Sunday, December 15, 2019

classical guitar Naxos releases for December--Ourkouzounov, Cycling Modes by Kostas Tosidis and Koshkin, 24 Preludes and Fugues volume 1 by Asya Selyutina (update-playlists on YT)

Herein is the most unabashed advertisement for recordings of musicians whose work I admire I have yet written.

Go buy these albums!

Ourkouzounov, Guitar Sonatas, performed by Kostas Tosidis
Koshkin, 24 Preludes and Fugues, volume 1, performed by Asya Selyutina

Go buy these albums now!  If physical media isn't your thing you can find them on iTunes and as digital download albums and there's always direct from Naxos.

Congratulations to Koshkin and Selyutina and also congratulations to Atanas and to Tosidis for these releases coming out!

I most assuredly plan to write about these CDs and the music on them in 2020 but only after I've soaked up the music and had several weeks to do some serious score study because, of course, I've got the scores for these musical works. :)

Unless something really unusual happens the plan is that this be the last post for 2019.  Enjoy the holidays and unless something really unusual comes up Wenatchee The Hatchet is going to take a break from blogging to do more reading and music study for 2020 stuff. 

UPDATE 12-21-2019

Somebody set up a playlist for the recordings. 

Here's Guitar Sonata 1-5 by Ourkouzounov

Here's Koshkin's Preludes and Fugues for solo guitar, volume 1

Saturday, December 07, 2019

a 2019 retrospective on blogging, fewer posts with more esoteric content, and some highlights from the post-MH orbit

This year kicked off with an anti-defamation suit being dropped, HBC and James MacDonald dropped their anti-defamation suit around the start of 2019.  

In the more local post-Mars Hill orbit, former Mars Hill Portland shut down and Tim Smith shifted over to Door of Hope.

I've enjoyed visited Ethan Hein's blog since I discovered his work through ... rants about him at SlippedDisc.  I wrote "Ethan Hein on receptivity to Ellington and jazz, a reminder that the debate about jazz continued what happened in late 19th century debates about ragtime" early in the year and it's ... music wonky, but some of what he's been writing has helped me think more about my concern that a lot of battles about music, music history and musicology seem to cluster around different practices of musical literacy.  Ethan's blogging also inspired me to write about Monk, because he wrote about Monk, who fortunately turned out to be a composer and musician we both revere.  :)

"Ethan Hein on Monk being remixed and covered ... some thoughts about that as a classical guitarist who revere's Monk as a composer"

For Valentine's Day I had a ramble called "a Valentine's day musing on real divorce in the wake of Real Marriage, "we" weren't better than "them" after all, like I figured was the case back around 2002, and the gimmick of marriage books is still part of the star-making machinery of Christian pop publishing for red and blue state audiences"

Somebody ... wrote a review of John Borstlap's The Classical Revolution that was published at Mere Orthodoxy at the start of 2019.  Said somebody also reviewed Roger Scruton's Music as an Art, too.

Also in February ... somebody wrote a series called "Optimus Prime and the Religion of Toys"
part 1
part 2
part 3

From March, "Peter Kwasniewski the monotony of pop music emotion vs pure/profound art music emotion and a counterpoint by way of Paul Hindemith's comments on mediating convention and emotional content"  That's another entry in what I'd call interacting with or disagreeing with ideas presented by contributors to The Imaginative Conservative.

April was a bit more of a month for musical analysis, specifically Matiegka pieces that are in sonata form
Op. 20, No. 21
Op. 20, No. 24

There are plans to get to other Matiegka sonatas somewhere in the future but 2019 those two sufficed because ... 

In June, from the summer edition of National Affairs, Philip Jeffery had a fun read on American arts policy before, during, and after the Cold War with a comparison and contrast between the literary ideals of T. S. Eliot and William Carlos Williams as to what American letters and arts ought to look like.  The end of the Cold War precipitated a crisis in arts funding, arts patronage and philosophy in the United States at the level of national policy because, short version, the US had been so committed to defining, backing and mediating arts policy in international Cold War terms during the Cold War the end of that era brought with it crises of purpose that became what we have since been calling "culture wars".  I wrote a few thousand words on that back in June this year.

There was also an interesting Twitter exchange between Warren Throckmorton and Justin Dean that sparked some new analysis on the governance of the former Mars Hill.  Dean related via Twitter that the MHC board had proposed that there would be a deal in which Mark Driscoll could keep preaching and teaching at Mars Hill but would have to step away from any managerial role in Mars Hill as a corporate entity.  That, for those who didn't read the post, gets discussed at considerable length over here:

July brought a guest piece by Brad East at Mere Orthodoxy writing against Christians consuming pop culture ... and it got me thinking that Christians inveighing against pop culture via Twitter was weird.  What I have been observing since I did my years' long Adorno binge is that conservatives and traditionalists with cases against pop culture in general and any specific pop cultural thing tend to recycle, whether they realize it or not, the arguments and assertions of Theodore Adorno.

But as the Mere Orthodoxy folks swear by the positive influence and writings of C. S. Lewis and Francis Schaeffer it's been on my mind in the last few years how very badly Schaeffer dropped the ball in his sweeping narrative of Western arts by never engaging with the work of Richard Wagner at the level of music or philosophySchaeffer also badly dropped the ball in dealing with the life and work of John Cage who, to be clear, has never been one of my favorites but I think it's important to address Cage's legacy in terms of reactions to what many Americans have come to believe has been the hugely stifling legacy of German idealism and German arts in academic contexts.

Ben Johnston, the American composer who worked in extended just intonation and whose music I've blogged a little bit, died this year.  I learned of his work reading Kyle Gann's blog at ArtsJournal and have been very grateful to have discovered Johnston's string quartets.  For musical topics Johnston's passing was the big news for July, at least for me.  

In July Mark Driscoll got back in the social media news cycle a bit by declaring he thought the TULIP was garbage.  Thus, "Mark Driscoll repudiates Calvinism and calls Young Restless Reformed little boys with father wounds and join networks where they're all brothers with no fathers, revisiting Driscoll saying why he started Mars Hill" That Driscoll has defined his brand and person in connection to what he is now calling "father wound" is something we've looked at over the course of a decade and it's interesting, if frustrating, to see that as he has ditched his old scene and worked on cultivating a new audience he keeps recycling the core ideas but shuffling off elements like Calvinism that, though he was defined in the press as being some kind of neo-Calvinist, was not how he started off.  That's been one of the challenges of chronicling the life and times of Mars Hill/Mark Driscoll, that journalistic inattention and propensity to recycle memes has meant that Driscoll's ambivalent-to-rejection stance on the limited atonement part of the TULIP meant that Driscoll was presented as more Reformed than he actually was, although he clearly had no real problems accepting funding and supported from Reformed and neo-Calvinist groups when it suited him.  

Driscoll was big on courtship from about 2002-2007 and his take was in many important ways a new post Joshua Harris take on courtship with steroids, so it was noteworthy that Joshua Harris announced he no longer considered himself a Christian and also distanced himself from his notorious book ... even though his ability to sell millions of books is part of how he's since been branding himself.

I've been blogging on the writings of Theodore Adorno and Jacques Ellul a bit this year.  The Marxist and the Christian anarchist differed on a few things, to be sure, but they both had interesting arguments against what might be thought of as anti-humanistic technocratic/authoritarian tendencies in the arts in "administrative society" or technocracies.  One of the points at which I regard conservatives and traditionalists in the arts as arguing in egregiously bad faith against Adorno's work overall is when they pin the blame on Adorno for the emergence of total serialism in post-tonal music.  Adorno wrote more scathing and damning remarks on integral serialism and aleatory in the 1950s than anything Roger Scruton or John Borstlap has managed to write in the last fifty years since Adorno's death.

