During the CBC coverage of the tenth anniversary of 9/11 (which I was watching when I began this blog entry over a year ago… and then abandoned it 'till just now), there were musical performances by a children's choir, bagpipes and drums, cello and flute, solo cello, and others. For a while, the CBC had two sound sources playing simultaneously in a split screen, creating a strange cacophony between a live performance by the NAC orchestra in Ottawa and the background music that accompanied the reading of victims' names in New York. This cacophony was taken to an even greater level of sonic chaos when a CBC studio anchor started talking over the reading of names while the two competing musical soundtracks played. It was all very Charles Ivesian, except that I'm not sure Ives would have endorsed the notion that the public needs a gabby news anchor interpreting what we see and hear as we see and hear it.
But I digress. The pervasiveness of music at public events, be they solemn (memorials, funerals, religious ceremonies) or celebratory (weddings, coronations, inaugurations, olympic opening/closing ceremonies, or milestones of any kind), suggests that there is a widespread view in our society that music has an important role to play in such events.
All of this music had to be created by somebody, and that's where composers come in. There is a plethora of music commissioned for religious functions that has made it into the Western canon by a multitude of composers, such as Machaut, Lassus, Palestrina, Bach, Handel, Haydn, Mozart, Beethoven, and many others. Palestrina is one of my all-time favourite composers, but if you were to remove church music from Palestrina's list of works, you would have very little left over; the church was his patron for his entire career.
Handel was a prolific and highly-successful composer during his life time, writing numerous operas, oratorios, hymns, concerti, concerti grossi, solo and trio sonatas, suites, works for orchestra, and more, but had he not written The Messiah, by far his most popular work, his place in history would likely have been greatly diminished (he wrote other good compositions that are often played, such as Water Music, Music for the Royal Fireworks, the Largo from Xerxes (3 minutes of absolutely exquisite beauty), and the Arrival of the Queen of Sheba, from Solomon (3.5 minutes, very stirring!), but none come close to matching the reverence with which The Messiah is regarded, or its popularity).
Music has traditionally had a significant role in weddings, be they royal or commoner; in Great Britain, Prince William and Catherine Middleton's wedding service (2011) involved two choirs, one orchestra, organ, and a fanfare ensemble, which may have actually been modest in comparison to some royal weddings of the past. All of this music had to be written by composers, and in many cases (including William and Kate's wedding), some of the music was commissioned expressly for the occasion.
Governments, both democratic and totalitarian, and political movements have long believed that music could be used as a tool to sway the masses in some way. According to Lenin:
Every artist, everyone who considers himself an artist, has the right to create freely according to his ideal, independently of everything. However, we are Communists and we must not stand with folded hands and let chaos develop as it pleases. We must systemically guide this process and form its result. (Lenin, O Kulture i Iskusstve (About Culture and Art), Moscow, 1957, pp 519-520)In the Soviet Union, Joseph Stalin enacted numerous restrictions for music which limited content and innovation. Classicism was favoured, and experimentation was discouraged (Soviet Music and Society under Lenin and Stalin: The Baton and Sickle, edited by Neil Edmunds, Routledge, 2009, p 264).
For example, Shostakovich's opera Lady Macbeth of the Mtsensk District was denounced in Pravda as "formalism" and soon banned from theatres for years. This, and the fact that people close to him were disappearing, never to be seen again, understandably terrorized the composer and made him fear for his own life. To learn more, I highly recommend reading, Testimony: The Memoirs of Dimitri Shostakovich; it is a disturbing but controversial (due to a dispute over the degree to which the words and sentiments were Shostakovich's own, or those of the Solomon Volkov, the book's editor) account of the composer's life.
Here are some interesting articles on this topic:
- Music and Politics (Wikipedia)
- Soviet Music (Wikipedia)
- Formalism in the Soviet Union (Wikipedia)
- Strange article on "The Government-Sponsored Music Festival" in China
- The Government-Sponsored Music Playlist (YouTube video; humorous and disturbing)
Music is powerful, and it is everywhere! How can composers benefit from this?
- If we realize that there seems to be a never-ending demand for music of all kinds for different purposes, we can aim to become skilled at writing music in a variety of styles and for a variety of functions.
- If we can figure out where music is needed, and write high-quality music quickly that fits the bill for different needs, we might be able to make a successful career of composing, although, like any competitive career, there are many other people trying to do the same thing, so perseverance, flexibility, discernment, smarts, chutzpah, luck, and, oh yeah, high-level skills, are all necessary.
- Another important factor is "who you know;" a lot of opportunities — perhaps the great majority — come to composers based at least in part on who we know. This is a topic into which I may delve at greater length in a future blog, but we need to be to be aware of it. In my view, the first priority in your development should be to become really good at composing, but it is also important to get to know people who are in a position to programme/use your music.
- More generally, and from a purely practical viewpoint, it is useful for aspiring or established composers to consider the many roles that music has in society, and the many kinds of music needed for different purposes. What kinds of music would you like to write? Are there types of music you would be unwilling to write?
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54 comments:
Great post, Dr. Clark. It's particularly relevant to me, since my job (The R Nfld Regiment Band) revolves around many of these such events you have listed here. We are very often called upon to provide music for memorials, celebrations, parades, dinners, our own concerts and more. While a lot of what we play is music that has already been written by a classical or popular composer, there are many cases when new music is written for the band to play at certain events, especially Newfoundland folk song arrangements, since the repertoire for band is relatively small in that respect.
It is within this setting, the military band, that I foresee myself writing most of my music. Marches, concert tunes, patriotic tunes, arrangements and more are all within the realm of possibility of things I may be asked to write. These things come in a variety of styles, so it is as you say that it's to the benefit of the composer to know a wide variety of styles.
Tony, it's like you foresaw our next assignment when your wrote this almost a month ago! (sidenote, crazy how fast time has gone!)
Your "march cliche" piece (I feel like) stems directly from your experiences within a military band setting. Personally, I think in order for me to write a piece like that, I would have to start from scratch because I have next to no experience within a military band setting.
I think it's situations like this that really show just how music can reflect who people are because of their experiences.
I agree - this is good to think about! Being able to write music in various styles for various purposes, both "functional music" (by that I mean music for specific events/ceremonies/purposes) and "concert music". There is so much music out there already, but of course, there is still always demand for new repertoire. Often we hear music in malls or at public events without considering where it came from - who commissioned it, who composed it, who's performing it even - all that goes on behind the scenes before we hear the final product. I suppose we'll all have to find our niche in this music world - beginning now by developing the variety of skills we will need to succeed as best we can.
You make a great point in this post! People always say that there are certain professions for which there will always be a need: Doctors, Teachers, etc. Well, we can add composers to that list. Without music, life is without color. It's incredible how music is able to lift us into heightened states of emotion.
I mean, imagine any movie ever with a dramatic reveal, an impassioned scene, a high-stakes high-speed chase--now imagine that without the music to go along with it. Imagine how anticlimactic the big reveal in the Land Before Time of the great valley would be without the music. Think about how little adrenaline would be rushing through your veins as the sharks were creeping closer and closer in the water in Jaws without that famous theme we all know so well haunting us. One of my favorite things about the Lion King (my favorite movie of all time) is the music. It's incredible how music just elevates everything.
