Thanks for a very intersting text! And well written. Your debugging of the musicotechnophilia is indeed very important.

In musical education in Scandinavia, you have a trend for the moment I would call ipadialisation, where technoenthousiasts praise the possibilities in a software like Garageband. It simply, – this is their claim – enables the kids to express themselves musically in a natural way.

This is where your criticism about the inbaked bias of the technologies hits bulls eye: no technology has ever been or will ever be value free or neutral.

This is also why, by the way, that it is not a big surprise that the tools are eurocentric. Actually they SHOULD be centered in the culture in which they exist. If exported to other cultures, each local culture should then reinvent the technologies or make new ones according to their context. The REAL problem is that the tools are not eurocentric enough.

The current technologies are build on abstractions like scales, chords, metrum, notes etc., this being reinforced by techniques like autotune, quantization etc. These abstractions come from an analysis of what we used to call music.
They are based on music theory, which is to say that they are focused on an end product, viewed through certain filters, and that they completely overlook 1) the embeddedness in real life materials, – the resistance of musical instruments, of the human voice, of space and of context in general, and 2) the potential generation of new elements to be included in what we might consider as musical, ie noise, gesture etc. and not least 3) the non-conformity of actual musical practices with what musicologists and others have zipped into these abstractions, basically driven by a logico-deductive approach, – probably in an attempt to legitimize the field of study called musicology.

Real eurocentric digital technologies would
A) take the technologies themselves seriously, and use the new media in their own right, while allowing them to combine with existing technologies.
B) be sensitive to humanness, be tweakable for to the user, be open for him/her to express the nuances of everyday life.
C) be open to context, be combinable, pluridimensional.

Matthew Thibeault

I was delighted to be invited to respond to John Kratus’ talk at the CIC/New Directions conference today at Michigan State University.

My response focuses on the importance of a critical perspective and pragmatic approach to technology in music education. To assist those who might like to follow up on some of the ideas, I’ve posted my response, with additional footnotes and references, right here:
Thibeault CIC 2011 Response.pdf

And here’s the picture from the Ellnora Guitar Festival sing-along from my slides:

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Compositional processes and mutated chairs, – experiences from a workshop with young musicians

Watch my short ‘videoscribe’ about a workshop with 4 piano players, a guitar, a bass and a saxophone player.

unmusic

“Kraptavicius’ catalog has been recognized widely, with concerts and sound-art installations all across Europe. These events have helped to develop what he calls an aesthetic of “unnecessary notes.” Hence his particular love for digital compositions, since he feels that computers help to “pull” elements of unmusic into his portfolio: machines show scant regard for compositional norms.”

From Far From Moscow  about the Lithuanian collective known as Twentytwentyone.

“Today is a landmark day in the history of music.  On Saturday February 5th at 10:37 AM a new genre of music has been born.  Welcome to the world of UnMusic.  Many times I have read the song titles on albums and thought to myself “This album has great song titles, it’s too bad the songs are horrendous.”  If you have had that thought from time to time, then UnMusic is for you.  UnMusic removes the irritating and grating music that is on albums and merely gives you song titles. I give you the song title, what your imagination does with them is up to you. Think of the possibilities?  Music without the limitations of actually having a song!”

Keith Spillet in his blog The Tyranny of Tradition

These are two different ways of using the term unmusic, among surprisingly few google search results. I am looking for a term the can denote a way of working with sound that is musical in the sense that it draws on the essential elements of analogue reflection through sound, although it does not share the caracteristics that people in general would expect when they are presented with the term music.

There is the term unschooling, which is broadly used, it has over a million google hits, and a definition on wikipedia:

“Unschooling is a range of educational philosophies and practices centered on allowing children to learn through their natural life experiences, including play, game play, household responsibilities, work experience, and social interaction, rather than through a more traditional school curriculum.”

Would it make sense to use the un- in front of music in a similar way? The 2nd quotation above has a definition and a use of the term that makes sense, – the ‘un’ signifying a totally reversing of the way we in general think music, namely as something that unfolds through sound. Well in this use of the term, it simply denotes  silent or imagined music. One could state that there is not necessarily a natural opposition between music and silence, since what makes music musical is the way we use silence. This is obviously not very much the way most of the music people listen to is conceived, satiating each millisecond with a wall of sound.

In the first example above, from Far from Moscow, there is not a clear definition of the term unmusic. In the cited article, there is an equation of unmusic with “non-musical”, as well as “experimental electronics, electroacoustics, minimalism, phonography, improvisation, sound art”. It seems like just another genre term, of which the world has already got in abundance.