So, I wrote a piece:  Between forms of non-choice: Adorno’s criticism of serialism and aleatory as techniques that obliterated the decision-making subject, Leonard Meyer’s observation on the abjection of choice in modernist musical history, and some brief thoughts on jazz.  The title tells you what you want to know if you're already at the TL:DR point just looking at the title.  Adorno lambasted aleatory a la John Cage and also lambasted serialism of the Boulez variety and ripped into Stockhausen, too.  But ... Adorno could not bring himself to regard jazz as a serious art form though in his later writings he could express respect for the musicianship of the better jazz musicians.  Adorno's relationship to jazz has been fraught at best and third wave critical theory scholarship is in the process of attempting to somehow rehabilitate Adorno's criticism of jazz in connection to, or what he saw as its disconnection from, anything "genuinely" black from Adorno being seen as a racist elitist twerp.  Whether or not that successfully happens remains to be seen.  I've got Eric Oberle's monograph on Adorno and negative identity I plan to get to in 2020.  I don't want to just dismiss Adorno as an elitist racist chauvinist with some anti-Slav prejudices ... although that's been tempting!  The thing is, since the Scruton/Borstlap wing of writers at the Future Symphony Institute have done and said nothing more than rehash Adorno's brief against serialism and aleatory without Adorno's erudition or scathing tone the task of demonstrating that Adorno was wrong will take some time--Adorno was wrong in passing judgment on the "what" of jazz but the "why" of his condemnation of popular song as prefab music that feels for the listener can and should be addressed.  His esoteric rants on the fracturing of modes of music cognition deserves to be taken seriously but that's something I'm saving for another occasion.

Something else Adorno was clear about was that twelve-tone technique was something he thought could liberate music provided music did not become it's slave.  Thus "Adorno in Philosophy of New Music, "... music must emancipate itself as well from twelve-tone technique." comparing that to Ellul's observations on art in technocratic societies"

Building a bit more on what I was writing about in "the post-Weinstein #MeToo era as a Donatist controversy for Western art religion"  I spent some time mulling over the ways journalists and to a different extent scholars mull over collective guilt in connection to artists.

The short version is that journalists who have spent careers writing about stars have done some soul-searching about what abuses and exploitation stars and star systems perpetrate and perpetuate on people in ways that implicate everyone.  Now having played a role in chronicling the life and times of the former Mars Hill Church scene there is a lot to be said about how the people in the pews have decision-making power through their checkbooks and their attendance.  I didn't really do anything more than document things as they happened and thousands of other people made decisions to leave Mars Hill when it became apparent to them that Mars Hill Church was not interested in really reforming as much as it seemed to be committed to brand protection where Mark Driscoll and Mars Hill was concerned.  But ... having never wanted to be a minister or a preacher or a deacon there is a disconnect I can feel when pastors and former pastors talk about guilt and abuse.  

People who have sought roles in the machinery of power might be tempted to think that the ideologies within the machinery are the "cause" of abuse.  They can be but only in the sense of being the pretext.  I have begun to wonder from time to time whether journalists and people within the systems of power have an incentive to transfer guilt to a royal "we" that includes anyone who reads their work.  Having never liked R. Kelly I find it hard to feel responsibility for what R Kelly has been said to have done to girls.  I never bought his music and don't like his music.  I agree altogether that there is such a thing as collective guilt but I have been wondering whether or not in music journalism and cinema journalism "everybody knew" can be transferred outward to an even bigger "everyone" as part of the process of coming to terms with a guilt that may be, more strictly speaking, an intra-media empire guilt. Ex soldiers can see entire military systems as guilty of mass murder.  Ex-preachers can see religion as altogether domineering.  People who worked in higher education can have a sense that the business is about making money more than teaching students.  Imputing to an entire culture a totalizing guilt is tempting but I have tried to avoid doing that.  There's some truth to entire systems being guilty but my having read Sherman Alexie books could, at most, make me a small part of the celebrity Alexie used to try to have sex with people he shouldn't have been trying to do that with, to go by reports in the last couple of years.  

As I've looked at how people who used to be at Mars Hill have spread out and gone to different camps I have noticed that some of them were drawn to the late Rachel Held Evans.  Others got interested in Nadia Bolz-Weber.  I have made no secret that I regarded Rachel Held Evans and Mark Driscoll as the kinds of popular level Christian writers we need less of in contemporary pop publishing.  Her death this year was terrible and yet the way journalists wrote about her and the way some Christians blogged about her made it seem as though she was far more important in her death than she may have actually been in her life where social media and mass media are concerned.  

It is difficult to know whether or not even ten years from now her work will be influential or significant.  Like Mark Driscoll she'd mastered the ability to communicate in a vernacular style on issues pertaining to being an American and choosing to identify as Christian.  Thomas Nelson had no difficult selling A Year of Biblical Womanhood and Real Marriage alike.  Over at iMonk she was praised as being one of the uncool but do the uncool really get invited to serve in advisory spots in the Obama administration?  If in the present age there are "court evangelicals" who are associated with Trump (though how Paula White qualifies as evangelical is a bit mysterious to me), Rachel Held Evans could be seen as a court evangelical or court Episcopalian of the Obama administration ... yet holding court seems to be pejorative on a selective basis ... . 

With the mainline Protestant denominations having been in a generations long demographic death spiral, Rachel Held Evans leaving evangelicalism, or at least leaving conservative evangelicalism, to join a more progressive wing and land in the realm of Episcopalianism could be seen as a flipped script for the celebrity conversion, like the football player who points to Jesus on the field or the famous media figure who converts only in the case of RHE it was a woman who was in the evangelical fold where things are red state and she went blue state.  GetReligion has written about how RHE was covered by the press plenty but what stuck with me about that coverage of the coverage is that it highlighted that RHE can be thought of as a kind of Christian media figure "transfer growth".

The mainlines are still in a demographic death spiral which may also be coming for evangelicalism of the more conservative variety because at some point there's no real reason to keep reverse-engineering Jesus to be the blue state or red state American when you can just decide to be one of those two kinds of American.  Some regarded Rachel Held Evans as a prophetic voice just as some regarded Mark Driscoll as a prophetic voice.  The more time goes by the more I have the conviction that these are prophetic voices speaking up for specific ways of being American that are wrapped up in Jesus talk, which is not to say I'm willing to consider either the late RHE or even Mark Driscoll as not being Christians as such.  My skepticism has grown over the star-making systems that annoint these kinds of people stars and how people debate the worthiness or unworthiness of the stars more than they enquire into what people have decided they should be able to do with that celebrity.    This isn't just in churches.  

The Mars Hill spin offs have mostly done well so the idea some might entertain that Mars Hill blew up and all that's gone, well, you're wrong if you think that.  Driscoll has a new book out and has talked about, among other things, the Absalom spiritHe also did some kind of 180 from the high praise he had for Wendy Alsup in 2008, and apparently it wasn't long after Wendy and Andy left MHC in 2008 Driscoll was reported as having decided that they left because Andy couldn't keep his woman in line.  By shifting to a charismatic scene Driscoll might be poised to develop a bigger audience at some point in the next twenty years than he cultivated in the last twenty years--he's even got an oracle from a supporter in the new style who said as much.

However, for the most part the plan is to wait until 2020 to get back to anything to do with Driscoll's legacy in the PNW or correspondences between nu-Driscoll and a re:surgence of ideas from the MHC days.

In the last few years Wenatchee The Hatchet has managed to shift back toward arts and music writing and so ... when the inevitable explosion of conservative reaction to the NYT 1619 project came along I didn't address that so much as express frustration at the entry on music.

I've been reading on music, music history and music journalism more since Mars Hill collapsed and what has struck me is that a lot was going on in terms of debate and movements.  While I was trying to keep up documenting the peak and decline of a megachurch system in the Puget Sound area there were debates between rockists and poptimists and a continuation of debates about whether classical music was dead or jazz was a tool of the establishment in the 21st century and so on.  Reading academics and music journalists debating things made me feel grateful I didn't become an academic, even though I love reading about music and studying it and am interested in theories and idea.

