Week 14: Music Cognition, Math, and Battlestar Galactica

The reading for this week, The Cognition of Basic Musical Structures, was a bit mind-boggling.  The topic seems interesting, but by this point in the semester my brain is quite fried and “cognition” is lacking.   I’m not a musician, so the ideas mentioned in the introduction were abstract to me.  However, thanks to this class, I am much more adept at recognizing the important concepts in the field of music research (totally comprehending them is another story!).  From what I gleaned, this text focuses on the relationships between music cognition and music theory.  The author states his concise research question as: how do we extract basic kinds of musical information from music as we hear it?

 As silly as this sounds, the more I read, the more I began to think about a aprticular TV show that incorporated music cognition: Battlestar Galactica.  If it wasn’t for this class, I may not even give a second thought to these concepts represented in TV shows.  But now it seems relevant and interesting.  The music theory/music cognition idea I am referring to is applying numbers to music notes.  I’m not even sure if there is a proper definition of this concept.  I remember Dr. Simon speaking about it in the first class.  It sounded interesting, but I did not really comprehend it.

 However, the sci-fi show Battlestar Galactica recently had its huge finale.  After 4 seasons the show is over.  I must admit, in my short TV-viewing life, this is one of the most brilliant and engaging TV shows I have ever watched. I didn’t just “watch” it, I was engrossed with it.  Without getting too involved, here’s a very brief summary of the show.  In a distant universe, humans live on several planets known as the 12 colonies.  Humans have been at war with a cyber/robotic race known as Cylons.  The Cylons soon wipe out all the planets, the entire human race, with the exception of a few ships in space carrying human crew, including the Battlestar Galactica ship.  These survivors flee into space, continue to war with the Cylons, and some interesting relationships form between the two.  Ulitmately, both the humans and Cylons are in search of refuge, the fables “Earth” where they can start life again.

In the last episodes the huge questions are:  Where is Earth and how do we find it?  This is where music and math comes into play.  In season 3 and 4, supposed human members of the Galactica crew figure out that they are actually Cylons because they all start to suddenly hear the same song, All Along the Watchtower.  This song has a somewhat culling ability, it unites these 5 crew members, reveals their true identities, and soon sparks memories from their Cylon pasts.  They are now known as the Final Five.

Eventually, the song All Along the Watchtower plays another important role.  Hera, a Cylon/Human child, hands Lt. Kara Thrace “Starbuck” a drawing which looks simply like a bunch of dots on paper and Starbuck perceives as a drawing of stars.  Later on, Starbuck deals with depression by playing the piano at a bar with a new friend.  As she tried to remember a song her father taught her in childhood, she starts to write down notes.  Then she realizes that the musical notes match the dots on the paper that Hera drew for her. As her and her friend reconstruct the song, it becomes apparent that it is the same song that united the Final Five, and they hear her play it.

It is now evident that this song, All Along the Watchtower, plays a significant role in the plot.  In the final episodes, Starbuck figures that by applying numbers to the basic melody of the song it reveal the coordinates that will “jump” the ship somewhere.  She figures this out just as the Cylons are about to blow the ship to pieces.  They jump coordinates take them to Earth and that is how the humans finally find their refuge – Earth 150,00 years ago! (For detail about the process of applying numbers to musical notes – he used the 12-tone method - see this link to Battletar Galactica’s composer Bear McCreary’s blog entry about it)

 Applying numbers to musical notes may be a clichéd plot device. The interesting part is why is this important to the plotline?  The musical score of Battlestar Galactica alone is diverse and innovative, featuring a blend of ethnic/world music that reminds us of the connectedness between ancient, earthly sounds, our histories, and the present.  Yet, I am intrigued by how the show used music to awaken the cognitive abilities of characters: it brought the Final 5 together and revealed to Starbuck the coordinates to Earth.  There is something about the structure of music that has a vital connection to our brain, as we have learned in readings in this class.  In Battlestar Galactica, music almost possesses a power attributable to the divine.  (I know the rest of this will sound crazy!)  But, Starbuck ends up being revealed as an angel whose purpose was to help deliver the survivors to Earth.  Unknowingly, she and the Final Five were all tapped into the same song “All Along the Watchtower.”  

I'm thankful that I was able to take this class and delve more deeply into music theory and informatics.  I'm passionate about music and now I feel like I have some creed expressing my opinions.  I know this final entry was a little off-the-wall, but sometimes this is what I think critically about!  And having the tendencies of a librarian, I want to research and find answers.  I never theorize this deeply about a TV show, especially analyzing music and plot themes.  I remember in the show Lost, numbers were applied to music. A musician, Charlie, had to enter a code to stop a jamming transmission.  The code happened to be associated with the musical notes for the song “Good Vibrations.”  But the music/math/cognition concepts are far deeper in Battlestar Galactica.  Musical ideas are woven into the score and the music becomes a theme in this show.  This left me wondering, why did the producers choose this song and how would these characters know a song written by Bob Dylan hundreds of thousands of years in the future?

