Philistinism-Lite

My Kingdom for a Grant

2008-01-04T07:03:00.000-05:00

Now that the holidays are over I am back to work on the dissertation. Well not on the dissertation itself, but on applications for more funding. I've already expressed on this blog the frustration of spending a portion of your time on one grant applying for the next one. And that attitude has not changed. It's amazing how much valuable (and in my case limited) research time is devoted to these grant applications. But like trading in baseball, you have to give up something valuable to get something valuable.

I am currently torn between reusing a chapter I wrote for a previous grant or rewriting it based on new research I've discovered. The advantage of resubmitting the old chapter is that the prose is polished, thoroughly edited, and the order of ideas and exposition are clear. The con to the chapter is that the conclusions are frankly obsolete, based on a very early sample of sources I'd gathered. A new chapter could incorporate the newer sources, making the conclusion more credible. However, a new chapter would need to be restructured. I simply cannot append the new data.

Although I feel rushed and am hesitant to abandon the library for the next two weeks, I am leaning toward writing the new chapter. In the end, I will have to rewrite the chapter anyway. And as the grant is competitive, I need to put forth my best work. I also suspect that such a long hiatus from my sources at the library will encourage me to pick up the pace when I return in a few weeks, driven by my long absence. Another year of funding is too valuable to sabotage with a premature chapter.

Sustenance for Research

2007-11-28T05:55:00.000-05:00

The food in Germany is not the best in Europe; certainly France and Italy have claimed expertise in that area. However, I've enjoyed the ability to buy really good fresh bread and cheeses as well as get some good deals on European wine. However, two staples of my diet are hugely challenged over here: salsa and peanut butter. You can purchase both items pretty easily at most grocery stores. But unless you enjoy salsa that tastes like ketchup or peanut butter with a powdery chalk taste, they are best avoided.

Well, fortunate for me, I have the best fiancée in the world! She traveled thousands of miles to visit me for a week and brought several pounds of peanut butter and salsa in Sam's Club quantities. My pantry is now balanced again. There is nothing better for complimenting fresh bread than chunky peanut butter. And Bavarian cuisine can always be spiced up with salsa that actually has a kick.

The major dilemma now is trying to figure out how to ration out portions so that they will survive until I can refill my supply. I actually think I'm tempted to consume them more than I would in the States because I know how privileged I am to have them. It certainly gives me major bragging rights to the ex-pats in Munich.

Now that I am no longer distracted by this deficiency in my diet, I can get back to work.

Let's Get Organized

2007-11-16T16:53:00.000-05:00

Now that the grant I've been working on the past month is finished, I'm ready to get back to the routine of going to the Stabi every day. However, I woke up yesterday morning to a good amount of snow and decided not to head to library just yet. For one, the lure of a picturesque view of the Isar canal from my window kept me cozy at my desk with my cup of coffee. In addition, I knew I had some serious organization problems to tend to that had escalated while I was working on the grant.

To make the best use of my time and money, I've been maintaining a two-fold approach to research. The long opera reviews I find are photocopied for scrutiny at home. The short reviews are simply typed into my computer and saved for future reference. I was proud of this method; but then I realized that everything was hard to find with my original notes taken in several legal pads. I needed to create a master database so I could find these reviews quickly.

I decided to spend the day logging every review onto my computer (not just to tally everything turned up for statistical reasons), and highlighting the ones I intend to review more closely later. I made sure to indicate in the database whether they were saved on my computer electronically as a PDF or JPG, typed into a computer log, or buried in stacks of photocopies . The whole process was a pain, but I think I've saved myself some stress down the line. It also reminded me I need to be more on top of things to make sure I don't forget to write down pertinent information. After flipping through old magazines and newspapers for hours it's hard to keep focus; but enforcing sound research habits should keep me in line.

The next step is to set up the smart tables on Microsoft Excel so I can sort everything by composer, opera, reviewer, journal, year, and other parameters. And they said dissertations aren't fun until you're in the writing stage...

Territory Claimed!

2007-11-06T14:37:00.000-05:00

I just received the announcement that the DDM (Doctoral Dissertations in Musicology) database just completed its fall update; and I'm pleased to see my registration made it in time to be included in the update. Although the dates of my study are absent from the title, I feel relieved that my little niche has been staked and flagged with my name. With over 300 additions made in this update, including completed and "in progress" dissertations from all over the world, it was important not to wait too long. Journalistic criticism is currently a hot topic, as illustrated by a recent panel at the AMS (American Musicological Society) meeting last week. And now that my own tiny block is reserved, I'm much more thrilled about the excitement than I was when I was afraid someone would jump on my turf. Surprising how much competitive fervor permeates the world of musicology. My recent addition to the database also inaugurates a series of dissertations soon to follow by my colleagues all advised by my mentor. Until now, despite her successful publications and accolades, my advisor has not unveiled any protegees to the academic field. However, with a class of four of us all under her wing, that will soon change.

Inhalts Never Deliver What they Promise

2007-11-01T14:57:00.000-05:00

So I've slowy begun to realize how little stock I should put in consulting the inhalts (table of contents) of the journal volumes I'm perusing for opera reviews. Occasionally there is a review featured by a signed auther and included in the list of contents. However, I've found from experience that the reviews more frequently turn up in the news sections of the journals (Nachrichten), supplied by various correspondents whose identity is only surmisable. I'm thrilled to find more data. But had I known to look in these sections, I wouldn't be requesting some volumes a second time. The other difficulty is that it takes 3 or 4 times as long to get through a volume when you have to skim through every piece of Nachrichten, which is usually printed in Fraktur. If I went only by the Inhalts, I'd just flip to relevant pages and be done in no time. But now I'm developing calluses and straining my eyes more farsighted. Some years there are no opera reviews of value in the Nachrichten; other years there are dozens. Too bad Google hasn't made a search engine for these journals yet. I guess I'll have to survive the great ol' musicological rite-of-passage that my professors endured.