But ... the NYT 1619 project left me frustrated because I came away with a sense that there's a black and white narrative sold in the materials that I am not convinced, on the topic of music and music history, does much more than sell the idea that African American popular music vs white European classical music are somehow opposite poles.  Who in Europe, for instance, really sees things that way (besides John Borstlap, I've already read what he thinks from The Classical Revolution. :)  ).  With half my lineage being Native American and half being white I have been struck by what seems to have been some mythmaking on the part of mid-twentieth century musicologists and scholars.  To put it rather plainly in a specific case, the notion that slide guitar technique descended from African monochord instruments or a diddley bow could be true ... but when scholarship in the last decade combs through interviews with blues musicians who repeatedly say their bottleneck technique is playing "Hawaiian style" then maybe, just maybe, the eagerness to use a master narrative of white vs black has erased Native American and Native Hawaiian contributions to American popular music in the last fifty years, an erasure that scholarship may only be working to correct here in the twenty-first century.  

There's stuff I had hoped to get around to writing about this year that I didn't write about so much.  The Matiegka guitar sonatas, for instance, and the Gilardino guitar sonatas, and the Bogdanovic sonatas and more on Koshkin's preludes and fugues although on that last topic there's an opportunity for renewed activity!  Next week Asya Selyutina's CD of preludes and fugues 1 through 12 is available by Naxos!  Also out next week is Kostas Tosidis' CD of the five guitar sonatas of Atanas Ourkouzounov.  Now that the brand in the Puget Sound area fractured back in 2014 I've finally had time to get back to writing about the kind of music for guitar I said I wanted to write about way, way back in 2006 when I started blogging at Wenatchee The Hatchet.  

"why pop music is so bad these days" takes from The Imaginative Conservative and a Patheos blogger, and rhetorical battles over forms of musical literacy in contemporary music/musicology debates

Although I have tended to think of myself as a moderately conservative sort I sometimes read a site I tend to think of as The Imaginative Reactionary, better known officially as The Imaginative Conservative.  The older I get the more I get a sense that there is a distinction between "conservative" and "reactionary" and the distinction is not subtle in principle even if it can be subtle in practice.

Two primary sources for learning to read music are school programs and at home piano lessons. Public school music programs have been in decline since the 1980’s, often with school administrations blaming budget cuts or needing to spend money on competing extracurricular programs. Prior to the 1980’s, it was common for homes to have a piano with children taking piano lessons. Even home architecture incorporated what was referred to as a “piano window” in the living room which was positioned above an upright piano to help illuminate the music. Stores dedicated to selling pianos are dwindling across the country as fewer people take up the instrument. In 1909, piano sales were at their peak when more than 364,500 were sold, but sales have plunged to between 30,000 and 40,000 annually in the US. Demand for youth sports competes with music studies, but also, fewer parents are requiring youngsters to take lessons as part of their upbringing

There's the point where the author moves along to the decline in the quality of the music, i.e. pop songs are formulaic in bad ways.  Now I have a friend who complained to me, speaking as an audio engineer, about how he's troubled by the pervasive use of dynamic range compression in tandem with "loudness wars" in engineering--his concern is that newer songs are so engineered for the in-car listening experience or riding public transit experience that sound engineering as a practice could lose the dynamic range present in older styles of engineering.  But that's an audio engineer's perspective on why the new songs are too loud and from the perspective of that field of craft.  It's not necessarily the same as "the music is too loud and they all sound the same."  They sure seem to on mainstream radio and that would be because I-V-vi-IV gets really old really fast.  Adele wore it out almost single-handedly for a while and that new idiotic song sung by that Capaldi dude springs to mind.

When Adorno complained about popular song he complained that popular songs were schematic, sequences of largely interchangeable and replaceable blocks of musical trope that created and established a mood that the popular song industry as a whole was invested in sustaining.  Now there are all kinds of ways I think Adorno was wrong and I can get to that some other time, but Adorno's complaint that popular song dumbed down things and did not rise to the level of musical art as he perceived it in the European concert music traditions was a complaint he registered so acutely and forcefully that conservatives have ever since done basically nothing more than parrot Adorno on pop culture while excising Adorno's Marxism from the critique.

But Adorno kept asserting that the nature of the raw materials of American popular song were incapable of rising to the level of art and my rebuttal is to say that the fact that songs are songs and sonatas are sonatas doesn't mean it's not possible to take musical ideas from songs and transform those ideas into the basis for sonatas.  I will grant it requires picking up a moderately advanced level of craft to reach a point where you could make a fugue out of melodies from a Stevie Wonder song but I see no reason it can't be done.

But let me get back to the polemic quoted, and I want to mention, for those who haven't read it all, that there's a lot to be said about restoring educational programs that highlight musical literacy.  There is, however, debate as to what kind of musical literacy students get exposed to.  To put it another way, the kinds of writers who contribute to The Imaginative Conservative will tend to focus on musical literacy of the sort Richard Taruskin has called the Western literate musical tradition, notes on paper.  Other writers and educators are interested in having an approach to musical literacy that includes the fact that since about the 1870s it has been possible to record musical performances and this with increasing ease.  If you have a couple of recorded takes of a performance and one take is perfect in terms of note execution and rhythmic accuracy and expressive playing but is a bit on the quiet side because you didn't nail down the ideal microphone position, while the other takes you have nailed that sweet spot for microphone placement but are full of errors so embarrassing you can't bring yourself to use that take then, well, if you used up the memory on the device along the way what do you do?  That's the kind of thing where knowing that dynamic compression and ramping up the volume on the good take you have is handy.

When I was in an aspiring progressive rock band a lot of conflict that happened between me and the bassist was, in hindsight, partly informed by our different defaults in modes of musical literacy.  I came at things with training as a singer in choral and a handful of solo settings. I also studied classical guitar and had some keyboard lessons to the point that I taught myself to play "Maple Leaf Rag", a Bach invention and a prelude and fugue, and a few of the early entries of Hindemith's Ludus Tonalis.  I was also teaching myself to play Koshkin's Usher Waltz and Takemitsu's All in Twilight.  The bassist came more from a metal and hard rock background and he was into Metallica, Led Zeppelin, Deep Purple but particularly Rush!  And Yes and ... for those of you who have read my thousands of words praising the musical genius of Stevie Wonder you ... might be able to imagine that this bassist and I locked horns on a lot of stuff.

Over time we began to appreciate each other's contrasting sensibilities and modes of musical literacy.  I began to realize I was not really interested in doing the rock band thing as much as I loved composing for the guitar.  The bassist, as he put it to me years ago, realized that he was a frustrated producer and sound engineer with a perfectionist streak.  When we began to recognize this about ourselves and each other we began to have rewarding collaborative work together ... in time for the drummer and his wife to have too many kids for rehearsals to remain a realistic goal.  So ... there was that.  :)

People who advocate for a return to musical literacy of the notes on the page kind too rarely seem to think about how there's a type of musical literacy that's involved in figuring out that if you have a chunky old tape deck with a little microphone and an acoustic guitar that you can hit the Record button and if you play a guitar part and gently shift down a fraction of the way with the Pause button you can record the audio but dramatically distort the signal you get some fun playback effects.  It's also possible to record something at normal speed and then re-record over that using the method I just described and, if you are a mixture of skilled and lucky, overlay the distorted half-take over the full take audio.  That's if you have just one tape deck and absolutely no tracks.  Don't ask me how I know this stuff because I hope by now you've figured out that I'm sharing stuff I've done.  Way back in the previous century when I was a teenager I was a bit more adept at figuring out how to get mileage out of manipulating the buttons on a tape deck than I was at mastering barre chords.  I most assuredly mastered barre chords later in college but in high school I wasn't there.

Back in the era of figured bass there was, as music historians have put it, what we can think of as the old style and the new style.  There was an ars perfecta that reached a peak in the late Renaissance and there was the new style or second practice that figures like Monteverdi helped develop.  Competent musicians, for a good couple of centuries, were expected to know how to make music using both ways of making music.  You might be recognized as being better at one practice than the other or you might be bad at both but about equally bad.  Some people, like Johann Sebastian Bach, were known to be pretty good at the old and new styles, Renaissance polyphony and figured bass driven dance.