 So I investigated online and found a few things:

• First, Producer Ron Moore choose the song because he thought it was fascinating, especially the lyrics.  He wanted use “music as a trigger” in the show. http://www.monstersandcritics.com/smallscreen/features/article_1452201.php
  
•  Excerpt below from an interview with Producer Ron Moore: http://www.tvguide.com/news/battlestar-galacticas-ron-1004256.aspx

Basically, Moore compares music as a part of the fabric of the universe.  It always there, transcending time, and connected to a greater consciousness so that it can inspire across the ages.

TVGuide.com: Can you explain the idea behind using "All Along the Watchtower" as a sort of unconscious constant for both Cylons and humans?


Moore: I was always fascinated by the idea that music is this thing that musicians catch out of the air, from the ether. They just pluck it out of nowhere and you hear it and it's beautiful and moving, and it touches us in a way that we can't even understand. Well, where does it come from? It feels like it lives somehow in the collective unconscious or it's a constant in the universe. So, here's a song that transcends the eons and that was around and was somehow divinely inspired or has some connection to the greater energy of the universe. It existed tens of thousands of years ago, and through time people somehow heard it, plucked it out of the air and shared it with the people around them. That happed with Anders, to Kara and it happened to Bob Dylan!

 

•  Excerpts from an interview with Battlestar composer, Bear McCreary:

F: In an interview with TV Guide, Ron mentioned something about “All Along the Watchtower” as being “plucked out of nowhere,” can you explain more about that?

Bear McCreary: Ha, no I can’t. I mean I can’t speak for Ron, but it was always my interpretation that there are cosmic forces at work, that you can call whatever you want, and that they interact with life and the universe in very subtle ways to guide events. And so Gaius Baltar sees Number Six and other people hear this music. I do like the idea that the music itself isn’t as important as the idea it represents. All of the different versions of “All Along the Watchtower” are different, there really isn’t a concrete musical thread linking them together. But they are representative of an idea that there are some cosmic forces that reach down and touch certain people across time and across space. Does that make any sense?

JF: It does. How else do you think the music was used to further the plot?

BM: This ridiculous concept that I just tried to explain to you is interesting because in television, you don’t have this kind of time to explain it. What we’ve done is created a way to communicate this idea through music … We used music to announce that there’s a new philosophical layer that we’re adding to this series. I’ve been very excited to be involved in that way.

 

• Battlestar composer, Bear McCreary’s blog & interesting article:  http://www.bearmccreary.com/blog/?p=1760#more-1760

• Extensive wiki about Battlestar music: http://en.battlestarwiki.org/wiki/Music_of_Battlestar_Galactica_(RDM)
  

Temperley, D.  (2001).  Cognition of basic musical structures.  Massachusetts Institute of Technology.

Week 13: Culture Jamming

Our lives are definitely ruled by charts, ratings, and rankings.  This concept is pervasive in American culture, especially regarding information: books, movies, music, magazines, websites.  There are books that rate books, and magazines (Consumer Reports) solely devoted to rating all sorts of items.  Consumer culture seems ruled by these rankings, yet who determines them?  It seems that in a large part, these ranking and charts are built by capitalistic, market-driven motives.  On the other hand, open source social media allows users to participate in the ranking/rating process, maybe leveling a bit of the bias inherent in these structures. 

Yet, as Hakanen (1998) reminds us in his article, Counting down to Number One, “Rankings structure our ways of thinking about comparisons, contrasts and order.”  And this often oversimplifies the true content and those who consume and create it.  “Something is lost when beauty, truth, freedom, art, etc. are ordered in such a way” (Hakanen, 1998, p. 97).

 Hakanen stresses that “knowing the chart” is equivalent to being “in” on pop culture and belonging to the consumer culture. He also mentions how technology has blurred the boundaries of relationships between distinct products/music.  As products and information become more homogenous and technology allows us the freedom of choice globally … that when local becomes smaller, more personal.  According to his theories, the niche markets of music don’t seem to fit in chart, but now there are probably charts for niche markets too!  The internet, and Web 2.0 tools have expanded the world of charts and rankings. 

 Blogs and social music sites have created a whole new scene of popularity and “charts.”  Now, you can stream the same tunes off of several social music sites (Lala.com, LastFM, Pandora, iMeem, iLike).  Therefore, these networks are also competing for popularity. Listeners decide which community best fits their music needs, which website offers user-friendly tools, or a wider selection of music they seek.  These consumers then forms playlists and communities that define their demographic and music tastes.  Based on this media consumption, advertisers step in and promote appropriate products.  This generates money for the website, which is important because most consumers don’t want to pay!  Consumers of digital music want to get the most music they can for free.  Additionally, musicians who are heavily promoted on these sites usually gain more downloads and streams of their songs.  This shows that they are popular.  But who has control over this?  The consumers, the website, the musician, or the record label?  With consumers not paying for the music, and this becoming the norm, how do we calculate the value of the music/performer?  How do we rank them? Most importantly, in this system, who get compensated for being top ranked?

