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Links: banging on things and Wagner soaked in whiskey

December 13, 2010
  • If you can get down to Central Florida University in late January (and who wouldn’t want to be in Florida in late January), definitely look into Collide Percussion Workshop, run by Thad Anderson.  There’s a focus on composing for percussionists and includes some pretty big names on both sides of the score.  Great Winter getaway, by the looks of it (I have a sneaking suspicion that may be most of the reason why Chicagoans Third Coast Percussion will be there, but don’t quote me on that).
  • Michael Monroe with the best holiday mashup of the season.
  • 100 years from now, there’s a chance people will remember John Adams for his music, but I hope they also talk about his promoting Stravinsky’s obsession with arm farts.
  • How much does alcohol‘s availability at arts events factor into people showing up to them?  Is that a problem?  I’m really not sure.
  • I know there’s a more direct link than this, but head over to William Brittelle’s site for his feature and the video for Ecstatic Music Festival, coming up this February.  Should be a good’un.
  • Payton MacDonald is probably the nicest percussionist on the Internet.  I mean, this rant against people who complain about music not being complex enough is just so… polite.  I love it.  He also has a really great breakdown on what HE looks for when he listens to music that is as good as any I’ve seen.
  • I think I feature Daniel Wolf in this spot every week, for a number of reasons.  This week he talks about how video games (+ other diversions) have taken away from music’s market share of people’s attentions.  I definitely believe there is some value in that argument, but that it’s not necessarily a bad thing.  Its another means of culture, and from a dollars-in-pockets perspective, video games are at least PAYING for music, and of the classical or electronic variety.  In that regard video games are a bit more of a comrade than poorly produced mass propagandized pop music.

He then goes on to talk about how successful Wagner has been at being influential but not so much imitated.  I think its a really fascinating issue because a musical figure as grand as Wagner, you would think, would have an army of clones.  I personally think the problem is that part of Wagner’s signature style was the grandiosity. That is not something easily replicated in this day and age, or any other really.  Wagner was the beneficiary of inordinate amounts of money and other resources, like the guarantee of an audience, and if any composer today had those in his or her back pocket, the odds of a project the scope of the Ring would increase mightily.

Tune in next week, same Bat time, same Bat channel, for more good links and terrible jokes delivered by people in ridiculous outfits (only a maybe on the time, and probably not on the outfits.  Everything else is for certain.)

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