Discussion Questions for David Byrne's Article
TEAM 518, woot woot!
1. How does Byrne describe the commonly accepted story of artistic creation, and how does his own theory differ from it?
The composer gets some desire or a look in their eyes to create a song, his theory is that we unconsciously and instinctively to make work to fit pre existing formats.
2. What are the sonic differences between African folk music and medieval European music?
Western music in the Middle Ages was performed in these stone-walled gothic cathedrals, and in architecturally similar monasteries and cloisters. The reverberation time in those spaces is very long — more than four seconds in most cases — so a note sung a few seconds ago hangs in the air and becomes part of the present sonic landscape. A composition with shifting musical keys would inevitably invite dissonance as notes overlapped and clashed — a real sonic pileup. Not only does this kind of music work well acoustically, it helps establish what we have come to think of as a spiritual aura. Africans, whose spiritual music is often rhythmically complex, may not associate the music that originates in these spaces with spirituality; they may simply hear it as being blurry and indistinct.
1. Le Ngoma by Peng Africa
2. O viridissima by Medieval Ensemble
3. How does Byrne describe the difference between the original audiences of classical music and opera versus what we tend to think of as the audience for this type of music today?
The audiences of classic music had to be quiet because their noises and dancing can be louder than what was being played. They had to be quiet, sat down, and listen to what is being played. Audiences for opera versus could talk, eat, and socialize with others but were somewhat quiet for the performance. In today’s audiences, people would be chanting and yelling while being in front of or around the performers and dancing.
3. Symphony No. 5 by Andre Previn and Vaughan Williams
4. What accommodation did jazz musicians make to their playing to make sure dancers were happy? Can you think of other styles of music that have addressed this music in different ways?
The instrumentation of jazz was modified so that the music could be heard over the sound of the dancers and the bar racket. Musicians often used instruments such as the banjo, which was louder than a traditional acoustic guitar. Trumpets were also used to emphasize long chords or specific music notes. Modern R&B has developed from several of the traditional jazz beginnings.
4. Someday by Louie Armstrong
5. How did the behavior of classical audiences change around 1900? To what does Alex Ross contribute this change?
The behavior of classical audiences changed significantly. Alex Ross accredits these changes with the construction of new symphony halls and opera houses.The audience was no longer allowed to shout, eat, and chat during a performance. During the performance the audience was expected to sit immobile and listen with rapt attention. The new venues were to keep the poor out and for the elite to enjoy.
5. All I ask of You by London Cast (Phantom of the Opera)
6. What effect did the change discussed in question 4 have on the type of music that composers could write?
Composers could write a new melodic catchy style of music for their audiences to listen too. New instruments led to a new sound and eventually a new style of genre.
6. What A Wonderful World by Louis Armstrong
7. How does Byrne describe the effects of the introduction of recorded music and radio on the sense of place?
Now that music is on the radio, people can hear more styles, more than they would ever hear in person, and artists no longer have to “have great lungs to be successful.” Because people are listening to singers on the radio, if it sounds good through the speakers, they don’t have to worry as much as live venues, because now everyone is hearing mostly over radios.
7. East Bound and Down by Jerry Reed
8. How did crooning exploit the new technology of microphones?
Artists could now sing differently into a microphone because there voice was amplified. They could now whisper into a microphone instead of needing to be loud. This crooning, or a sentimental type of singing, could now be heard through speakers instead of the artist needing to make sure everyone could hear him.
8. Close Your Eyes- Michael Buble
9. What are the differences in audiences, acoustics, and styles for disco and arena rock?
Artists now needed to write for different venues. They needed a different live version vs. what people would listen to in a club or disco, and the radio. David Byrnes saying that music should be written for certain venues, didn’t always work in this aspect. Audiences is how the music is heard. Either live, through the radio, or other means. The acoustics have to do with the surrounding area where the music is being played. Somewhere like Radio City Music Hall has great acoustics vs. an open stadium. Arena Rock is used in large arenas and sounds good in large venues, such as Aerosmith songs. Disco Rock is music that could be heard in disco’s back in the 70’s, dance music like Saturday Night Fever by the Bee Gees.
9. Stayin' Alive by Bee Gees
10. We Will Rock You by Queen
10. How is contemporary hip hop distinct from the beginnings of hip hop, according to Byrne?
Well, there is the interior of your car. I’d argue that contemporary hip-hop is written (or at least the music is) to be heard in cars with systems like the one below. The massive volume seems to be more about sharing your music with everyone, gratis! In a sense, it’s a music of generosity. I’d say the audio space in a car with these speakers forces a very different kind of composition. The music is bass heavy, but with a strong and precise high end as well. It’s the vocal, allocated a vacant sonic space where not much else lives. In earlier pop music, the keyboards or guitars or even violins often occupied much of this middle territory, and without those things, the vocals rushed to fill the vacuum.
11. Sweet Dreams by Eurythmics
11. What are the particular acoustic qualities of MP3 music heard through headphones? Can you think of any examples of the type of music Byrne describes but doesn't name?
Listening to music on a Walkman is a variation of the “sitting very still in a concert hall” experience (there are no acoustic distractions), combined with the virtual space (achieved by adding reverb and echo to the vocals and instruments) that studio recording allows. With headphones on, you can hear and appreciate extreme detail and subtlety, and the lack of uncontrollable reverb inherent in hearing music in a live room means that rhythmic material survives beautifully and completely intact; it doesn’t get blurred or turned into sonic mush as it often does in a concert hall. You, and only you, the audience of one, can hear a million tiny details, even with the compression that MP3 technology adds to recordings. You can hear the singer’s breath intake, their fingers on a guitar string. That said, extreme and sudden dynamic changes can be painful on a personal music player. As with dance music one hundred years ago, it’s better to write music that maintains a relatively constant volume for this tiny venue. Dynamically static but with lots of details: that’s the directive here.
12. Billie Jean by Michael Jackson
13. One More Night by Maroon 5
14. Too Close by Alex Claire
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