I've floated the idea here in the past that we could be living in a new kind of Baroque era and by that I mean we live in an era in which two significantly different but overlapping ways of making music exist.  If in the Baroque era the differences involved the first and second practice in the last century and a half I would propose that there's a different form of dual literacy going on, the officially literate form of musical literacy with notes on a page and a mechanical/electronic literacy of knowing how to make music using technology.  Finale and Sibelius and notation software programs have been with us for decades.  It played a substantial role in helping me refine my ability to read scores by dint of writing music and testing out how closely what i wrote in my scores matched what I was hearing in my head and playing with my hands.

If there is a core criticism that I think gets leveled at musicians and musicianship in this second, mechanical/electronic form of musical literacy that goes beyond a simple canard of "they're musically illiterate because they can't read scores", the most significant criticism I've seen that I think can be taken seriously is this--technology simultaneously liberates and constrains us as we use it.  There have been complaints for generations about guitarists who play music with their fingers far more than with their minds.  Something comparable can happen with studio musicians, so to speak, whose approach to music can be inventive in the manipulation of timbre but, at times, limited by recourse to working within that domain of that technology.  The crudest way to put it would be to say that cliche can emerge by way of sampling the same stuff everyone else does or laying down the same old I-V-vi-IV power ballad shlock progressions to write the latest tear-jerker soul ballad.

From the other side, if we can set aside the anxiety of influence and legacy and grant that there's got to be more to "classical music" than assuming all the best music was written by dead white guys in the 18th century, there are cliches and tropes to be found in that tradition, too.  That the shortcuts and lazy reliance on formulas can happen in any style of music shouldn't have to be underlined too much but it is worth making explicit.

If these two forms of musical literacy get too insular, and the older I get the more I am inclined to entertain the idea that in the music industry these two forms of musical literacy have gotten perilously insular (and display that insularity in different ways), then we get stuck with ruts that don't seem like ruts to people whose listening habits and forms of musical literacy are combined to just one practice or the other.  The people who are content to basically rewrite rewrites of Johnny Cash and Hank Williams Sr. songs aren't wrong to admire Johnny Cash and Hank Williams Sr, or Willie Nelson or Parton or John Prine or ... okay ... I admit to hating most country I've heard since basically the fall of the Berlin Wall excepting Cash, but I'm refusing to write off country as a genre and style because I got sick of hearing Toby Keith and Billy Ray Cyrus!  My brother tells me Hank Williams III has done some fun stuff ... but I digress ... .

What I'm finding as I get older and keep reading about music, reading music, writing about music, and writing music is that the musicians I admire across styles and genres, picked up more than one type of musical literacy along the course of their musical lives.  Haydn picked up learned contrapuntal techniques but he also played in street bands.  Shostakovich got involved in film music as well as symphonic music.  I don't subscribe to any form of the idea that to be musically literate is to be so on the basis of just one paradigm of musical literacy, whether it's the notes on the page kind or the playing with signals and audio tracks on the other.  Both forms of musical literacy have their value and both forms of musical literacy come up, at length, if you spend your life writing and playing music and performing.

But at a platform/online magazine like The Imaginative Conservative writers tend to lean toward favoring the notes on the page form of musical literacy as being the working definition of musical literacy.

Thematically this seems of a piece with something I've seen over at a Patheos blog on CCM (contemporary Christian music). Variations on Thomas Day's Why Catholics Can't Sing most assuredly come with Protestant variations.  If in the previous century a polemic regarding the injection of the Irish "sweet song" tradition into liturgy brought with it a bunch of songs that are functionally antithetical to congregational participation and sweet, sweet music for a showboating soloist or liturgist, newer variations on the vernacular as the enemy of the holy and the good continue ... and it's not that I can't appreciate the various problems with CCM ... but ...

isn't it possible that there's a spectacular survivorship bias that's cooked into liturgy and the arts?

If this could be said to be true of classical music in general how much could it potentially be true about liturgical traditions?  We're talking about bodies of music often derived from or settings of texts that have literally been canonized.  There's not just no "no pressure" for that set of legacies, there's all the pressure in the world.  It's not without cause Mass in B minor by Bach is considered a touchstone in choral writing in Western civilization.

But the Ponder Anew approach doesn't quite convince me and it's not because I think lyrics these days are all that great and it's not because I think the new music is necessarily "better" than older songs, it's because of the aforementioned survivorship bias.  We have, so to speak, had centuries to glean the cutrate and hackwork materials out of the traditions by now.  I am nonetheless skeptical about the prospect that popular song gospel music of the last century somehow doesn't stand the test of time.  Worship music isn't necessarily always designed to be that way.  Bach specialists have pointed out how readily and consistently Bach repurposed and recycled material.  You could say he was sampling from himself in Mass in B minor and his Christmas Oratorio.  He was also availing himself of hymns, of course.  Now will the songs of Thomas Dorsey be at the same level as J. S. Bach?  Well ... maybe not ... but "Take My Hand, Precious Lord" should be considered pretty firmly ensconced in Baptist hymnody by now!  It's a beautifully written hymn and the fact that Dorsey used a well-known tune that had another text doesn't mean Dorsey's song is less of a good song for it.

I'll see if I can try to unpack the potential significance of this issue in another way.  There are advocates for Western musical art who have argued that the best of it represents universal human values and ideals of beauty.  That is the part that has been contested in the last few decades by writers and musicians and composers who are skeptical about a "pale, male and stale" approach to the arts.  It does not mean what I think traditionalists and conservatives seem to think it means.  That a Beethoven symphony is no longer a cultural default for people doesn't mean Beethoven's Fifth has stopped being a compelling symphonic work.  What it means is that a work that was premiered a bit more than two centuries ago may not connect to contemporary listeners who aren't educated in the norms and ideals and people involved in making Beethoven's Fifth what it was.  This isn't an argument for cultural relativism as an ideological stance--as Paul Hindemith put it, there is no timeless musical work or musical style and every work of music and every style of music has a shelf life.  There was a point in the tenth and eleventh centuries  when post-Carolingian plainchant was the catholic (universal) musical art and how many people know how to sing and understand plainchant these days?

All of that in mind there are musical works whose appeal and capacity to communicate have survived across changing aesthetic fashions but this is not a sign that these works are "timeless".  We can still read and enjoy Jane Austen novels (I do, anyway) because despite her works dating back two centuries they correspond to aspects of contemporary life in ways that make her works enjoyable and relevant.  The gap between an individual's inner emotional and intellectual life and the social roles they find obliged to take up in public and family life was an issue Austen played with in her novels and those are issues that remain relevant to contemporary life in 2019.  That the world still has personable and well-spoken men who on further examination turn out to be louts and fools and liars won't change but there will probably come a decade when a man like Wickham could be seen as a noble and spurned figure if the ethics and social values of a culture shifts.

Beethoven's Fifth isn't timeless because no music is actually timeless.  It has had a longer shelf life in cultural terms than the music of R. Kelly has and to be honest I think it should continue to have a longer shelf life than R. Kelly songs.  But I don't have any problem saying I think that fifty years from now voice students should be singing Stevie Wonder and Gershwin songs.  Thomas Dorsey's gospel songs should still be around, if not sung as often, perhaps, in some contexts.  Hymns by Watts and Wesley and Luther will likely still be around but if we dig into the transformations Luther's music was subjected to across the sixteenth and eighteenth centuries that could be instructive in the ways in which the music that has lasted has lasted both because it has retained its power to communicate but has also been changed in significant ways.  Luther's original was not the post-isometric Baroque-era regularization of rhythm and meter we have probably heard in contemporary versions of Luther's hymn such as the one by W. B. Olds.

Lutheran hymnody has survived not because it's a body of musical work that is "timeless" but because it's a musical body of work that was able to survive revolutions in the shift from mean-tone to equal-tempered tuning systems; survive the transition from modal to major/minor key systems and associated functional harmony; and also survive the shift from the regularization of meter into duple and triple meter that came about in the era of figured bass (i.e. what we'd also call the Baroque era) with its connection to dance forms.

Now if people who want to argue that contemporary popular songs and CCM more particularly are bad music because they are so of their time they lack the musical or textual substance to survive another seismic shift in musical thinking, okay, I'm willing to be open to that.  Commercial music has been with us for a century and it's not clear that the kind of music that you listen to as a kind of soundtrack to your life is going to be entirely conducive to congregational singing.  We may not be singing any Amy Grant songs at church as it is ... but we may find in twenty years that there will be people in music classes who have not heard of the Beatles, something Kyle Gann has attested has already happened in at least one of his music classes.

