Enlightenment

     A revolution of societal and political changes. A time of science and individuality, a time of great thought, and life changing ideas. This was the Classic Era; this was the Enlightenment. Through architecture and music, painting and philosophy, the times were changing. From divine intervention to the possibility of the individual, and from the age of aristocrats to the age of a rising middle class. With the American and French Revolution new emerges from the ashes of old and everything changes. 

     The aspect I'd say the most important and influential was the Philosophers and the enlightened movement they so progressed. People like John Locke and Voltaire who believed in Individual Liberty, blazing the trail for freedom and equality; things our nation relies on today. My favorite quote though is perhaps from Scottish philosopher David Hume who said, "No human can know anything perfectly, so no human has the right to judge another." To me that is such a powerful and resounding statement. We have no right no judge one another, no right, absolutely none. What a statement in such a time period! David Hume never even lived to see the French Revolution. Such claims, such bold thoughts, so early in the 18th century. In a time where arrogance was seemingly a attribute to status this is really something to be heard. And not only is it important then but it is just as important now. 

     In today's society judgment is not something we necessarily wish upon others, but it is most certainly something we struggle with. It is engrained in our culture and our media. We are branded by it as children, molded by it throughout our youth and into adulthood. And all it does is destroy. It separates, it dictates, it causes pain. It is still a problem we find in America and in the World. It is a problem we face in our everyday lives, and yet so much has changed for the good since David Hume. His quote of love and equality for all people is a message that still resonates and is repeated today. It is a message that changed the way the World thinks; the way we think. So much progress has been made and yet so much more needs to be done. David Hume's ideas of kindness and empathy our extraordinarily important, that's why they've lasted so long.

     This is only one aspect of this great time period, a time period that if was inexistent would undoubtedly alter the lives of billions in the future. It was people like David Hume who made a nation and a world a better place. And that is what I found fascinating on the subject of Enlightenment Ideals.

   

     

Folk Music

     Why is folk music hard to define? Why can't after hundred of years of "folk" music can society not come up with a concrete definition? Why do so many explanations apply to some folk music but not others? And what is it about this genre that makes it so difficult to define? The answer is hidden between these very questions. Why can't we define folk music as a genre? Because folk music is not a genre. Folk music is not something that can be classified as a singular entity because it is not one. To define folk music is as broad as to define music itself.
     This theory can be proven through reading Bruno Nettl's An Introduction to Folk Music in the United States. This guy tries for two chapters to come up with an example of this versus that and yet nearly every time he is able to find evidence that contradicts his initial statement. So with this knowledge in moving forward to define in a sense "folk" music there are a few things we have to keep in mind. The first being that folk music has changed from the parameters that Nettl talks about. Though "folk" has it's roots in particular regions, its music set to certain economic standards, the world no longer works in this manner. Music is no longer about status, it is no longer divided into social ranking as who can listen to what. And since music is accessible to anyone from anywhere in the world of any class social status and regional location no longer pertain to new folk music.
     This also brings about another point. Now that music is longer regionalized or socially penned up folk music can be molded by many cultures, taking the "original" and making it more unique and globalized. This brings me to one of Nettl's points "communal recreation vs. unchanging over time." The idea that folk has to be molded by people and is in turn for the people, that it is always evolving and changing. Certainly as referenced in the last paragraph this is true in some cultures and sub genres of folk. However there are plenty of artist who play folk that stick to the music of their ancestors. Perhaps it is oral but whoever said oral communication had to be sloppy? So once again we are brought back to the question what really defines folk music, or since folk music isn't really a genre of music what constitutes these genres to be called folk? Well I think Nettl had some idea about it without realizing it in his first chapter when he talked about the "sound and style." 
     If we take a look at what is considered folk music, appalachian, malian, roots, dixieland, there are certain aspects that are similar between them. The first being tradition, sound and style. What makes a particular body of music a certain genre is its truthfulness to the tradition of the music. You can't play appalachian music and label it new orleans jazz or vis versa; it's not done because it is untruthful. And yet even here there us is uncertainty. However I wouldn't consider Native American Songs folk music and those are certainly based in tradition, so what else constitutes these styles? Could it be participation, functionality, complexity, cultivation? WHERE DOES THE RABBIT HOLE END?!!!
     The answer isn't simple, that's why Nettl wrote a whole book about it and he certainly didn't give the answer in the first two chapters. If I really had to sum up I'd come up with something similar to the late Satchmo and perhaps state that folk music is just "folks music." The genres we think of when we should think of folk music should be just that, folks music. And from each of these forms is when it's appropriate to analyze them using Nettl's points. No, Miley Cyrus twerking isn't folk music, but to prove so we would have to isolate it then analyze it. The same hold true for all genres. Why does Nettl have trouble making categories for his music? Because he could only see the big picture he couldn't see the diversity and culture engrained in the fine print. Nettl missed the point of music when trying to define it. He missed the diversity and UNIQUENESS of so called "folk" music. I guess if there's one thing I'd advise to take away from this article is that folk music is folklore, it's the boogeyman, the chupacabra. Folk is a term used to scare away the mainstream average listener from some really good music, and that's why I don't like the term, that's why I won't define "it."Don't scare us away with your  fancy book language, lure us in to the wonderful world of "folk" music.