 A new and progressive website manifesting this idea is elbo.ws.  This site ranks the musicians based on how often they are mentioned in blogs.  Then they go one step further and rank these music blogs on quality and popularity. Which, as Dr. Simon said in the discussion boards, are two different things “it requires discernment to recognize one, complacency to recognize the other.”   As consumers and professionals who choose, suggest, and review media – we needs to be aware of the implications and double standards involved with rankings.  Especially in regards to collection development, We pour over journals and book reviews for items with the best "ratings."  We order items off the bestseller lists because we know the public acknowledges these lists and will request the books.  But most of all, we serve the public's information needs, and usually this involves ordering materials that are considered the most "popular."  

 When I helped to order books, I couldn't avoid ordering the "popular" materials. This is what serves the patron's information needs.   I also realized that a large majority of the materials we ordered were based on reviews from select journals and our own "ranking system" (aka collection development policy).   I often feel like we're overlooking what the independent publishers, new/unknown authors, and local authors have to offer to our collection.  But maybe it's not financially prudent to order these materials for the library if they aren't considered "popular" and won't circulate.

 I was totally impressed with Dr. Scott Simon’s article, Jamming in the Stacks.  I found this article early in the semester while searching the LIS article database about music and libraries.  In my opinion, it is one of the most interesting, and progressive, article I found that synthesizes current issues regarding music, libraries, community, and the promotion of music in the library.   Simon (2008) also comments in his article that libraries often build a music collection based on “hits.”   Yet, they also include folk and local music that, while not entirely mainstream, are preserved for the public thanks to the library and will not “fade from cultural consciousness” (Simon, 2008, p. 40).  Furthermore, having a collection that is also based on “aesthetic, ethnographic, historic, and shared cultural values” supports the stance that libraries are committed to promoting the inherent human rights of free expression and participation in cultural life (Simon, 2008, p. 44).  This releases the capitalistic, market-driven shackles of “top 40” lists and the crumbling record industry.

Maybe it is time to invoke some “culture jamming” in the library. As described in a 1990 New York Times article, culture jamming often involves “exposing the ways in which corporate and political interests use the media as a tool of behavior modification.”  Culture jamming is a movement that strives to raise awareness about how mass media controls us and our environment. An environment of corporate control and information anxiety.  This “movement” has taken many forms of action: subversive, artistic, merry pranksters.  So, as “information science professionals” working in an information-rich environment, where do progressive librarians fit in?  That is the interesting question, especially in regards to the future of music in libraries.  Is culture jamming a human right to freedom of expression?  As democratic institutions of information, should libraries support this movement?

 I’ll close with this passage from the NY Times article:

“Cultural jamming, on its most profound level, is about remaking reality … ‘The dominant culture utilizes media to promulgate the notion of the commodity as the highest form of existence,’ says Stuart Ewen, author of the 1988 book All-Consuming Images: The Politics of Style in Contemporary Culture. ‘Cultural jammers draw upon this cacophony of fragmentary media images. At the heart of their reassemblings is the hope that there could be another kind of world, a world where rather than a devaluation of the human in favor of the commodity, there could be an understanding of the commodity in the service of the human.’"

References:

Hakanen, E.  (1998).  Counting down to number one: The evolution of the meaning of popular music.  Popular Music, 17 (1), p. 95-111.

Simon, S.  (2008, Summer).  Jamming in the stacks: Music as a progressive librarian ideal.  Progressive Librarian, 31 (Summer 2008), p. 37-44.

New York Times Article: http://www.nytimes.com/1990/12/23/arts/the-merry-pranksters-and-the-art-of-the-hoax.html

More on Culture Jamming: http://www.markdery.com/archives/books/culture_jamming/

Week 12: New Waves of Music Business

When I first started reading chapter one of this Music is Your Business it really left me wondering:  what decade are these authors living in?  I know that this book has a publishing date of 2007 and the author developed his “Four Fronts of Music Marketing” in the ‘90’s. But, come on, I do not feel like the authors fully explored the spectrum of marketing available online!  I later noticed that several classmates mentioned this on the discussion board.  In this constantly changing digital environment, I would assume a book like this would have to be updated every year.

 The Four Fronts of Music Marketing are listed as: Artist & Product development, Promotion, Publicity, and Performance.  According to the old model of music industry, if a musician wanted to break out of the local scene, then they had to let the record labels step in for them.  However, the future of music now is CHANGE – constant change. Most importantly, musicians have to be able to flow with this change, because many of the record labels are not. 

Seriously, this is quoted from the book (p. 7):

“Dollar and Sense Issues: It costs money to develop and promote music. To put it bluntly, it takes more money than talent these days to get your music to the attention of consumers.”

Is this still the case?  I observe many local bands, market themselves mostly online, through cheaply produced flyers, and through free zines.  Also, indie labels seem to be popping up all over offering sensible alternatives to producing music.  Why is this side of “dollar and sense” issues not mentioned?