It is definitely all powerful and the ability to compose music is a powerful tool. And the composer holds all of that power. It's pretty cool actually. I'd love to write something that makes someone feel the way they do when they're in the heights of passion, love, fear, delight, etc. It's just so cool.
I think you make some great points in this post. I would say many people take for granted the role music plays in our lives. Whether we're consciously listening to music, or whether it's simply in the background, I think it has a large impact on our emotions. It can be used in such a way to even manipulate ones emotions.
As Brad pointed out in his comment, music heightens experiences that we would otherwise react very differently to, for example scenes from a film. Let's take the film The Shining for example. The two little girls that appear in the film are accompanied by haunting music. If they were accompanied by music that was sweet and playful, chances are we wouldn't view them as scary or menacing characters.
I think that one key skill necessary for the success of a composer is the ability to reflect and evoke emotions in others with their music. With this ability, it becomes possible to write music that reflects the emotions that should be felt during the event they're intended to accompany.
I really enjoyed reading this post Dr. Ross! Your comments on how music can be found in almost every aspect of our lives made me think of the movie August Rush, where the main character Evan, an undiscovered and orphaned musical prodigy, hears music in everything (car horns, telephone wires, traffic etc.) and eventually uses music to find acceptance in the world and reunite with his estranged parents (musicians themselves). He even incorporates these sounds of everyday life into an orchestral piece he writes From watching this movie, I have learned, as a musician, to appreciate and take notice of the music which surrounds me each day, from background music at the mall to cell phone ring tones to the rhythm of my footsteps as I'm walking.
I also think that these musical sounds of our daily lives can proove to be effective compositional tools. They can serve as a great starting point for almost all basic aspects of a composition: melody (ring tones,or birds chirping for example), rhythm (footsteps, knocking, the tapping patterns of pencils and mouse clicks in class etc.) and harmony (songs and music from tv commercials and film scores often have some really neat chord progressions and harmonies). As a student composer, I can incorporate what I hear throughout the day into my compositions and sometimes produce fantastic results, like Evan in August Rush.
The last line of the movie for me perfectly and simply defines music in this world: "The music is everywhere; All you have to do is listen." If we just stop and take a few moments to listen, we can uncover the music which surrounds us everyday.
It is important for composers to realize that once their music is written and made public, people will begin to link their compositions with certain aspects of their life. Personally, there are many pieces that when I hear them I immediately have a flashback to where I was when I first heard the piece. More often than not I relate music to where I was when I first heard it, what I was doing when I first heard it, or a time in my life where I could potentially relate to the piece. Although pieces can be used for an unlimited number of reasons, in many different ways, I have found that most people (myself included) usually link it to their first experience with the music.
It is unbelievable how often we hear music on a daily basis when we sit and think about it. It is hard to think of a time during my day where I hear silence. Brad made several good points in his comment about how music "elevates everything" - without music in movies, things would be lame, for the lack of a better word. It would be hard to create atmospheres and moods within movies without the music adding dramatic effects. The Hunger Games just wouldn't be the same without the epic soundtrack that accompanies the movie, right?
You mentioned how important it is for composers to be aware of this music all around us, and that it is the composer's job to make sure this continues. This is so true, but what struck me the most is that you mentioned the composer must be able to write in all styles and in a timely fashion to maintain a thriving career.
Never paying much attention to composition as a career, I'd never thought of this. I often thought "GOd, I wish this assignment didn't have a time limit, real composers don't have to be limited by time when writing". I now realize how untrue this is. I suppose when a composer is writing for hhimself this is the case, but the majority of work comes from commissions , etc where the composer IS on a time limit, AND is required to write in a certain style (a march, something mournful, etc...).
I think the various assignments in this course are a great introductory step into this realm of the professional composers, introducing the students to a variety of styles, but with a time limit.
There are many opportunities for musical creation and for new styles to develop and existing ones to be expanded. Much experimentation and combinations of instruments can be pursued. It opens almost endless opportunities for experimentation. There will always be markets for music and competition between musicians, but that is part of the fun. With globalization almost everyone has a chance. Music is easily accessible and there are more and more opportunities to listen to it. Musicians can take advantages of this expansion. There are always venues at which to perform and people looking to hear new works. There will even be more opportunities which have not yet become apparent. Producing music is becoming much more accessible to the average person working out of their basement. All that is required today is a good computer in contrast to the expensive and restrictive equipment of the past. More people who might not otherwise have had the opportunity can now do so. Music is now truly for everybody.
It was particularly interesting when Dr. Ross pointed out the approach of the Russian Communists Lenin and Stalin’s approach to music. Even though Lenin felt that artists have “the right to create freely according to his ideal,” he also cynically stated that “we must systemically guide this process and form its result.” This demonstrates the power of music to influence behavior and the notion that the state can control people by also controlling music to which it has access. This also applies in the Unites States in the sixties when protest songs were being written about the Vietnam War. Music was often seen as subversive and encouraging people towards revolution. In short, music has significant power over people both in terms of expression and its power to evoke feeling.
This is definitely gonna be a site note. With regards to the it's "Who you know" portion of this blog I think it's important to touch on the fact that things have changed a lot in the past 20 years or so. Some of are biggest 'celebrities'/musicians have gotten their fame almost exclusively from YouTube and other social networking tools. It's great that sharing music and videos is fast and easy but I feel a lot of composers just aren't utilizing this tool to its fullest. It's disappointing to search videos of Gary Kulesha, David Mott, Eleanor Daley, or John Burge and find maybe one or two videos. Obviously getting your music performed is great but maybe we're moving in a direction where that won't yield the same results as before.
In day to day life, as "music students" we are bombarded with new music. Every day at school, we're bound to hear something that's either familiar or otherwise, but it still remains an amazing opportunity to be exposed to so much good (and bad) music. Recently I came across the term Incidental music, which was used historically to accompany plays, or movie music today. Some contemporary composers today are responsible for writing music to fit a particular scene, and depending on the scene, a knowledge of many genres of music is required. Every day most of us are bombarded with music in the same way music students are, but simply don't pay the same level of attention. Music really is everywhere in today's world, and the sound world is so expansive that it becomes a challenge to hear a bit of everything. I think that it's important, if not completely necessary for young composers to devour music. What's playing in the background of the TV show you're watching? What music is being played at the mall? If we take in all this music, some of it is bound to influence what we write. And with all this external influence, we must take some internal inspiration and imitate something from the global sound world, as it isn't easy to create something "brand spankin' new" everyday. That being said, I think that we should all strive to create new things and think of the sound world, and the rest of the world, in a new and exciting way - from the outlook of a budding composer.
The beginning of this entry reminded me a lot of something Mike Lee posted on Facebook last year, which if you haven't seen it (although I'm sure it has made the rounds) is an poignant and touching read: http://www.bostonconservatory.edu/music/karl-paulnack-welcome-address
I love a good Ives reference, and I have to agree with yours entirely; Ives would likely have lamented the news anchor's interruption of a moment that had the potential to urge listeners into a state of reflection and contemplation through music.
