Friday, March 20, 2020

Friday Miscellanea

Of course we here at TMS have always been in touch with Western Civilization, but this is an interesting account of how some institutions lost their way: Rediscovering Western Civilization.
We begin in Part One by critiquing a landmark of modern historical deconstructionism: the claim that the very idea of Western civilization is a modern invention devised during World War I as a way of hoodwinking young American soldiers into fighting and dying in the trenches of Europe. This thesis, propounded in 1982 by the historian Gilbert Allardyce, was cited by key players during the original Stanford controversy. Those scholars used Allardyce to show that elimination of Stanford’s required course on the history and literature of the West was not a major break with the past.
In the decades since the Stanford dustup, the Allardyce thesis has been invoked to justify the replacement of college and K-12 Western Civilization courses with World History, or with heavily globalized versions of European and American history. The Allardyce thesis shows how a wildly improbable bit of scholarly radicalism virtually unknown to the general public can nonetheless sweep the academy and transform American education. The Allardyce thesis is also an early and influential example of the sort of debunking continually churned out by historians nowadays, yet almost never itself subject to critical scrutiny. It’s time the debunkers were debunked.
Despite the report being focused just on the United States, I think it is a useful perspective on similar policies and strategies in force elsewhere.

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Wenatchee the Hatchet has a long essay musing on "whiteness" in music theory and the role of non-white guitar composers like Leo Brouwer.
Music education that's geared toward the idea that students will be making a living recording music actually seems like a more pernicious myth than the myth that Western music notational conventions are somehow "white" when we have more than enough classical music composed by black composers to prove that's not the case. For that matter, when there are classical composers from Asia and of Asian American descent who use the Western musical notational systems; when the first published musical work in Western notation by a Native American was back in 1863 with Thomas Commuck's Indian Melodies hymnal; I don't think it's even historically fair or accurate to say Western musical notation is "white".
Go have a look.

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Here is an update from Salzburg. They are planning to go forward with the Whitsun Festival, but the Easter Festival is canceled:
On March 10, the Austrian government published an order by which outdoor events with over 500 participants and indoor events with more than 100 participants must be cancelled through 3. April 2020.
For the Salzburg Festival, this currently means: On the basis of the current risk assessment (current as of 5. March 2020), all events of the Whitsun Festival (29. May to 1. June 2020) and the Summer Festival (18. July to 30. August 2020) will take place. If the risk assessment should change substantially, events would be cancelled only if they were prohibited officially by the government authorities.
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The Guardian has an interesting piece up: The best classical music works of the 21st century. As the century is only 20 years old and a sober evaluation takes several decades, this is highly speculative. But worth a look. There are some familiar names like Max Richter. Here is an excerpt from a larger piece, The Blue Notebooks.


That is well into Górecki territory and sounds rather like Vivaldi in super slow motion. There is also Steve Reich's meditation on WTC 9/11 which uses similar techniques to his Different Trains.


There are twenty-five works in total with familiar and unfamiliar names. The number one choice is  Hans Abrahamsen's orchestral song cycle Let Me Tell You (2013). Here is an excerpt.


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Wow, a Shostakovich festival I didn't know existed:
The annual Shostakovich festival at Gohrisch in Saxony, where Shostakovich composed his eight string quartet, has won the right to premiere 10 newsly discovered Shostakovich manuscripts, some dating back to his teenage years.
The performers include Tchaikovsky winner Dmitry Masleev and Chopin winner Yulianna Avdeeva .
The festival opens July 1.
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These are very trying times for all music institutions. Opera Australia is in a real bind:
Opera Australia may be forced to sell off one or both of its properties in Surry Hills and Alexandria to stave off the threat of bankruptcy caused by the COVID-19 crisis.
Chief executive Rory Jeffes revealed management had been in crisis talks to keep the company afloat after it announced it would cancel the remainder of its Sydney Summer season, including its flagship Opera on the Harbour event that was to open on March 27.
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Now here is a 21st century headline: As Dallas Opera learned, when algorithms decide, we all lose.
The [Dallas] opera’s Hart Institute for Women Conductors is a groundbreaking program helping to overcome gender inequality among the world’s leading classical conductors. As we reported during another successful Hart Institute residency in November, only five of the 100 busiest conductors in the world are women. Industry insiders say there aren’t as many opportunities for female conductors and so a group of leaders in Dallas decided to do something about that. They created the Linda and Mitch Hart Institute for Women Conductors, a two-week residency designed to identify promising female conductors and invest in their growth.
The Hart Institute is a point of pride for Texas arts lovers and the kind of program that can actually achieve what Facebook’s algorithms were supposed to address.
And yet last Monday, when the opera’s director of artistic administration David Lomeli posted a photo calling for applicants, Facebook removed the post and informed Lomeli that the opera can’t gear its communication only to female applicants.
This is very likely a laudable initiative, but we should also take into account that there are long-standing discriminatory practices in education that are most certainly NOT laudable. At one US college there are seventy scholarships available just for women and only one for men.