Marathon

2007-10-26T01:57:00.001-05:00

So I decided to train for the Torino 2008 marathon this year to give myself some occasional distance from the library and my computer screen. It will also contribute to my determination to maintain a routine lifestyle here in Munich. So I've never run a race longer than a 10K (6.2 miles) and am a bit daunted by the half-marathon experience of my training partner. So far this week, since Sunday, I've run 20 miles with four more planned on Saturday and an eight-mile long run on Sunday. Although I've been able to run the prescribed mileage each day, I've felt sore and tired all week. I guess this is the usual shock reaction your body makes when you transition from laziness into a fitness routine. Although since my knee injury I've done a good amount of running, and clocked in a personal record at the Cincinnati Redlegs 5K in 2006, I haven't maintained a schedule like this since I was an undergrad. For cold and rainy days like last Sunday when I did a seven-mile run, I would have remained indoors. Now I have to weather all kinds of conditions and wash my winter running clothes twice a week.

What has made me enthusiastic about this training is a recent purchase, the Nike iPod. The receiver plugs into the bottom of your iPod nano and a sensor is either installed in one of Nike's special running shoes, or attached to the shoe laces of a different brand. Nike has never made a shoe comfortable for my flat feet, and since I'm getting ready to change from Brooks to Mizuno running shoes in a month or so, I'm glad there is a flexible option. The great thing about the Nike iPod is that it tracks your time, speed, etc. as well as save your previous running data, which you can upload online and share/track with friends. If you clock in a personal record, the voice of Lance Armstrong appears: "This is Lance Armstrong; congratulations you just set a personal record for the mile!" As you run, you iPod shuffles or goes through playlists as normal. You can even select a power song before you start running that you can activate immediately any time you need a boost--just imagine switching on the Rocky song everytime you get slow halfway up a hill. I also got one of those iPod arm bands you always see the celebrities wearing in gossip magazines. I feel like a hardcore runner now.

Wake-up call Munich

2007-10-02T05:07:00.000-05:00

I'm now in my second week of research at the Bayerische Staatsbibliothek in Munich. I haven't really been very productive, since Oktoberfest has been going on. One particular weekend morning I woke up with intentions to work at my desk in the apartment while the weekday hustle and bustle was over. To my surprise, a parade began right outside my window. This consisted of several Bavarian marching bands, Alpine hornists, and singing choruses. Oktoberfest had begun, right at my weekend study spot.

Focusing the Scope, Claiming Territory

2007-08-09T13:24:00.001-05:00

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I've been working through the volumes of the Allgemeine Musikalische Zeitung the past month and have now completed 1798–1816. Although my original plan was to continue up through 1825 or 1830, for the time being I'm going to stop and work with some of my material. I've filled a legal pad of any concert/opera criticism of German operas (neither including French and Italian operas translated to German nor other music-theatric genres). Additionally I've photocopied over a hundred pages of the more extensive reviews and essays on German opera and related topics and am ready to dive in. The time frame I've completed also relates to two significant details. For one, a major references source to my project gives the full index page by page of all the contents of three other major journals from 1801 to 1815, Zeitung für die elegante Welt, Freimüthigen oder Scherz und Ernst, and Morgenblatt für gebildete Stände. Another issue is a working dissertation I discovered on DDM on a similar topic, German criticism of French and Italian opera 1816-1840. Although the focus of the project is different, the similarities are enough to play into the temporary halt. I do think that if I decide not to expand my time frame, I'll still have plenty of material to talk about.

Introducing Franz Horn

2007-07-30T15:27:00.001-05:00

After moving to the next few volumes of AMZ, I've determined that Fr. Horn is Franz Horn (1781-1837), a literary figure as well as music critic. Mark Evan Bonds quotes from his musical fragments on Mozart and Shakespeare in the _Journal of the American Musicological Society_ (1997). Horn follows his discussion of German opera in April of 1803, "Vermischte Bemerkungen bei Gelegenheit eines alten Buchs über die Musik" (499-508). One interesting passage is his claim that from consulting various subjects discussed in Scheibe's "Critischer Musikus" (1730), writing a "fullstanding history of German opera" is entirely managable (502). I'm looking forward to combing through this text more carefully.

Who the Hell is Fr. Horn?

2007-07-27T10:51:00.000-05:00

I found a great quote in the September, 1802 issue of Allgemeine musikalische Zeitung (AmZ, 788), but I'm not familiar with the contributor. The quote is one of many "musikalische Fragmente" submitted by Fr. Horn. The only name I can think of is Carl Friedrich Horn (aka Charles Frederick Horn), an organist from Germany gone Handel in England.

The quote reads as follows:

"Der Charakter der Nationen redet deutlich in ihren Künsten, und besonders in ihrer Musik, von der man noch bei allen Völkern, wenigstens leise Spuren und Andeutungen gefunden hat."

So simple, yet so deep. Horn then goes on to characterize the national characteristics of Italian, Spanish, French, English, and German music in more fragments. Interestingly, in an "ungenannte" article, "Fragen eines Layen über musikalische Gegenstände," published in two parts in the prior two issues in 1802, there is a more specific discussion of German opera, although this time rhetorically as a posed question followed by a detailed answer:

"Woher kömmt es, dass wir Deutschen, trotz aller Lauten und von Jedermann gerecht befundenen Klagen und Beschwerden, noch immer so viele ganz schlechte, kaum einige leidliche, und fast gar keine wirklich schönen Operntexte erhalten?" (642)

Quite the predicament.

Turabian Trouble

2007-07-18T08:13:00.001-05:00

As I integrate the bibliography of my Master's thesis with those of recent term papers and grant proposals to create the dissertation Ur-bibliography, I'm questioning the benefits of the new seventh edition of Turabian. Although I'm impressed at the extended entries on online citations and the color-coordinated examples, it completely frustrates the avid sixth-edition user. The sixth edition tells us to use formal abbr. for US states (e.g., Mass., Ill.); however, the seventh edition insists on US postal abbr. (e.g., MA, NY). I understand that writing habits are becoming more informal--the seventh edition now discourages Latin phrases like "et al." when you can simply type "and others"--but it sure makes for some tedious cross-referencing.

