam. In the city of Malmö, the Iranian-Swedish cultural society is one of the largest, even running its own school of music! <br />- A global perspective is needed on the development of our national culture. For the further development of Western art music, the dialogue with music from other cultures needs to take place on the highest possible levels. In other words, cultural exchange needs to go beyond superficial borrowing and move into mutual learning. But also, even if the new directions in Western art music would build on development in dialogue between artists of different cultural backgrounds but living in the west, in order to secure artistic quality, a global perspective needs to be added.<br /><br />One of my projects that attempts to deal with these issues is the Vietnamese/Swedish group The Six Tones (a project running since 2006). The Six Tones is an attempt to merge traditions of improvisation and composition in Vietnamese and contemporary Western culture, For further reading (and concert videos) about the project, check this new online article:<br />http://www.rooke.se/rooketime61.shtml<br /><br />Talk soon,<br />all best!<br />StefanAnonymoushttps://www.blogger.com/profile/05758402717515555015noreply@blogger.comtag:blogger.com,1999:blog-3819229401787936427.post-25670495358904472272009-07-25T20:45:44.051-07:002009-07-25T20:45:44.051-07:00Harry Partch is another interesting musician from ...Harry Partch is another interesting musician from the 20th century who challenged conventions and did not evade the social circumstances of his time.Anonymousnoreply@blogger.com