Copyright law and the most famous 6 seconds of contemporary music

I'm working on some research regarding copyright laws in the music industry, with a focus on genres when they are emerging (i.e., considered underground). Copyright laws are all about providing incentives for creative development and productive research. One of the big questions about copyright laws, particularly in the arts, is whether they have any retroactive power regarding things created (and not copyrighted) in the past that are being currently adopted and used (often without remuneration).

One of the people I'm working with on this sent me the video below regarding what is likely the most famous 6 second drum break in contemporary music. Its originally by a band called the Winstons and was written in 1969. This 6 seconds made its way through rap and hip-hop, helped found drum & bass and jungle music, and has made its way into advertising.

January 13, 2010: a rough day for music

Yesterday, three prominent musicians died: Teddy Pendergrass (soul, R&B), Ed Thigpen (jazz) and Jay Reatard (punk, garage). Rough day across all genres of American music.

Canada's Music Industry

According to a recent report by the Martin Prosperity Institute:

On a per capita basis, Canada’s music industry dramatically outperforms the US when it comes to the presence of music business establishments (this category includes record labels, distributors, recording studios, and music publishers). Canada has 5.9 recording industry establishments per 100,000 residents, about five times the US figure of 1.2.

However, this appears to really be only on a per capita basis:

Recording industry establishments in the US are slightly larger – they have an average of 5.9 employees each, compared to only 5.7 in Canada. But the difference is dramatically more pronounced when it comes to revenue. US establishments earn average receipts of $4.1 million per establishment, compared to only US$540,000 in Canada.

So Canada has considerably greater per capita musical activity than the United States in terms of record labels, recording studios, and licensing houses. But the data tell us that the United States has much higher-earning businesses that are more heavily clustered in fewer places – especially Nashville, Los Angeles, and to a lesser extent, New York.

While this research is preliminary, we can speculate about what drives these differences. Economic geographers, from Jane Jacobs to Allen Scott to the Martin Prosperity Institute’s own recent analysis, have long noted that growth in creative industries like music tends to be driven by clustering and economies of scope and scale. The concentration of the American music business in a few key cities likely encourages these forces. In Canada, the fact that the music business is more evenly distributed is certainly a positive thing for musicians looking for opportunities in smaller cities. But failure to cluster in a few key centres may be discouraging the Canadian music industry from growing larger and more internationally competitive.

The Talking Piano

In this truly amazing video, we see how a frequency analysis of an individual's voice can be turned into "music". The result: A Talking Piano.

National Ramones Day

So today (October 8th) is the birthday of both Johnny and C-Jay Ramone. If there was ever an occasion of a holiday in the name of the Ramones, this might be it.

John Philip Sousa on the recording industry

I'm currently reading Elijah Wald's book How the Beatles Destroyed Rock and Roll. In it he discusses the views of John Philip Sousa towards recording and the dissemination of "machine-made music." The quote below is from Sousa's essay "The Menace of Mechanical Music" [published in 1906]. The essay made me think of Jason Heath's recent blog post on why teenagers don't listen to classical music.

Right here is the menace in machine-made music! The first rift in the lute has appeared. The cheaper of these instruments of the home are no longer being purchased as formerly, and all because the automatic music devices are usurping their places.

And what is the result? The child becomes indifferent to practice, for when music can be heard in the homes without the labor of study and close application, and without the slow process of acquiring a technic, it will be simply a question of time when the amateur disappears entirely, and with him a host of vocal and instrumental teachers, who will be without field or calling.

Great Britain is experiencing this decline in domestic music and the English press is discussing it seriously in its editorials. A recent writer in the London Spectator dwells at considerable length upon the prevailing condition, and points to the novel as a sign of the times. The present-day fashionable writer of society fiction, he declares, does not find it necessary to reënforce his heroine with vocal accomplishment, "as in the good old days." He ascribes the passing of home performance, both vocal and instrumental, to the newborn love of athletics among the maids of Albion, together with the introduction of the phonograph as a mechanical substitute for amateur performances....

Under such conditions the tide of amateurism cannot but recede, until there will be left only the mechanical device and the professional executant. Singing will no longer be a fine accomplishment; vocal exercises, so important a factor in the curriculum of physical culture, will be out of vogue!