The big question I am left with after reading this entry has to do with the place of "art" music in the world today. Of course for certain occasions art music is the norm, but does it play as great a role as pop music in peoples' day to day lives? In the media, in public places, at the gym, everywhere, we are bombarded by popular music. I love popular music and would never judge one style as greater than the other, but sometimes I have to wonder if we haven't shot ourselves in the metaphorical foot by labelling our music "art." I have often questioned my own use of the 'A' word but always return to it, if for no other reason than it is a convenient umbrella term. Is there still a need for the distinction? What is the place of a composer of art music in today's world?
When you mentioned politics playing a role in composers' output, I immediately thought of Shostakovich as well (Thank-you, Dr. Rice), but music is also used in modern-day politics - especially as form of endorsement. A series of negative social media posts ensued after Nickelback played at a Conservative rally before the last federal election. Capitalizing on the large amount of dislike there is for Nickelback through social media (though record sales surprisingly do not mirror this notion), attack ads stated that 'A vote for Stephen Harper is a vote for Nickelback.' I found it amusing that something as simple as a pop band playing at a political rally could create such a media buzz.
You're right - music seems to play a widespread role in people's lives as it provides the soundscape for many important events in life.
I enjoy reading how people describe themselves. People will generally comment on what type of music they like/dislike and many (even non-musicians) will comment on how important music is to their lives.
While music seems to play such a large part in our everyday life, why is it that there are less and less jobs for musicians in today's society? Perhaps 'less' jobs is not definitively the case, but it is surely less traditional forms of employment for musicians, especially in art music.
Excellent point Dr. Ross! It is all too frequent that the common Science student looks down on the Musician with a sneer, and asks how what we're doing is even a real degree. But as you've pointed out, music is perhaps the most significant form of human artistic expression.
They need music for every major event nowadays it would seem! As you said, the memorial of 9/11, William and Kate's Wedding, and thousands more every year. The common individual today puts music to the back of their mind (as shown by the famous experiment done by Josh Bell in the subway), and perhaps we forget just how frequent, and worthwhile our art is. Though it may seem like a little too much fun when looking at it from the outside in, perhaps from the inside looking out we need to remind each other a little bit more just how worthwhile what we're doing really is.
As Michelle pointed out, I also wonder what place a composer of western art music has in this world today. I suppose it means that we attempt to write work of sophistication and artistic merit, but does this also mean that it can be functional music?
I am always impressed by artists that take the pop conventions and create compelling art. For example, I feel that the artist, Beck, has been very successful at this for decades. He is able to write functional music that is intended for commercial radio, and can satisfy the needs of a listener that is passively digesting it. Despite this, his music still maintains a high level of subtle nuance, inventiveness and can also be very moving.
If music is to be functional, then does it need to cater to the needs of the widest demographic of people?
Yes and no.
As these needs change, I believe our role as composers is to be sensitive to this change, but at the same time, not to fulfill these needs as others dictate. Our job is to make conscious (or unconscious) decisions ourselves on how music will best express the feelings of a collective group in the best possible way, and to be sensitive to these feelings in the first place. When we cease to make these observations and decisions ourselves, we cease to be composers, and become instruments of those who are not always interested in expressing the needs of a public.
We are then attempting to express through music a sentiment or idea that someone else has interpreted as being the best way to communicate with the public, and not the composer. And if we are detached from this idea, we are not composing effectively. This is how I interpret successful functional music. There must not be a disconnect from the original intent, and the final product.
I really enjoyed this post! Sounds all around us in our day-to-day lives can be truly inspiring and this can be used in compositions. Just walking down the street, there are so many sounds being created, these sounds can translate into music, we just have to listen from a different perspective.
There are so many opportunities to compose for society. It can be eye-opening when one takes the time to think about all of the opportunities a composer is open to, such as writing for theme parks, parades, video games, commercials, etc. This offers a vast range of possibilities for the composing musician.
However, as you mentioned in the blog - the world is competitive. Meeting the demands of when the music is needed for can be a challenging task. It is entirely relevant to setting deadlines for composition assignments in class because the reality of a career in composing is demanding as well.
One of the difficulties of composing for something or someone is the restraints that are inevitably imposed upon the music. It always amazes me how composers of the past were able to write brilliant, beautiful, and original music under the sometimes intense constraints placed upon them by patrons, be they constraints of time, style, instrumentation, etc. Since I seek to compose for the stage and screen, I will be under creative constraints as well, and I hope to be able to flourish within them as composers have for centuries. I actually sometimes find that working within requirements helps stimulate my creativity. The massive need for music for various scenarios is exciting for me, as I do my best work when writing for something in particular rather than simply writing on my own. Furthermore, it means employment, or the potential for it! If only the patronage system existed today! It might help composers to stay employed rather than struggling in freelance.
It's overwhelming to think of all the uses of music in our everyday lives, sometimes without us even knowing it. When we are on the phone with a large company and put on hold, there is music in the background. When we ride the elevator, walk into a store at a mall, go to a fair or amusement park. Many people play music while they shower, drive to work, etc. This is all on top of the events you listed like weddings, funerals, or normal church services. I personally listen to music almost constantly, even while I'm writing this blog entry. It's hard to find me without my big headphones on! Music has just become such an enormous part of our everyday lives, it amazes me.
Because of this, musicians and composers can take advantage of the growing need for music and compose for specific things, just like you said. My uncle writes music and makes playlists for stores to play over their intercoms and gets a fair amount of money for them! There are just so many opportunities if we sit and think of all the ways music is a part of our lives!
Music touches our every day lives, and as technology advanced, music became more easily accessible and attainable. It is difficult to go through a whole day without any music. There’s the radio in the car, people have iPods and cell phones. Most stores and restaurants play music, even the airports and elevators play music. There is always a constant variety of different styles of music being played, and for that to continue, there is a need for composers. There is always a need for music to be composed for different events and situations. As mentioned above, there are weddings, funerals and church services, but there are also movie soundtracks, elevator music, popular music, jazz music, calming music etc.
People are always listening to music, be it on their phones or their iPods, even just listening to it in the car. With all the advances that technology has made and the advances that technology will make, music is ever prominent in our lives, and this is creating many different opportunities for composers!
Being a versatile composer is definitely a great skill to have. Who knows what kind of commissions you may get. Having the capability to adapt your compositional voice to certain genres or for the purpose to mark a particular event can be helpful in the world of employment and more opportunities.
I find it interesting that you mention Shostakovich and his circumstances. I often wonder if his compositional voice would have been much different if he didn’t have these political boundaries.
I totally love the idea that everything around us is music. I specifically remember a time that I realized this all at once and honestly, it was a pretty moving experience. It was a beautiful breezy day last summer and I was walking my dog on this nice woodsy trail at the end of my road. I began to notice the rhythms of the birds chirping, the natural crescendos of the breeze building into the leaves of the huge trees all around my house. There were occasionally far-off hums of transport trucks on the highway and somewhere, a block or two away, someone was nailing something with a hammer. I remember thinking that this was the most amazing, organic soundtrack there is, and I had waited until then to ever truly appreciate it.