I laughed at the thought of some OCD editors having to relearn 3.88 as 21.4: a colon (instead of a semicolon) should separate two independent clauses when the second independent clause expands on, clarifies or exemplifies the meaning or understanding of the first independent clause. Indeed, after working through the new edition, I'm becoming the subject of my own ridicule. Inclusive pagination was simply stated by providing only the altered digit 173-9; however, now there are rules based on how high the initial number is--173-79, yet 1007-9. And I gladly type hyphen for a range of numbers since the en-dash rule seems to have disappeared. The insanity!

Blog Reborn

2007-07-18T08:06:00.001-05:00

I've decided to make an effort to blog more frequently. Since I'm beginning my dissertation work this summer and will continue in Germany next school year, I'd like a forum for expressing my frustrations, excitement, and anything else that piques interest. As dissertation newbie--yes, I understand that one does not become an expert at writing dissertations because you'd never do it again for a million dollars!--I'd like to chronicle my experience, both mistakes and successes, as a motivational force. Besides, nothing passes the time better than distracting yourself from the task at hand. I can't wait!

Who'll Be SS for the Reds in '07?

2007-01-27T09:39:00.001-05:00

Lopez was traded last season, Clayton is a distant memory, Freel's found a home in the outfield, and Rich Aurilia doesn't appear to be returning; so who'll be playing ShortStop for the Reds this spring? I know everyone's focus has been on acquiring good pitchers during the off-season. But what's to be done with our infielders, an often ignored weakness to last year's roster? Considering the number of errors acquired, this should be next on the club's "to do" list. Scott Hatteberg has seen years of play and will certainly continue to succeed on first base. And as long as Encarnacion finds his grove and holds, the 3rd Base line should be under control. Although the aged Juan Castro is still around, some recent acquisitions may solve the mid-infield issue. Jerry Gil seems a promising young addition, while still a bit green offensively his speed may help close the infield lanes. But from what I see, Alex Gonzalez will provide the most stability and will hopefully match well with Brandon Phillips on second base. As everyone keeps a close watch on the rapid trades for starting, closing, and relief pitchers, I will continue to monitor the ShortStop plans.

My "Sideways" Adventure

2006-12-11T16:34:00.000-05:00

Perhaps it is a bit cliche to recreate my own little experience of "Sideways" during a recent trip to Los Angeles. But when compared to Napa and Sonoma, Santa Barbara wine country is still less touristy. A short afternoon of four wineries and a restaurant may only amount to a fragment of an overall experience; however, each stop left a completely different impression on me.

Gainey Vineyards. The first stop was a beautiful winery on the southeast corner of Santa Ynez Valley. The tasting room opened up to a patio and garden overlooking the vineyards. $10 seems a bit pricey for tasting four wines (a riesling, sauvignon blanc, merlot, and cabernet franc). But the souvenir tasting glasses resemble Riedel Bordeaux stemware, so perhaps worth the price on their own. The better of the two reds was the cabernet franc. Interested buyers were told they would have to join the wine club to take one of those bottles home. The riesling was pleasant, but hardly worth the price. I didn't purchase a bottle. Summary: "A" for appeal of vineyard and tasting room; "C" for value of the tasting; "B" for friendliness/helpfulness of tasting room staff; "C" for quality of wine; and "D" for the value and availability of tasted wines.

Kalyra. I was excited to visit the Aussie-inspired Kalyra next, for it was featured in "Sideways." (Remember where Sandra Oh's character works?). The tasting room was completely different, looking more like a tiki bar than a winery. For $7 you get to taste a good number of reds, whites, dessert wines. The red wines were rather disappointing. Both the Riesling and Gewurtztraminer excelled and definitely a good value. The dessert wines were interesting, but not very appealing. Friendly staff overall, but at times they acted like bartenders and seemed to entertain groups of 20 year olds in such a manner. I purchased one bottle. Summary: "B" for appeal of vineyard and tasting room; "A" for value of the tasting; "B+" for friendliness/helpfulness of tasting room staff; "B" for quality of wine; and "A" for the value and availability of tasted wines.

Bridlewood Vineyards. I've since learned that Bridlewood is owned by Gallo of Sonoma and perhaps that explains some aspects of the experience. The most dissapointing part was the staff in the tasting room, for my friends and I were certainly treated like second-class tourists. I tried 6 wines for $7. The pourer was tending to another couple and kept his attention on them unless he need to fill our glasses with the next wine and quickly spurt out a few quick words. I can understand the crowds, but would have rather waited for a pourer who could devote a little more time to discussing the wines. My group and I soon noticed the couple next to us tasting wines not on the list. The next series of events went as follows: 1. I showed an interest in perhaps purchasing a syrah; 2. I inquired about tasting the Zinfandel the couple had; 3. We were told maybe if there is some left, and then no since it was gone and reserved for club members; 4. We were asked if we wanted to buy a bottle; 5. We left without buying anything. I can understand that wineries can't pour all their offerings in the tasting room; but, it seems a bit off-putting to do it in front of other customers. Furthermore, I was not even given information about how to join the wine club. That was a bit insulting, as if I didn't look the type. Summary: "A" for appeal of vineyards and tasting room; "C" for value of the tasting; "F" for friendliness/helpfulness of tasting room staff---Two Words: "BLOWS GOATS"; "B" for quality of wine; and "C" for value and availability of tasted wines.

Blackjack Vineyards. Thankfully a frustrating afternoon was quickly turned around with the best visit of the day. Despite some crowds, a tasting room staff member actually said "hello" and asked if we could wait a few minutes for her full attention. As I waited I looked around the simple, yet functional and warm tasting room. We were allowed to try any 6 wines of 12 on the list for $8. The quality was amazing across the board, with bottle offerings at all price points. Memorable were the 2004 "777" Edna Pinot and the 2002 Harmonie. I purchased 3 bottles. Summary: "B" for appeal of vineyards and tasting room; "B+" for value of the tasting; "A" for the friendliness/helpfulness of tasting room staff; "A" for quality of wine; and "A" for value and availability of tasted wines.

Amazon.com Sucks!