Then what of the national throat? Will it not weaken? What of the national chest? Will it not shrink? When a mother can turn on the phonograph with the same ease that she applies to the electric light, will she croon her baby to slumber with sweet lullabys, or will the infant be put to sleep by machinery?

Children are naturally imitative, and if, in their infancy, they hear only phonographs, will they not sing, if they sing at all, in imitation and finally become simply human phonographs -- without soul or expression? Congregational singing will suffer also, which, though crude at times, at least improves the respiration of many a weary sinner and softens the voices of those who live amid tumult and noise.

Just so far as a spirit of emulation once inspired proud parent or aspiring daughter to send for the music teacher when the neighbor child across the way began to take lessons, the emulation is turning to the purchase of a rival piano player in each house, and the hope of developing the local musical personality is eliminated.

The country dance orchestra of violin, guitar and melodeon had to rest at times, and the resultant interruption afforded the opportunity for general sociability and rest among the entire company. Now a tireless mechanism can keep everlastingly at it, and much of what made the dance a wholesome recreation is eliminated.

The country band with its energetic renditions, its loyal support by local merchants, its benefit concerts, band wagon, gay uniforms, state tournaments, and the attendant pride and gayety, is apparently doomed to vanish in the general assault on personality in music.

Remember, his was written in 1906. I, like Sousa and Heath, think that the changes in music listening habits has a large part to do with the way teenagers (and the rest of us) listen to music today. With the easy availability of MP3 players and the internet providing quick access to literally hundreds of thousands of listening options, classical music is just not properly "placed" to be consumed like other genres: the pieces are significantly longer; the pieces vary in tempi, dynamics and other ways that don't catch people's attention in a world where individuals can listen to their iPod for 3 minutes at a time between classes, meetings, and other friendly interruptions.

The way we consume music has also affected jazz. The fact that individual's purchase their music online now (more than ever) suggests that the art of writing liner notes is being lost. For jazz fans and musicians, the liner notes of an album provide important information on, among other things, the side-men on a given recording date. This has changed (I believe) how people listen to a jazz recording: if the side-men are not mentioned, what are the chances that the average listener will be noticing their contribution to the recording. Now it is harder to follow the contributions of side-men like Larry Grenadier, Eric Alexander, or Terrel Stafford in their contributions to the recordings of others. As a result, I think the way we are currently listening to music also has something to do with the perception (real or not) that jazz is in need of saving.

Jazz 50 Years Ago

Here's the article. 'Nuff said. Will we ever have such a landmark year for music in any genre?

Practicing Your Songwriting

I recently had an article appear in the Serve the Song blog (a blog I read pretty regularly and find very useful). Here's the article:

Like anything, songwriting improves as one practices one’s craft. Practicing songwriting can often be a daunting task not only because it seems odd as a concept (What is the difference between practicing songwriting and being creative by actually engaging in the process of songwriting?) but also because it requires admitting that your own songwriting needs improvement.

Many times, once we write something we have a hard time letting it go, admitting that it needs complete rewriting or that may just not be that good to want a live performance or recording. Many years ago, I read somewhere that Charlotte Cafferty (then guitarist of the Go-Go’s) wrote hundreds of songs that never saw life beyond her notebook. She viewed these is not good enough for live performance and use them as examples to learn and practice what worked and what didn’t work.

Personally, for every 10 songs or so I write, one makes it in front of a band; and for every five that I bring to the band, one makes it to a live performance or recording. While this may suggest that I’m extremely prolific or just plain suck at writing, I take a different view: In a sense, all those bad songs I write are practice for the good songs I write.

In any event, admitting that a song you have written requires rewriting/retooling/rejecting can be difficult. Sometimes when I’m just not in the mood to rework my own material, I turn to the work of others. My approach is this: How many times has a song you don’t particularly like gotten stuck in your head? It happens to me all the time. Sometimes I wake up in the morning and one of my kids’ favorite songs is stuck in my head. Sometimes I (inadvertently) hear a song by an artist I don’t like, only to have the song repeat over and over again in my head throughout the day. There must be something about these songs that makes them “stick.” So, I use these songs as material to practice my songwriting. Literally, I take these songs and start rewriting them, taking them apart to figure out what makes them tick and why they are so catchy. At the same time, I’m honing my own skills with melody, harmony and rhythm.