I think that a lot of great pieces use some sort of musical element to create to recreate an organic sound that we hear in our day-to-day life, because, like I said, there is nothing more relaxing than the sound of chirping birds, a calm breeze or waves on a beach.
I think it's important to note that there are endless examples of pieces that very vividly represent a concept without actually imitating the sound (think Beethoven's 6th symphony, which is inspired by pastoral scenes). I Love this idea as well, but I'm not referring to it in this case.
Rachmaninoff's tone poem "The Isle of the Dead" was meant to represent an eerie painting of a man in a canoe floating toward a creepy island. The piece is in 5/4 to simulate the constant, gentle waves beneath the canoe. It works very well.
Countless composers have taken a liking to birdsong, notably Messiaen who orchestrated birdsong in often very rhythmically jarring and creepy ways. One of my favorite examples of imitation birdsong is found in the suite for Ravel's incredible ballet, Daphnis et Chloe. First of all, the opening depicts a sunrise perfectly, with the orchestral color hinting at yellows and oranges until it gradually crescendos into a blinding orange light, signifying the arrival of day. Throughout this sunrise, flutes (aka birds) begin to awaken and sing calls above the background. It helps to give the piece a full atmosphere, really set the scene of the beginning of a new day, as we've all woken up early to the sound of chirping birds in the rising sun.
I think overall it is very effective to listen to what's around you, whether it's nature or not. Just a few assignments ago, I had serious writer's block but my buddy Alex was doing rhythmic dictation right next to me and I noticed the monotonous single-pitch rhythms that he kept re-playing over and over and over. I decided to use that in my piece to represent discomfort and tension and it worked pretty well. I wouldn't have thought of that idea if I didn't take a step back and listen to what was going on around me, which just happened to be annoying rhythmic dictation.
I really enjoyed this blog entry and definitely think that listening more to everything can make you appreciate the beauty of simple sounds around you.
It is eerie to think about how our lives are almost over-saturated with music, especially "second-hand" music - music that we do not have a choice in listening to. As stated in the post, composers need to find their niche in this grand scheme and decide what music they would like to write, as well as what kind of music would they refuse to write. I think that any composer eventually needs to find a balance between their individual style or vision and the music that is in demand at the time, since the two might not be correlated. Music can be a tool and a weapon, and as creators, composers should be aware of how much power and influence they actually possess over their active audiences and their second-hand listeners. Also, I would like to add that though it should not be surprising that the government would want to use music to their advantage, I was shocked by one of the musical examples from The Government Sponsored Music Playlist. In my humble opinion, Elmo should not be used as a means to spread government propaganda in any form. "Elmo's got the Moves" was a catchy song when it came out a few years ago and it had a positive message for kids. But knowing now that the very repetitive and overly-autotuned song was funded by American tax payers leaves a bad taste in my mouth. Is it too much to ask that there be a separation between Muppets and state?
Music is everywhere, and it is true that without composers this would not continue to happen. It is important for young composers to be around music so much because they need to absorb as much as they possibly can. Everyday sounds can inspire music, such as nature, the sound of the city, and much more! Composers are so beneficial because they create so much of the everyday music we listen to, and without music the world would be pretty depressing.
The statement "music is everywhere" begs the counterstatement, "but are we actually listening?" I am very good at blocking out music, or perhaps a better way to put it is that I am very good at letting music become background noise. For instance, when I am working on an assignment on my computer I often listen to music. However, I don't really get much out of the music. In fact, afterwards I often find it hard to remember anything about the music other than that it helped me get the work done in what feels like a faster pace (whether or not it actually increases my productivity I cannot say for certain). So much music these days is essentially used in this fashion. Movie music in particular is a good example of this where there are cookie cutter sounds that relate to the emotions onscreen. I personally would find it very dissatisfying, maybe even shameful, to create a soundtrack that followed a "Hollywood formula." Where is the artistry in this kind of composition. Just because you are writing "background noise" doesn't mean it has to lack integrity. Perhaps this is a result of music being everywhere.
Hey Dr. Ross,
I really enjoyed this post for a few different reasons. I think a lot of people who want to get into composition for a career have a stage where they think they can only write for a very specific sort of niche purpose (ei. movies or video games) not because thats ALL they want to do but because they may not know what other possibilities there could be for them out there. I think this post shows just how pervasive and extensive the compositional world really is and allows the reader to fully understand how saturated our world is with music. Music surrounds us every day in almost every part of life and every single song or piece we hear every day has a composer. By limiting ourselves by either wanting to compose for one medium or by not opening ourselves up to other mediums composers could easily miss fantastic opportunities for their careers. This post not only encourages people to think outside of their own little world and extend their creativity to other mediums but also teaches them what other opportunities are out there for them.
Anytime someone asks me why I chose a degree in music and point out that ill never make any money I always ask them if they can think of a place where music doesn't exist. Anywhere you go there is music. Any film/video game has music. There are countless jobs involved with music you just need to go and find out how to get into that career.
In response to church music, i have always been curious what would have happened if the churches did not foster composition and performance of music for their services. Our catalog of classical music that we know now would probably be greatly diminished without that support. Without the ability to compose works I am sure there would not be a strong trail of influence that modern composers now have from previous composers.
I am sure someone out there has written on this matter but I cannot find any answers or even speculation into what classical music, or even popular music, would be now if it wasn't given a big a precedent a few hundred years ago within the churches.
You’re so right– music is a huge part of our every day life in many aspects, and often we almost don’t even notice it. When you started to list all the places where one may unawarely experience music, I had a moment of self reflection and I realized that there are many parts of my daily routine where music is present, but where I almost take it for granted or don’t really acknowledge that it is there. For example, the example of music that is played over the phone while we are on hold, or even as we wait in an elevator– somebody had to write that! I believe music has become so integrated into everything we do, that we often forget that someone spent a great amount of effort creating it, and if it wasn’t there, we would surely notice its absence. Even though we may consider such a thing “background music”, and almost insignificant, music in that context also has a role to play, and we would without a doubt miss it if it was not present. I think it’s important to realize all these different contexts in which music is used that you have mentioned, because it opens up many more opportunities for music-making. Music is required for much of what we do throughout our everyday life, which means composers are needed to create a wide range of music.
I love Pallas’ comment “it is eerie to think about how our lives are almost over-saturated with music”. This is so true, we are surrounded by music often the struggle is not to find inspiration, but to filter out everything else and focus on one style, genre, or piece. The good thing about such an abundance of music is there is somewhere for everyone’s music to fit in or relate to.
Many different kinds of music are important, wedding music, as you mentioned, radio music, soundtracks, etc., but music that elicits a reaction in its audience is special in its own way. The reaction can be positive or negative but music that is powerful enough to be banned by a nation (like Shostakovich’s opera you mentioned), or covered 1,000 times by amateur musicians effects the world in a way few other things can. Often this type of music is representing a feeling or thought that can not be expressed any other way, but clearly many people relate to this feeling or thought.
