The Process: a podcast about creativity and making music: Recent Episodes
Dr. Doug Bielmeier
In a world where maybe no one is listening, outcomes and accolades for contemporary classical composers can seem far and few between. Therefore composers must embrace the one thing they will always have complete control over: the process. This podcast aims to understand this creative process by listening to new works and discussing them with their creators. Each episode focuses on one composer and their music. By understanding how and why they create can inform aspiring composers and help audiences better understand contemporary classical music. In addition, each composer will be asked to answer a few of the creative cogitations. The creative cogitations are a list of questions all creative people should ask themselves. You can find a complete list of these creative cogitations at thenoisebuffalo@blogspot.com as well as this and future episodes. I am Dr. Doug Bielmeier and I’ll be your host as we explore the world of new music, creativity, and the human need to find purpose in our world and lives. This is the Process.
This episode on The Process I talk with artist Michael Drews about The Creative Cogitations. Micheal explains that the creative medium only matters if it becomes a barrier for creating. Micheal describes how closely linked his creativity is to his life and well being.
This episode on The Process I talk with artist Michael Drews about his pieces "Death of the Mechanical Man" and "End Times." He shares his love of guitar and its usefulness in the creative process. He explains the huge undertaking it was to compose, film, and then produce a final performance of "Death of the Mechanical Man" in the Indianapolis Market Catacombs.
This episode on The Process I talk with artist Michael Drews about his piece for electronics and synths "Pliskin." He shares his method to avoid technical distractions and explains the idea of performance and its connection to "finishing" a particular piece or cementing it as a formal idea.
This episode on The Process I talk with composer and violinist Robin Cox about the creative cogitations. He shares his ideas about the primal nature of the creative process. He also discuses the differences and similarities between deadlines and outcomes. Robin explains the idea of creating concert music and it’s connection to today’s culture through collaboration with other composer, musicians, and artist’s of other mediums.
This episode on The Process I talk with composer and violinist Robin Cox. He shares his music and the creative process behind its creation. He explains his use of chance and performance improvisation in his piece "Square Feat." He also discuses the 3rd movement of "Faster than That" and how it challenges traditional western ideas of tonality, rhythm and cadences.
This episode on The Process I talk with Composer and Violinist Robin Cox. He shares his music and the creative process behind its creation. He explains his use of several instruments, other then the violin, are key in his creative output. He confesses that deadlines are often the best motivators for completing creative ideas.
This episode on The Process I talk with Composer and Artist Jordan Munson about the creative cogitations. He shares his music and the creative process behind its creation. He explains how "the idea" informs the medium and the more tools you have the more influences you can draw from in your music.
For more information about Jordan Visit http://www.JordanMunson.com/ or his Facebook page
This episode on The Process I talk with Composer and Artist Jordan Munson. He shares his music and the creative process behind its creation. He explains his use of live computer and hardware technology to create new performance paradigms and engage traditionally pop oriented audiences.
For more information about Jordan Visit http://www.JordanMunson.com/ or his Facebook page.
On Tuesday, June 20 at Listen Hear I attended a performance of Eric Salazar and Corey Denham and The Haiga Duo. It was truly an intimate performance: I sat cross-legged about five feet from the performers:-)
Eric and Corey Performed first. They performed 3 works including a re-imagining of Eric's work "Soul Search" from his upcoming solo release on Centaur Records. Below is an excerpt from the last piece they played which Corey explained was created over the last year after meeting at the Classical Music Indy "Tuesday Mash Up! at the Melody Inn.
The Haiga Duo is Jason Chen on Accordion and and Eric Hollander on Viola.The Duo’s current project combines a form of the ancient Japanese household game poetry, Renku, with the original concept of “Living room Music”. Below is an excerpt from a project, developed over the month of June 2017 inspired primarily by the films of Yasujiro Ozu.
I look forward to hearing more music by these guys!
This episode on The Process I talk with Composer and Clarinetist Eric Salazar about the Creative Cogitations. For a complete list of the cogitations visit https://thenoisebuffalo.blogspot.com/2017/05/
He shares his thoughts on what it means to be a creative person if "no one is listening". He explains how he creates despite this and other anxieties with the help of family and friends. Hear what advise he gives to musicians wanting to make music their career.
The Featured Music by Eric Salazar includes experts from his forthcoming release on Centaur Records.