2006-06-07T23:23:00.000-05:00

I have some serious qualms with Amazon.com. I used to buy my textbooks form them religiously. I almost promoted their process of buying books and their advocation of the independent buyer. But recently I have been frustrated with their website. Amazon.com used to have this feature called "share the love." You could send info on your recent purchases to people in your circle and give them a discount if they chose to buy a book you recently recommended. Recently, however, Amazon.com has hidden this feature somewhere in their network mix making it nearly impossible to access and activate. Therefore, I've decided to buy my books elsewhere. I enjoy recommending a company that offers a good service at a competitive price. However, when that service is eschewed for stingy and shady practices, I withdraw immediately. As someone who has purchased 100s of dollars of textbooks from Amazon.com in the past 4 years, I can openly admit I will be looking elsewhere from now on. I won't recommend Amazon.com to anyone anymore. I can't figure out how to share the love. What gives?

Pearl Jam's New Album

2006-05-06T10:41:00.000-05:00

Anyone who knows me figured I’d get around to reviewing the new Pearl Jam album. And here it is. If you don’t get past this paragraph at least believe me when I say that the new release is going to turn some heads. If it doesn’t grip a new crowd, it will find fans who faded away years ago.

Pearl Jam’s self-titled addition is their first studio album released since completing their contract with Epic. Renewed with J-Records the band has new opportunities to explore. Although the first single “World Wide Suicide” has received considerable radio play, do not accept it in place of the whole. There is so much at work here.

What immediately impressed me on first listening was the diversity of styles present, reflecting the band members’ unique backgrounds and further stripping the band of its Seattle/Grunge label. And that was it all along. The band never really fit that mold. It has just taken me 15 years and this new album to figure that out.

Hailing from Illinois--not the West Coast—singer Eddie Vedder’s training was first and foremost as an avid listener, boasting a massive teen record collection spanning Zeppelin to Aretha Franklin. And Mike McCready’s bi-polar guitar solos have always sounded either blues or metal. There is no long-haired punk to be found.

If there is a Seattle sound at work it is from the backbone formed by Jeff Ament (bass) and Stone Gossard (guitar) who played together in multiple bands from the Puget Sound area for a decade before Pearl Jam formed. We can thank Stone for the raw riffs and Jeff for artistic flair. And Matt Cameron? Sure he was Soundgarden’s drummer. But he also sings, guitars in his own band Wellwater Conspiracy, and once played in a Kiss cover band. These kids didn’t grow up on the same street.

Politics has always been a motivating force in conceiving each album. And Pearl Jam has not exhausted what they have to say about the world. But the message is delivered more constructively this time around. Explicit F*ck Yous to the establishment have been eschewed for understanding. The band finds an even more vivid illustration of the times we live in today without pointing fingers and naming names.

The message is theirs. Early albums like Ten and Vitology do not hide the fact that they are mouthpieces for Eddie. But “Pearl Jam” in name and creative unity draws from all members’ strengths. A quick glance through the lyrics and artwork shows contributions by all 5.

The emotions are as diverse as the musical styles and talents that make up the album: from the up-beat title-track “Life Wasted” to the laid back Beatles-sounding “Parachute.” The ballad “Gone” is musically reminiscent of hits “Betterman” and “In Hiding,” but the narrative is deep enough to survive repeated plays. The closing track “Inside Job” is epic and gripping, escalading to a cathartic climax that melodically reminds one of “Black” or "immortality."

Although a fan of all 8 (can you believe it, 8?!!) studio albums, I definitely hold this one above the previous three releases, Yield, Binaural, and Riot Act. I also suspect with further listening it will outdo what Ten, Vitology, and No Code did for me 10+ years ago.

The Art of Watching MLB on TV

2006-04-22T11:44:00.000-05:00

I have repeatedly suffered complaints from friends and family that there is nothing more dull than watching a Major League Baseball game on TV. Basketball games are faster paced and so much is riding on each football game due to their limited number. But I am convinced that there is an art to watching baseball on TV, resting on minimal skill and dedication. I would like to offer several reasons why everyone should rethink their sport-watching habits, for summer is too short for giving up TV completely.

1. Autonomy. Watching baseball on TV is the most unrestricted behavior you can conduct in your living room. During the 5 or 6 innings of non-activity, you have more choices available to you than many take advantage of. You can read a book, cook dinner, call grandma, or vacuum. The important thing to remember is that you are not limited to entertainment during these inactive spells; you can also use the time constructively without feeling you are ignoring the game. Flashy new commercials, scantily clad cheerleaders, and acrobatic stunts are infrequent and won't dictate you stay in front of the screen entirely.

2. Quantity. There is a baseball game almost every night from April to October. If you skip a game because you need to watch the Gilmore Girls marathon, you haven't missed a significant part of the season. Furthermore, your team will lose. No team has ever had a perfect season, so you can get over the pressure of supporting their every move.

3. Cleanliness and Hygiene. On Sunday afternoons you might be invited to watch football, or you may even entertain friends yourself. Make sure to iron your jersey, clean off the coffee table, and bring mints to cover up the cheetos breath. But come on; are you really going to find someone to watch baseball with you on TV? You can sit in your boxers, scratch yourself, and lick ketchup off the plate uninhibited by standard rules of social conduct.

4. Security. Unless it's the World Series, MLB games will never interrupt your favorite evening sitcoms. When college basketball games thwart your American Idol plans, you can always count on the MLB game to stay away unless invited into your evening.

Young Speaks of Young Musicians

2006-01-31T16:03:00.000-05:00

I came across a great passage in a Dean Young poem I was reading for a class. Like the many I've read in this collection, the all-you-can-eat buffet of high and low brow language makes his writing accessible and intriguing. It’s amazing how aphoristic each passage becomes; no matter how simple and pedestrian the imagery may seem at first, something much greater lurks behind it. The lines begin with absurd humor; but, then, we reach a thought-provoking conclusion:

Do not encourage small children
to play the trombone as the shortness
of their arms may prove quite frustrating,
imprinting a lifelong aversion to music
although in rare cases a sense of unreachability
may inspire operas of delicate auras. ("Whale Watch" from Skid)

I cannot help but ponder. If music instruction proves too testing, do we awaken a few phenoms without producing countless hacks? The kid pictured above may be the next artist signed to Sony Classical. However, he'll have to develop much better posture...

A New Year in Music?