What I found most interesting in this post were your points on how composers could benefit from the fact that music is everywhere. This post certainly got me thinking about how many sounds I actually tune out in a day, and how the sounds that I tune out could actually be incorporated into my compositions! Sometimes composers use musical techniques to create sounds that have intrigued them from their daily lives. This makes the resulting compositions even more special to them. Composing of course is a competitive career, and there are many new composers who are attempting to achieve similar goals. These include entering in many competitions and earning recognition for their works. I agree that in order to create a successful career one must develop their skills in order to write high quality music at a relatively quick pace. Time is always of the essence and there are many people who seek similar opportunities. With that in mind I also agree that there are many roles that music plays in society, and that music can be written for many different purposes. There is a wide range of purposes that I may not have even heard of when it comes to composing music, and so this blog is a great way for me to understand the vastness of musical influence.
Interesting post Dr. Ross,
As you've mentioned, music truly is everywhere in the 21st century and with its many uses in our society composers are presented with more commission opportunities than ever before. Projects ranging from traditional ensemble work to short pieces that will be used in a variety of online apps present composers with more situations to receive compensation, but also require different stylistic demands/approaches to composition. With the rapid development of new technology and different forms of entertainment, its seems there is always a desire for new sounds to enhance a product or experience. While I think this is a great situation that will only continue to improve the livelihood of composers, I also find, as some others have pointed out, that this overabundance of music can sometimes become overwhelming. With manufactured sounds now present in nearly every aspect of our lives, I like to take time away from them to reflect on what I may have heard throughout the day. More often than not when I've had a day full rehearsals or listenings I won't play any music on my drive home to take a break. I find this time allows me to refresh my ears and mind, which prepares me for another session of musical activities.
I totally agree that music has extreme power when teamed up with a type of public event, from sports fields to war propaganda. I think what is most important to consider would be the context in which the music is used; Western culture decided to specify happy and sad music (among other evocative emotions) and in turn we have correlated certain musical tendencies with each emotion. Therefor it makes sense that we as a culture use music so often in life and especially at events. Each time we hear music in a public situation there is an emotion that whoever controls the music being played is trying to get us to feel. That's why super upbeat commercial music is usually played behind an add for a new soda or a new car. I like the points you made about firstly recognizing the fact that there is a constant need for types of music for events and other types of media and secondly being able to write that music when the opportunities are presented in life.
I find the idea that there is a never-ending demand for music to be very exciting and inspiring. It gives me hope that I will be able to share my work in different types of media and artistic experiences in the future. Music is more present than ever, which can be a good thing and a bad thing. There is the chance for musical overload when people are bombarded with music constantly to the point where they desire extended silence. There is also the potential for inspiration to be found in many places. Experiencing music alongside different events can create ideas for new musical experiences. When you hear something in a place that you don’t normally, it can inspire artists to create new musical experiences that might not have been conceived without this strange event.
When I leave the music building, I tend to desire silence or the sound of a podcast for a while due to the amount of musical overload I can experience in a day. This happens especially if I have spent a lot of time in and around the practice hallway, where the cacophony of different noises can be overwhelming at times. Even in this musical cacophony, however, people can be inspired to combine things that they might not have otherwise considered, after hearing them inadvertently presented at the same time. This can potentially open up new avenues for musical expression.
Overall, I think that the prevalence of music in society can be a huge benefit to composers, but it’s important to have moments of silence to balance out the cacophony of everyday life. Allowing your brain to build new connections based on the cacophony you hear could potentially inspire interesting and new approaches to writing music. Regardless of what anyone thinks about it, this cacophony isn't going anywhere so it may be better to embrace it and learn from it, rather than trying to constantly fight it.
This is something I've been thinking about a lot this week (as most of my work this week has been derived from the show WonderPets) and I also find this to be a very interesting topic. I feel like music doesn't only mean completely different things to everyone but also that it means completely different things to most individuals depending on the situation. For example, using examples you mentioned I think that most people will get very into the music they put on the radio but get very angry at music played as hold music. No matter how well written a piece is played as hold music, I think most people would still just get angry at it. I think anything can help a composer come up with ideas it's just how they see it. I showed the theme song of the show I based my current piece on to a composer roommate of mine and he found it a dumb theme for a dumb show but as it was a show I watched as a child with my younger brothers I was able to connect to it more and able to get inspiration for an entire multiple movement piece from it.
To be a professional composer requires you to think of writing music as a job, and in this sense it's only natural to view music as a commodity. This allows business principles to apply to finding work as a composer— such as supply and demand. Where there is a need for music to be made, there is profit to be found. But where the market is oversaturated with music and composers there is no money to be made. At the same time just because there is an area void of music, does not mean it'd be a good idea to try and fill it- as there might not be a need (there's always a reason there's a void). This thought process could potentially be very productive for composers trying to move from casual to serious working.
Interesting post Dr. Ross, it is true that music seems to accompany almost every aspect of our lives. Every occasion seems to have music to support it somehow, and without it it almost seems empty. I remember playing many different functions in which music was required, although not the main attraction. Mainly military functions and events in NL and Ottawa. It is true that music is in demand all the time, and being very aware of this and taking advantage can be to the composer's benefit. Composing to fit certain circumstances could be a promising business venture. I can see some composers being against it as they may feel it would force their creativity into a box, but I think it can also challenge a composer to write for a multitude of different styles.
This post reminded me of something I saw on the News a couple of days ago. As a demonstration of the lengths people are going to for social isolation during the Corona Virus pandemic, they showed a video of an orchestra playing Appalachian Spring, with each instrument’s part recorded separately and edited together in a single video, each player performing the piece from their own home. They recognized the power of music to bring people together, even during the current lonely times of social isolation. However, the most fascinating part about this news report to me was that the news reporter was talking about the recording process and the power of music WHILE the video was playing, so the listeners could barely even hear the performance. I found this amusing, because its hilariously ironic to talk about the power of music, while talking over the performance so no one can actually hear it. I think this demonstrates that, while the public appreciates classical music, the news did not think viewers would be interested enough in it to listen to the music without commentary over it. It was fascinating to me that they showed no part of the video with just the music alone. Perhaps the news team thought that this would be too boring for viewers?
This relates to your post, because it demonstrates the importance of musical context. Clearly, certain music is preferred by certain audiences, and some people (like those who ran this news station, and perhaps some of its audience) find pieces like Appalachian Spring to be boring, a piece which is highly regarded as a masterpiece by classical musicians. To add to this, I will include another story about this exact same piece. Last summer, I worked with a summer music festival called Gros Morne Summer Music, and we had a show where our Dark by Five Ensemble played an arrangement of Appalachian Spring for reduced orchestra. I found their performance to be breathtaking, and I was blown away by the musicality of the performers. However, some of my coworkers and family in the audience found the piece to be boring, saying that they thought it would never end. They complained that no piece of music should be more than 20 minutes long. Don’t get me wrong, I understand their point of view, taste of music varies dramatically from person to person. However, I think it demonstrates your important point about musical context and knowing your audience. As composers, it is crucial that we know who we are writing for. A piece of music may be laughed/yawned at by one audience, while being praised and applauded at by another. Different styles of music appeal to different groups of people, which is why its so important that we, as composers, write music that appeals to our commissioner/audience, even if it may not always align with our personal taste. If someone is paying you to write a piece of music, it is more important that they like the music, than it is that you like the piece of music.