For more information about Eric Visit http://www.ericsalazarclarinet.com/ or his Facebook page.
This episode on The Process I talk with Composer and Clarinetist Eric Salazar. He shares his music and his creative process behind its creation. He explains his creative drive stems from his strong desire to "tell stories" and connect emotionally with audiences. Hear how he creates the electronic accompaniment to his pieces both technically and musically.Download LinkThe Featured Music by Eric Salazar includes experts from his forthcoming release on Centaur Records.
For more information about Eric Visit http://www.ericsalazarclarinet.com/ or his Facebook page.
As part of a forth coming podcast, "The Process" I've created a list of questions about creators and their relationship to creativity. The goal is to make decisions about the process of creativity so creators can be unencumbered when creating.
1 The Creative Need
1.1 Is being creative a primal urge?
1.2 Do your creations define your identity?
1.3 Do you create for the outcomes?
1.4 Do you have a creative voice?
1.5 Does the creative medium matter?
1.6 Are the tools you use important?
1.7 Does it bother you that no one cares?
2 The Creative Life Style
2.1 Do you believe in talent or hard work?
2.2 Can you be a starving artist?
2.3 Is a creator’s lifestyle linked to a stable existence?
2.4 Can you grow with your creative lifestyle?
2.5 How are people related to your creativity?
3 Creative Sovereignty
3.1 Do you own your ideas?
3.2 Do you savor obscurity and the freedom it affords you?
3.3 How would you define your creative domain?
3.4 How much freedom does your path afford you?
4 Making Sense Making Cents
4.1 Does being poor suck?
4.2 Are you free from avarice?
4.3 Should you worry about commercial success in your Art?
4.4 Can a creator really sell out?
4.5 Can creators work both for money and other times for Art?
4.6 Do you believe a “Day Job” is helpful/hurtful to a creator?
On Friday March 31st I gave a paper presentation on Music Technology and Multiple Right Deals (360 deals). The paper asked the question, "Do the factors artist identify as valuable when signing a 360 deal inform students determining the value of earning a MT degree?" To answer this question I first, (Part 1) explained what a 360 Deal is then (Part 2) I explained what students selecting a music technology program should focus on: Educational Philosophy, Fields of Rigor, and Credit Hours and NOT program name or degree type!
The above video explains how factors artist identify as valuable when signing a 360 deal could inform students determining the value of earning a MT degree. Enjoy!
On Friday March 31st I gave a paper presentation on Music Technology and Multiple Right Deals (360 deals). The paper asked the question, "Do the factors artist identify as valuable when signing a 360 deal inform students determining the value of earning a MT degree?" To answer this question I first, (Part 1) explained what a 360 Deal is.
The second part to consider is "What is a Music Technology Program/Degree?"
Music Technology involves the creative use of technology in a musical or artistic situation and can include:
* Creating New Sounds/Content
* Performing
* Recording
* Programming
* Electronic (building/repair/use) Devices
* Manipulating Digital Sound
* Mixing/Mastering
* Reproduction/Documentation
When it comes to what a degree in Music Technology is or entails differs based on program. In general the allotment or distribution of credit hours included in the Major VS. Gen Eds and Electives classifies it as a professional degree in music, performance, science, or a degree in Liberal Arts.Phillips, Scott L. Beyond Sound: The College and Career Guide in Music Technology. Oxford University Press on Demand, 2013The field of rigor, or area of focus, offers a clearer distinction, of what the focus of a program is based on the degree it awards.
Phillips, Scott L. Beyond Sound: The College and Career Guide in Music Technology. Oxford University Press on Demand, 2013The name of a program however seems rather useless when determining the area of focus or area of rigor of a program. Notice every degree uses a combination of audio or music or...etc.Phillips, Scott L. Beyond Sound: The College and Career Guide in Music Technology. Oxford University Press on Demand, 2013For students selecting a music technology program the FOCUS SHOULD BE on Educational Philosophy, Fields of Rigor, and Credit Hours and NOT program name or degree type!Students selecting a music technology program often consider aspects of the education like:* Cost - In state/out-of-state tuition.
* Location - Close to home/ As far away as humanly possible
* Career Goals - what field or area of the industry they'd like to prepare for or train in.
* Educational Philosophy - Does the institution fit their learning style?