2005-12-31T20:51:00.000-05:00

Hopefully there will be a new year of this blog. I aim to post more consistently this next year. Until then, a question for thought: Is the US Music Schools' and Conservatories' aim to train professionals to serve municipal, community, and educational jobs hindering creative development? Or are the increased funding and scholarships made available to music students providing resources for artistic exploration necessary to take music into the new century?

Cincy Post Review

2005-11-12T09:55:00.000-05:00

KSO Review

Schenker is a Bad Influence on our Youth

2005-11-11T00:09:00.000-05:00

This weekend members of the CCM-based “Stufen-gang” have fled to Boston for the annual Society for Music Theory meeting. I sat through a Schenkerian analysis class about two years ago and found the theoretical approach compelling. Sketching Ursätze on the sofa with Letterman in the background is my idea of an exhilarating evening. It makes for satisfying self-occupation, the same type one might get from crossword puzzles or anagrams. But what really turns me off is reading or listening about graphs someone else has fashioned. The only prolongation I sense is that of my own agony.

It confuses me that Schenker seems to spark social energy. In case college students could not find any other reason to get together, we have the “Stufen-gang.” The “everybody’s doing it” phrase takes on new meaning when an activity of personal indulgence and academic pretense becomes a mediator for youth culture. I hear T-shirts and letter jackets are on the way. I knew there was a reason I had joined.

Musicology Peers Outside Itself, Confused and Bewildered

2005-11-08T23:28:00.000-05:00

There has been a recent exchange on the American Musicological Society's listserv with the subject "last rites?" The discussion began with pathetic complaints about the lack of music books in other intellectual, yet un-musicological communities. One poster encouraged fellow colleagues to undertake a book project for these supposedly wanting groups. Robin Wallace, a well-respected scholar whose _Beethoven's Critics_ is a staple in graduate seminars, sought a "boiled-down Scott Burnham." The latter, it turns out, is also an expert on Beethoven reception, and author of another seminar staple _Beethoven Hero_. Doesn't everyone want to know how everything in music history has always been written as some motivation for, variation of, or deviation from Beethoven and his music?

Certainly university professors in other fields struggle with similar identity complexes. A newly discovered letter, a breakthrough experiment, a revision of a long-held theorem; each appear shocking news in academic journals when they refute, shed new light on, or reinforce something else in those same journals. It appears that in order to make our discoveries significant to a larger readership we have to show how such findings refute, shed new light on, or reinforce something found outside the pages of our own periodicals. Best-selling books authored by academic types that are reviewed in major newspapers and magazines are able to reach larger audiences by framing their discoveries and ideas in contexts beyond their own disciplines.

As a musicologist myself I can verify that our articles and presentations--including my own--tend to follow a formulaic approach that espouses our main arguments while insuring veracity. Most begin by establishing a purpose, providing a brief survey of dated articles and recent interests that leads to an assertion, and then proceed to lay out evidence, make conclusions, and finally encourage further study. But the parameters within which these presentations operate are relegated to the house discipline. Of course, interdisciplinary approaches have been, thankfully, introduced in musicology, even if lagging behind other areas in the humanities. But interdisciplinary methodologies and evidence suffer from superficiality when the opening framework is not set in larger-than-field terms.

Returning to the American Musicological Society's discussion, the listserv gradually shifted to reports of music appreciation classes and the declining interest of the university educated in Beethoven and other aspects of classical music. Nothing new here. One post, however, confounded me...in fact, offended me in some ways:

"When there has been a move afoot in some quarters away from the "composer-centered" study of music and music history, we have a problem. It is not clear, at least to me, what alternative organizing principle is to replace the traditional composer-era rubric, since most Western art music has been and continues to be composed by single individuals. Music does not come into existence through spontaneous generation but through the efforts and talents of skilled individuals who to some extent in turn stand on the shoulders of their musical forbears."

Perhaps if we are concerned with how little the non-musicologist cares for Beethoven anymore, we might reconsider the "composer-centered" approach. Although art music is composed by individuals, are we teaching the History of Western Music or the History of Western Music Composers? The individual is not the only practitioner of music. Ensembles who perform music, though made up of individuals, work together as a group. Audiences, even if from diverse backgrounds and tastes, receive premieres of new music together as concertgoers. A waltz would be fairly pathetic to dance to alone. It seems that the listserv might do well to look past the individual to find answers to its concerns. We do not need to "boil down" our research to make it accessible to others. We need to find new topics of concern to broader audiences if we want the readership enjoyed by NY Times bestselling authors. Beethoven need not be left behind. But we must tell our stories "larger than life," or at least larger than our field.

Wedding Music

2005-10-13T20:40:00.000-05:00

It was a gray afternoon as I entered the Historic Catholic Church in Toledo. Although I feigned composure when crossing the iron gates, in truth I was embarrassed at having forgotten the names of the wedding party. The music had alread begun. To avoid disturbance, I reserved myself to a side pew. What a beauty the church was, well preserved in the midst of the city’s rust and decay. My eyes caught the two precocious looking gentlemen in front of me, their ears turned upwards to accept the acoustic bliss. Heavens! I’d forgotten the music for a moment! As I closed my eyes, I could not hear past the imprudent exchange of my immediate company…

FLORESTAN: My dear Eusebius, such passion deceives your mind. Countless repetitions of Bach’s “Jesu, Joy of Man’s Desiring” at wedding after wedding besmirch his illustriousness name. These touching moments do require music of careful selection; however, one should not employ such art in her service. Art arises only when one surrenders to it. The young gather in front of families and friends, bringing the unpolished voices of their kin in tote, to present fabrications of works they do not understand. That is the fashion, and fashion deprives art of its innocence. One should not commit to everlasting love in ignorance of art’s pure passions, for that art could breath new strength into withering hearts. Herr Pachebel, will you ever find sleep in your grave? As you are taunted with false hopes of rest, they exclaim: “Once more! Our marriage begs you postpone your peace so we might dress our ceremony in your music once more.” The devout state a musician must observe in filling the halls with such heavenly sounds cannot be reached when winking at Oma and Opa in the second row.

