Musical Terrorism

[Julietta Anne Rabens]

I agree with David:
>>”I can’t define pornography,” one judge once famously said, “but I know it when I see it.” (Justice Stewart in Jacobellis v. Ohio 378 US 184 (1964).

[bernhard-schmidt]

>>

[Julietta Anne Rabens]

Bernard, your reaction to a new performance is legitimate, but it is important to contrast it with post #66. I don’t have a reaction to this particular piece having not heard it, but I am active in experimental music as a performer, so the issue is important to me. I can appreciate those who weary of the use of shock alone to make a claim as art. There is a way to take a balanced approach that neither throws out or embraces all challenging and shocking expression.

It is important to judge a work for what it is, not for what it is not. Can the work make a justification for itself as a work of art? One thing academia does help the artistic community with is requiring those earning graduate degree to make a reasoned case for the merit of their work. Both visual artists and composers are required to justify the aesthetic merit of their work based on it’s influences, originiality, internal coherence and meaning.

One thing I hear in this thread from many viewpoints is a call for accountability from artists. This can in part be drawn from the immediate appeal of a work, but that is limited by the shared assumptions of a given group of people. My position is that immediate appeal is not the only measuring rod available to determine merit and that both artist and critic are accountable to make a reasoned case for the integrity of their position. The thorough study of great works of music and art, an informed understanding of the philosophy of aesthetics, a sense of various ideals and ways of structuring music from diverse cultures, can all contribute towards the ability to make a legitimate estimation of the integrity of a work of art. Judge the work for what “it” is, but do in fact require it to demonstrate its integrity. If we cannot say exactly why a piece is lacking, then it is important to make the effort to understand the piece for what it is so we can also make a reasoned account for why it should be rejected.

Here are considerations concerning experimental music.
1. By definition it is not mainstream. If everyone immediately understands and accepts it, then it is exploring the norm, the inside of the box and not the boundaries. It is not a requirement for the majority of people to accept explorative music for it to have merit. There is value in protecting modes of expression that are relevant to only a minority of people. It is important to respect and consider the aesthetic values of contrasting ideals.

2. Experimental music is just that – an experiment. Not all experiments succeed, but an environment in which experimentation is not allowed can quickly become stagnant. Considering boundaries and attempting new ways of expressing is often an important catalyst for growth. It is about taking risks and being willing to try things that might fail completely, perhaps fail in part, but lead to growth, or risking the new to hit serendipitiously on something deeply wonderful.

I also think David’s suggestion of having an experimental music concert could be a reasonable solution. Experimental music doesn’t need to be forced on anyone, or presented in surprise (if that is what is going on – I don’t know).

[David Ice]

Well, in my case, I had no exposure to harp literature whatsoever prior to my 23rd year, so all of my experience has been as a fully formed adult, and not imprinted on a childhood psyche.

[unknown-user]

First of all, I would like to show my appreciation to those who made the effort to write about their opinion of the new composition “Cities change the songs of birds” by the Dutch composer JacobTV. I hope though, after having read a lot of negative comments on this piece, to make it more clear what this composition is about and how this, in my eyes, fits well in the 21st century world of music making.

I have heard several compositions of JacobTV in the past and it was an eye/ear-opening experience to see and hear his concept of combining different instruments with voices of people who are often talking about something related to current events (in politics, social society, etc.). I found it an interesting fusion of spoken words and music and I believed his music would fit very well in the World Harp Congress, which is a venue to share known and unknown music with each other. When I convinced him to write for me, I left him alone to develop his own ideas on a new piece. When I received the music, my first thought was: “Wow, that’s a lot of rude language.” At first I was very hesitant about performing this piece, because of the topic of drug addiction and the rude language in it. So I do understand the amount of “shock” it brought to the audience, who heard it for the first time. Although for me, the amount of “shock” disappeared after I looked at it from an artistic point of view. Knowing that these were “real people” talking and it involved two very different worlds (drugs and harp), which both have their stereotypes and judgments; I found it extra challenging to work with this piece. Also after I combined the music (which I believe is very well composed for this instrument) and the text together, I found myself in a new world of music making, a world where you feel like you’re very much part of, as if you’re drawn into a movie (in this case, one based on a true story), supporting, neglecting and judging the story that is being told.