The first thing I started to think when I read this article was that the reason music is everywhere is because it is such an affective artform. I thought about how slow, lyrical pieces can produce emotion at weddings, and how strong, military-style pieces can produce a sense of patriotism at government events. But then I started to think about how my entire point of view when it comes to music is totally and completely on my western-art-music-centered life experiences. I am now wondering how people of different regions and cultures would perceive this music, and how other traditions represent the same moods and atmospheres.
The knowledge that my point of view is so small feels both limiting and inspired. Limited because I’m not sure if it’s even possible to disconnect my personal musical associations enough to experience others. Inspiring because I realize this means there is a whole world of musical inspiration that has gone untapped in my own compositions.
The problem arises in this pursuit of finding new inspiration when you start to walk the line of influence vs. appropriation. There is a certain nuance involved when taking inspiration from other cultures and places. It sounds obvious and cheap when someone outside of a culture blatantly copies and imitates cultural music - it can border on offensive.
I find it inspiring to learn where composers get their inspiration, and I am interested in seeing how the conversation evolves as social awareness evolves.
I find music and political circumstances to be related on many levels. Whether it is standing or kneeling during the national anthem in sports games, to watching a comedic TV commercial about toilet paper, I think that somehow music has the ability to emphasize and even exaggerate moments in our daily lives. When witnessing things such as ceremonies on the anniversary of 9/11, music is often gravitated towards as a means of providing emotional support to speeches, demonstrations, and other related things. This kind of music often turns to classical music especially in a background setting. I think that while virtuosic classical music by romantic/ early contemporary composers is incredible to experience in concert, it somehow also doubles as music that serves well in the background. I do not believe that this is because of the composition itself, but it is perhaps due to the instrumentation, the performance/recording, and the timbre. Most of my friends outside of the music field are first introduced to masterworks such as Beethoven 5 and Mozart Symphony no. 40 in mediums such as the Looney Tunes, movies, and other sorts of media presentations (also the fact that I was born in Gen Z is rather important). These pieces and other mega popular works are interpreted by my friends as soft, boring, and plain. Really?? Well, yes in a given setting. I also recently learned that classical music began making an appearance in settings such as subway stations in big cities to reduce vandalism and rowdy activity. This somehow posed a bias to the general public that the subway stations are prestigious and should be treated with care. Thus, vandalism and graffiti effectively diminished.
I also would like to address the role of contemporary classical music in multi media settings or political circumstances. New music in the 21st century has grown in interest of including political connotations, cultural diversity (as a result of growing representation) and completely new interpretations of experimentalism as a result of electroacoustic music being introduced as well. There are also electric guitarists in classical chamber music settings and other widely popularized musical instruments. However, we dont see pieces such as Klavierstuck by Stockhausen making appearances in things such as TV commercials or funny shows. Perhaps the soundscape and musical settings is again influencing this decision, because I believe my non-music professional friends would not categorize the Klavierstuck as Soft or boring....
Ultimately, I feel as though what influences music in popular or political settings is not strictly the piece itself but the entire setting on a larger scale. Even if it is not the composers intent to demonstrate ideas of comedy or grievance, the common listener may grasp onto an entirely unique perspective based on what they hear at first. It is something that I can see changing as time goes on!
I find music and political circumstances to be related on many levels. Whether it is standing or kneeling during the national anthem in sports games, to watching a comedic TV commercial about toilet paper, I think that somehow music has the ability to emphasize and even exaggerate moments in our daily lives. When witnessing things such as ceremonies on the anniversary of 9/11, music is often gravitated towards as a means of providing emotional support to speeches, demonstrations, and other related things. This kind of music often turns to classical music especially in a background setting. I think that while virtuosic classical music by romantic/ early contemporary composers is incredible to experience in concert, it somehow also doubles as music that serves well in the background. I do not believe that this is because of the composition itself, but it is perhaps due to the instrumentation, the performance/recording, and the timbre. Most of my friends outside of the music field are first introduced to masterworks such as Beethoven 5 and Mozart Symphony no. 40 in mediums such as the Looney Tunes, movies, and other sorts of media presentations (also the fact that I was born in Gen Z is rather important). These pieces and other mega popular works are interpreted by my friends as soft, boring, and plain. Really?? Well, yes in a given setting. I also recently learned that classical music began making an appearance in settings such as subway stations in big cities to reduce vandalism and rowdy activity. This somehow posed a bias to the general public that the subway stations are prestigious and should be treated with care. Thus, vandalism and graffiti effectively diminished.
I also would like to address the role of contemporary classical music in multi media settings or political circumstances. New music in the 21st century has grown in interest of including political connotations, cultural diversity (as a result of growing representation) and completely new interpretations of experimentalism as a result of electroacoustic music being introduced as well. There are also electric guitarists in classical chamber music settings and other widely popularized musical instruments. However, we dont see pieces such as Klavierstuck by Stockhausen making appearances in things such as TV commercials or funny shows. Perhaps the soundscape and musical settings is again influencing this decision, because I believe my non-music professional friends would not categorize the Klavierstuck as Soft or boring....
Ultimately, I feel as though what influences music in popular or political settings is not strictly the piece itself but the entire setting on a larger scale. Even if it is not the composers intent to demonstrate ideas of comedy or grievance, the common listener may grasp onto an entirely unique perspective based on what they hear at first. It is something that I can see changing as time goes on!
It is encouraging to see an article such as this saying that composers and musicians will always be needed. There is much sentiment and articles online these days saying that musicians are 'non-essential' in our society, especially with the COVID pandemic.
I agree that music has been and is a very important part of our society. Music is used every like sports games, movies, and public events to name a few. It does seem that the importance of music in these contexts are un-recognized and even taken for granted. Take away the soundtrack from a movie and see how that changes the experience.
I do think that learning to compose music for certain occasions and contexts is beneficials for composers to learn. For example, composing music for a Christopher Nolan film may require to include lots of minimalism and slow crescendoes or sports games may require high intensity and loud dynamics. Learning to be proficient in many styles will increase a composer's success.
- Peter Perez
After watching the Opening Ceremony of the Beijing 2022 Winter Olympics two nights ago, my wheels in my head were turning and everything I had learned in music history was coming to light. Rather than reading about examples of music used in political ways, here I was experiencing it. Before the ceremony began, CBC did a precis in which they reported the hardships and human rights issues associated with these games, the fact that nor Canada or the USA was sending diplomatic representatives, and the rising tensions in China.