EUSEBIUS: Have you no heart, my friend? It is not unreasonable that such selections be conventional. Look at the young angel as she sings “Ave Maria.” She is full of life and her smile gleans with excitement for the touching occasion. How such moments bring forth memories of my youth. Florestan, you cannot sit still as others enjoy art for reasons that do not satisfy your lofty principles. Even if this sacred hall were cloaked in plastic art and empty feelings, it would only be you who would find torment. Look before you; they respond to such sounds appropriately for the event. It is their day to enjoy the melodies of our German masters. But perhaps I am too gentle. When Wagner’s bridal chorus strikes up in a moment, and brings this crowd to their feet, even my own forgiving heart will remain seated with you in protest.

…I considered their debate for a few moments, but I did not share their opinions. Do the friends and families not rise to Wagner’s chorus because they are eager to see the bride? How pathetic it is that two gentlemen would impose themselves upon a joyous occasion to ridicule the accompanying music as critics might judge concert selections. But what I heard next astonished me: drums and trumpets. I was deceived, for it was not Wagner that pulled me up like puppeteer. My legs had become extended to a most unexpected melody. The shimmering brass and snare rolls were dignified and stately. As the bride made her way down the aisle in white gowns, I suddenly recalled that I’d heard this march before. Before reaching another thought, the Baroque Rondeau suddenly came to me…the theme from Masterpiece Theatre.

What A Patient Wine Drinker Always Nose

2005-08-30T10:25:00.000-05:00

Although I hardly consider myself an expert on wine, I have had the privilege in the past 4 years of learning to appreciate German Rieslings. Aside from the trashy "Liebfrauenmilch" and "Michelsburg Piesporter" exported in mass to the US exist some excellent wines, particularly from the Mosel-Saar-Ruher and Franken regions. Recently I learned a valuable life lesson from partaking in an aged Beerenauslese. In our economically and societally conditioned drives for immediate satisfaction, we sometimes forget to stop and smell the alcohol.

After a summer living and studying in Trier and Karlsruhe in 2002, I purchased a 1993 bottle of Riesling Beerenauslese, grown at the Randersackerer Teufelskeller vineyard in the Franken region, and produced by Buergerspital in Würzburg. According to many experts on German wine, 1993 was the best vintage of the '90s. Instead of rashly opening the bottle when I returned to the states, I followed the suggestion of the wine merchant who sold it to me; I decided to wait a few more years. Interestingly, I had not intended to buy the 1993 Beerenauslese, but had expressed interest in a 1997 silver medal Auslese. However, when I returned to purchase the bottle a week later, it was gone. The merchant I had conversed with felt bad and recommended the '93, which he kindly parted with for the '97 price. He told me that in a few years the '93 would be "ein Wundergetraenk."

As a few friends and I celebrated our completion of master's degrees over the past year, for the first time I tasted a wine that I myself had deliberately aged. Not only did I marvel at the golden color the Riesling had turned and its elegant nose and finish, but I felt the reward of my own patience. Were I wealthy, I could open such a bottle any night. But on a graduate student salary, this self-made privilege stands unmatched. Now that California, Oregon, New York, and other regions of the US are cultivating internationally acclaimed wines, and more average Joes are learning to appreciate its delights following the success of _Sideways_, it's time we consider what benefits "aging" can have on our hectic schedules. Providing a hand and a bit of time into something otherwise pre-packaged for immediate consumption yields a priceless satisfaction no label can guarantee. As maxims like "quality over quantity" and "only time will tell" gradually lose their meaning in popular discourse, perhaps we can revisit these lessons in our own lives over a bottle of wine.

Batman Begins, Part 2

2005-07-13T16:08:00.000-05:00

Many critics of Batman Begins agree that the film is a refreshing return to the style of Tim Burton's films after the bad taste the synthetic dazzle of Joel Schumacher left on us. But does Nolan's rendition surpass Burton's acclaimed Batman from 1989? Even with Jack Nicholson's outstanding performance as Joker in mind, I would say yes. The portrayal of Batman villains tends to be a good indicator of how the dark knight will come across to audiences. In the previous four motion pictures we saw one nut job to next fighting for the spotlight, leaving the cape crusader conveniently in the shadows. This demarcation is clearly present in Burton's original. Despite some skepticism permeating the media before the film's release, Michael Keaton was able to evade the Mr. Mom/Beetleguise quirkiness primarily because of Nicholson's convincing return to the cuckoo's nest. Thus we were able to accept Keaton's performance seriously--he was the only sane strand we could grasp. However, as each subsequent film continued to churn out villains more eccentric than the previous ones, the artificial apparatus was exposed. The villains remained wacky, yet the Batmans became campy. Schumacher's Batman and Robin failed to gain respect from the audience when Arnold Schwarzenegger's Mr. Freeze exclaimed, "Let's kick some ice," and George Clooney's Batman whipped out a Bat-Credit Card. We dismissed our standards and interest in a matter of minutes.

Batman Begins erases itself from this embarrassing pedigree by demanding more stamina from our senses, memory, and patience. A perpetual theme in Batman comics is the dark knight's close connection and indebtedness to his enemies. This theme was briefly touched on in Burton's original, as the Joker and Batman inform each other that the other was responsible for who they have become. But Nolan's film explores these relationships further, drawing on the comics for inspiration, but yet finding innovative ways of adapting the characters to one coherent storyline. Ra's Al Ghul (Liam Neeson) is an Oedipal father figure, which coupled with Alfred's (Michael Cane) nurturing completes the parental substitution for Bruce Wayne's absent mother and father. It is Ra's Al Ghul's authority, knowledge, and skills Wayne must first learn before he can transcend them to find his own identity. The Scarecrow (Cillian Murphy) is Batman's equal, his doppelganger. Both are tormented by hidden fears and learn to harness these fears by inducing them in others from behind a mask. As we struggle in teasing out the complexities surrounding Batman's growth and development, the Scarecrow becomes a foil that mirrors the same mental and behavioral condition in a much more lucid state. Falcone (Tom Wilkinson) is an allegorical figure for all of Gotham's corruption that penetrates each level of society, and yet he is also a double. Like Batman, Falcone is an opportunist who sets out to convert chaos into order, the only difference being his motivation to achieve wealth and power where Batman seeks justice and self-reconciliation. In each case, these characters serve a deeper role in the film integral to the character development of Nolan's Batman. The cast aptly portrays these figures by not reinforcing absolute extremes of good vs. evil, serious vs. comical, and light vs. dark but by emphasizing more complex human and societal themes that crossover such binary oppositions.