The un- in unschooling doesn’t set up an opposition to the goal of schooling, namely learning, but it questions the current framework of learning, namely the school. To the extent that we can consider music a term for the institution music, it makes sense to use the un- to reclaim the term music from its current use, so much infiltrated in the idea of music as a commodity or an object, and all the activities and categories supporting that misunderstanding: genre, styles, CD-release, labels, etc.

Unmusic in this sense would be a way of describing activities around sound that are collective, open ended, non-hierarchic, non-linear, including, in short human. Culturally as well as socially sustainable activities around sound. That is unmusic.

Bikestruments, the silver return

Political pimp-your bike-workshop, hacked for street politics

A local workshop hosted by a red-green political party with the agenda of promoting the bike as a preferred choice for transportation. The name of the workshop was “Pimp your bike”.

Fonografiti activists ‘hacked’ the event (to which you might question the environmentally friendliness of using spray paint for ‘pimping’ bikes, btw), and ‘pimped’ some bikestruments, spray painting them silver.

After being silverly pimped, the bikestruments were hanged on the same spot where the other – un-pimped – bikestruments had been violently abducted.

Now the question is: Does the ‘pimping’ of the bikestruments, possibly sending the message “we are street”, inspire passers-by to NOT remove them?

Now THIS is a pimped bike!! (Photo by Simon Cordes)

sQRikebeam bor fow

Ich bin auch ein Fahrrad, -or- Bikescream for QRow

-or- traffic jam session

Recommendation: Watch the video clip while listening to the sound:

The participants made sounds with the bikestruments and formed them with their voices through the Anthropomorfer. When working with the sounds via smartphones, how could we do with only very little space? I hadn’t prepared a silver concept for that part. Somehow someone came up with the idea to follow the passing cars, bikes and people with the sounds. So each participant chose one feature, for instance “everything yellow”, and each time a yellow car, bike og hat passed by, he/she would ‘follow’ the moving object with the sound, panning from left to right or vice versa. In this way, a new aspect was introduced in the the-street-as-an-instrument-concept: SILENCE!! Since there were not yellow things passing by all the time the participant following yellow things had to keep silent in the pauses. But since each participant followed his/her specific feature, – bike helmets, taxis, blondes, etc., a great variety of movements and velocities naturally came to the improvisations, thus creating variation and new mixes/collisions. QRaaaaa QRaaaa!

Related articles:

Bikestruharp, former bike now instrument (www.akutsk.wordpress.com)

Bikestruments, bridgestruments, anti padlock guerilla (www.akutsk.wordpress.com)

Ceci n’est pas une pub. This is not a commercial.

ImageThis qr code links to a recording of a street improvisation by ordinary passers by, facilitated by Akutsk, using the Anthropomorfer. Sound graffiti you may call it, I use the name fonografiti. When using a qr code, we embark on the colonisation of the still rather virginal web based virtual track of the street.

Although the medium is sonorous, the access to the location specific electro acoustic collective improvisation necessarily passes through the visual. The qr code must catch your attention before it can work as a key to the virtual audio track of the place.

QR codes are in many cases used in commercial contexts, and the first thing we need to do is to decolonise this technology from the logic of the market. I’ve met a good deal of people not aware that you can easily make these codes yourself. Using qr codes is probably the easiest way for anyone to interact (virtually) in the street through sound, – and any other media btw.

In order to make sure that people understand that this specific qr code is not a commercial – ceci n’est pas une pub – we must add something, visually, to the code itself. Streetsoundartist Medlyd uses CD boxes on which he paints the QR code. Using a technique that cannot be subject to mass production, Medlyd succeeds in communicating the non-commerciality of the code. And a CD box connotes music. It’s a CD release!

In this photo you see a stencil of a hooded crow on top of a paste up of a QR code measuring 15×15 cm. The obvious handy craft side to the work makes it obvious that this is not commercial, it is ‘street’.

Now scan the code! We won’t sell you anything. We want to share a unique piece of sound art improvised on this specific location using only sounds from this place.

Ceci n’est pas une pub.

Building streetstruments: paint-bucket-bass, drain-trombone and sewer-chimes

First workshop: constructing streetstruments

The street dressed for the streetstrument workshop

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Materials from the construction site are lined up according to their characteristics

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The participants are constructing streetstruments

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Sewer chimes

Second workshop: Collective improvisations on electrified streetstruments

Improvising using the paint bucket bass

After the workshops: The streetstruments are left in their street, inspiring passers by to make their own street improvisations

Paint bucket bass and drain-trombone entrusted the passers by

Related posts:
Construction site interacts musically with neighbors

Quotation: Lefebvre about the living disorder of the street

The street sound activist’s toolkit