When the ceremony began, the reporters noted that it was planned to be extremely non-political and showcased ideas of hope and joy (Feb 4th marks the start of Spring in the Chinese lunar year). The image that China wanted to portray to the world was one of light, peace and new beginnings. That was politically interesting in itself. However, when the athletes entered the arena, that's when the classical music began.
Team Greece was the first to enter, accompanied by the William Tell Overture by Gioachino Rossini. As more countries entered, I identified many western classical works of many composers that are familiar to us music students. Spring by Vivaldi, The Nutcracker Suite and Swan Lake, by Tchaikovsky. After doing some research the next day, I learned that TV viewers would listen to 19 pieces of world famous music from Beethoven, Dvorak, Tchaikovsky, Mozart, Vivaldi and other famous Western composers. The Global Times stated "This is more than music enthusiasts would have anticipated and surely more than what the New Years Concert in Vienna could offer."
After reading more, I learned that classical music is normally used at most Olympic ceremonies, but something about this felt different. Maybe it was the fact that western classical music was used for all by one countries entrance- China. The piece of music, entitled In Praise of Motherland, is one that most Chinese are familiar with, as it is almost as famous as the March of the Volunteers, Chinas national anthem.
While I understand that China is the host country... this rubs me the wrong way. It rubs me the wrong particularly due to all the human rights issues surrounding these games, and other countries taking stands against it, that they played joyful, major keyed, famous western classical pieces. As if to say.. nothing wrong here? And then when China entered, they played a patriotic anthem .. as if to reinforce this message?
When I was watching the ceremony, I was thinking... who am I able to chat with this about? Wishing I was in a music history course this semester. So when I saw this blog post and your mention of Olympic Ceremonies in the list of classical music's usages, I was thrilled. I would definitely need to do more research about this topic but these are my initial thoughts. Something rubbed me the wrong way. Music has so many purposes other than to be performed at a concert hall for music lovers. The psychological effects that certain music has on humans effects everyone, not just music lovers.
This post is right, music is absolutely inescapable throughout day-to-day life. Almost everywhere you go has music playing, and almost every piece of media you watch has some sort of music: be it a theme song, some background music, or a performance of some sort. When you start to think of all the times you don’t hear music, it makes it pretty easy to realize that we are almost always surrounded by some sort of music, whether we realize it or not! This sounds like fantastic news for composers. If the world needs music for literally everything, then composers should always be busy on their feet writing to meet that demand. However, the answer isn’t necessarily that simple.
One place where I constantly hear music against my will is at my retail job. I’ve been working at the same clothing store in the mall since grade 11 and there is always a stream of loud pop music playing. Although they change the playlist every 2 months or so, they are always very formulaic. About 25% of each playlist consists of songs from “today’s top hits”, pop and alternative songs that have gotten big on the charts or online. Add in maybe 5% worth of remixes of songs from the last playlist that they weren’t ready to give up on yet. Another 20% is music that is just so objectively bad. I like pop music a lot, but the stuff in this section is usually just truly unbearable. Awful covers, “influencer music”, the kind of stuff that is comically bad. And the rest (the other 50% at least) is a genre I like to call “retail pop”. Happy, upbeat pop music made by unrecognizable artists, who’s purpose seems to be for playing in mall stores. The singers have this almost mass-produced tone that makes them sound like any other singer on the playlist, and many of the artists that I’ve researched from these playlists don’t have much of a following at all, but have lots of streams on songs that have made it to these playlists. These songs are formulaic and unrecognizable for a purpose I think, which is to not distract you from buying the clothes in the store. The consistently upbeat retail pop also makes you feel like you are somewhere cool and hip and trendy…just trendy enough that they know all these “new hit songs” before you do. It’s all a customer psychology trick, but the people behind making this retail music must make bank. Especially considering they come up with an entirely new lineup of this stuff every 2 months or so. There is definitely a market for retail pop if you’re able to finesse the right connections.
On this note, I cannot tell you the last time I went to work and heard contemporary classical music being played over the speakers. I can’t because that simply is not a thing that happens. I think that there are a few very specific types of music that the world is in demand of right now, like retail pop, but, like retail pop, this music is often not creatively fulfilling. I think you have to be really lucky to be able to pursue a career writing whatever kind of music you want. I guess it all comes down to what you are willing to sacrifice in order for a career in your field. If there’s work out there for writing music, but it’s for writing boring formulaic music that is also non-academic, is that a sacrifice worth making in order to make money writing music?
Music is indeed, everywhere. It surrounds us every day. Every restaurant, grocery store, gas station and elevator you walk into has music playing. This means that composers really never run out of a source to supply music for. I personally have been listening to the same classic rock playlist since highschool, but my boyfriend and his friends are obsessed with finding new music, as are most people. Composers will always have a audience to supply to, because people love music and have a short attention span, and need new stimulation.
There is something beautiful about the idea that composers will always be needed to supply new content to the public. I feel like composing is something that people do not consider as important as it really is, but take all of the composers out of the picture, and some of the worlds favorite artists and orchestras would have nothing to sing/play! Without composers, we would literally have no music to play!
Politically, music is one of the most important tools that the government has, even though they do not really appreciate that all of the time. In WWII, music was used as propaganda, and this is something that still happens today!
Overall, composers are the only way music can be supplied to the world, and without them, the government would lose a huge propaganda and marketing tool that they need so desperately. #savethecomposers
I think that the “who you know” part that you mentioned is probably one of the most significant factors in general. Yes, there is a constant demand for music from different genres and styles, but if you don’t already have your foot in the door with someone that you know or already have a reputation that precedes you, it’s not likely that you’ll get any of those opportunities. Of course, it is getting easier to get music out there and have people hear it with the use of the internet. However, this also means that there are also a significantly higher number of composers whose music is now easily accessible and provides more options if someone is searching for someone they don’t already know, forcing more reliance on your skills.
I also think that the practical standpoint that you mentioned of “what type of music you want to write” and “recognizing where music is needed” Are inseparable when attempting to recognize what opportunities are available to you. Obviously, if you refuse to write a certain style of music, then those opportunities are closed off, but it can also come down to the particular wants of the demographic within a time or location even within the same establishment for the same purpose. For example, within my personal experience I’ve noticed the church in recent years moving into the present-day styles of music, further away from hymn style pieces and more into worship songs. Or rejecting the modern entirely and considering songs written in the 70’s to be extremely new. And I’ve seen both of these ideals within the same town. So, you would have to understand what types of music you would be willing to write and match that style with the location that wants to receive it.
I know your mention of Ives was more of an aside but I think he is an interesting character in terms of expressing the changing places of music in the contemporary world. I really like his piece "General Booth Enters Into Heaven," which uses a traditional hymn song in a different and almost haunting way compared to what I imagine the tune would usually sound like. I think this kind of piece is very much a modern phenomenon and while it is beautiful, it is jarring in a way that would make it out of place for any kind of church setting. This makes you think about what the role of compositions like this should actually be. While there is still Christian or sacred music created created today, it is obvious this music has become less influential, as has the music of coronations, national events, etc. I don't think it would be too bold to say live music in general is less impactful in terms of social influence than it used to be, with everything being increasingly online. I don't have a particular example to give but I think in terms of maximizing musical opportunities, it is important to have an eye for where music is gaining importance in new places, and not necessarily relying on older places for opportunities.
