One of my tunes was recently used in a promotional video for a horror novel. Check it out:
Archive for the 'Music' Category
As I think most people know, I play a lot of music. Lately I’ve been working more on jazz and am learning jazz tunes, focusing on my improvisation etc. I’ve started to notice an interesting philosophical question related to this music.
Jazz is considered improvisational music. Players know the chords and the melody but make everything else up on the spot. (Frankly, even the chords and melody are often varied and altered on a whim.) This might sound hard but once you get it down it’s actually pretty easy as well as liberating.
Now, I personally like to know the tunes I’m playing pretty well before I play them live. By this I mean I like to really know the melody, know the chords from memory (as opposed to using a chart) and have some soloing ideas worked out in advance. But I find some people object to this as being over prepared. How can anything spontaneous happen, they might argue, if you have it all planned out in advance? And it’s not a bad point and I presume as I get better I’ll prepare less. But the funny pooint here is that jazz is one of the few pursuits where being unprepared is a virtue.
I suspect this ties in with something I’ve thought about before. Jazz really broke on the scene in the early 1900s, right when a fellow named Freud and his ideas about the unconscious where taking hold. Jazz is essentially music produced “unconsciously.” By this I mean it is not supposed to be planned or written out (aside from some basics); it happens on the spot before the conscious mind has time to analyze anything. How could musicians even know that they could create anything worthwhile (choruses upon choruses of solos for example) without thinking it through? I think Freud and his then burgeoning theories were what convinced them they could.
One point I’ve made before about music piracy: everyone drones on and on about pirate sites like Pirate Bay and what not, but there’s not as much discussion about the number one web site for free music: Youtube (owned by Google.) I haven’t downloaded music from a pirate site in years, but any time I want to hear some particular piece of music I check Youtube and, mostly, it’s there.
Is all this music on Youtube pirated (meaning, is it posted there without the consent of the rights holders)? Not entirely – most modern tunes have singles of which the videos are posted by the rights holders. (Though I was frustrated in my attempts to the see video for Daft Punk’s “Get Lucky” which I found once and then never again.) However, a lot of the music is uploaded by individuals who burn their CDs and make kludgy videos with the song. That basically is piracy though my understanding is that rights holders can bring these violations to Youtube’s attention and share in the ad revenue. (It should be understood that all these videos have ads in front of them.)
Youtube now seems to have a new trick up their sleeve: autogenerated videos. This was brought to my attention by a friend of mine who is a musician and has an in demand catalog going back decades. He discovered that Youtube had taken most of the songs from his catalog and created bare bones videos (basically just the album cover set to music.) He of course, was in no way notified and received no compensation. I looked around online and found someone with similar complaints:
I was surprised recently when I saw that several of my recordings had appeared as music videos on YouTube. All of the videos look the same: Each one, in addition to the audio of a song, includes an image of the album art and some text that provides the artist name and album title. The bare-bones descriptions that accompany the videos provide composer and copyright information and the statement “auto-generated by YouTube.”
I don’t really mind that these videos of my recordings exist, but not everyone will feel the way I do. Artists could have a number of legitimate objections to the videos. For example, if artists had created or intended to create videos of their own, these auto-generated videos would compete with the official videos. Artists might also object to the design aesthetic of the videos or the song selection.
But the biggest potential issues are copyright and compensation. Artists receive no royalties from these videos, and YouTube posts the videos without permission from the copyright owners. It’s strange that YouTube—which suspends users’ accounts and deletes videos if it detects copyright infringement or receives complaints from copyright holders—now trawls the internet for music and posts it without permission on an increasingly massive scale. Class-action suit, anyone?
I’m a little unclear how Youtube is getting access to the audio feed (e.g. the songs) to make the videos. It’s possible that if a musician places their music with a digital distributor (as I have) and that ditributor has some kind of deal in place with Youtube then Youtube has the legal cover they need.
Why would Youtube do this? I’m going to to take a guess that it’s for their recently announced Music Key service which is essentially a competitor for Spotify. The autogenerated videos are a tool to fill out the Youtube “jukebox”.
As I’ve mentioned before, there are all sorts of pirated movies on Youtube too.