 The “four fronts” mentioned above all have the possibility to be achieved online.  The Internet has become a sort of “wild west” for the music business, so who knows how much money an artist could make marketing themselves solely online.  It’s a start.  If a musician gains enough exposure and fans online, then that is already a powerful force to be reckoned with.  This is the kind if opportunity that was not available over a decade ago, but now more power rests in the hands of the musicians.  I believe that the record labels, and the authors, are aware of this, but have difficulty accepting the change.  Musicians are bursting through the local, translocal, and virtual scenes on their own.  The internet has ushered in a new climate for musicians and the music business, and some are acclimating better than others.

 Yet, as I skimmed other chapters in this text, it came to my attention that I know very, very little about the workings of the music business.  Therefore, I almost feel ignorant criticizing the authors.  This text serves as an excellent BASE for a musician who wants to make money and really take off.  Written much like a “textbook,” it contains easily understood charts and graphics, includes checklists, resources, and explains legalities in layperson terms. This book definitely provides an informative, thorough business structure tailored for the musician.  However, there is just something missing …

 The more I read, the more I realized how much the authors focus on making money.  “Money, money, money” … the ABBA song kept running through my head as I read on.  Is their some bias going on?  Then I read the author bios and noticed that both authors have worked most of their careers in the record industry with no mention of them ever being on the other side … as a musician.  So, one can infer that they have agenda that parallels the record industry and entertainment law; and they both seem to have considerable clout in these areas.  One important thing I have learned during my graduate degree is to research the authors of articles and books in order to determine if this inflects any bias into the work.

 The “future is now” chapter does touch upon several issues we have covered in class, most interestingly: licensing/copyright, use of music in video games, Internet promotional programs (cdbaby, social networks), DRM (the authors seem to fully support it), digital downloading, P2P downloading.  Yet, the authors seem strained at promoting these “changes” because what it comes down to is the “people behind the scenes” – labels, record stores, distributors – are making less money because these technological changes have allowed musicians to move forward in less expensive ways.

 This text does serve as an interesting source for librarians considering inviting musicians to the library. Several sections concerning live gigs and contracts lay out the expectations of both parties. It is professional for the library to have knowledge about what the band expects from you and you can communicate what the library can provide and your expectations.

Week 11: Music Fests - Live, Local, and Library involvement

I wrote this entry before entirely reading the book recommended this week:  Soundtracks: Popular Music, Identity, and Place.   I read the discussion board comments, researched online, and found this text - Music Scenes: Local, Translocal, and Virtual -  that helped me put my experience at a music festival into perspective with this week's theme, and past themes discussed. 

March 6-8, 2009 -  I attended the first annual Harvest of Hope Music Festival and have been thinking a lot about how libraries promote local music culture, both within their collections (physical and digital) and through programming,  and how this gathering  links music, identity, and scene so well that I can't help but get excited about how the library could fit in the picture.  So I combined these ideas to discuss music festivals and the library's potential role in collective music gatherings.


Harvest of Hope was a 3-day alternative music festival in St. Augustine that benefitted and raised awareness for the Harvest of Hope foundation that supports migrant farm workers and their families. The festival also emphasized a family and environmentally friendly atmosphere. There were four stages showcasing punk, rock, folk, electronica, blues, local, and hip-hop music. Most of the artists donated their time. The festival’s mission is posted here: http://www.harvestofhopefest.com/our-mission.php


"Music is an important way that millions of people find enjoyment, define who they are, and affirm group membership" (Levitin, 2001).

The music festival is a distinctive musical world, or scene. This type of scene allows for music lovers to engage in a gathering that not only allows for collective expression & experience, but is also serves as a cultural resource (Bennet & Peterson, 2004). There is much to be said about the social and cultural relations between music informatics and music gatherings. As this class covers the field of music information - research, technology, social, cognitive - many of the theories and bits of information I glean from readings and the discussion board have helped me to "experience" and think about music in new ways. In a way, festivals represent the music scene on both macro and micro levels. On the macro level, the music festival is a component of the broader music scene, an event that encompasses the economics and sociology of music on the broadest level. On the micro level, the music festival is a distinctive, intense scene that offers "a collective opportunity for performers and fans to experience music and other lifestyle elements" (Bennet & Peterson, 2004).


Music gatherings, from concerts, to jam sessions, to multi-day music festivals - unite artists and enthusiasts. Also including those who attend the gathering and discover something new. Music fests allow you to immerse yourself in the music and the culture. The festival may encompass a certain musical genre, a theme, a cause, or promote local artists. Bennet and Peterson compare these events to a religious pilgrimage, where one has to be dedicated to participation and attending: "the experience of being temporarily immersed in festival culture can profoundly transform attendees" (2004).

Community Building
Fans who attend these events are both local and translocal.  Currently, music transcends borders, both physically and digitally.  We can listen to local music of a region of any part of the world in the virtual scene online, however crossing those borders to experience it liveunites the local and translocal scene.  Many will travel across the country for the chance to experience a musical scene they love for several days. While locals have the advantage of being able to attend the event as fans, or as a curious music-lover seeking out new tunes, and engage in a scene that is part of their identity. Music festivals, like Harvest of Hope, rely on volunteers and local businesses for promotion. They also invite local, family-run businesses, and non-profit organizations as vendors. Good place for a library to set up shop!! Local libraries can use this as an opportunity to also sell used/donated/weeded books.

