Curating The Week: Harold Budd, Jonathan Franzen, Artificial Voices


Another interview with Harold Budd.

“‘My preferred way of working at the moment is improvisation, but not just anything,’ Budd says. ‘I want it to be grounded in something that’s feasible, organic and personal. I try to direct it towards specific goals. To make it sound pretty, frankly – if I can use that word in modern music, these days.’”

An essay by Jonathan Franzen.

“One of the mysteries of literature is that personal substance, as perceived by both the writer and the reader, is situated outside the body of either of them, on some kind of page. How can I feel realer to myself in a thing I’m writing than I do inside my body? How can I feel closer to another person when I’m reading her words than I do when I’m sitting next to her? The answer, in part, is that both writing and reading demand full attentiveness. But it surely also has to do with the kind of ordering that is possible only on the page.”

An article about a very realistic sounding artificial voice.

“The method uses a particular type of neural-network architecture to create sound, and is said to represent a significant leap forward in artificial-voice technology. It also raises difficult questions about how close to ‘human’ we want our artificial voices to sound.”


Working Knowledge: A Composer’s Thinking 


Play for a while—
nothing sounds good,
this isn’t working

Try again, play for a while—
a few moments sounds ok,
but this still isn’t working

Realize you’re not listening to what you’re doing—
so play again, this time listening to what is, not what isn’t:

now you head in a different direction
which wasn’t what was expected,
but maybe it can work

Is there a way out?


Strike & Vibrate


It’s such an obviously known fact to us that we never talk about it, but musicians have intimate relationships with vibration. Singers vibrate themselves, string and horn players vibrate their intricate wood and metal contraptions through bowing or blowing, pianists press keys that strike the piano’s tuned strings, and so on. Even electronic musicians are attuned to vibration, though in this case, it’s a speaker that’s vibrating, not the musician, which can make the music feel a little more removed from the musician’s body. (This is compensated for by two facts: 1) electronic music has developed a huge repertoire of strange and otherworldly and larger than life sounds and 2) is often performed at punishingly high volumes that literally vibrate the listener.) It doesn’t matter what instrument you play, what matters is that you know how to get it vibrating in the ways that make the sounds you want to hear.

Percussionists (and I include here drum set-playing drummers) mostly strike various kinds of objects—from hand drums to tuned idiophones to cymbals and brake drums—to get them vibrating. They use their hands and fingers (e.g. on the Indian tabla drums), sticks and mallets (e.g. on marimbas and vibraphones), and even their feet to control drum pedals with beaters or other mechanisms attached to them (e.g. to play bass drums or hi hat cymbals). Today, playing percussion has been democratized through the “finger drumming” that musicians do with varying levels of skill on the little rubber pads on hardware sequencers. In this way, now anyone can be a drummer.

Another known fact rarely spoken of is the joy the percussionist derives from the fundamental act that sets vibrations in motion: striking. Whether you’re playing a hand drum, a snare drum, or a marimba, the joy of striking derives from transforming yourself into a kind of complex living lever, a fluid arm-hand-finger contraption that moves in a 3D space, piston-like, to transmit energy from you to the instrument to get it vibrating. While it’s true that percussion instruments are the easiest ones for a beginner to get a sound out of by hitting, it’s also true that they are the most difficult instruments to strike well (as opposed to hit) and make sing. There are many approaches to playing percussion, but they all share a common goal, which is reliably striking to make beautiful vibrations in time. Masterful percussionists can make their striking look effortless, magically conjuring smooth rolls or round tones. But sometimes a percussionist’s deliberateness is another kind of mastery on display, drawing you into their sound-production workflow, hinting at its deeper sources. Something about whole enterprise is mesmerizing when done with requisite skill and aplomb.

I rank the joy of striking right alongside the joy of running because of its transformative effects on consciousness. In striking (or running) you become one with the process you’ve set in motion—a process that only continues as long as you continue keeping it going. And in keeping it going you get feedback from your playing—a continuous stream of information about what you’re doing, how you’re doing it, your tone production and timing, and how your thinking and feeling are changing via the striking. Another similarity between striking and running: neither one has a goal besides marking time. Like vibration itself, percussive striking and running in their purest states are oscillations that just want to keep on keeping on. Isn’t that beautiful?

Arrows Of Attention: 100 Words As Creative Actions


1. Accept

2. Accumulate

3. Age

4. Animate

5. Articulate

6. Assign

7. Borrow

8. Brighten

9. Build

10. Channel

11. Chart

12. Compress

13. Complexify

14. Configure

15. Contour

16. Copy

17. Counterpoint

18. Darken

19. Decorate

20. Define

21. Delay

22. Delete

23. Detune

24. Diminish

25. Doubt

26. Drum

27. Duplicate

28. Echo

29. Elaborate

30. Emphasize

31. Energize

32. Equalize

33. Evaluate

34. Excel

35. Expand

36. Experiment

37. Explore

38. Extrapolate

39. Fade

40. Feel

41. Filigree

42. Float

43. Follow

44. Fractalize

45. Fragment

46. Harmonize

47. Highlight

48. Improvise

49. Intuit

50. Invert

51. Invigorate

52. Layer

53. Lengthen

54. Link

55. Mangle

56. Meander

57. Measure

58. Melodicize

59. Mirror

60. Mix

61. Modulate

62. Mute

63. Paste

64. Perform

65. Plan

66. Polish

67. Presage

68. Preset

69. Pulsate

70. Randomize

71. Reconsider

72. Refine

73. Repeat

74. Recall

75. Reset

76. Resonate

77. Revert

78. Rhythmicize

79. Ring

80. Quantize

81. Question

82. Serialize

83. Sharpen

84. Sidechain

85. Simplify

86. Simulate

87. Shroud

88. Solo

89. Suggest

90. Stutter

91. Switch

92. Sync

93. Tighten

94. Tinker

95. Transfer

96. Transpose

97. Tune

98. Vary

99. Waver

100. Wonder

Resonant Thoughts: Barbara Gail Montero’s “Thought In Action” (2016)


“In the arts the best performances allow observers to witness some deliberate, conscious thought in action. Consider the difference between listening to someone lecture on her feet and listening to someone read a paper…The performance bereft of the mind would be, in certain respects, like watching a machine: although the output could be amazing, the most interesting of spectacles—the human mind—is lacking.”

– Barbara Gail Montero, Thought In Action (2016), p. 140

Curating The Week: Architecture, Digital DJing, The Most Relaxing Song


A magisterial article by a most influential architect, Christopher Alexander.

“Taking architecture seriously leads us to the proper treatment of tiny details, to an understanding of the unfolding whole, and to an understanding—mystical in part—of the entity that underpins that wholeness. The path of architecture thus leads inexorably towards a renewed understanding of God. This is an understanding true within the canon of every religion, not connected with any one religion in particular, something which therefore moves us beyond the secularism and strife that has torn the world for more than a thousand years.”

An article about digital DJing.

“By pushing the paradigm from smoothness to rupture, the shift from analog to digital DJing mirrors the transition from modernism to postmodernism—a wave of critical thinking that developed in the mid to late-20th century and was described by Marxist literary theorist Fredric Jameson as the ‘cultural logic of late capitalism.’ Whether in fields of art, music, or writing, postmodernists were concerned with themes of rupture, rebellion and the anxiety-ridden technological condition. The movement was also about amplifying historically excluded voices, with postmodern thinkers like Foucault examining the social systems that enable cultural hegemony, violence and exclusion from power.”

• An article on Marconi Union’s “Weightless”, the world’s supposed ‘most relaxing’ song.