J. and I were talking
about musical technique of a sort,
maybe something more.
We were talking
about the feel of another drummer’s time,
about how in tiny ways
it sounded wonky.
He plays louder instead of stronger I say
making gestures like clouds.
J. reaches for a conclusion already formed.
His playing doesn’t have soul he says
waiting for my response.
(Where does one get soul?)
(You just have it.)
It doesn’t drag or rush though
I split the difference.
But the feel isn’t there, J. rebounds.
It never settles.
Right, it never settles.
The next time you’re at a concert
notice the melodists up front
–those singing, strumming,
bowing or blowing through pipes–
and watch them sway with the tune
as if they invented its themes
as if they’re unlocking its emotions
then notice the rhythmicists at the back
–those drumming hammer blows
or mallet strikes–
and feel how they subdivide music’s time,
decorating it through accents
counting custodians of synchrony
who guide the melodists
on their flights of fancy.
• An article by John Colpitts about drumming instruction books.
“The student musician’s lot is a lonely one. Often these books are your only companions, outside of occasional meetings with an instructor. You hunger for some kind of contact, some wisdom beyond the mind-numbing exercises. Sometimes it feels as if you’re only engaging with the slog of the process instead of the transcendence that comes with deeper practice. These books are the key to understanding music as something beyond performance; at their best, they activate the empathy essential to collaborating with an ensemble. We’re all kind of insane to do this work. The justifications in method books, whether they’re awkwardly or fluently phrased, illuminate the practice and its practitioners—they point beyond the bandstand, maybe into the tangle of stories musicians tell ourselves daily to stay the course.”
• The workflow of Geoff Dyer (who has written most excellently about music).
“I do a bit of work, the amount that a mum with a full-time job and two kids could have managed by 10 in the morning. Failing that, I contemplate the most remarkable thing about getting older: the sheer acceleration of time. Sometimes I just sit for an hour, feeling time almost as a physical force. Even sitting motionless at my desk I can feel it blowing back my hair as though I’m in an open-top car, careering towards oblivion.”
• An in-depth interview with cellist-composer Anna Thorvaldsdottir about her creative process.
“Thorvaldsdottir’s creative process involves a lot of pre-compositional work that is about visualizing—both through fashioning visual representations of sound through graphs and other imagery, and through ‘inward listening and finding themes, materials, and textures’ in her mind, as she put it in our interview. The drawings are manifestations of this inner sound world. The sound comes first, and she added, ‘these pictures are entirely the way I hear the piece. The pictures are working tools, and that starts to feed you.'”
The phrase posits people
as a set of knobs for twisting
lining up their numbers
as if concentration
is a radio or combination lock
in search of the right station
reducing the static
click into action
to hack thinking
input the numbers
quantify the self
put it on the line
believing that performing
is running like a machine.
• An article about the effects of the MP3 compression format on music’s perceived emotional characteristics.
“The results showed that MP3 compression strengthened neutral and negative emotional characteristics (things like Shy, Scary, Sad) and weakened positive emotional ones (like Happy, Romantic, Calm). Interestingly, the characteristic Anger was relatively unaffected. The study suggested that the background ‘growl’ added by MP3 compression was the source behind the negative trend.”
• An article by an academic about the subtle meanings of critical feedback.
“Feedback is a psychological honeytrap. When giving feedback, you can never tell how the recipient will interpret what you have said, and what they will read into it. And, let’s be honest guys, what we read into feedback often says more about us than about the feedback.”
• An article about using AI to invent new sounds.
“They’re producing entirely new sounds using the mathematical characteristics of the notes that emerge from [two different instruments]. And they can do this with about a thousand different instruments—from violins to balafons—creating countless new sounds from those we already have, thanks to artificial intelligence.”