Batman Begins, Part 1

2005-07-11T09:17:00.000-05:00

Fear: The universal human emotion that serves as a catalyst for the most courageous deeds and also the most destructive behaviors. With the wake of terrorism, the war in Iraq, and a culturally and politically polarized society, Christopher Nolan's Batman Begins penetrates the inner psyche and arouses our most suppressed thoughts and desires. The film succeeds where the latter half of the previous run of Batman films failed in appealing to a wide, diverse audience by eschewing contemporary pop culture for more timeless themes.

As a summer blockbuster, Batman Begins must endure months at the box office, advertise through consumer product lines, and accommodate repeat customers to earn revenues that exceed production costs. What ensures its success are young males who come out in droves and expend almost all of their disposable income to indulge in hi-fi sound, innovative action scenes, and seamless visuals. However, as David Denby writes in The New Yorker, "a good part of this audience has never known the satisfactions of story and characterization and emotional involvement." Batman Begins surpasses its promise of special effects and of an all-star cast as a crossover film that will cultivate and rekindle new legions of Batman fans from intended and unexpected demographics.

The film's tone and narrative content respond to the darker Batman stories that have appeared in recent decades. Perhaps the most influential are Frank Miller's Batman: The Dark Knight Returns and Batman: Year One, both of which capitalize on the psychological and emotional complexities surrounding Batman's mental state and origins. The contributions of Miller, Alan Moore, and Jeff Loeb rescued the caped crusader from the campy images of the 60s television show to permenantly engrave the darker character into the comic book canon. But this is not say that Batman had always resided in the comfortably secluded realms of fantasy and the surreal. Even in the 1940s the Byronic hero was a difficult pill for the average reader to swallow, always operating on a precarious bridge between the disturbingly real and the distant netherworld.

Nolan's film frightens us and yet intrigues us, for the Batman he presents could be anyone of us, and anyone of us could turn out like this Batman. In a journey from childhood trauma to exercising social justice, we are given not a virile, chiseled god of untainted morale and resolve. Instead, we find a feeble, disturbed victim of what all of us experience and cautiously await. This pulp adaptation is not a laughing matter, but a sober reminder.

Torke Tantrum

2005-06-29T11:49:00.000-05:00

Since when did contemporary composers of art music acquire the impudence of popular rock stars? Headlining the annual festival Music 0X, award-winning Michael Torke was scheduled to participate in this collaborative celebration of new music, showcasing works of students, teachers, and professionals. But professional hardly describes Torke’s unexpected retreat from the festival just hours before his own featured concert. Slated to perform and exhibit several of his compositions, Torke’s penchant for intolerance and fear of a tarnished reputation exceeded that usually afforded artists in the uncertain market of new music. Displeased with the progress of the rehearsals, the angered perfectionist hopped a plane in breach of contract.

In a 1992 concert in Montreal Guns n’ Roses headman, Axl Rose, made a similar dash amongst thousands of fans. Rose was reportedly frustrated with the performance. But despite the original band’s break-up and the replacement of metal by grunge and alternative rock in the early ‘90s, Rose had little to lose by his actions. The band had already secured their continual reputation and amassed millions of dollars in concert and album sales. Furthermore, a devious nature is the attitude par excellence of rock. When you’re raking in the dough, and still living in the heyday of popularity, you can leave the manners and professionalism to others.

Like other contemporary composers, however, Torke is very much concerned with reaching audiences. Where the avant-garde trends of the twentieth century distanced the artist from public appeal, the new millennium marks a definite return to acceptance and inclusion. Even though Torke’s style is regarded as tonal, engaging, and marked by an embrace of popular styles, few will hear his works outside the expected circles. At Music 0X, Torke’s audience was made up of colleagues, not consumers. The participants of the festival support the cause by attending each other’s concerts. They are the future program directors, faculty, and critics who could keep Torke’s music in the repertoire. As concert halls continue to dwindle in patronage and attendance, the creators must stick together to keep their art alive.

Tom Petty Smokes the Grassy Lawn at Riverbend

2005-06-20T10:51:00.000-05:00

Last week Tom Petty and the Hearbreakers made a stop along the Ohio River to feed hits to a diverse crowd. It has been almost 30 years since the blonde's debut, and he has a catalogue of fan favorites that can be matched by few. Before introducing some new music, Petty quickly secured the concert's thunderous reception with "Free Fallin'" and "I Won't Back Down." For teen hipsters to Woodstock gray beards, clouds of "You Don't Know How it Feels" and "Last Dance with Mary Jane" permeated the pavillion's lawn. Even after a few risky covers (like Buddy Holly's "Not Fade Away") and some tunes in the works, Petty and his Heartbreakers had no chance of loosing this crowd. An encore of "You Wreck Me" and "American Girl" sealed the deal.

What made the show even more successful was the return of the Black Crowes. Their perpetual feud on hold, the brothers Robinson jammed on the stage and made Cincinnatians boogie their hearts out. Even Kate Hudson was there to support Chris. I'm a bit "Jealous" I didn't have the seats she had.

Concerts of long-time greats like Petty makes us wonder if the artist will ever be able to satisfy crowds with new music. Tom informed the audience that a future album was in the works; but had he performed even half the songs of that project, the concert would have diminished in its energy. Could Paul McCartney get away with substituting some new material for "Hey Jude" and "Yesterday"? Could Clapton complete a concert having not played "Layla" or "Sunshine of My Love"? Jam bands like Phish and fan-club driven groups like REM work hard to make each concert a unique collaboration of hits, covers, new material, improv, and B-sides. But their crowds are supported by fanatics, groupies, and roadies. Ticket buyers for acts like Tom Petty will mostly likely see the show only once. They may not have purchased one of his albums for years, or may not even own one. Radio and video familiars are what they demand. The more the better.