Too often, however, what I've seen from the pro-classical side has been an assertion that popular song won't last because it's not amenable to large-scale procedural development in sonata or fugue.  Merely because people have not made fugues from the hooks in Stevie Wonder songs because copyright is an issue doesn't mean it couldn't be done.  I don't see any reason that a musician couldn't make a sonata form from Thelonious Monk themes.  You could take "Pannonica" and "Round Midnight" and make that into a sonata, for instance.  To argue that that's not possible is to ignore the old lore associated with Beethoven's Diabelli variations where he was claimed to have said that with enough craft you could take something by Diabelli, for instance, and compose a substantial work.  Well, okay then, if Beethoven's claim (myth-laden and myth-generated though it partly is) is true, then a composer with enough craft could take popular songs and spin them out into something approaching the Diabelli variations.  It can be at such a moment that the traditionalist or conservative can reveal the bad faith of their arguments on behalf of craft if they resort to talking about the innate or inherent limitations of musical materials.

Lutheran hymnody has survived being adapted through and into a variety of stylistic changes.  That's not a sign of "timeless" musical value or "universal" musical values, which, of course, is not what the writer at Ponder Anew is even trying to argue for.  Not being a Baptist I can't exactly relate to concerns about battles within the Baptist scene but i'll try to appreciate that  there are some specifically denominational contexts for what Jonathan Aigner is writing against. Aigner's concerns even seem like they overlap with things written by Ian Pace on the classical side of things about his worries that there has been a "deskilling" trend in even academic music history and musicology.

That deskilling is happening might be another topic, however, in which we might want to consider what is being deskilled.  Pace is referring to score reading and notes-on-the-page musical literacy, from what I've read of his work in the last few years, whereas there's a whole range of musicology that is more steeped in electronic/mechanical musical literacy, studio tools, audio technology, familiarity with music as mediated by the recording industry and recording technology.  This practice is not necessarily musically illiterate in the notes-on-the-page literacy across the board, though people in the practice often can be, perhaps in much the same way that those who are fluent in notes-on-the-page literacy might not be able to record themselves and manipulate audio samples effectively.

One of the things I've been thinking about since reading Wesley Morris' piece at the NYT for the 1619 project is that there's a thread in the points and counterpoints about white and black music, or discussions of Eurological and Afrological conceptions of musical tradition and debates in the current West about modes of musical literacy, a contrast between European musical literacy of the notes on the pages traditions and African American popular song as bequeathed to us through the mechanical recording industry sets up a dichotomy that I reject, which is why I found it disappointing Morris seemed to so readily run with that kind of dichotomy.

It's not just that the claim that everybody seems to be stealing black music because it's the music of freedom traffics in the kind of mythology about America and freedom that Native Americans, for instance, might not agree with; it's not just that such a mythology in which white music on paper vs black music on the street can manage to misrepresent the complex histories of dozens of musical traditions by reducing them to a binary of white and black that erases nuances within both (i.e. there are black people in Asia who make music that won't sound the least bit African and there's a difference between Polish and French musical traditions); it's also that such begging the question of what white and black music is in an American context skates past the reality that the most beloved musicians and composers of the last century displayed aptitude in both the electronic/mechanical and the notes-on-the-page forms of musical literacy.  Ellington didn't get a graduate degree level education in music theory but he was literate enough to write out charts for his band and record his music.  Rachmaninoff had a formidable recording career besides writing and performing his own music.  Stravinsky performed and conducted his own music, as did Paul Hindemith.  Messiaen recorded his own music for organ.

For better and worse we live in a musical world in which you could have immense musical literacy in the notes-on-the-page traditions but if you can't convince people to play that music and also record it you can have a solar system of musical material that remains marginal because it's not hitting the concert scene and also has a spotty representation in commercially recorded music.  Now maybe Sorabji's music "should" remain marginal or niche but even though I haven't heard his music I've read enough about it to get a sense that his work is demanding enough that only true believers tend to know who he was or to try playing his music.  There are shortcuts and ruts of the mind that exist in the notes-on-the-page practice of music and the hit-the-record-button practice of music.  What I find disappointing to see, year after year, in Anglo-American music journalism and writing is a propensity of advocates for one or the other to abject the value of the other practice of musical literacy along the way to making a case for the practice of musical literacy they value.  We should value both practices of musical literacy.  We're long past the century in which the only way to hear new music was to go find where it was being played.

a handful of links, Nieman Lab pieces on how a decline in local journalistic coverage harms civic life, and Nathan Robinson interviews Adolph Reed at Current Affairs

Local newspapers are suffering, but they’re still (by far) the most significant journalism producers in their communities

In sum, while legacy newspapers have declined, they certainly have yet to be displaced as vital producers of local journalism. And the long hoped for emergence of online-only outlets as comparable providers of local journalism still appears to be a long way off. As policymakers and philanthropic organizations concerned about local journalism consider their next steps, and where to invest their efforts and resources, it may be worth keeping these numbers in mind.

Damaged newspapers, damaged civic life: How the gutting of local newsrooms has led to a less-informed public

An interview between Nathan Robinson and Adolph Reed, in which Reed spells out why he regards reparations as a dubious and unattainable goal in terms of politics (as distinct from politics of symbolism):



It strikes me, though, that a lot of the things that we demand on the left are radical and require shifting public consciousness. Often, at the beginning, they are things that we can’t imagine, or it’s very difficult to imagine having. The fact that the majority may be against you means that you have to work very, very hard, and it’s a very slow process. But if that’s what would constitute justice, it’s sort of necessary, because there’s lots of things that majorities oppose, but we believe in protecting minorities. How do you think about things that are of practical utopianism, versus things that are utopian utopianism?


Yeah, I hear you, and in fact, Keeanga brought up the case of abolitionism. And that’s a nice case, because it shows the problem with the argument. Abolitionism didn’t get anywhere, really, except to piss off slaveholders, until political circumstances shifted to advance the position of political anti-slavery activists, and anti-slavery Northerners were opposed to slavery for a lot of reasons, some of which, of course, overlapped with the abolitionists’ moral concern, but for other reasons that they could see their own interest in: both a commitment to an ideal of free labor, sometimes racist and sometimes not, and anxiety about being degraded by an immigrant labor force. A lot of other things have been like that, too. For reparations in particular, what we would have to do is convince people whose main experience, or one principal experience, is a declining standard of living and increase in economic insecurity, to go to the wall, fighting for an agenda that they, by definition, wouldn’t get anything from. I just don’t see how that’s possible. 
Reparations may be a compelling idea to some writers who have contributed to the Atlantic but Ibram Kendi's approach to reparations was, unfortunately, something that culminated in presenting support or non-support for reparations as a shibboleth that defines a person as racist or anti-racist. Reparations comes across as though it has become a blue state dog whistle positioned against the red state dog whistle of "law and order" politics. Reed has pointed out in a couple of interviews that the Nixon administration set up the EPA and OSHA in response to organized political activism--this was not a sign that Nixon was a great guy or not a racist, Reed has proposed that what we can learn from this is that there is a difference between effective political action and grassroots activism on the one hand and the symbolism of "spark" that amounts to a kind of political theater of "moment" that ... Jesse Jackson may be emblematic of, as Reed has been putting it for decades.  

Friday, December 06, 2019

hmm ... "Europe risks losing strategic clout in Western Balkans"

I don't broach the topic of foreign policy a ton but sometimes as I browse ... stuff sticks with me.
I've written a bit here and there at this blog about my hunch that Atlanticism has been breaking down.  The post-World War II pax Americana doesn't seem to be holding together and the older I get the more skeptical I am about the "pax" part.  While back in the previous century I thought the United States won the Cold War in this century I have leaned more toward ... maybe not a Zinn/Chomsky reading of American history, more like a reading that there were no "good guys" in the Cold War. 