* Skills - they have, need, want, or need to further develop.
So can the factors artist identify as valuable when signing a 360 deal further inform students determining the value of earning a MT degree? See PART 3
On Friday March 31st I gave a paper presentation on Music Technology and Multiple Right Deals (360 deals). The paper asked the question, "Do the factors artist identify as valuable when signing a 360 deal inform students determining the value of earning a MT degree?" To answer the question one first has to understand what a 360 Deal is.
In 360 deals, Multiple Rights Deals, record labels get a percentage of revenue previously off limits, such as:
* Digital sales
* Tours, concerts & live performance revenue
* Merchandise sales
* Endorsement deals
* Appearances in movies & tv shows
* Songwriting, lyric display, & publishing
* Ringtone sales
In exchange for getting a bigger cut from the artists they represent labels commit to (a) promoting artist for a longer period of time , (b) develop new opportunities for them, (c) pseudo-management, (d) concerned with the artist's entire career not only selling records.
Above are some of the most notable 360 deals if you'd like to learn more:
- Paramore /Atlantic Records
- Robbie Williams's / EMI (2002)
- Madonna & Jay-Z / Live Nation (2008)
Criticism for 360 deals views them as cynical money grabs by labels facing dwindling sales & high overhead more concerned with band branding than quality. However, 360 deals do allow labels to sign different kinds of artists beyond the obsession of recouping investment from album sales and promote longer term goals over the traditional "instant numbers scheme." So why would and artist sign a 360 Deal? Artists often will sign 360 deals based on: P - Publicity = How will the deal increase their name/profile? * Ps - Personal Satisfaction = what personal satisfaction will the deal bring? * Sr - Strategic Relationships = personal/professional relationships as a result of the deal? * I - Ideals/Goals = What are the artist's goals for his art career? * G - Growth = How will the deal grow the artist's art and career? So can these same factors artist use when contemplating a 360 deal be applied to students considering a degree in Music Technology?Check out Part 2!*
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We are all familiar with rescue dogs: shelter dogs that were abandoned, mistreated, or need special TLC to get back on their feet. Well the same is true for some vintage synths. Recently, Lecturer at IUPUI Ricardo Laranja sold me an old Juno-106 that had been damaged and collecting dust in his garage for sometime. I figured I could take a look at it, clean it up, replace some parts, and make the late 80s album I've always dreamed of.
Upon first inspection the Juno 106 appeared to have some missing keys (almost an octave in the bass) and some cosmetic wear.
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I was able to order the missing keys on Ebay From North Music Ltd. Fast delivery and good prices. I think each key, and spring, was about 4 pounds/6 bucks US. They also have tons of other items which I assume I will need a few of as I delve further into the Juno Rehab.
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| | | | North Music Ltd | | | | | Maintained by:northmusic ( 6512) | | | London based synthesizer repairs & supplier of music equipment & vintage spare parts: Roland, Korg, Yamaha, Casio, Akai, Alesis, Clavia, E-mu, Ensoniq, Kawai, Moog, Oberheim & Sequential. www.northmusic.co.uk richard@northmusic.co.uk |
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The Juno was really dirty; like "miner black-lung" dirty. I knew when opening it up there would be a lot of dust, dirt, and perhaps even a family of squirrels. It's recommended not to use anything that will get the circuitry damp/wet, but I found one video of some guy giving his Arp Odyseey a complete bath (minus the rubber ducky).
I bought some compressed air, q-tips, rubbing alcohol, and a sponge/soapy water. I can only imagine what I'll find. I figured giving it a good cleaning will be the first step. Perhaps some of the "crackling" pots and scratchy slider/knobs just need to be cleaned.
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Every major USA city has its great architecture, what's interesting about the Circle City (Indianapolis) is how linear and geometric the layout and many of its buildings are downtown. It has a very modernist feel. Admittedly, I took no pictures of the downtown "circle", but on another starless night the mood may strike me. I'm getting better at dealing with low light and longer shutter times, but as I told my dad, " I take about a hundred, and only keep about 10."
Spending the Day in Costa Mesa, 1/21/17, I got some great shots. Most of the photos I captured at the northern Huntington Beach.
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Hiking across the NAMM showroom floor I took some pictures of some of the more memorable and sometimes awe inspiring booths from merchants.
Wall of Guitars!