Levine conducts Berlioz, eats chili

2005-06-17T10:18:00.000-05:00

Concluding this spring's May Festival, NY-MET conductor, James Levine, headed the Cincinnati Symphony Orchestra and May Festival Chorus in Berlioz's Requiem. With his iconic fro, the former May Festival director returned to a large, welcoming crowd. Since his appointment in New York, Levine has conducted over 70 operas in over a thousand performances. In addition to guest conducting all over the globe, Levine's jolly grin adorns covers of dozens of classical music recordings. This recent performance demonstrates his ability to comfortably conduct other large performing forces than those of opera.

Although my view was limited due to the support pillars of Music Hall's balconies, I was still able to observe the performance quite well. Before the concert, as I scoped out the audience seated with me in the first balcony, I nodded to my colleagues who were all positioned behind pillars themselves. Student-discount tickets in hand, we made for colorful stripes of youth behind each obstruction among the sea of white-haired bodies.

One of my former students was seated in front of me. As we exchanged a few quick jokes, she reported that Levine had been sighted earlier in the day in the Clifton Gaslight district, just north of the University of Cincinnati's campus. According to her, Levine made two ritual stops at Cincinnati favorites Graeter's ice-cream and Skyline Chili on Ludlow Ave. Although I too enjoy visiting my favorite spots when I return to my hometown (in NC), Levine managed to indulge in Cincy's most health-threatening and stamina-breaking treats.

The afternoon snacks certainly didn't boost the Maestro's energy for the concert. Although Levine is not as young as he used to be, and has reportedly started conducting from a chair, he failed to demonstrate the vibrant command of the ensemble. The slower tempos could certainly be of aesthetic preference, but the excitement of the antiphonal brass exchanges were not mirrored by the gestures of the conductor. Overall the performance was polished. The blend of the brasses, voices, and strings rung well in the hall. My only criticism of the performers is toward the wind family, where intonation and unity of color and articulation left much to be desired. Nevertheless, Levine received a 7 minute ovation after the concert and returned to the stage no fewer than 4 times to bow to the audience. This is an impressive reception, even for Cincinnatians who love to dish out "bravo" like it is going out of style.

Le Tombeau de Mrs. Robinson

2005-06-08T18:22:00.000-05:00

The original MILF. A tribute to Anne Bancroft. We all remember Simon and Garfunkel's tune in the 1967 film The Graduate. In a world where Tom Cruise courts Katie Holmes, Dustin Hoffman's infamous affair with the mother of his childhood sweetheart reminds us of the timeless allure of older women. Without Bancroft's stellar performance, a thousand utterances of "your mom" during my junior high years would have meant little to our young, pubescent minds.

Hot Hot Heat Blazes Bogarts

2005-06-08T10:14:00.000-05:00

I recently saw Hot Hot Heat perform at Bogarts. Thanks to my good buddy in Wilmington, NC for recommending them to me! The band hails from Vancouver, B.C., and their tour follows the release of their second studio album, Elevator, which they produced with a major label (Sire). Make up the Breakdown, their first album, was released by Sub Pop, the famous Seattle-based label that recorded Nirvana's Bleach and the music of other grunge acts. Hot Hot Heat, however, falls into a different genre. Whereas the 90s adamently rejected much of the 80s, the new millennium seems to be finding its way back to the sound of New Wave. Groups like the Killers and Franz Ferdinand are also bringing this retro sound to the mainstream.

Hot Hot Heat's sound is more gritty and simplistic than some of the other 80s-inspired groups that tend to rekindle the denser synthesized textures of Duran Duran and the Psychodelic Furs. Yet Hot Hot Heat's songs are very catchy and tuneful. At the show, the lead singer, Steve Bays, pranced around the stage like a true pop star. I was a bit shocked by the Roger Daltrey fro and neck scarf he donned. But this overall montage of influences makes the band perfect for the hipster crowd.

Hot Hot Heat's audience at the concert surprised me. Perhaps the band's recent invitation to the world of MTV has introduced them to droves of teens. Unlike other performances at Bogarts where I fit in well among college students and twenty-somethings, I felt ancient at this show. Aside from the slew of minivans that transported much of the audience home after the show, I also found myself alone in the beer line. Still, I'm happy to see such a young crowd interested in good music. Better they're at Bogarts to see Hot Hot Heat than at the Pavilion to see Hillary Duff.

Simulating Sin City

2005-06-06T17:25:00.000-05:00

I finally saw Sin City. Although I had not read much of the Sin City graphic novels, I remain a huge fan of Frank Miller's work with Batman. Still, while my comic book interests remain in a period of hibernation, I would not dare venture into territories where I am not up-to-speed in fear of lightsaber burns and a D8 + 1 damage to my armor class. Therefore, today's post remains from the perspective of a tardy filmgoer.

A colleague in the musicology department and I traveled to the neighborhood art theater, perhaps the only venue in the city still playing the movie. Even though such an action-packed picture is best suited for stadium seating, gigantic screens, and THX sound, I figured the local cinema would do its best to satisfy any digitally spoiled customers. I was wrong. To my surprise, the film ran in their smallest theater with a screen that couldn't hold its own against some flatscreens on sale at Sears. I don't think there were even enough seats in the theater to accommodate the starring cast of the movie.

Visually, I was extremely impressed. The black and white cinematography contributed to the nostalgic feel of the setting, and the subtle introduction of color harked back to Spielberg's accomplished Schindler's List while simultaneously mocking the sappy color bleeding of Pleasantville. My biggest criticism is that the picture failed to pique my interest in the plot(s). Robert Rodriguez and Quentin Tarantino (who is listed as a special-guest director) rattled the film world with their movies over a decade ago. However, they have not moved on. The popularity of Reservoir Dogs and the El Mariachi films has made their excessively violent, yet cool and comical, style cliche. For many who are aware of my current obsession with 1940s film noir, you can understand where my tastes have recently been chiseled. The suspense of these classics gains effectiveness in carefully unraveling the plot slowly, so that the arrival of the climactic close comes as a shock. Sin City is too dependent on unworldly, non-stop action to drive its stories. Of course, the film is only a stylized noir, replete with voice over narration and a sultry tenor-sax soundtrack (credited to Rodriguez). The framing of individual narratives adequately follows the comic book tradition, but unfortunately the result seems more like a feigned imitation of Pulp Fiction's segmentation than a faithful reproduction of the graphic novels.