On the "local" cultural level of the music fest, many attendees will camp out for several days. Campers form their own communities, meet others with similar interests, share information, share food! This is your chance to learn about new music and scenes. Nonetheless, a camaraderie forms among festival goers that encompasses a spirit of shared passion and devotion the musical culture in all its forms.

Social and Cognitive
Closely related to the community building section mentioned above, music festivals also promote musical cognition and sociology. Not only is the brain being exposed to new sounds, but you are also influenced by the energy and emotions of the crowd around you. I observed whole families taking in the music and the scene. Young children seem to be in sensory overload and enjoying every moment – dancing and interacting. Children pump their bodies to the beat and copy dance moves from others. One toddler stole the show while rocking out onstage with the punk-rock band Against Me! I have never been a huge fan of electronic music unless I’m working out or dancing to it. However, I listened to an experimental, electronic band called Holy F**k and their electro-pop sound was brilliant and entrancing. I never knew I could appreciate this sound and find it stimulating. http://www.myspace.com/holyfuck

Music festivals also unite people with similar interests. This, in effect, can stimulate powerful relationships and raise awareness of social issues meaningful to this culture. On a personal note, I became much closer with some past friends. This music festival almost served as an epiphany for me, allowing me to realize the interests I share with those close to me and how important they are to our relationship. Not to mention, when you can camp and rock out with people for 3 days straight you have to become good friends (or realize you'll never be friends!). This culture of this festival represented ideas, music, and a social scene that I value and to be able to share that with friends is a profound connection. 

Promoting Local Musicians
At music festivals local musicians have the chance to shine along side of well-known acts - they can sell their merchandise and deliver their music to the translocal crowd. Libraries can scoop up local music for their collection and network with musicians. You may find a band that proves as an awesome contact when looking for entertainment for a library function or that will donate their time for a performance at the library that will draw in teens.

This morning I looked up a few of the local bands I heard at the festival in some of the area library catalogs, just to see if maybe they carried local music. NOPE! I found a few bands - the ones that were really popular. It's just a shame that these talented musicians are not represented in their public library. As a central part of the community, it would seem worthy that the library promotes the local music scene as well as the literary.

This made me wonder how many libraries have local music in their collection, or promote local musicians through performances in the library?

• Can local musicians donate their music to the collection?
• Does local music get its own subject heading?
• Does the musician's CD need to be reviewed or submitted for approval according to collection development policies?
  

I found an article about Boston Public Library integrating local music into their collection digitally through Overdrive. That seems like the most progressive, intelligent idea so far!
http://www.marketwire.com/press-release/Overdrive-761030.html


Networking
A gathering of this magnitude is the perfect opportunity for musicians, club owners, promoters, labels, and the press to unite. Lesser known bands may get their big break ... or maybe some wealthy couple will want to hire them for a party. Musicians can collaborate with each other and network. Festival attendees also have the opportunity for networking, especially when immersed in an vibrant, communal atmosphere. Libraries could use these fests as an opportunity to gather music donations for their collections and promote the library's services.

Economics - fundraising - activism - raising awareness.
Music festivals are a huge endeavor that takes planning, time, resources, connections, and money. Harvest of Hope combined the hype of a music festival with the chance to raise awareness and funds for a cause. They also allowed for progressive organizations and local businesses to have first priority in regards to vending and promotion. As mentioned before, libraries can use this as a chance to sell books and library items (bags, hats, sunglasses, etc. with library logo). This type of branding gives the library an image of "cool" and shows that librarians are dedicated to involvement in diverse scenes.

The music festival becomes it's own little music world for a few days, but the experience transcends borders and opens up a multitude of scenes and perspective for musicians and fans. "Finally, music festivals often create change beyond their own borders. This catalytic potential stems from the intensity of such events. Festivals can provide a forum for creating, mobilizing, and rejuvenating both performers and audience." (Bennet & Peterson, 2004).


Work cited:
Bennet, A. & Peterson, R. (2004). Music Scenes: Local, Translocal, and Virtual. Nashville: Vanderbilt University Press.

Week 10: Future of Music and Awareness

After 10 weeks of being immersed in literature and discussion about the future of music, digital music, copyrights, collections, music cognition, music sociology, economics, technology, improvisation, and music libraries … I still feel like this is a field of information that will be one of the most progressive and most difficult for librarians to keep up with. Personally, I am thrilled with the potential that the future holds for music. It slowly seems to be taking control of its own reigns and releasing the death grip of the crooks in the record industry. However, I feel like I have been teased with all this knowledge about the future of music because I worry that libraries will never catch on to these trends. I am referring especially to libraries that are not designated music libraries, such as public libraries. It is a challenging, and probably expensive, field of information for libraries to provide up-to-date materials and sources. Yet, with everything music going digital – what will libraries offer to the public so that there music information needs are being met?

