Sunday, October 21, 2012
Friday, October 19, 2012
Independent Research
“Not only did he construct a damper
to expedite more rhythmic playing, he broadened the harp's tonal range by
electrifying it.”
Because he had the knowledge of music from his upbringing
and because he knew how to play other instruments, he was able to experiment
with the harp; Andreas, develop a distinct sound delivering a new way to
orchestra the harp into a contemporary sounding mix of the late 1980s. This was quite different from any other
performing harpist in the past. This new concept with the harp also incorporated the
synthesizer, flute and percussion instruments.
Since Andreas Grammy, which he received in 1987, he experimented
with a wider spectrum of musical instrument; he did this by adding more cultural
sounding instrumentation such as the Chinese flute, Greek Dulcimer, and different
sounding vocal styles. Found at the
Oldies.com website on the following link,
http://www.oldies.com/artist-biography/Andreas-Vollenweider.html
The author indicates:
“This approach deepened on Book Of
Roses, where Vollenweider himself played Chinese flute and Greek dulcimer, and
on one track performed with South African vocal group Ladysmith Black Mambazo.”
As Andreas Vollenweider, grew musically he was able to
continue his experimentation by using other styles and musicians that were coming
from various countries and parts of the world now earning him a new title as
“World Music Artist”. The genre he
played mixed classical, pop, jazz, synthetic styles, and world music opening
the doors to others forms of instrumentation; his concepts went beyond “New Age”
music. His influences came from
growing up in Europe plus having a family who were also a group of musicians
and artists.
I was surprised by the fact that Andreas was the rebellious
type, since European musicians usually are well schooled in classical music and
discipline themselves in their approach because of their ridged
upbringing. Taken from Encyclopedia.com
the author states in paragraph four on the following link:
“A Bohemian type who rarely
attended school, Vollenweider drove his music teachers crazy because he refused
to follow the sheet music they gave him to play. Instead, he gained proficiency through trial and error and
was, for the most part, a self-taught musician.”
As a music educator, I found from my own experiences that
when I am teaching a student, it would be a bad practice to use any single
approach when educating them; every mind has a unique design and unique dna
which allows the student to learn differently. Therefore, I would never insist on how to learn something or
create music for that matter.
Andreas’s style and approach toward creating music had me also
examining how I may want to use different and other unique ways when using
sound and sound design. I also
found that when listening to a composition, to listen both passively and
actively in order to understand what the artist is trying to convey, yet be
engaged technically to what is actually being recorded and how it may have been
created. I am hoping that in my
future projects when writing and recording music, I will also remain open minded
as other successful artists have demonstrated in the past. Andreas Vollenweider, in his examples
heard on his albums and live performances, helped me to see how a professional
in the music industry may want to go about developing their own unique and different
styles of recording, yet still remaining marketable and fresh for music created
in the future.
I believe the above approach will aid me in keeping my
career competitive and constantly advancing over the next 5 years and beyond. I find it extremely important to
remember that listening to a variety of musical genre is essential for growth
for ones career in music and as a contribution to the music industry as a
whole. My plan to stay current and
interesting as a professional music industry person is by paying close
attention to the noise and sound surrounding me, and how sound can evolve and
continues to change effecting the viewers and listening audiences. Overall, I am looking forward to
hearing other artists and creating new and exciting sounds that will impact the
future lovers of music who not only play, but who also listen closely to an artists’
work.
Sunday, October 14, 2012
Electronic Artist
http://www.atpfestival.com/artist/garynuman.php,
the author states,
“Numan was virtually alone in
seeing the possibility of a 'synthesizer star' and much to the critics' initial
anguish, he achieved success almost overnight.”
This was the beginning of Gary’s career when he incorporated
the sound of the electronic keyboard to his bands music.
Gary Numans’ influence spread to other bands of the time
that also decided to use keyboards in their bands instead of guitars. It is interesting that his idea even
though rejected at first, ended up changing the popular music industry and
actually created what would be know as the “New Wave” genre. The repetitive rhythm sounds of
the drums along with its’ feel and mood added to the distinctive quality of this
new sound. In essence the
term “New Wave” holds an electronic reference to it as in an electronic sound wave.
As the other bands trendy electronic style started to
decline Numan, was connecting to the next phase that would immerge and he
continued to set the mood of the music style that would follow. His cold, dark, and futurist approach
to music and sound opened the doors to many other artists such as, Nine Inch
Nails and Marilyn Manson.
