I’ve got a new video up of a classic silent film with my accompaniment: Barney Oldfield’s Race for a Life (1913). It’s a Mack Sennett sendup of already old melodrama clichés, complete with a damsel being tied to a railroad track. Real-life auto racing star Barney Oldfield outdistances a train to rescue her. Improvising music to go with it was a lot of fun.
Yearly Archives: 2024
Rebranding censorship as “accountability”
In an article attempting to show that Kamala Harris didn’t call for shutting down X, an AP “Fact Focus” article inadvertently shows that she is an advocate of censorship. (As is Trump, but that’s for a different article.) It shows that a particular claim — that an old video by Harris “has threatened to censor both X and Musk” — is inaccurate, but it uses this to cast a shade over the fact that Harris has called for censorship of social media. The article goes on to quote that call verbatim:
The same rule has to apply, which is that there has to be a responsibility that is placed on these social media sites to understand their power. They are directly speaking to millions and millions of people without any level of oversight or regulation, and that has to stop.
AI Panic and NaNoWriMo
This has been the year of panic over artificial intelligence. It will take over our jobs! It will replace journalism, fiction writing, and maybe even songwriting! This panic has shown up in reactions to a measured statement by the board of National Novel Writing Month, aka NaNoWriMo. Three members of the board have resigned over the statement.
It begins: “NaNoWriMo does not explicitly support any specific approach to writing, nor does it explicitly condemn any approach, including the use of AI.” That’s not a very tactful way to start, I’ll grant; it could easily be read as endorsing the use of a computer to write your work for you. A clarification was added after the first paragraph, saying, “We also want to make clear that AI is a large umbrella technology and that the size and complexity of that category (which includes both non-generative and generative AI, among other uses) contributes to our belief that it is simply too big to categorically endorse or not endorse.”
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Spohr’s Symphony No. 3
Louis Spohr’s third symphony, Opus 78, dates from 1828, the year after Beethoven’s death, and there are several indications he was thinking of Beethoven when he wrote it, starting with the key of C minor. It’s on a large scale for the early 19th century. In most recordings it runs half an hour. The instrumentation includes a brass section of four horns, two trumpets, and three trombones.
The slow introduction sets an initially tragic tone but quickly opens up into an expression of hope. The main body continues the conflict of emotions. The first theme expresses a struggle, while the second, made from the same material, is dance-like. The development is brief but surprising; it’s based not on the first and second themes, but on the introduction. This approach recalls the opening mood without breaking the tempo. The coda goes into C minor, creating a moment of doubt, but returns to the major for the final measures.
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The language of music isn’t exactly Italian
Musical annotation is a language in its own right. Its words come from Italian, but the syntax is very different, and the meaning of the words often is too. I’m sure linguists have studied it in detail. I’m neither a linguist nor a professional musician, but I have a strong interest in both areas, so let me offer a few thoughts on the subject.
Since the nineteenth century, musical directions have come in other languages, usually the composer’s native language. I think Schumann was the first major composer to do it. For this piece, I’m just talking about annotations based on Italian.
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There’s nothing wrong with these expressions
I’ve written a lot of posts on the misuse of words and expressions. For balance, I should mention some that pedants object to, but I don’t. (“Pedant” is defined as someone who objects to usages I don’t object to.)
“I could care less.” The pedant says this should be “I couldn’t care less.” Don’t you understand irony? This is always uttered in a sarcastic tone, and it means something like “I could care less — if I really tried hard.” Do you also object to saying “Big deal!” to dismiss something unimportant?
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“Glory to Hong Kong” on SoundCloud
Apple and Spotify, groveling before China’s government, have reportedly taken down the song “Glory to Hong Kong” worldwide. I don’t know what to make of this, as I can still find the song on both platforms. It may be just the original DGX version that’s been taken down, which seems pointless from a censorship standpoint. Maybe it takes longer to go after the cover performances.
Whatever is happening, it’s something people can push back against. I’d like to see a hundred thousand recordings uploaded to the Web, so the censors will find themselves playing a futile game of Whack-a-Mole. For my part, I’ve written and recorded a piano arrangement of “Glory to Hong Kong” to SoundCloud. As far as I know, they haven’t banned the song, at least in the USA. In China, even instrumental performances can get the performer arrested.
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Please don’t spread misinformation 2
Someone I know posted an alleged quotation from J. D. Vance. Most of it was a real quotation, but the last sentence was made up. It proposed something which I don’t think Vance or any other major candidate has proposed. I didn’t think it was much more bizarre than what he has actually proposed. Since it had no attribution, I tried looking it up. It didn’t take long to establish that if Vance had ever said the last sentence, it wasn’t in that context. I replied that it was fake news, assuming that the poster had picked it up from somebody else.
He responded that the supposed quotation was a joke, and his referring to Vance as “Jack Daniels Vance” was supposed to make that clear. It didn’t for me, and I think it wouldn’t have for many other people. It’s common on the Web to make mocking alterations in people’s names while saying true things about them.
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Spohr’s Septet, Op. 147
Most of Spohr’s best works date from before 1840, but he hadn’t completely written himself out after that. The Septet in A minor, composed in 1853, is worth having in a collection of his music. It’s still clearly his work, but it has a different feeling from his earlier Quintet, Octet, and Nonet. It’s denser in its instrumentation and more contemplative. I’d say there’s a hint of Brahms in it, except that in 1853 Brahms was little-known, and almost all of his compositions were ahead of him. All the instruments — flute, clarinet, bassoon, horn, violin, cello, and piano — are equal partners in this work. Spohr clearly expected he’d have good musicians to perform this piece; the piano part is as hard as some concertos, but with fewer opportunities for bows.
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Upcoming silent film shows
My silent film for October 2024 will be The Cabinet of Dr. Caligari. As usual, I’ll provide live, (mostly) improvised accompaniment. I’ll livestream it on YouTube on Wednesday, October 9, at 8 PM. On Saturday 11, I’ll accompany it again at the Plaistow, NH Library at 1 PM.
When I accompany a silent film, I improvise the music based on a general plan that includes some motifs devised in advance. For this movie, I’ll include a bit of Beethoven for certain scenes, just because it works so well.
This movie is almost as famous for its sets as for its characters and story. Everything is askew; there’s hardly a right angle to be seen in the buildings. The scenery adds to the sense of a nightmare experience. The story concerns a carnival showman whose main exhibit is a sleepwalker who never wakes. Cesare, the sleepwalker, obeys Caligari’s orders, even when it means committing murder. But there is an even greater surprise in store.
I really enjoy adding music to silent films for a live audience, or at least a real-time streaming audience. Recently I got to see Ben Model, one of the most famous silent film accompanists in the USA, accompany The Mark of Zorro on a pipe organ. It was worth the two-hour drive to Vermont.