Jazz Night

     These are two pages from the set last of Jazz Night, TC Lounge. The jam session lasted from nine to 11:30 and the mood was electric. The songs ranged from standards to covers to originals, and each musician brought about new flare and excitement into the room. What of course turned me onto this concert was that it was Jazz and unlike the concert recitals that other people went to, it was quite interactive. It was not impolite to yell or clap throughout the songs, it was not impolite to stomp your feet or clap your hands. I enjoyed all the music covered and watching the musicians interact with one another.
     The ensemble itself varied from song to song. One notable combo was drums, bass, and trombone. Others involved piano, saxophone, trumpet, and guitar. Each combo brought about its own song but the  fact that no matter who played the energy and level of communication was impressive. All the musicians new such a wide berth of tunes and just had a genuine love for music that showed in their playing.
     There were many forms of music throughout the night. AABAs, 12 Bar Blues, anything you could think of was probably represented. The night proved most useful in observing texture as well. How the piano interacted with the mellow tone of the saxophone on lady bird, how the drums and bass grooved on superstation. It was a moving experience and one that I'll continue to go back to and hopefully one that I will perform at soon. It's too much of a temptation  not to play with all those killer musicians is it not? In conclusion, Jazz night happened, it was awesome. If you didn't go I only ask, why?

Porchfest 2013

     When coming to Porchfest I never would have guessed not only the outstanding musicianship but the wide berth of musical styles that lay in the community. For being there all four hours I was able to see New Orleans Jazz to Bluegrass, Rock to Folk. Every time I walked around a street corner there was another band, another style. I also enjoyed the fact that the name Porchfest was taken quite literally. The setup of the festival was really well done, as it brought about a sense of community within the musicians and within the town. I didn't know what to expect at Porchfest when I got there but I am sure it will remain a tradition during my time here in Ithaca. 

     There were a couple of acts that stood out to me. Not only because of there exceptional musicianship but because of there passion to what they were doing. My first stop during Porchfest was a 17 minute walk to 100 franklin street where the Jazz Happens Now band was playing. I arrived a few minutes late and the band was already in full swing. They were playing one of my favorite styles of music, New Orleans Jazz, in the style of King Oliver and Louis Armstrong Hot Seven. The ensemble consisted of trombone, tuba, trumpet, clarinet, drums, and banjo. The drums were equipped with granite blocks which gave the music a nice upbeat sound additional to the cymbals. The banjo serves as a primary instrument in this style of music and it wouldn't sound as authentic if it were replaced by a guitar. The tuba provided those bass movements and the band joked that the Tuba player only knew two notes. I think the mixture of the brass instruments was perfect. The trumpet reminding me of that early Louis armstrong, the clarinet of the master Sidney Bechet, the trombone of Kid Ory. What I really liked about these tunes is at the end of the sections they would all come back to the beginning to the turnaround in there own unique way. This band really put me into the mood for music. 

     As for the others, the were just as exceptional, I heard one band who played such exceptional Bluegrass music. The band sat in a closely knit circle and played so beautifully together. At one point they incorporated members of the audience to dance along. They brought forth such energy into the crowd, it was really a sight. Then there was a amazing guitar and drum duo called the Red Sled Choir. They had a really good connection and feel, they grew quite a big crowd. Then there was a Brass Quintet that played everything form the family guy theme to whistling march most notably recognizable from "The Breakfast Club." 

