Universal Remonster 7

 

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The Log Journal is becoming the place for interesting discussions about how the discourse around music is changing:

Anne Midgette

Zachary Woolfe

Du Yun

The above three interviews were conducted by Steve Smith; Will Robin led the discussion with Suzannah Clark, Anne Shreffler, and Alexander Rehding.  Across the water from this Harvard trio is the controversial Guardian piece by Charlotte C. Gill. While I understand some of the spoken and unspoken rationale at Harvard (diversity and challenging the Western canon is good, also this is another way to snag music majors for the university’s coffers) the Gill piece is less easy for me to parse. In the end I suspect Gill’s unspoken agenda is about finding ways to cut funding for the arts by claiming that notation is elitist. I’m not a really sophisticated observer here, but in recent times it seems like England has produced more valuable music in the European classical tradition than most other countries. If that’s true, that must partly be a product of how an unusually large percentage of the population understands notation. Alex Ross talks about “pop triumphalism,” this may be relevant concept when considering Gill’s argument….

Hua Hsu on Alice Coltrane.

Oliver Lake on  Arthur Blythe.

Mark Padmore on Bach. (This is really great!)

RIP Allan Holdsworth. David Adler (who is a guitarist as well as critic) offers the right kind of obit.

RIP Chuck Berry. Did you know it was Jo Jones on drums behind Berry at Newport 1958?

Alex Ross on Stravinsky’s rediscovered “Funeral Song.”