It’s one thing for your library to have Overdrive and offer digital downloads. But the software is not perfect, and always changing. So how do we, as library and information science professionals stay progressive? This week I realized how vital it is for information specialists concerned with music to be avid readers of music-related blogs. As mentioned in Chapter 10, music is an ever-changing field, more now than ever. While the information in Kusek and Leonhard’s book may become redundant as the digital revolution pumps on, we are reminded to look to other sources for the most updated developments in the music world. Therefore, I checked out some of the blogs listed on the side of their website and realized that they are amazing sources of information. Blogs are becoming the new sources for word-of-mouth marketing and news. More importantly, the future of music information is going to progress through these virtual modes of communication. The more we are connected with this information, the more we can connect others with it also.

After perusing several blogs listed on the Future of Music website, I decided to do a little blog review for this week’s journal entry. I choose some interesting blogs and will relate how librarians could find some relevance in the information on the site.

NEW ROCK STAR PHILOSOPHY
http://newrockstarphilosophy.com/
From the blog: “The New Rockstar Philosophy was started to help artists learn more about what’s going on in the ever-changing music industry, to inspire them to embrace entrepreneurship, and give them them the tools for DIY 2.0 .”

Highlights:

• Article on bands marketing through YouTube, and current news on other social networks.
• Tips on becoming a self-sustaining band (for its hilarity).
• Articles on subjects, such as iTunes, illegal downloading, subscription music services, new choices in digital distribution, and the power of word of mouth.
• The section on “Your Music Online” is an awesome primer to websites and online services used to promote music. Let’s say your library doesn’t have Overdrive … at least offer the patrons a list of online sources they access through the library website. Not to mention, this site does an excellent job of keeping current with trends.
  

MUSIC THINK TANK
http://www.musicthinktank.com/blog/
… where the music industry thinks out loud … “really?” I ask.

This site offers spot-on commentary of the music industry – combining knowledge of pop culture and the digital phenomenon with the sage experience and commentary of writers who have significant backgrounds in the music industry. And, yes, they are speaking out!

Highlights:

• Bashing iTunes for raising their prices while tying in the realities of free choice in the digital music world.
• An intriguing article about musicians, social media, and online marketing. (I kept thinking, “if only libraries could market themselves and their collections like this!”)
  

MUSIC IT Stats
For those with a penchant for statistics: http://blogs.zdnet.com/ITFacts/?cat=10

I don’t even care much for statistics, but this site provides substantial numbers to back any kind of digital music project your library wants to pursue. Also great for collection development – includes constantly updated lists of top selling, most downloaded albums.


Most importantly, for a librarian to have any stake in keeping up with the “future of music,” they are going to have to develop a progressive awareness of this field of research – reading blogs, reading articles, interacting online, networking with musicians, attending conferences. This takes time, but music has become much more than just a form of media for the library to collect. It’s expanding in so many directions digitally and socially, and libraries have the chance to be a vital part in sharing this.


And I end with this quote from the MediaFuturist blog that touches on topics we covered in class and reminds us how important it is to be aware of what’s going on in the digital music environment: from http://www.mediafuturist.com/

“Realizing that the real value of the users is in their participation and engagement, and then in paying-with-attention, Google has clearly pursued a strategy akin to the 'Music Like Water' model that I (and Dave Kusek, my partner-in-crime for "The Future of Music") have also described countless times: Google will simply provide the platform where music can be turned into money, by connecting the user with the content they want right where they already are (i.e. the search page), while gradually but aggressively monetizing their presence and their clicks via 3rd party payments - and this does not mean just ads. Sounds simple but maybe this has not yet been financially feasible in the past - today, any new money for the music companies is welcome, I guess, so here we are, finally: Search with us and we'll give you Free Music.”

Week 9: Young Adult Music Collections

Where are the Teen music collections at public libraries?

As I’m about to type up some ideas for this week’s theme on music collections, I notice the cover of the Young Adult Library Services Winter 2009 issue staring me in the face.  On it’s cover is a brightly colored graphic of headphones with the words “press play @ your library” in between, the Teen Tech Week theme for 2009.  I peruse the pages to see what is mentioned about music in the library for young adults ... because … this does fit the theme, right? 

 Wrong.  In a whole issue, devoted mostly to teenagers and technology, there is not one mention of music as a significant technology for young adults during the ALA sanctioned annual Teen Tech Week (TTW).  The topic of music is relegated to Guitar Hero.  Otherwise, technology like video games, digital photo sharing, online tutoring programs, cell phone novels, and audiobooks are discussed.  Libraries are given grants where they buy DDR games and books – but what about adding a YA music collection?  I was stunned that libraries seem to have fully embraced video gaming as an important technology for teenagers, and neglected the importance of music in their lives.  I know that libraries purchase and circulate music CDs for teens.  So, what's with the ignorance?

 Maybe libraries have not recognized music as a significant "technology."  Granted, many public libraries view “music” as the CDs they circulate.  This media isn’t seen as a “technology” but more like a “material” that is collected and circulated.  If this issue providing any important information, it was statistics.  No more than 20% of school libraries offer music CDs.When asked in a TTW survey what their library circulates besides books, 89% of teens reported DVDs, 79.3% reported audiobooks, and 64.9% reported CDs (Mahoney & Lasczak, 2009, p. 10-12) .  A little more than half of these young adults are aware of their library’s CD collection.  Why?