I think musicians need to be reminded of all of these points more often. As much as I hate to say it, I have more people telling me about how hard it is to get a job with a music degree which is pretty discouraging when those sorts of statements are directed at an undergrad or even a graduate student instead of people talking about all the things you can do in the music industry. Of course it’s hard as a composer due to the competition and the fact that music is an art form, but the fact that there is always someone looking to perform new music I think is very reassuring and gives me a lot of motivation to be as versatile as I can and to keep going with what I want to do. I never thought about where music is needed, but now that I am thinking about it, figuring out where exactly music is needed and what kind is a huge advantage! I’ll be sure to keep that question in mind as I go through the rest of my degree and wherever I end up going afterwards.
I found the Shostakovich part quite interesting. The view of him and his views is pretty well split 50/50 with some people thinking he was very much for the party and the other half thinking he was very much against the party and Stalin. I think we can't know for sure but by the compositions by him and what little I know about him is that he made fun of Stalin...sometimes not even in a subtle way like with Symphony no. 5 for being not at all serious and happy and maybe at times purposefully clique. I
I don't like music that does along with political agendas that propagate propaganda. I do like it when one expresses an idea as individualists but as soon as groupthink becomes apartment, things sometimes lack authenticity. I think, goes that person really feel that way or are they just creating that music for the group and don't feel the material themselves. It is not good to be black and white about these situations but I have seen too many things go downhill as of late that are collectivist in nature.
The next question for me is, "what is authentic" and, "what are good views to share through music for an audience". Anything can be authentic or inauthentic, it just depends on the situation and who and what are behind the intentions. The other question can in a way be subjective based on your stance or if you have one one this topic, but what I am partially saying is that propaganda is typically bad...but not always. I just like to understand the composers and the (government's) intensions with the music chosen.
I enjoy this post as it allows me to reflect on the many life events I've experienced that relied on music. Whether the music was for atmosphere or entertainment, it was an integral part of the gathering.
Music is present during graduations, confirmations, weddings, funerals, and much more. Even small, trivial things such as shopping are accompanied by muzak. The connection of music to events reminded me of the discussion of the Dies Irae, the Gregorian chant for Roman Catholic Requiem Mass, and how its close association with funerals and the dead has now made it a musical motif associated with danger and death. It brought me to the idea that music's place in these events all leads back to emotional stimulation.
The point of putting music in these environments is to encourage emotional engagement. This would correlate with having an orchestra, bagpipes and drums, cello and flute, solo cello, and a children's choir (fun fact: I was a part of!) at the 9/11 tenth anniversary.
So how would a composer take advantage of niche markets and understand how to compose for certain events? I think it is important to note why music would be a part of the event in the first place. For instance, writing for a wedding would likely take a grander plan of attack than composing a 4-minute loop of muzak to put in an elevator.
Wedding themes aim to bring out romance, elegance, and light themes but also compliment the personalities of the people in the wedding. A business I've noticed gaining attention is receiving commissions to arrange a couple's favourite song for the bride's entrance – typically the songs are obscure picks for a wedding, so the composer will change the genre to make it melodramatic, sweet-sounding, and similar to typical classical wedding themes. It is a strong corner in a niche composing opportunity, and similar to what was suggested in the blog: learning to write in a variety of styles so a composer is ready to take on any commission. Also, It connects back to what evokes emotion in the people you're composing for. This emotional reasoning behind music is what will lead to well-received music.
This is also why music is so important in movie soundtracks and video games, as it also aims to evoke emotion in its audiences. I think if I were to compose professionally, my goal would be to write for game development or films. It leans towards more atmospheric compositions or high-tensity dramatic music, which I enjoy writing.
As composers, we should be or learn to become open to the different styles of music. We may not get the compositional job that we wanted initially so we should look to all areas in which to better our abilities at composition and to be more part of the present and future of our area.
I think there is a use for State sponsored compositions that may benefit the population, including the composers writing for it. However, the compositions would have to be, in my opinion, interesting and done well for more people to associate with it. People will find it lame if the parts are poorly put together and at a lower budget.
With this all being said, if the sentiment and the goal is not important to most people and it's for a party that one does not like, they will go agaisnt it anyway.
The music should stay a bit ahead of its time, rather than its usual for in this area, behind it's time.
Reading this post, it made me try and think of events that do not involved music in some way. I can't think of one. Even the saddest events, like funerals where you think there wouldn't be music, there is music.
The post also reminded me how music can heavily affect your mood. In reality, there is music everywhere, like the mall. If a slow song is being played in the mall while walking around, most likely that person isn't going to what to stay there very long. But if a faster pace song is played, that person is put in a better mood and will most likely stay there. For instance, if I am in a store and they are playing a song I like, 9 chances out of 10, I'll stay there until the song is over.
No matter the circumstance, there's a song written for it. It is evident that composers need to be open minded to write many different genres. Yes, some composers make it big writing in only one genre, but others don't. Sometimes to be successful, composers need to write songs that are in demand at that time.
This post really shows the amount of impact that music holds. Music is everywhere, no matter where you go, especially public events.I think it is super important for up and coming composers to recognize that. Music can really move people, and can affect their mood. I may have mention this idea in a different blogpost, but I think it still relates here; music is the closest thing we have to a Time Machine. I know when I hear a song that had great meaning to me years ago, it takes me back. Like a song I listened to nonstop while on vacation, or a song that was super popular during an important part in my life
I definitely agree with the notion of trying to compose in as many different musical styles as possible to expand your knowledge as a composer, and I think that a big part of that does come with trying to expose yourself to as many genres and writing styles as possible. Some of the most interesting music that I've heard comes from a place of merging multiple styles - or at least compositional techniques - into one amalgamation. This almost always leads to works that are, at very least, interesting to listen to. I have definitely found that in my own compositions, I find it very hard to write post-tonal works, as I think a lot of composers do. But the act of writing piece after piece is absolutely improving my technical ability, and more importantly versatility as a writer. This is especially important in today's musical landscape for numerous reasons, including the fact that the music industry is moving at a pace so much faster than at any other point in history, and being able to adapt to the times in a compositional sense is now especially crucial.
Awesome post! I’ve always thought about how music is everywhere and i have tried to compare it to how language is everywhere. More specifically, when children are starting to learn how to read and write, they are so inundated by reading and writing the second they leave their houses and see anywhere in the world. An example of this is for example if their parents take them for a drive, they will inevitably read every traffic and store sign there is, so they become good at reading, and their writing also improves thanks to that. I find that with music is sort of the same, but our ears as composers have to be open to be able to hear it everywhere, but i find that once you get into that mood where you hear music when a leaf falls off a tree, it is natural that our own composing process will be come more natural and better in a way. I think it is also important to know that we have to be open to be able to listen music in anything, because sometimes it is easy to ignore the sounds because they are too this or that, but I think that is part of the music as well.
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