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Alex Ross has a very topical piece at The New Yorker: Coronavirus Concerts: The Music World Contends with the Pandemic.
The ad-hoc concerts are a welcome stopgap, helping musicians to keep working and listeners to stay engaged. Yet they shouldn’t be seen as any sort of wave of the future. We are already too sedentary and technology-addicted in our relationship with the arts. The monopolies that rule the digital realm possess unheard-of power, and non-celebrity artists increasingly struggle in a marketplace where audiences no longer expect to pay for recorded music. 
Perilous times for working musicians lie ahead. “Force majeure” clauses in artist contracts—releasing companies from liability in the event of disruptions—mean that many opera singers and freelance instrumentalists, not to mention actors, dancers, and backstage technicians, will go unpaid for the duration of the pandemic. The tenor Zach Finkelstein has written about the force-majeure issue on his blog, predicting that “many household classical music names will likely be insolvent or in dire financial straits by this coming summer.”
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For our envoi, what better choice than the Bartók Concerto for Orchestra with the Frankfurt Radio Orchestra conducted by Andés Orozco-Estrada:


4 comments:

  1. The Stanley Kurtz article is well done; he is a very thorough writer in everything he does. Also, our friend Wenatchee (I wonder if he is a fellow Washingtonian?) does a good job of placing black composers in context while highlighting the guitar's hospitality to multi-ethnic - especially Afro- contributions to the guitar. I have to read his entry again.

    The whole 'Hey hey ho ho, western civ has got to go!' mantra is mostly sad and stupid. College kids are going to shout about anything so I don't blame them, totally. I blame our teachers and leaders of education. When that whole thing started in the late 1980s teachers, especially university teachers failed to shut it down with a few basic facts.
    Fact 1: Western Civ has always tried to provide some kind of aperture for writers, thinkers and artists, musicians - all of whom, if not downright subversive, usually have nasty things to express about the status quo.
    Fact 2: Writers, thinkers and artists, musicians are not usually representative of the prosperous town bugermeister class, with ten daughters that he is trying to marry off respectably; they are often outliers, alcoholics, druggies, gamblers, misfits, malcontents, imaginative, zany, alternate living types who stress the status quo with their creativity.
    Fact 3: Western civ has nothing to apologize for; this 'aperture of creativity' has held for over a couple thousand years. Yes the aperture opens and narrows. And I believe writers have suffered more than other artists. Musicians and plastic artists tend to accommodate the status quo -- priests or patrons --- moreso than writers, but they, too, have their subversive ways, as we all know.
    Fact 4: Arts and Letters are the wrong place to look for equality (or equity?); the hallmark of any artist in any field is that he or she wants to be better than anyone else; he or she wants to astound the world. To sit around talking equity in the arts is bullshit. There is the standard of excellence or get out of the game. Duke Ellington and Louis A. would concur. Interestingly, the guitar does seem to provide an oasis of 'equality of access'. I think Wenatchee talked about this. Probably the programmers of recitals could be more conscious of world contributions from all ethnicities. Afro-Brazilian: Baden-Powell, Afro-Haitian, Frantz Casseus: their compositions might not be complicated structurally but rhythmically they can offer real challenges; putting across the emotional charge is the challenge of their works.

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  2. "To sit around talking equity in the arts is bullshit." Yep, and very succinctly put!

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  3. I'm in Seattle, as a matter of fact, and for a while my blog was better known for chronicling the peak and demise of the former Mars Hill Church before things settled down enough for me to get back to blogging about music.

    I've been incrementally writing more on the charge that Western classical music is emblematic of white supremacy. Rick Robinson had some polite pushback against some of what Doug Shadle was writing recently by pointing out that there are black musicians who don't view the default of classical music as white supremacist. Robinson has staked out a position I'm sympathetic to by distinguishing between classicism as an aesthetic philosophy and approach and the classism that is too often substituted for thinking through aesthetic issues.

    I have also been thinking about how a lot of the pitched battles are intra-academic and intra-professional. Doug Shadle can argue that white supremacist ideology stifled the reception history of Florence Price and that may be true but it seems no amount of white supremacist opposition stifled Ellington. What if, dare I suggest it, Florence Price was an okay composer who wasn't at the level of Ellington or Monk? I like Brouwer better and I also like the recently deceased black American composer George Walker better. I don't dislike Price, I just realize that I'm less of a symphonic fan than I used to be and Price's fans are trying to champion her orchestral works. I'm all ears for her chamber music if people would get to it. Meanwhile ...

    https://wenatcheethehatchet.blogspot.com/2020/03/an-exchange-between-rick-robinson-and.html

    I've been thinking that some of the battles taken up by professionals may be all but meaningless to hobbyists. The older I get the more I think Hindemith was on to something saying American music education was mistakenly aimed at producing generations of self-replicating professionals rather than encouraging amateur musicianship across the entire culture.

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  4. Your last paragraph is quite interesting. Yes, musicologists and theory professors can easily get caught up in disputes that are trivial at best. North America is so different from Europe in terms of education and professionalism in music. My exposure to European music education was quite deep, but at the same time, very narrow. I have no idea what it is like studying in a major European conservatory and frankly, am quite curious about what it is like. I am very familiar with Canadian university music schools and conservatories, but I'm not sure how to compare them to European ones. Any commentators want to weigh in?

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