Deconstructing a Hit

When practicing songwriting, it’s useful to think about what it is that makes these songs (perhaps regrettably) so memorable. Is it the melody? Is it the artist’s phrasing? Is it the rhythm or chord progression? As such, rewriting an existing song can serve several important purposes:

1. By dissecting and rewriting an existing song you can learn a great deal about what makes its melody catchy or its rhythm addictive. I often take an existing song and try to change one aspect (e.g., melody rhythm progression) while keeping everything else constant. This allows me to see how, say, the artist phrasing works within a melodic or harmonic structure.Sometimes I keep the melody and try to change the chords or rhythm in order to understand how a seemingly catchy melody can be supercharged by the right rhythm and harmony to create a monster you can’t get out of your head. Through this, you learn what works and what doesn’t for more general songwriting.
2. This type of work also gives you an opportunity to step outside of your genre. Maybe you can take that goofy Carrie Underwood song about cheating and turn it into a mambo? Maybe you can really stretch out an do what these guys did, converting a Brittany Spears song into a fugue. By stepping out of your genre and writing something really different, you open yourself up to new ways of conceptualizing a song. You hear new rhythms and phrases that may spark ideas for your own original material.
3. Finally, by working from an existing song you are not only learning from an example of a “successful” song, but you’re also practicing your own craft. In re-writings say a Beyonce song or something from the soundtrack to bear in the Big Blue House, it’s impossible for you not to interject your own ideas and style. As such, your songwriting, arranging, and your toolkit of songwriting tricks and ideas can only get better.

Bands and Brands

Recently, I've been reading Songs for Soap, a blog fron Advertising Age. Two recent posts caught my attention, both of which I believe have the same (in one case, tacit) message. The first post is by a marketer and gives a glimpse into what marketing people think of the music industry:

People can sift through a site like HypeMachine and read, engage, and comment on their favorite and possibly-favorite artists, all while listening to their entire album (plus remixes). How often do those links to Amazon and iTunes go un-clicked? The enormous ocean of music, sorting through what you do like, don't like, and may-very-well-like-but-haven't-heard-yet is a Herculean task. Once a user finds something they like, they can search for it on a site like Qloud or GrooveShark and stream it instantly. Repeatedly.

Indeed, the current process of discovering music has replaced the need to acquire music. Certainly, there are those remote corners of your life, like camping or swimming, where the internet determinstic argument falls down, but even those areas of our lives are being constantly opened up by new devices and infrastructures. The car has already fallen under the constant "just give it time" umbrella.

Music is sort of like a municipality, like water from a faucet: free, of acceptable quality. If you want a more savory experience, there is always the bottled variety. In fact, this paradigm shift is already behind us.

Given this ocean of music, the second post suggests where a musician's focus should be in terms of getting involved/included in marketing and advertising:

...they consistently ask the same question during or after these panels: "How do I get you and your brand clients and agency clients to choose my song or my band for your next major ad campaign?"

The answer is complicated, but the short answer is this: There is no music-branding silver bullet that will skyrocket a developing artist to stardom and riches. Take your time and focus on your own career and we will find you. It's often not the answer these artists want to hear, but it's the truth.

Coca-Cola, Nike and Gap are not going to place your song in a national TV spot or your artist on their billboards or the print ads they are buying in Vanity Fair unless the brand or its agency understands your brand as an artist.

There, I said it. As an artist, you must become a brand unto yourself. It's only then that a major marketer will desire this transference of values. The values that you as an artist embody and express to your fans and your community must be clear to a brand and must match their own values. The brand will then be much more likely to desire your music and a relationship with you as an artist in order to express its values.

The central message (as I see it) is "get better, hone your craft, discover yourself as an artist."

Music Critics in the Twitter Age

I was directed to this by a friend: Christopher R. Weingarten discussing the role of the music critic in the world of Twitter at the 140 Characters Conference. His talk is funny, witty, and very relevant. I think the most important aspect of the talk is his emphasis on the fact that people using Twitter (and blogs for that matter) don't address the "Why?" questions in the explaining why a band/album is good/sucks. It reminds my a bit of this post.

