I thought the final drafts and final rewrites of pieces critiqued by two different writers groups in two different states, edited, reworked and rewritten over a time span of close to four years would be the easy part of finishing my Goat Suite Saga set of 7 vignettes. Never mind the larger project of Swimming with Swans: vignettes of our three year journey between homes set of at least 2xs that amount.
While I’ve stamped four of the seven vignettes as final, it’s this fifth one that’s got me up against the wall as mentioned in a previous post. It’s a good thing I took that quilt break as it helped refresh my writerly juices to get back in the game.
However, it seemed like I just wasn’t making any progress. So, the other day I decided to passively gather data on how long it’s taking to actually do specific rewrites. The numbers were kind of scary.
Let me explain.
There’s this one musically technical paragraph that I was told was confusing to non-musicians. However, I insist upon it staying as it’s important to the totality of that particular vignette. One paragraph, out of one vignette with an approximate word count of 2000 words took me over 12 hours to rework, reword, rewrite and stamp as final.
Waiting on the final studio mix of my lone recorded piece (out of four total) left to be mixed before sending all to the mastering lab has been frustrating. Yet, it gives me an excuse to focus on the written part of the GSS of which an abbreviated form will be featured in the cd insert booklet.
Never did I ever figure on spending so much time on one paragraph.
Once-upon-a-time there was a classical guitarist with severe performance anxiety. Throughout her years as a working musician, she managed to control it through judicious elimination of caffeine on the day of playing and maintaining a regular pre-performance regimen including the use of breathing exercises learned during delivery of her three children. Nothing really worked all that well, uncontrollable shakiness of the hands often threatened to take control of the show.
Recommendations of relief by self-medication using beta-blockers began to sound quite appealing, but her natural aversion to non-organic approaches to dealing with life’s issues held her back from taking the leap on that avenue. Good thing. Most who went that route, acquired other side effects that only compounded the basic performance anxiety problem.
Then one fine day, rumors of the Banana Cure began circulating among other afflicted cgers.
That was one cure this lady cger was willing to investigate further. Coming from a scientific background, she tried her best to set up quasi-experiments to see if the Banana Cure had any merit or if it was purely placebo. Continue reading →
About 6 weeks ago, while planning our extended stay in Colorado to continue the hands-on process of getting Dad’s estate settled, I contacted a longtime colleague about collaborating with me on the recording of my Goat Suite (Saga).
Her willingness to work with me under challenging circumstances – finding snippets of time to rehearse, then laying down tracks at the recording studio – was refreshing.
So, tucked in between sorting files upon files of papers, packing up shelves of books, trips to drop off never ending donations at ARC, lining up realtor interviews, meeting with tradesmen for quotes on needed repairs on Dad’s house, working around my brother’s schedule to get certain estate things done; as well as working around my colleague’s own teaching and wedding gig schedule, we did indeed get started on the recording of my Goat Suite (Saga).
Sometime during our only rehearsal on a Sunday afternoon before our Wednesday recording session, my colleague tossed out a casual comment about ‘working with the composer’.
Me & the Goodwill Educational & Historical Society, Inc Board Left to Right: Ada Lyn Jones, Donise White, James Boyd, Laura Bruno Lilly, William Remmes (President), Louise D. Bevan, Rev. Carnell Hampton, Ruby Jean Boyd
I fully intended on posting a ‘thoughtful article on my first SwS presentation’ as mentioned here. Obviously, I haven’t been able to quite pull one together. Yes, the June 3rd featured event at the Goodwill Cultural Center was a huge success and the thrill of introducing the public to my Goat Suite (Saga), the related creative process and how it all occurred while in the midst of our non-traditional between homes journey was some kind of high. But what really makes this experience stand out for me is the fact that all of the Goodwill Educational & Historical Society, Inc board members attended it. In the world of the working musician, this is quite an anomaly.
I keep perusing these two photos* taken afterwards. The genuine expressions of joy shining through the faces of those photographed remind me of the spirit of the place; the delight of the moment.
On the steps of the Goodwill Cultural Center Mayesville, SC Left to Right: Laura Bruno Lilly, Terry W. Lilly, James Boyd, William Remmes
I have long since done my own personal ‘performance assessment’, ferreting out solutions to challenges encountered during the actual performance. Specifically: in the transition from spoken word performance to the focus required in performing on an instrument – a very real hurdle for the brain in switching gears.
Quotes and clips have been gathered for use in future marketing and grant proposal endeavors; bits of prose and musical phrases have been tweeked; new contacts have been made and old ones reignited…I’m ready to move forward!
*photos by Jayne Bowers used with permission; content of photos used with permission
Hello, hello from inside the mirror! This is my attempt at a practice session selfie – using a dinosaur of a camera, no less. Notice the placement of the pillow, the height of the footstool and yes, indeed, those comfy tennies. This is my normal performance set up; albeit with a change of clothes and shoes.
However, in the recording studio, my beloved Dynarette pillow makes plastic-y squeaks during my playing as I tend to move a bit from time to time while I’m ‘in the moment’.
This is not a good thing.
Hardly noticeable by anyone on stage or off during a live performance, those squeaks wreak havoc to one’s ears while listening to playbacks of pieces played to perfection in the recording studio.
Sarah of Art Expedition graciously gave me permission to post her photo and essay on my Giving Voice series. We both stand united against the indifference towards those displaced populations within our respective countries (in addition to the wider world scenario) – and do what we can within our (he)art to Give Voice…
Sarah is a German artist and art historian whose creations delight my senses. As a guest artist for The Strix collective, the following is her interpretation of the given theme: ‘authentic’.