Convention Center Lobby.
Modular Synths are making a comeback!? (cough) Really! Big band music too (cough). I swear!
Why learn shortcut keys when you can just buy a keyboard that has your favorite DAW keys tattooed on it. Writing a Word document and finding the correct letter key may prove difficult, but at least you'll know how to "quantize in place!"
I think this was a lighting company, but at NAMM this could be the information desk for lost children. "Billy, has anyone seen... Billy!"
Talked with the guys from Rednet and told them how much we are enjoying the MP8 in the CLEAR Lab.
This company wanted us to know that they had mastered the art of live video-casting a live performance on a large screen within a live venue, live. Did I mention they were doing this live?
UA is great mic pre company and purveyor of great sounding stuff so naturally to advertise this they covered a wall with tchotchke not dissimilar to a Bennigan's or Applebee's. (insert half-priced apps joke here)
Indoors guys? Really!?
After seeing an earlier taping of Pensado's Place featuring Butch Vig this video/podcast interview was underwhelming.
Not sure which is cooler (a) this Moog Booth that featured an interactive floor synth, (b) this David Byrne quote, or (c) the fact that Byrne referred to Robert Moog as Bernie.
When "hiking" the the NAMM 2017 showroom floor I began to notice that true analog boards were hard to find. A big name like SSL only had their smaller nucleus or XL desks on display. API had their AXS Legacy desk on display, but it felt more like a museum piece.
AXS LegacyIn the back of the API booth was the new modular smaller format API 1608 16 Channel Recording Console. Basically API's answer to the modular SSL XL-Desk(similar price point)
API 1608The NEVE Genesys Black offers the flexibility of an analog console with a truly virtual recall system. Unlike the SSL and the API you can adjust compressors and EQs and save the automation for automatic recall later.
Slate Media Technology had their RAVEN MTi2 27” Multi-Touch Production Console featuring a state of the art multi-touch panel and the powerful new RAVEN 3.0 Control Software. on display
RAVEN MTi2Even the smaller format mixers, normally a cheap Behringer or Mackie were replaced with digital small format touch screen mixers.
So are true analog consoles dead? Are they saving them for the AES show (this year in New York in the fall)? Are people not making music this way and have they become merely an outdated and expensive status symbol for recording studios? Or has production and recording become such a part of the initial creative process that "the Lab" or "studio" is no longer a needed space for creativity.
This NAMM 2017 video excerpt is from my paper presentation, "Calculating Cost and Value of a Music Technology Degree" given on Friday January 19th in Anaheim CA. In the excerpt I discuss 3 major formulas for calculating the cost, value, and annual earning potential of a degree in Music Technology.
Had a great time last November (11/13/16) working with student volunteers for the audio recording and filming of Eric Salazar's new ensemble project "Forward Motion"
The video below is a basic version of the entire concert held Sunday, November 13, 2016 from 7 PM - 8:30 PM at the Grove Haus, Indianapolis, Indiana 46203
We ended up doing a basic documentation style mikking setup with a pair of Earthwork's M30 (spaced omni) at the back of the stage and a Neumann 184 (XY) pair at the front of the stage. I think the sound came out good. The film was shot with a sony handycam which didn't respond well to the low-level light. Looking forward to shooting future events in 4K with the new Sony Alpha 6300.
Working with students Tara Lantrip, Wyndhem Bell Ennaemba, Michael Bauchert and Zach Reeser was a lot of fun. I'm looking forward to working with them this semester as part of an independent study class at the Department of Music Technology at the Purdue School of Engineering and Technology. BOLO for subsequent adventures in event sound/video!
In now what has become a series of twilight photo shoots in Ludlow VT, I got on the snowshoes and hiked up the main slope at Okemo (Snowshoeing: still a lot of work). The sky was beautiful as the sun set behind the south face of the mountain. Only a few of my shots were ruined by skiers :-)
Went Snowshoeing today at the base of Okemo Mountain outside of Ludlow, VT. Snowshoes work by distributing the weight of the person over a larger area so that the person's foot does not sink completely into the snow, a quality called "flotation”. Apparently there is a weight limit, my shoes were broken, I’m doing it wrong, or the snow wasn’t of flotation quality. I did manage to get some good shots at a railroad crossing along the way, but Snowshoeing, yeah, it’s a lot of work!