     In conclusion, what a day! This festival was more to me than listening to people play music. It was about seeing a community come together, it was about seeing the special bond between musicians and that connection that creates inspiration and unlocks imagination. It showed me once again as a guitar player, why I pick up the instrument. It showed to me the vast importance and joy that can be found in music. I am certainly grateful I went and am only sorry it didn't go on longer. I'm sorry I couldn't see everyone, I really did try. There were a lot of acts, some drew large crowds, others dwarfed in comparison but I don't think that mattered in the end. It was really about of collection of musicians coming together on a day to celebrate their town, their love, their life though and with music. And that was pretty special to me. 

            

Surfer Girl.

     https://www.youtube.com/watch?v=lHNcMs8W660

     I chose to write about "Surfer Girl" by the Beach boys because it not only demonstrates AABA form but examples of cadences.
     To really hear the 32 AABA form I have to advice you to completely disregard the entire intro. though it's an excellent introduction to the song it is not actually part of the form of the song. The song really "starts" when we hear the Beach Boys with "Little surfer, little one." This phrase (and the start of the first A) is actually a Half Cadence, the chord progression ends on the dominant, and the melody ends on re.
     The next phrase also leaves some tension in the air and we don't reach the PAC until the very end phrase with the question "Do you love love me, do you surfer girl?" With the 6/8 one-six-four-five classic progression the cadences though tense give a kind of lifting lullaby feeling, until finally it resolves with the end of the verse.
     Now is where the A section repeats itself again (with different lyrics but still the A section). Then the B section cues for the chorus. Once we return back to the A the key of the song actually changes making you ears pick up and really become interested in the song again.
     This song has a lot going for it and though I don't listen to the Beach Boys often I have to respect Brian Wilson and the rest of them for creating some amazing music. They took two very used forms, the AABA and the I-VI-IV-V and make them into something very unique and ultimately memorable to the test of time. The vocals in this song are amazing and add a really understated but greatly appreciated layer to this awesome song.

Pat Metheny Group : Minuano

     http://www.youtube.com/watch?v=N3rjNHDi6Fg

     To discuss how texture and meter effect and present meaning in music I have chosen this great tune from Jazz guitarist Pat Metheny. The song was originally recorded in 1987 by the Pat Metheny Group on the album Still Life Talking. "Minuano" is a great example of how instruments can come together to create beautiful music.
     The track's meter is in 6/8 though it doesn't become as apparent until later on in the song. What's really cool about this song is how it introduces and dismisses instruments to create a unique feel. The song starts off with guitar, bass, piano, and chimes. With a singular bass note the whole ensemble jumps right in. The bass guitar and piano are playing very minimalistic parts while the guitar plays a continuos line. With the fluctuating guitar volume and the introduction of chimes the piece seems to me to flow in waves, bringing the image of the ocean. Soon the vocals chime in and create a beautiful melody over the piece. The piece seems to be gradually increasing in volume and the percussion ups, adding crashing cymbals to the mix. Soon the waves to me grow larger and larger until they climax with a crash, and the real tune begins.
     Now the percussion and drums really kick in and it definitely feels like 6/8. The guitars melody in the head is beautiful and is accompanied the first time by whistling and the second time by a voice.  During Metheny's solo I could really tell he was trying to make a melodic statement. With the rest of the band in full swing, the upbeat drums and piano the solo really came off as uplifting and energetic. This song to me is just proof that it doesn't really matter if they're are words in a song to get a point across. Jazz music continuously shows this time and time again and this tune is no exception.
     Listen after Metheny's solo and the head as all the parts drop except for piano and drums. They create this punchy repeating passage that grows and grows until finally at the climax we reach this pure awesome energy that leads into the head, loud and apparent as ever. The vocals and guitar are screaming, the drums pounding, the bass flying. Then to add to the noise a new layer of piano come in to envelope the last few bars. The energy couldn't be any higher then it stops. If I could each word in that last paragraph would be getting larger and larger to show how insane this song is. It really shows how texture can create feeling, can bring something across. How instruments can work together to create beautiful compositions. The feelings invoked from this tune are different for everyone. To me it is a song about the joy and exuberance of life. What does it say to you?