 Teens are aware of the latest technologies associated with digital music, but they don’t know enough about what services and materials the library offers.  This is probably because many libraries’ collections are lacking.  This is the first step.  Are we properly serving this demographic, by not serving their music information needs?  Maybe I’m being a cynic.  So, I decided to take on the task suggested in this week’s assignment and perform a Google search with the terms: “YA music collection” and “public library.”

 I got 30 hits.

Weston Public Library’s Teen librarian seeks the public’s input for purchasing music for the YA collection.

Calgary Public Library, Wood Library (NY), Coshocton Public Library, and Lynfield Public Library all highlight their YA music collection in their Teen Blogs.

 In a listserv archive, I also stumbled upon this informal Teen Trends survey of 23 libraries from 2001:

MUSIC

•  16 Libraries responded to this question
• 8 Libraries have YA Librarian selecting Teen interest music with 4 having heavy Teen Board Involvement
• 8 have other staff, i.e. AV Librarian or Branch Manager ordering YA music
• 4 libraries reported having a separate YA music collection. 
• 2 libraries reported having YA labels on the spines of CD's that are integrated with the Adult collection.
• 3 Libraries reported that they DO NOT purchase CD's with Parental Advisory
• 4 libraries reported that they DO purchase edited versions of CD's over the unedited version
• 1 library does not purchase edited version
• 3 libraries purchase both edited and unedited versions of CD's

 

Then I changed my search terms to: “teen music collection” and “public library” and got 83 hits!

I especially liked how Hinsdale Public Library highlights it YA Music Collection:

“The White Stripes are in the house! Or, I should say, the White Stripes are in the library! Instead of paying way too much for the new White Stripes CD, Icky Thump, why don’t you just tricycle on over to 20 E. Maple (the library) and check it out for free? The Teen Music collection is overflowing with music that rocks, rolls, shocks, grooves and inspires and it’s all for your listening pleasure!

Don’t forget to check out the Teen Website that has all of the CDs in the Teen Music collection listed here: Teen CDs.  The CDs are arranged alphabetically by the name of the band and then alphabetically by the title of the album. Please, Hinsdaleans, continue to rock!”

 The PopGoestheLibrary blog offers this bit of advice for Teen music collections: 

“If you don't already have a budget line for tween & teen popular music, beg or borrow money from other budget lines to start a small collection, and then promote the heck out of it: in conversation, on your library's website, in newsletters. I cannot keep most of my Teen Music collection in its browser -- it always looks sad & picked over because it is (well, not sad, but certainly picked over), and this is a very good thing. These are items that earn their shelf space.”

 In conclusion, a simple Google search has revealed that they are several libraries out there building some solid YA Music Collections.  Further searching could reveal what type of music programming is being offered and, most importantly, what steps libraries are taking to integrate digital music trends.  Such as Overdrive, Finetune, streaming music, etc.

Week 8: Improvisation

“In all its roles and appearances, improvisation can be considered as the celebration of the moment.  And in this the nature of improvisation exactly resembles the nature of music.  Essentially, music is fleeting:  its reality is its moment of performance.”

 

I danced for years with several performance groups.  We always improvised during practice or choreography -- either fooling around, showing off, or fleshing out movements for piece.  The only time I EVER thought it was appropriate to improvise during performance was if you royally screwed up.  My instructors always said, “Perform your mistake,” which boiled down to improvise, get back in the show, and look good doing it.  This was something you hoped you never had to do.  Anyway, I never thought we were actually improvising anything.  We seemed to always just be creatively building upon various sets of choreographed movements that had been drilled in our heads for years, with a bit of panache and tweaks here and there.

 Then, while performing in winterguard, we had a world-class dance choreographer, Octavio Campos, come work with us for a day.  He was all about improv.  Most us were terrified.  The first thing he did was split us into 6 person groups and gave us each a theme.  My group's theme was “a food fight.”  We had a few seconds to think it over, then we were on stage, told to dance as a group to our theme, no rules, no limits.  It was so freeing and mindblowing.  Who thought an improvised dance based on a food fight would allow us to realize the potential we had to let loose, invent new movements, tap into inner feelings, and really respond with our bodies, that we had been training for years, with new creative expression.   We also got a good laugh out of the whole experience.

 “A lot of improvisers find improvisation worthwhile, I think, because of the possibilities.  Things that can happen but perhaps rarely do.  One of those things is that you are ‘taken out of yourself’” (Bailey, 1992, p.115).

 Since I don’t play an instrument, I have to recall experiences like this in order to understand the enigmatic nature of improvisation.  I love how Bailey says that improvisation exists “to meet the creative appetite that is the natural part of being a performing musician” and invites creative participation in music making (Bailey, 1992, p. 142).  After reading through Derek Bailey’s book, it seems that improvisation seems to defy definition.  I’m beginning to think about it as a philosophical debate!  Improvisation in any nature seems inherent in all of us.  Some may be able to improvise while cooking, in comedy, acting, in debates, on term papers, dancing, painting.    Improv seems to come at that moment that we spring out of the box, celebrate the moment, see all the possibilities, and flow how naturally feel like flowing.