As may or may not be known, I make a certain portion of my income playing in an early jazz duo that performs at senior homes and the like. It’s quite enjoyable, but I’m constantly aware of one point: the senior audience is always fading away, e.g dying, so eventually the market for the kind of music we play will be gone. If someone is 90 today, then the “music of their generation” is music of the 1920s and 1930s. In ten years or so you should expect that the demand for that music to be in serious decline.
Except, it’s not quite that simple. There have been several revivals of early jazz through the years and I think later generations appreciate it. Additionally, a lot of the hits from the 40s and 50s were actually recycled tunes from previous eras—those songs earned a second life.
Additionally, a new study makes some interesting points.
Weirdly enough, though, subjects also displayed a similar attachment – including a feeling of nostalgia — to music that was popular in the early 1980s, long before they were born.
“According to previous research, this would be the time when [the subject’s] parents’ preferences were established,” the researchers write. Their theory is that because of this attachment, parents listened to this music during their “child rearing years” contributing to their children’s musical education.
So, you not only like the music of your youth, you like the music of your parent’s youth. I can relate to this. My parents didn’t listen to much of any contemporary music when I was a kid but my Dad was a big fan of Broadway musicals. As a result I’m well versed in the music from “My Fair Lady” and “The Pajama Game” and those songs have a certain emotional resonance that few others do.
Nonetheless, I think I’ll eventually need to be getting better versed in the music from the 40s and 50s, which is fine with me.
I recently posted on youtube a new video slideshow featuring some of my comic art as well as electronic music. Here it is:
Lately I’ve been getting back into drawing comic book style art. (I made my own mini comics as a kid.) It’s a lot of fun and I feel my skill is improving. But as I look at how art is produced in this modern age I find myself struck by a few concerns.
At one point after I started drawing again I looked into whether there was some cheap software that could render backgrounds such as room interiors or a rows of buildings. Such images are largely made up of basic shapes, I theorized, and shapes are basically a series of coordinates which a computer should have no problem rendering. I never really found an affordable program and ultimately decided I should learn to draw such images myself.
Nonetheless, a lot of computer art and animation is produced via that process: an artist defines a shape, often of great complexity, and the computer renders it. If one wants to change the color or texture of the shape, that’s easy enough. This process is far less laborious than the process of drawing or painting the shape.
And there are pluses to this process. It’s allowed for an explosion of 3d art and allowed people with limited conventional artistic skill to produce wonders. But here’s a point that nags at me: I could sit down and draw 10 red boxes. If I’m a decent enough artist, they’ll look pretty similar. But they will have differences. The pen strokes I use on any one box won’t match the strokes on any others. The boxes won’t match perfectly in size, even if I use a ruler. However, I can create 10 identical boxes in Photoshop or some similar program. It’s as easy as copy and paste. The uniqueness of the hand-drawn boxes is lost.
People make similar complaints in the world of music. I can sit down to a mic’d piano and play 10 instances of a C minor chord. None of them will sound exactly like the other because the pressure I use to play the piano keys will vary, the air in the room will settle in different ways causing the sound vibrations to be affected, and a number of other factors. On the other hand, I could sit down and play 10 chords on a midi synthesizer piano and they might end up sounding very similar. The piano sound on a synthesizer is a sample —-essentially a recording of a piano that took place in the past (when whoever was building the library sounds created it) and can’t really change. This is why people complain about the staticity of synthesized sounds. (In fact, sound engineers are making quite a lot of progress in getting variation in sound samples but it’s still not on par with the real thing.)
Having said all that, I’m quite glad sound libraries exist. I’ve recorded fairly complex works using synthesized symphonic instruments that I would never have been able to attempted in the analog (non-digital) days. (Because the world’s symphonies are not clamoring to play my work—the fools!)
But there’s something disturbing about the advent of so much art being exact duplicates of other pieces of art. The ease of use offered by computers is great for the art of neophytes (and in the realm of drawing that is what I consider myself) but it cheapens the work of pros. “Oh, that awesome looking hand you spent 10 hours painting? Look, I can generate something just as cool in 20 seconds on the computer!”
Of course we’ve seen this before. It used to be the only way to get a chair was to have a craftsman make one by hand. Now IKEA pumps them out by the millions. Such is progress. (Note how I spit that last word out.)