It is important to note that as stated in the same article mentioned
above, the author also declares the following:
"His mixture of atmospheric textures
and power-chorded synthesizers inspired dance artists such as the Prodigy and
the Orb and a whole new wave of mavericks began to talk about him as a source
of inspiration with many of them also covering his songs - they included Trent
Reznor (Nine Inch Nails), Marilyn Manson. Jarvis Cocker (Pulp), Damon Albarn
(Blur), Tricky, Weezer, Moloko, The Magnetic Fields, The Foo Fighters (Kurt
Cobain was also a fan of the Replicas album, especially the track 'It Must Have
Been Years'), Smashing Pumpkins and Beck."
It is fascinating to me that during the early origins of
electronic music and how many bands that were on the top of the pops during the
time Gary Numan, surfaced and unlike other groups who may have fizzled out, he
himself is the main reason for the evolution of the style deemed “electronic
music”. I am impressed with his
motivation, progress, and contribution to this particular and growing style. It
is also interesting how he outlasted his peers and is still releasing albums and
continues to influence others in the industry and continues to grow within the
industry. Gary Numan, leaves
me as an industry professional with great incentive toward advancements in
sound and composing music, and the urgency to stay abreast of all new
technological changes within the music production field.
Friday, October 12, 2012
Electronic Music
Kraftwerk released 5 albums during 1974 to 1981 each
representing a specific theme and expression. Autobahn, released in 1974 with the concept of road travel
included a 22-minute title track demonstrating the sounds heard while
traveling. Stated in Allmusic by
Rovi, at the following link:
“Within Autobahn, the roots of
electro-funk, ambient, and synth pop are all evident -- it's a pioneering
album, even if its electronic trances might not capture the attention of all
listeners.”
The song was an international hit and was the beginning of a
new genre of music we know today. The bands second album in 1975, Radio Activity
is another concept album dealing with broadcasting media using electronic
devises that make up communication technology. All the song titles on this album are named according to the
components use in radio electronics.
The songs title track was also the first to be recorded in English rather
than German.
Trans-Europe Express, Kraftwerks’ third album in 1977, is
about cross-country travel expressing the continents accessibility to the world
around them. The music is
danceable with pulsating rhythms and a synthetic blend of electronic
instrumentation that captures the theme and concept of the album. Their fourth album, The Man Machine
released in 1978, is classified as devoid of human characteristics.
“The Man Machine, a work almost
completely bereft of human touches. By this time, the members of Kraftwerk even
publicly portrayed themselves as automatons, an image solidified by tracks like
"We Are the Robots."
The above as stated by Jason Ankeny, on his Yahoo Music page
found on the following link:
The song, The Robots uses spacey vocals imitating the sound
of what a robot from another planet or outer space may sound like. On the second track the song Spacelab,
reminds me of the electronic dance music played today using the repetitive synthesized
sounds and mechanical drumbeats.
The only difference is that if remixed today it would be more aggressive
and dynamic because of how technology has progressed.
In 1981 Computer World was released and as stated by Rovi,
for Allmusic publications on the following link:
“The last great Kraftwerks’ album,
Computer World captured the band right at the moment when its pioneering
approach fully broke through in popular music, thanks to the rise of synth pop,
hip-hop, and electro.”
At this point the bands contributions to the electronic
music scene are prevalent, plus Kraftwerk as artists are now widely recognized.
The bands efforts with experimental music by using technology, opened the door
to a distinctive form of music. I
believed the band proved that thru Art & Science and using many mediums, (which included digital electronics, sound design, imagery, culture, history, and
advancements in technology) that music can be appreciated on a new level. They actually created a new genre of
music still being dissected for experimentation.
Sunday, October 7, 2012
Saturday, October 6, 2012
Marvin Gaye "What's Going On"
Marvin Gaye began singing gospel music as a youngster at his
father’s church. As he grew up he
continued singing and became a successful Motown artist with many hits songs of
the 1960s. The music he recorded
were catchy love tunes that appealed to audiences who were interested in
romance and relationships. As hard times faced the nation during the 1960s and
70s, Marvin’s message started changing and was now based on the troubles of the
day.