The way that JacobTV’s music is created is very refreshing. It’s a way in which different art forms are fused together. It has a strong link to the film and music industry where images, sounds and texts are all combined. The “anti-America” aspect of this composition has never occurred to me, although I was aware of the weight of the topic about drug addiction and the rude language in the texts. Perhaps I didn’t think of this, because I knew that the composer’s music is very well appreciated in the USA, especially in New York, where he has been invited several times to have his music performed at different music festivals. You can imagine that I was quite taken aback to read some of the comments about this and I was very relieved to read also some of the stories of harpists (who attended the concert) saying that they also didn’t make this link to “America-hatred.” The music was certainly not intended to make a statement on certain countries. Perhaps it’s good to know that I did explain in the introduction that it’s about women (not specifically American women) who are dealing with drug problems. Also, the progression of the music shows these women making a confession to their problems and changing their attitude towards a better life. I think this message comes across very clearly in the music and shows a “good ending” of the heartbreaking stories of these women.

To end my story I would like to share with you that I’m very happily married to an American and we love to visit the States.

Lavinia Meijer

[Christian Frederick]

Lavinia,

I’m really glad you responded. I did not see this work performed. I’m sure you were fabulous! It’s the context of bad music I have seen at these performances that I object to.

Your response kind of explains the uncomfortable feeling I have about applauding. I ALWAYS applaud for the performer. Sometimes it takes a great performer to perform a piece of trash. But then I am uncomfortable, because my applause is always for the harpist, NOT the composer.

I’d still like to see some legitimate harpists-composers who have other accomplishments, such a movie scores and TV, write new music.

[unknown-user]

Christian, I enjoy your posts immensely, but I’m very uncomfortable when you say “the context of bad music” and “a piece of trash”, especially since you preface that comment with your statement that you didn’t see (or hear?) this piece performed.

I am just an absolute jar of jelly about Sibelius’ 5th Symphony. In fact, I love all of the Sibelius Symphonies so much that I would give anything to hear the 8th, except that there is no 8th left, as far as anyone knows, because Sibelius was so critical of his own work that he burned it.

I also laugh every time I see the music that circulates every once in

[Christian Frederick]

Hi Ann,

I stated I did not hear this number because I really don’t have a first hand opinion about this particular composition.

But…. I’ve been to about a dozen AHS and WHC conferences, and try to go to the “new music” or “experimental music” harp performances. From MY experiences, ALL, and I repeat ALL, the music in this category has been absolutely awful. I also want to say that absolutely ALL the harpist were fabulous.

The most popular comment I hear about the composer is “that’s clever”. There usually is a small group of ladies who must follow this music, as I’ve seen them at the concerts and they seem to find merit in the music. I have not found any merit, but I’ve been blessed by hearing some great harpists.

[Kathleen Elarte]

Dear Ms Meier,

Thank you for taking the time to respond.

[Kathleen Elarte]

I had heard that China and Australia were both contenders for the 2014 WHC.

[steven-todd-miller]

Talk about experimental!

[unknown-user]

This is the “funny” piece of which I was speaking. I believe there’s also a second page, and I don’t believe it really sounds as it should without it!

[David Ice]

….and this is way too good not to share….a modern re-working of a classic!

http://www.youtube.com/watch?v=xpcUxwpOQ_A&NR=1

Dave Ice

[unknown-user]

I am JacobTV, aka Jacob Ter Veldhuis, the composer whose work Cites Change The Songs Of Birds was premiered during the World Harp Congress in Amsterdam last July, causing such a ‘scandal’ that harpist Lavinia Meijer and I are now accused of musical terrorism. Although I cannot take this accusation seriously, I am surprised about this hostile response. The last thing we musicians want, is to terrorize our audience, let alone a whole nation as Ms Elarte suggests…

[Kathleen Elarte]

<>>

I totally agree. Meier is a brilliant harpist ~ no doubt about that.

[Author]

Posts