Stanley Jordan is an interesting guitarist who first appeared on the jazz scene decades ago—early eighties I think. He made a splash with an interesting technique for playing as one plays a piano—he used both hands to tap notes on the fretboard. It was similar to Van Halen’s two handed tapping but its own kind of monster. I’ve owned a few of albums of Jordan’s and saw him live once and he’s very impressive.
I stumbled across this recent interview with Jordan. It caught my attention partly because Jordan clearly is a hyper intelligent fellow with a lot of diverse interests. But also, it’s pretty clear that he’s openly acknowledging being gay or transgendered or some combination thereof. (He doesn’t actually say this, but his appearance, affectation and shots of him performing in more flamboyant attire would seem to make it clear.) I find myself wondering whether the fact that he created a very unique a revolutionary guitar style is in some way related to the fact that he’s not tied down to a traditional sense of self. Like, on some level he’s innately so outside the box (gender-role-wise) that he feels free to throw the box out the window (in terms of his playing.)
I could be totally wrong about this, I suppose, but compare images of Jordan in years past with as he appears today I think you’ll see what I’m talking about.
The interviewer seems like a dullard and early on confuses the word “chorus” for “chords.”
I was thinking the other day about the topic of musical dissonance. Dissonance is a somewhat relative term—some people hear a piece of music and consider it sharply dissonant, others less so—but there’s some general agreement. Few would argue that there’s not a lot of dissonance in Jerry Goldsmith’s Planet of the Apes soundtrack.
I know some people who are really averse to musical dissonance. I know others, like myself, who don’t find dissonance particularly perturbing. It struck me that a lot of the people I know who dislike dissonance tend to be clean freaks – they’re unusually repulsed by bugs, filth and such. I wonder of there’s some correlation – is their distaste of dissonance (a kind of musical filth) related to their fear of general filth?
There’s some research into the neuroscience of all this. I found this essay online that synopsizes some of it.
A recent experiment dealt with this problem by attempting to minimize subjectivity, by measuring responses to dissonance. (1) Dissonance can consistently create feelings of unpleasantness in a subject, even if the subject has never heard the music before. Music of varying dissonance was played for the subjects, while their cerebral blood flow was measured. Increased blood flow in a specific area of the brain corresponded with increased activity. It was found that the varying degrees of dissonance caused increased activity in the paralimbic regions of the brain, which are associated with emotional processes.
Another recent experiment measured the activity in the brain while subjects were played previously-chosen musical pieces which created feelings of intense pleasure for them. (2) The musical pieces had an intrinsic emotional value for the subjects, and no memories or other associations attached to them. Activity was seen in the reward/motivation, emotion, and arousal areas of the brain. This result was interesting partly because these areas are associated with the pleasure induced by food, sex, and drugs of abuse, which would imply a connection between such pleasure and the pleasure induced by music.
BTW – here’s that Planet of the Apes. Brilliant stuff – I love the weird percussion bit around 6:35.
Here’s a video I shot of myself playing a instrumental version of Harold Arlen’s classic tune.
A band I’ve never been impressed with is Audioslave (comprised of members of Rage Against the Machine and Soundgarden.) But a while back I was jogging and put on some of their music. After I finished my run I was listening and thinking, “You know, I’m kind of enjoying this.”
But it occurred to me that maybe I was just experiencing a pleasurable runner’s high and then attributing that enjoyment to the music I was listening to. Maybe it was that the music put me in a pleasant state of mind but rather I was in a pleasant state of mind and attributed it to the music I was listening to.
The truth is, I suspect many things were happening there. Maybe the rocking Audioslave music did help boost my already exuberant feeling. Maybe to enjoy some music you need to be in a certain physical state. But this opens up a whole other debate—does much of our reaction to art and entertainment have to do with things outside those products? If I eat a Twinkie and watch “Game of Thrones” (which I’ve never seen) how much of my pleasure is from the Twinkie and how much from the show? If I take a soothing bath and listen to Mozart, again, from where does the pleasure originate? I think the answer is a little of both sources, but it does seem we are more willing to give credit to the entertainment product than our pleasant environment.
This would explain these experiences we’ve all had where we listen to an album we’ve loved in the past and for some reason it just doesn’t do it anymore. Maybe the enjoyment was never in the album.