Some of my friends and family are enough history buffs I've heard my brother quip that for all the stuff we heard about Germany being the bad guys in World War I what were they aiming for?  Well ... to put it in what might be a bleakly Native American strain of humor, Germany counted as the "bad guy" because its idea of colonial expansion was attacking nations of other white people when they could have gone out and subjugated people of color away from the European mainland like the "good guys" did, aka England and France. 

But there's something else that's stuck with me, having as I did some friends in my college years from Croatia and having a fondness for music from central and eastern European composers and associated traditions--but perhaps I'll just indirectly say it via quotation:

Stability, democracy and prosperity in Southeast Europe are directly linked to the consolidation of the European project and the completion of the reunification of our continent with the accession of Western Balkan countries, a process that started 30 years ago.
The obstinate opposition to opening EU accession talks with Albania and North Macedonia, despite the recommendation of the European Commission and the will of the vast majority of the member states and European Parliament, has put in jeopardy the EU’s remaining influence on its own doorstep and its ability to shape strategic developments and stability in Southeast Europe.
This is a strategic mistake that helps consolidating the status quo in Western Balkans and EU inertia in an increasingly messy geopolitical map. The European Union’s duty is to contribute to the stability and security of South East Europe. Therefore it should consider Western Balkans accession to EU as a responsible policy rather than a burden.
"increasingly messy"!?  This must be some kind of relative measure because ... when are we supposed to believe the Balkans was geopolitically "clean"?  Being an American I admit my reading in history is not very deep on the Balkans even though I've admired music from people from those regions.  But I can't remember when in the last century, even factoring in for totalitarian regimes, when the region didn't seem messy.  Milosevic?  Ceausescu?  

Now I'm reminded of a grim joke my brother once shared that he saw somewhere.  The joke is set up by way of a question:  
Question: What roles did Bosnia and Serbia play in World War I?  
Answer:  Apart from starting it, basically nothing.
Conflict in the Balkans blew up to the point where the First World War happened and lest Americans get too insular and think that things can blow up in the world only if the POTUS is the wrong person and pushes the wrong button.  A friend was asking what the next war could be about and where it could be and my brother and I joked, admittedly macabre humor, that if the Balkans catalyzed a catastrophic conflict in Europe a century ago there's no reason to assume it can't happen again.  That doesn't mean the players and their respective goals are necessarily going to be the same but if history doesn't repeat itself it can often rhyme.

If the POTUS and successors shift away from NATO and shift away from an Atlanticist paradigm in which "democracy" is really a sloppy or dissembling shorthand for an EU-focused Amero-European consortium of powers, then "Europe" will have to take more direct initiative to get what it wants.   Part of why I have remained skeptical about American progressives who look to the western European powers as guides for social policy is it's hard to forget that we have a vast global military presence and a nuclear arsenal.  Should the western European powers have to pay entirely for their own national defense or sense of European order would they remain the ostensibly enlightened and humane set of powers they seem to see themselves as being or would we all discover old habits die hard?  Some of my friends over the years from Africa have hinted that the ways in which European power-brokers wield power in Africa looks different, it's less direct and less explicitly military, but it's still around.  

Saturday, November 30, 2019

links for the weekend--Alan Jacobs on Pauline Kael on Citizen Kane; Metaxas and Graham demonize anti-Trump stances (?); and some treatises on musical stuff

Alan Jacobs has a moderately long piece on Pauline Kael's contentious and in some ways slippery take on Citizen Kane.
If you look at the black-and-white comics of the masterful Will Eisner, the similarities of Eisner’s visual language to that of Citizen Kane are obvious. (Chabon’s characters create a comic called The Escapist, which was later made into an actual comic. Issue number 6 of The Escapist [2004] includes the final appearance of Eisner’s character the Spirit, who had his first appearance in 1940, as Mankiewicz and Welles were working on the screenplay for Kane.)

Kael tries to get at a point very like this one by referring to Kane as a “Gothic comedy”: the “witty, potent dialogue” that comes from the newsroom comedies of Broadway and the early talkies is merged with the “theatrical lighting and queasy angles” that look Gothic, European, maybe even, yes, Expressionist. (But Gregg Toland, the genius cinematographer who did so much to shape the movie’s cinematic style, was not a European refugee but rather a native of east-central Illinois.) She takes the point too far, of course: Kane is greatly indebted to those earlier comedies but it would be a perverse viewer indeed who walked out of the theater after seeing Charles Foster Kane’s demise thinking “What a charming comedy.”

Joe Kavalier has a vision of comics as a powerfully hybridized endeavor: text and image, European and American, “popular” and “serious.” Similarly, Kael sees Kane as energized by the multiplicity of the forces that pass into and through it, as constituted by its tensions. What she realized was that there are more such tensions than a superficial viewing might reveal. It is easy enough to say that Kane, as a movie that portrays the downfall of a titan of print media, represents or somehow enacts the transfer of cultural power from print to film. And to say that would not be wrong. But what Kael uniquely understands is that that transfer is also a kind of homage—and more than an homage: a continuation of a flamboyant and entertaining social project by other means, in a new form.

And the tensions which generate the magnificent energies of Citizen Kane—text and image, New York and Hollywood, “serious” and “popular,” elite and arriviste, the solitary and the collaborative—continue unabated in today’s media, with the massive added complications of Silicon Valley and the world of the web; complications that turn every binary into a triangulation. And a powerful instrument for comprehending these forces may be found, oddly enough, in a movie that was released in 1941. Kael’s lies and thefts and distortions and exaggerations have served not to reinforce this vital point about Kane’s relationship with earlier media — which was, after all, the chief thing she wanted to say — but rather to obscure it. This is a shame, because if you strip away all the nonsense you find in “Raising Kane” a key that unlocks much of the mystery of the power of this endlessly compelling film, which may still be, even now, the greatest yet made.

Peter Wehner at The Atlantic broaches the polemical point of whether or not those who oppose Trump and his policies can be, as lately discussed by Metaxas and Franklin Graham, as in some sense demonic.

Wehner doesn't go so far as to say Graham or Metaxas are bad or unscrupulous people.  Metaxas was recently willing to endorse Mark and Grace Driscoll's spiritual-warfare self-help manual after reports came to light in the press regarding ResultSource (World magazine) and the plagiarism controversy kicked off by Janet Mefferd).  Metaxas seems to have joined the mutual endorsers book club crew.  Graham, there's still investigative journalism that's been going on about Graham but I can't find it in myself to take either of these guys seriously.

Here in the Puget Sound area there were folks from a more United Methodist wing that were willing to consider the idea that Bush 2 was an antichrist.  Literally or figuratively demonizing groups we're opposed to or we regard as opposed to us is how people behave, apparently.  That during the Clinton years there were those who regarded the net effect of his policies as beneficial enough that his personal conduct didn't matter, the other shoe seems to have dropped and those who have supported Trump seem to be supportive of his policies whether or not at a personal level he has demonstrated sterling character.  There is apparently room for a kind of GOP variation of "It's the economy, stupid."

If your Spanish is ... decent ... Luciano Tavares has a treatise on the solo guitar sonatas of Manuel Ponce you might want to read.  My Spanish is remedial at best but I'm familiar enough with the Ponce guitar sonatas this is going to be, I hope, on my 2020 reading projects list.
Las Sonatas para guitarra de Manuel Ponce

Dr. Luiz Mantovani has an English language dissertation on Ferdinand Rebay that I'm reading

Ferdinand Rebay and the reinvention of guitar chamber music.
The Abstract:

Ferdinand Rebay (1880-1953) was a pioneer among the non-guitarist composers who started to write for the guitar in the 1920s. However, in spite of having composed close to 400 guitar works, he is today undeservedly obscure. This thesis examines his more than 30 sonatas or sonata-structured works for guitar, most of which is made of chamber music for combinations that range from duos to a septet. In Part 1, I situate Rebay’s chamber sonatas within the guitar repertoire, understanding it as a reaction to the lighter repertoire of the guitar clubs, the turn-of-the-century's main guitar niche in German-speaking territories. After investigating the guitaristic context, I look at Rebay’s career and interactions with the Viennese guitar circles, highlighting the work of his main champion and niece-guitarist, Gerta Hammerschmid. Later, I analyse his compositional style and demonstrate that, by associating the guitar with the Austro-German Romantic sonata prestige, Rebay may have intended to elevate the instrument’s status in the eyes of the mainstream Viennese audiences. His exploration of the guitar in chamber music is equally paradigmatic, as he frees the instrument from its typical accompaniment roles and explores a fully-balanced texture in his sonata writing. In Part 2, I approach a selected group of seven chamber sonatas from a performer’s point of view. Faced with the lack of a continuous performance tradition of Rebay’s guitar music, I propose to incorporate an extended stylistic and technical mindset largely supported by historical investigation, which helps understand Rebay’s meticulous notation and realize it convincingly. Finally, I trace Rebay’s collaborative steps through the layers of information available in his manuscript sources, also proposing a “posthumous collaboration” to deal with score-based issues and make problematic passages—or in some cases, full works—playable and idiomatic. By initially situating Rebay’s guitar music and later addressing some of its most important performance aspects, I hope to provide secure historical and interpretative grounds for the modern guitarist interested in his music.