A Rough Day for Music: Sam Butera and KokoTaylor

Both Sam Butera and Koko Taylor passed away today. Below are videos of Butera playing Night Train with Louis Prima (check out Keely Smith's facial expression). The second video is Koko Taylor with Little Walter.

Louis Prima - Sam Butera - Night Train
Uploaded by rocknroll50. - Music videos, artist interviews, concerts and more.

More on Goal-setting and Achieving Goals

I was forwarded this post on goals and goal-setting. I have an interest in goals, having blogged about it and done research on goals, and use them myself to try and get things done. In any event, some of the interesting points from the post:

1. Start With An Easy Goal And Complete It

Choose a simple goal and get it achieved within the next two weeks. This will start your momentum and get you feeling like you are in full forward motion.Think of a small, achievable goal that only takes four to five hours to complete. Next, set a date when you will get it done by and go for it.

2. Make Lists To Stay On Track

• Make daily lists of what you need to do to get your goals met - the night before! Do the hardest thing first in the morning- don’t procrastinate.
• Do something everyday that moves you towards the goals
• Delegate the little activities that waste your valuable time to other people (you would be amazed what you could do with the 4 hours it takes to clean your house).

3. Get Help

Build a TEAM to help you!! Get an intern or two - log on to http://www.entertainmentcareers.net and post as an employer seeking interns - you will be amazed at how many bright young people would like to get their feet wet in the business.

4. Remember You Can Change The Goals As You Go

Goals should be looked at as beacons and guiding points for you to keep yourself on track along your journey. I would not recommend changing them every week but the music industry is changing so rapidly it’s hard to know what goals are reachable in this landscape. So if over the course of the year your goals change its OK to cross one off or modify as you go.

5. Don’t Beat Yourself Up!

This is a process intended to take a whole year and you will have your days where you may get frustrated, and you will start to beat yourself up (sound familiar?) Self-criticism will interfere directly with achieving your goals and dreams. So, the next time you are making yourself wrong, take a step back and instead acknowledge the good, and celebrate your achievements.

6. Write Down 5 Successes Each Day

I’m inviting you to write down five little victories a day for this entire year. I learned this powerful technique from T. Harv Eker. Once you start getting into this habit, you are training yourself to put the focus on the positive and get your brain to stop being so critical. So put a notebook in your gig bag or next to your bed and each day write down 5 things. Make one or two of them music or band related.

This Day in Music History

May 29 is a busy day in music history:

1. The Rite of Spring premiered in Paris in 1913.
2. Bing Crosby recorded White Christmas
3. Birthdays: Iannis Xenakis, Danny Elfman, LaToya Jackson, Mellisa Etheridge, and Noel Gallager.
   

Twitter tips for Musicians

I found this post interesting. I've only recently started using Twitter in any real sense. I'm still trying to "find my voice" with Twitter, not to mention my audience.

Writing Music In Your Dreams

I recently came across this article from a 2006 issue of Consciousness and Cognition. in some of my other research. From the abstract (my emphasis):

Music in dreams is rarely reported in scientific literature, while the presence of musical themes in dreams of famous musicians is anecdotally reported. We did a systematic investigation to evaluate whether the occurrence of musical dreams could be related to musical competence and practice, and to explore specific features of dreamt pieces. Thirty-five professional musicians and thirty non-musicians filled out a questionnaire about the characteristics of their musical activity and a structured dream log on the awakening for 30 consecutive days. Musicians dream of music more than twice with respect to non-musicians; musical dreams frequency is related to the age of commencement of musical instruction, but not to the daily load of musical activity. Nearly half of the recalled music was non-standard, suggesting that original music can be created in dreams.

Feeling/Finding the Pulse

I came across this nice article on the importance of pulse in bringing musicians together as an effective ensemble. I recently played at a rehearsal for an ensemble. I'm sure I won't get a call back as the band (maybe more precisely, the rhythm section) never gelled in such a way as to find a unique and binding pulse. I'm not sure if it was my sight reading or that of the others, a bad vibe between us, or just ne of those days. In the end, it never clicked.

I got me thinking about how an effective rhythm section operates. One of the groups I play with (a trio) has a great pulse. I'm always amazed at how we click when playing together and how we anticipate one anothers' fills and rhythmic changes.