When the Vietnam War was in effect plus the riots breaking
out around the nation Marvin, wrote about the painful issues America had to
deal with. His song “What’s Going
On”, speaks about the protest he and many others believed in concerning the
issues. Marvin faced
opposition from his producer Berry Gordy, concerning the songs message. According to “What Went On”, Ben
Edmonds article found in The Guardian for Friday, the 7th of
December 2001, Berry stated,
“Marvin, why do you want to ruin
your career? Why do you want to put out a song about the Vietnam War, police
brutality and all of these things? You've got all these great love songs.
You're the hottest artist, the sex symbol of the '60s and '70s...' "
Marvin was willing to take a risk and revamp his career
because he felt passionate about the need for change in the world and the
events occurring. He took more of
a risk by also changing his image to represent the change he felt. The biggest obstacle was when his
producer refused to release the tune.
Berry Gordy claims, "the worst thing I've ever heard in my
life", referring to the song “What’s Going On”. Marvin was married to Berry’s sister, which made matters
tense when family matters arose.
In the end, Marvin broke thru the roadblocks and got the tune released.
The link to the complete article stated above can be found
at:
“What’s Going On”, was different from the regular songs
recorded at Motown due to a vast mix of talented musicians who played on the
record. Marvin played, produced,
and conducted the song himself completely controlling the project. The sound of the song was more
orchestrated then songs recorded previously at Motown. In addition, recorded vocal
tracks were doubled creating a better production. The lyrics were not the usually love song message, setting
the tune miles apart from typical Motown lyrics.
I find Marvin Gaye’s remarkable and different approach he
used when he wrote and produced “What’s Going On”, a profound way to introduced
to Motown a new path for it’s artist to communicate and create music. In addition, his approach
enlightened the recording industry and made the industry more aware and
concerned about serious issues that should be addressed in songs. I feel that Marvin along with many
other innovators during this period changed the way producers, artists, and
industry officials make decisions concerning what the audience responds to and
what will sell records. Keeping
and open mind to new ideas and approaches when writing and recording is
something I will remember, as I continue to learn about the music industry.
Friday, October 5, 2012
The Velvet Underground & Nico
The unconventional sound and overall nonconformist attitude
toward commercial music, is what the Velvet Underground & Nico represented
when they emerged on the scene and released their album in the 1960s. Their music was coarse, improvisational,
plus experimental in nature demonstrating an attempt to challenge the sound and
theme of the times. Each member of
the group seemed as though they didn’t fit in to the norm of society and
accidentally formed an alliance to fight for their own causes. Lou Reed demonstrates his need to write
songs about actual events that were happening in his own life and the events
around him rather than write about made up stories that represented commercial
music. He states in an interview documented
on a You Tube video found on the link that follows near marker 6:50 that he
would
“Write about everyday reality”, and
“what he really cared about”. http://www.youtube.com/watch?v=H3Uk2Y-De-w
On the other hand, John Cale demonstrated his frustration
with his former project of combining “commercial” music with “avant-garde”
music and migrated toward a more “cool” and “funky” style also stated on the
above link near marker 5:30. Lou
Reed and John Cale were both responsible for the songs that would be written and
developed. Pop Artist Andy Warhol,
produced the band and introduced Nico, a female German model, actor, and singer
who he added to join the band. The
other two members Sterling Morrison, Lou Reeds’ college friend and guitarist
for the band and Maureen Tucker the bands drummer completed the bands raw,
loud, and controversial ensemble.
Due to combining music with film and art, the band inspired
a curious audience who wanted to know what the group was about. Once listeners heard their rebellious,
raw, and abrasive sound one couldn’t help but pay attention to what and why the
band was making so much noise.
This is why the band stood out from the other bands of the time. Their music was forceful in
sound, visual in movement, and artistically interesting; this concept created a
total wholeness from each of the band members and persons who contributed to the
project and production of their music.
The downside for the band is that not everyone listening
would want to have forceful, loud, and strong ranting lyrics imposed on them
since most music was written with less offensive topics and a sound that was
more pleasing to the ears. In addition, I would image the average person couldn’t
handle too much stimulus with imagery and art. Their music wasn’t for every audience and they didn’t care
about that since they weren’t striving to appeal to the masses. The band
members played for themselves and this was probably the reason behind the bands
popularity and success in addition to the bands failures and pitfalls.
The interesting aspects of this album is the way in which
sound production was utilize; by using different live instrumentation, art, and
film to produce, record, and design sound for production is quite impression
and creative. As time has shown more
advancements have developed in the recording industry since the 1960s. The way in which we as music production
professional develop a project should be approached with an open mind and
opened ears in retrospect to what we can learn from the past.
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