You can go follow over here to find out more and get the dissertation.

I've gotten about a hundred pages into it and it's fun.  Mantovani has cleared up a misunderstanding or early liner notes mistake to the effect that Rebay died poor and destitute away from family.  Rebay also wrote a lot more music for guitar than I had previously imagined, hundreds of pieces.  Mantovani situates the development and evolution of Rebay's writing for guitar in a context of Rebay's work in choral music and training as a pianist but also in terms of hausmusik traditions in Austrian music that go as far back as Biedermeier customs in the early 19th century. Pardon the probably bad German, never studied that language so I'm probably botching some words on the weekend.

A short links for the weekend but I get to make a links for the weekend post short once in a while. Enjoying the holiday weekend by doing some reading and ... also watching season 1 of Unikitty.  Wenatchee The Hatchet does watch animation regularly.  Brie was not going to be be voicing Princess Unikitty for the series and it's no surprise at all Tara Strong was brought in to give voice to Unikitty.  Strong being Strong, she gives a voice that I would say is like Bubbles from the Powerpuff Girls if Bubbles had power-bombed four liters of Mountain Dew, a relentlessly manic performance for a character who can be seen even by her friends as oppressively upbeat and positive, which basically works.  It could also come across as immensely aggravating but voice cast and scriptwriters lean hard into this and lampshade it in moments where Unikitty in one episode has made it so her friends act like her and in a moment of doubt says, "Gosh am I really like this all the time?"

Can only watch it in small, small doses but I have to admit, basically it makes me laugh and it's what I would expect Miller and Lord to do with one of the characters who would transition from film to TV sensibly.

assorted playlists of cycles of preludes and fugues where composers experimented with adding jazz elements

In his book Composing the Part Line: Music and Politics in Early Cold War Poland and Easter Germany David G. Tompkins mentioned something I hadn't heard or seen in writings about socialist realism in American writings.  He pointed out that the lifespan of officially socialist realist music wasn't especially long.  The prescriptive ideology began to fall out of favor in Poland and East Germany as early as the mid-1950s.  By the mid-1950s Polish intellectuals were urging that the nation's musicians and music programs be open to jazz. see page 44. Tompkins.  If socialist realism was not exactly repudiated there were attempts to finesse and expand its definition to be more inclusive.

The Tompkins book isn't exactly breezy or light reading but it's fascinating as a reference for musicians and Western readers whose understanding of how socialist realism worked (and didn't work) as an aesthetic/political philosophy played out differently in Poland and eastern Germany than it did in the Soviet Union proper.  It's so dry, personally, I'm still in the earlier chapters to be honest, but reading about how within just a couple of years of the death of Stalin there were Polish intellectuals and artists who began to call for openness to jazz might be a good thumbnail sketch reminder to Western readers that jazz was well-known in the mid-twentieth century in the Soviet bloc, if not necessarily officially approved.

Although Rodion Shchedrin experimented with adding jazz vocabulary into some of his piano concerti he didn't exactly add jazz harmonies or riffs into his preludes and fugues or polyphonic notebook to the extent that I could confidently include him in this little weekend playlist.

These are all cycles of preludes and fugues I eventually want to blog about some day but the thing about music is that if you can't hear the music there's only so much you can meaningfully say about the music that a reader could understand.  I'm planning on returning to blogging about the Koshkin preludes and fugues next month after I simmer in the sonic goodness of the forthcoming Asya Selyutina recording of the first half of the cycle due out on Naxos next month.  These are part of big list of to-get-to writing for Wenatchee The Hatchet.  If you haven't heard these cycles there are playlists via Youtube and all of these cycles are available in recorded form if you like one of them enough to listen.

Now the first is recorded, complete, by the composer himself and Kapustin is pretty formidable in keyboard technique.  This is, so far, my favorite of the cycles of preludes and fugues that aim to develop a synthesis of jazz vocabulary with fugal technique.  Kapustin has never identified himself as a jazz composer and also rejects the categories "fusion" and "third stream".  He's what we might have to call a "classical" composer who stays strictly in the "classical" lane but makes use of jazz vocabulary from Tatum and Petersen as the spark of inspiration for his approach to fugue.

Nikolai Kapustin
24 preludes and fugues, Op. 82

It has only been this year, it seems, that Alie Anne Yorgason has written a dissertation specifically on Op. 82 which I haven't had the opportunity to read.  Op. 82 dates back to 1997 so it's been around for 22 years by now but has not gotten much attention in the West.  It should.  I think it is probably the most successful cyclical work in "classical" music to draw inspiration from the vocabulary of jazz while staying in what people would call the "classical" wheelhouse.

That said, there have been other cycles.

Fugal Dreams, by Richard Bellak, is a cycle I listened to in the last year and it's not nearly as much my cup of tea but writing fugues at all calls for enough technique in instrumental and compositional terms it's at least worth giving a listen.  If Kapustin's style could be described as firmly and unabashedly indebted to a Tatum/Petersen or maybe even a Bud Powell sound Bellak's cycle might come across as more Brubeck/Evans and, this would be less complimentary for some jazz fans, more on the cool side than the swing or bebop eras.

I'm a bit more fond of Michelle Gorrell's set, which has not been recorded in total in a commercial way yet but that you can hear over yonder.

Michelle Gorrell
Well Tempered Licks and Grooves, Books 1 & 2

Boosey & Hawkes is still preparing the second half for publication in score form.  I've got the first half.  This is more explicitly ... I'm going to have to call it neo-Baroque.  The influence of jazz and ragtime and blues is front and center but Gorrell handles form and line in a more neo-Baroque way.  She's drawing inspiration from jazz and ragtime but isn't trying to create preludes and fugues that attempt to catch the "spirit" of them in the way American fans of jazz or blues might describe it.  There's a lot I like about this cycle and so far I would say that if Kapustin is the most effective at synthesizing jazz vocabulary with fugal technique in the "East" then Gorrell has written the cycle I've heard that does a good job of such a fusion in the "West".

Probably the most ambitious effort in the U.S., also dating from the late 1990s, seems to be Henry Martin's 24 preludes and fugues.  This is a formidably large cycle for solo piano and I'm a bit split on how I feel about it.  On the one hand, there are a lot of entries in the cycle that are spectacular but Martin draws on Debussy and a variety of non-jazz composers to such a degree that jazz-only fans would likely not recognize any jazz influence.  Martin might be thought of as making music that sounds too far away from any kind of jazz mainstream to be recognized as such.  That's not really what I feel on the fence about the Martin cycle, even though I like a lot about it and want to write about it some more.

I think it's more that, put simply, it's harder for me to remember specific preludes and specific fugues.  The sheer technique of contrapuntal writing is there in Martin but I'm not always sure he's got hooks.  By contrast, Kapustin's fugues might not be nearly as polished and he might cheat a bit in terms of contrapuntal textures here and there but he played enough jazz and studied it enough that even  if the fugues as fugues can get diffuse or sprawl they start off with solid, memorable hooks most of the time.