 Bailey’s section on “Audience” was particularly interesting. I can claim to being an audience member at several music performance.  Bailey quotes musicians who that practice is when the true improvisation happens because they’re not worries about an audience (Bailey, 1992, p.45).  While other say the audience is what pumps them up, when you improvise you are communicating to the audience, and no matter how fantastic you play, if there is no audience “it doesn’t mean anything” (Bailey, 1992, p. 45).    Jerry Garcia suggests that you have to train the audience, they become involved and emotional connected to the musician offering them a special moment, something different from recorded music.

 

Two “Improv” Musicians I recognize as re-defining improvisation

ANDREW BIRD and GIRL TALK

 ANDREW BIRD

 I am a HUGE fan of the musician Andrew Bird.  One of the primary reasons is that he always offers up something new - his sounds are innovative - and he never plays a song the same way when performing live.  Because of this class I am learning to appreciate his music even more.  I have mentioned his improvisation skills in my Week 6 blog entry:

“The most appealing aspect of Andrew Bird’s music is that his live performances are never the same.  Every song is played differently, with new twists, new instruments, extended, re-looped, and maybe involving the audience.  At an Andrew Bird concert you are guaranteed some of the familiar with the excitement of something new and tantalizing to keep you interested.”

 On page 169, Levitin says, "Music is organized sound, but the organization has to involved some element of of the unexpected or it is emotionally flat and robotic."  This is so true of improvisation and Andrew Bird's music. It is definitely worth checking out his unnatural whistling skills in his songs! 

 Andrew Bird's revealing NY Times blog about the process of making music:

“I’m trying to get over this mental block I have against the validity of instrumental music. I think this tension between craft and experimental, improvisatory indulgence is healthy. My wariness toward “jamming” is based on years playing in listless jazz combos where everyone pulls out their real books and plays “Song for my Father” or

 “Equinox” for the umpteenth time. That feeling of futility just became too much for me to bear. After getting tendonitis in the summer of my 22nd year playing jigs and reels for Dungeons and Dragons enthusiasts as they waited in line for the privy at a southern Wisconsin Renaissance Faire, I swore I wouldn’t associate that sort of futility with music again. A decade later, I’m loosening those reins a bit.”

 From a Seattle Times article about Bird's music:

While Bird's albums are painstakingly crafted ("My approach to recording is like a long, drawn-out performance where I go into the studio for four days, hardly eat, hardly sleep, never take a break to lose focus"), his performances teeter on improvisational daring. They're captivating: Either solo or backed by a small band, Bird sings and plucks and whistles that strange, mournful whistle while simultaneously operating a digital looping machine with his feet.

 "Myself and everyone I play with come from more like a restless jazz background and we have to stimulate ourselves otherwise we feel really bad about ourselves," he laughs. "If you play a show where everything went according to plan, you feel like you're letting yourself down. You really wanna get that flush of almost embarrassment-slash-rush from having tried something risky."

GIRL TALK 

Then there's Girl Talk – mash up, DJ mixmaster genius Gregg Gillis – who gets crowds going crazy by simply mixing music on two laptops duct taped to a folding table on stage.  It is my goal in life to see how he organizes his massive library of music samples and produces explosive 3-5 minute mash ups of music from the 

80’s, 90’s, and today.  For example, he has blended Big Country, Tag Team’s “Whoomp! There it is!,” The Cardigans, Flo Rida, Justin Timberlake, Velvet Underground, Janet Jackson, and Genesis into a 4 minute mash up called “Hands in the Air!”   (I have heard this song played at least 5 different ways already).

If anything, you are guaranteed to never see the same Girl Talk show.  Even though he has recorded albums and may use similar song compilations at shows – it’s always a surprise where he will go with it.  Many critics say that Girl Talk is not an artist or musician.  But I will defend him – just imagine how many hours he spent entrenched organizing, compiling, and mixing samples – that’s art.  Not to mention, I will pay $10-$20 anyday for a high energy Girl Talk show, than $50+ to listen to some pretentious band play the same songs over and over again.

 From a Girl Talk interview: 

And how does the live act compare to the record, I wonder. I mean, can we expect the same mash-ups we’ve come to know and love at the Laneway Festival and his sideshow at the Forum?



“The transitions are basically improvised every night, how I go from one segment to the next. I never really replicate that. But with the actual combination of songs, I never really want it to be something I’m improvising. Because for me the art of what I’m doing – it’s not like I hear a Duran Duran song that I like and then immediately it clicks what that’s gonna go with – it’s a very long trial and error process. I sit there and try out many different combinations and then that goes into the show. I’ll probably know that say these three songs go together and then these next four songs go together, but how I actually execute it, when I drop the beat, when I bring in the sample, every night that changes up.”