“Das eigene Haus” – “Your own Home”
~ Das eigene Haus – Your Own Home; photo by Sarah, street photography Berlin, 2016 ~
The meaning of art is slightly different in art than for instance what it means in philosophy. Everything I do is authentic, because it was me who did it. Therefore, all I create is authentic. The photograph I choose for this topic reflects what is, to me, authentic in society nowadays.
Like many others, I feel at a loss to shape words into coherent phrases expressing outrage, sorrow, compassion and balanced thinking in the midst of our current flood of events in today’s world.
In light of this, as always, my medium of choice is music…and music as protest/social statement has a long history. Yes indeed I, myself, did the singer-songwriter scene in my early adulthood. Coming of age in the midst of another time of social unrest – I still embrace that genre.
Life goes on and in today’s world, my own current brand of compositional expression tends towards instrumental music. Personally, I feel it allows for individual interpretation, un-dictated by lyrical suggestion.
Which leads me to Max Richter, a favorite contemporary composer of mine.
Some time ago I stumbled upon an interview-article with Max published on Fifteen Questions. This on-line journal engages “production experts, performers, journalists, scientists and composers to discuss what music means, how it’s made, where its limits lie, and why it affects us all so differently and yet remains universal” rather than discussing the private lives of artists or their latest releases.
Here are a few of his thoughts to which I relate and are relevant to the subject of this blog post. I encourage those of you interested in musical composition and the driving forces behind it to read the full interview.
Max Richter – interview excerpts and short musical clip
Music for me is storytelling, so I usually start with an intention or something I want to say. From there I kind of struggle around in the dark, trying to find ways to say that. Sometimes it’s a linear thing where I have an idea and then go about trying to find ways to express it. Other times I will discover things along the way and the idea ends up turning into something else altogether. It’s a mixture between intention and chance.
I think the reason I write music is because I’m trying to say things that I find difficult to encapsulate verbally. Music is its own kind of language and it’s very good at saying things that words struggle with, so that’s often the impulse for me.
The role of the composer has always been subject to change. What’s your view on the (e.g. political/social/creative) tasks of composers today and how do you try to meet these goals in your work?
Music is a social art, kind of like talking, but in a way, music as a vehicle for political critique has evaporated in the last 20 years and that’s disappointing.
I think if we’re talking about something in music, we should be talking about the big things that are worth talking about and those things are: the state of the world; how we live and how we spend our time. That’s something that really drives me. For example, the track The Shadow Journal on Blue Notebooks, for me, is a protest song. It was composed and recorded the week after the first big anti-Iraq war march in London. And even though Czeslaw Milosz’s words are actually describing the Second World War, the imagery he used resonated with me at that particular moment in time and so social comment was most definitely the primary motivation behind this piece of music.
Generally speaking though, people are not thinking about music in those terms anymore, not if you compare it to the counter-culture movement of the sixties, when social commentary was one the absolute driving forces of music. It’s a shame and a lost opportunity in many ways.
Herbie (and the Headhunters) Hancock – interview excerpts and musical clip
And then there’s Herbie. Rummaging through some of my paper files a few weeks ago, I came across a Music and Musicians (June 2010) article I kept on hand entitled, “Herbie Hancock: Imagining the future with a plan, a piano and a vision of peace.”
I first heard of him as Herbie and the Headhunters in 1973 during my second year of college (University of Colorado at Boulder, 1972-1977). I fell in love with his ‘new’ funk sound while listening to his Chameleon on the then ‘underground’ Denver radio station KLZ FM.
Give the piece a listen as you continue reading excerpts from that article.
I wanted to make a global record. Although I’ve recorded with artists from other countries at various times, this truly was about emphasizing global collaboration as a path toward peace. I started thinking about America basically being an immigrant country.
Most of us have ancestors who were not from these shores. So we have these issues that are happening now about immigration and closing the borders and locking things down. I understand the motivation – the fear from 9/11 and terrorists. If you couple that with the insecurity that has come about because of the economic downturn, it’s drawing people into a state of chaos.
They’re trying to find ways to blame something, to put it on somebody. I think it’s time to stop looking outside for who to blame…now is the time to proactively begin the process of creating the kind of future we want for our children and for our children’s children.
How did you translate those ideals into music?
The first thing you have to do is be willing to be open and to embrace cultures outside of our own. The second thing is respecting the cultures and the people of those cultures. What other ways can we show our respect for other cultures? One of them is through language. It’s why I decided that if I truly wanted a global record, the record couldn’t just be in English…
Today’s World – in conclusion
Max and Herbie’s comments reveal the motivation behind much of an (he)artist’s work.
Communication – whether of a personal social statement or expression of some inner emotional response to life’s experiences – is often the result of a composer’s work; intentional or not.
For most musicians, even if performing non-original pieces, interpretational nuances shape one’s own message to be received by the audience as a gift from the heart.
For myself, my Swimming with Swansproject is one such work…to give voice to the fact that those of us who have experienced or are currently in the midst of a period of displacement in a living situation or even state of mind, are not defined by that but live day-by-day and create works of beauty regardless. And share it with all who will listen.
That’s just who we are and what we do – we count, we matter and we make a difference.
“I have told you these things so that in me you may have peace. In this world you will have trouble. But take heart! I have overcome the world.” John 16:33 NIV
The promised update on the results of my project4now experiment follows, but first a photo of the completed project is in order.
Now then, as a reminder, I decided to challenge myself by using different materials and assembly methods in this project. Those challenge-experiments are presented here with results noted in italics. Continue reading →