You, dear reader, might reach drastically different conclusions and that's partly why I want to share playlists so that you can hear the works for yourself, if you're so inclined.

Karen M Rice has done a dissertation on this cycle, University of North Carolina in Greensboro, 2009.

Henry Martin, 24 preludes and fugues,
first half,

Henry Martin Prelude & Fugue Nr 13 in G-Flat Major - A Slow Drag

second half

Rod Dreher gets around to reading stuff at the World Socialist Web Site and discovers that left and liberal are not exactly the same, by way of WSWS critiques of the NYT 1619 project

One of the things I've noticed as I've read political commentary and economic coverage of issues in the last ten to fifteen years is, to put things in a brief, axiomatic way, liberals, progressives and leftists are not the same.  To translate that for conservative readers, it's dubious, historically inaccurate and intellectually specious to regard everyone to the "left" of you as Marxist.  Not all forms of socialist thought necessarily derived or derive from Marxism, for instance.  The United States didn't exactly have problems backing socialist groups in Europe provided those groups were not explicitly or implicitly Marxist about it.   The mirror of such an axiom would be that for those who regard themselves as liberal, it would not be historically accurate or intellectually consistent to say that anyone to the "right" of a liberal position, whether neoliberalism or progressive or left, is "fascist".  Authoritarian tendencies and temptations have emerged across the entire spectrum of human ideas and it would be hard to make a compelling longform case that amounts to a no true Scotsman that if one embraces the correct doctrinal/dogmatic/ideological stance the faintest possibility of tyranny is gone.

In a technocratic age such as ours we should not even go so far as to act as if the forms oppression can take will be directly and explicitly political.  The age of the dictator is perhaps the age of mass media before the age of social media, in which technocratic forms of control can be masked.

So, with that out of the way, or on the proverbial table, Rod Dreher has come across leftist, socialist writers who object to the simplistic racialized counter-mythology of racism as a prescribed corrective to an older Founding Fathers account of the American experiment.

I restricted myself to expressing concerns that the NYT 1619 project piece by Wesley Morris seemed to define African diaspora music more in terms of African American popular music that postdates the development of mechanical recording and the commercial music industry.  The trouble with presenting a story, and it's a story more than an explicit argument, that black music (of the American variety) represents freedom is that it doesn't.  My friend from Nagasaki considered blues too formulaic to relate to it but did appreciate jazz.  What's more, Morris' essay functionally skipped over, as if they never existed, contributions by Joseph Bologne or Samuel Coleridge-Taylor and other Afro-European composers whose work are getting some renewed consideration.  If the NYT 1619 project were moving beyond a simplified counter-mythology that presented racism as the lodestar or touchstone of all things American setting up a contrast between classical music as "white" and American popular music as "black" in which the entire range of concert music practices that includes contributions from William Levi Dawson, William Grant Still, Florence Price, and by way of canonization the ragtimes of Scott Joplin might have been avoided.

To put this more sharply, if one sets out goals of racial purity narratives or successful integration and miscegnation in social terms it's not exactly clear the NYT 1619 started off on the best footing.  Conservative reactions tended to denounce the 1619 project in ways that set them up to be dismissed as racists.  Dreher has figured out that if criticism of the historical misrepresentations of projects like the NYT 1619 project get made from the left it is more difficult for those criticisms to be dismissed as racism, although that dismissal can be made anyway.

Dale Cockrell's books on the evolution of minstrelsy as street level or working class theater as distinct from middle class and highbrow theater have a couple of sharp polemical points that I would have to guess have been discussed and debated since Everybody's Doin' It came out earlier this year.  It's more pointed in Demons of Disorder from the 1990s, but Cockrell has made a case that at the lowest rungs of society, in dance halls and dives and visiting brothels that racial segregation was not as valued as it was in middle and upper class rungs of society.  Laws against racial amalgamation were on the books in many places and there were cases in which whites and blacks marrying each other ended up being cases where judges passed down sentences and, to keep my summary of Cockrell's work brief, working class men and women kept crossing the color lines the laws said weren't supposed to be crossed.  Cockrell flipped the script, arguing that the racism was being imposed by the institutional taste-makers and figures who controlled media and legal systems from above rather than reflecting groundswells of uneducated racial animus.  To translate Cockrell's point still further, he's made a claim that the racists are the ones selling upscale respectable art and history and not the people down in the wage slave or plantation dumps who might only be recorded in local newspapers if they got arrested for something.

It's the kind of thing I have been thinking about remembering Wesley Morris writing about sometimes wistfully wishing there was something about black music so pure and raw that no one could steal it.  I'm ultimately not sympathetic to that kind of view just as I'm not at all sympathetic to any variation of view that says there's something so profound and deep about Beethoven's piano sonatas that there's nothing in that that could be realized by starting with gestures you could hear in blues guitar or ragtime or any number of gestures from popular styles, whatever the skin color of the practitioners, that have permeated American popular musical life. 

I might take a step further and propose that white liberals have a lot riding on the power of a myth that claims that black music has some ineffable blackness to it that defies working by "the rules" of Western notational conventions.  That sounds cool to people who are defending a conception of black music that somehow "can't" fit into the conventions of concert music as it developed in Western music but that's not going to convince me that George Walker's five piano sonatas somehow don't fit into the classical tradition.  Walker went much of his life being asked if he played jazz.  His piano sonatas don't sound like jazz.  By contrast, the composer Nikolai Kapustin made a point of drawing inspiration from jazz giants like Tatum and Peterson alongside Scriabin and Russian composers to arrive at a synthesis of the musical style and vocabulary of jazz with the formal developmental processes of concert music.  Kapustin has denied decade after decade he plays jazz but he's not ashamed to say he's drawn inspiration from jazz.

I've been hammering this point for a few years now, but attempts to develop a practical fusion of what scholars are calling African diaspora music with what are called Western European concert music forms and traditions has been going on in earnest in the East and West since the dawn of the Cold War.  It was not just Jimi Hendrix who aspired to develop a Bach, Handel, Muddy Waters flamenco type sound, even if Hendrix distilled the hope and dream of such a sound most succinctly in the last century.

The trouble is, as I see it, is that there are purity police writers on both sides of the "high" and "low" divides and on the "classical" and "pop" divides who have an interest in playing these categories off of each other.  People who are into pop songs have an interest in presenting sonata forms as something incommensurate with the expression or "soul" they find in songs and people into sonata forms as they were perceived in theoretical and formal terms in the last two centuries within the western European concert music traditions were defined in ways that defined them by front-loading formal aspects and passing over the ways in which processes of development could be shown to be guided by the nature of the materials used.  To invoke Adorno, Americans misrepresented Haydn as having standardized sonata forms when he crystallized a way of working with musical gestures.  Adorno's great mistake was thinking that Haydn's way of working with musical gestures couldn't be used on jazz standards and his mistake has been one largely taken up and parroted by artistic and cultural conservatives who retained is polemics against popular song as art and merely subtracted the Marxist aspect from those polemics.

So, anyway, looks like Dreher has managed to read some stuff at and worked out that there are differences between liberal, left and progressive perspectives ... maybe ... for a bit.  We'll see if he remembers this in a couple of weeks, though.  Journalists can be so in the news cycle moment of things.  There's an axiom among soldiers that when a crisis hits you revert to training, which is why training to handle crises sensibly and responsibly is important.  Not that I've ever been a soldier but I have had enough friends and family who have served in my lifetime I've heard some of the things that are shared in military life.  One of those axioms is that you shouldn't worry about the bullet with your name on it as much as the one labeled "to whom it may concern".  Well, that digression is to say that a journalist like Dreher and other journalists may "default to training" when it comes to attending to news cycle and news peg level events.  Sometimes you need to back away from the news cycle/news peg level of events to gain enough time and distance to think about higher levels of social or organizational or cultural change.  I don't get a sense, to be plain, Dreher is necessarily the kind of writer who does that, which is why he may be more interesting for hot takes that keep up with news peg/news cycle events than for analyses of what those moments may mean.

So ...

Leftists Attack The ‘1619 Project’

and he was a bit more roundabout mentioning the interviews he read than I intend to be.