I think one important part of developing a pulse is having one yourself. This is more than just being alive with your instrument. It takes practice. For this, I think a metronome and the ability to sight read rhythms are essential. Myself, I try to spend some time during each practice session sight reading rhythms. One tool I use is rhythmpatterns.com. This site has lots of rhythms that you can just pull up and read. I also like grabbing books of latin music or atonal etudes as each has its own rhythmic perculiarities. Reading this music (or at least the rhythms) not only improvies your sight reading but also your musical knowledge base.

Another important aspect of having your own pulse is using a metronome. Many people I know eschew a metronome when practicing as they feel it will interfere with there sense of "musical flow" or "swinging". I believe that all music requires a pulse and that training yourself to play with a pulse means using a metronome in the background to, at a minimum, remind you of the need for a pulse. Here's a nice article on the use of a metronome. Personally, I think too many peoiple believe that using a metronome means hearing a click on beats 1, 2, 3, and 4. These people forget the flexibility of using a metronome: putting the clicks only on beats 2 and 4; putting the click only on beat 1 or beat 4. Using a metronome in a more creative fashion can only improve your musical flow and ability to swing.

Peter Tambroni's edition of Bottessini's Elegy

To celebrate his 100th post on MostlyBass.com, Peter Tambroni has made his edition of Bottessini's Elegy available free for download. This offer expires on April 3rd so you better move fast.

Great Jazz Video Site

Have you ever spent more time than you expected searching through YouTube videos? I've lost hours of time seeking out footage of Mingus or watching Ray Brown's masterclass on YouTube. Well, now someone has done the searching for you. (The viewing is all up to you.) A new site by Brad Sharp lists all sorts of great artists and their YouTube video performance. Best of all (I think), its sorted by instrument. Warning: Make sure you have some time set aside before getting started on the site.

I've suggested that he add Scott LaFaro to his list. Although there is not a lot of Scott on YouTube, there are a few videos. The one below is short, but dynamite! What a bassist!

And my parents tought a regular degree in music was worthless

When I was an undergraduate, I wanted to pursue a degree in music. My parents were totally against it and, under pressure, ended up pursuing a degree in accounting. Talk about a 180. Anyways, its long story and has a happy ending.

Moving beyond my parents, imaging what they would have thought if I pursued the following:

Liverpool Hope University has launched a brand new MA in The Beatles, Popular Music and Society, the first of its kind in the world.

The new course, which can be studied both full and part time, covers four modules with specific issues relating to The Beatles and Popular Music, consisting of four 12-week taught modules, plus a dissertation.

Mike Brocken, Senior Lecturer in Popular Music at Hope, said 'There have been over 8,000 books about The Beatles but there has never been serious academic study and that is what we are going to address.

'Forty years on from their break-up, now is the right time and LIverpool is the right place to study The Beatles. This MA is expected to attract a great deal of attention, not just locally but nationally and we have already had enquiries from abroad, particularly the United States.

''The Beatles, Popular Music and Society' marks a seminal advance in popular music studies. For the first time in the UK and possibly the world, a postgraduate taught course is offered to research into The Beatles, the city from which they emerged, the contexts of the 1960s, technology, sound and songwriting and the industries that have set up in their wake to capitalise on tourism in the city of Liverpool.'

For further information, please call the postgraduate enquiry line on 0151 291 3389.

R. Murray Schafer wins the Governor General's award

Congratulations to R. Murray Schafer who has been awarded the 2009 Governor General's Performing Arts Awards for Lifetime Artistic Achievement. Mr. Shafer is a composer and educator who I first encountered when studying the World Soundscape Project. This project was, at least initially, driven by Shafer's studies of noise pollution. I later read his book The Soundscape which extended these ideas into thinking about an evironment's soundscape as a compositional tool or an orchestral component. (I've tried to use some of these ideas in my own compositions, with much less success that those of Shafer.)

Many of his ideas are included in what I think is his most famous composition, The Princess and the Stars. This piece is based on Native American folklore and must be performed around a lake, therby incorporating the natural soundscape of the lake. In fact, it was once performed in nearby Banff National Park. I've heard that a bootleg recording of that performance resides somewhere on the University of Calgary campus.