Part 5- What to do with all this information and experiences from training and Columbia experience- COMPOSE!; Ricard Strauss; derivation of hyper regions from hyper-tonality and movements of the tone row; Pat Carpenter's observations on those discoveries, new problems and the re-insertion of feeling and emotion; conflicts of aims that arose at Columbia- Musicology or Composition; Walsh's approach to teaching composition and how that differs from Columbia; helping to realize students' wildest creative fantasies; difficulties that arise in teaching composition; what is the current language in music?; musical sleepwalkers and other types of musicians; reflections on Viennese music culture and comparisons with New Orleans music culture; how Walsh is working now; interest in techno and DJ's and what that suggests.
Part 4- Mario Davidovsky; Importance of performance of compositions to Walsh, Monod, Schoenberg; Art and money and religion; music for your 'tribe' and academic music; power of suggestion over the listeners appreciation of aesthetic experience; societal viewpoints on institutionally taught composers as opposed to self-taught; prize winning fugues from the Paris Conservatory; the fragmented schools of academic music; are Coherence Creating Scenarios a fiction?; hair-brained, crackpot, music theories; interest in why people don't like music; how Walsh became involved with Jacques-Louis Monod's singular text on (Schoenberg's ) music; perfect summary of the end of Western civilization; realizing the deep beauty behind Monod's analytical tome and the invented language to describe what was happening in the music- hypothetical octave, partitioning of the tritone and much, much more; evolution in music and why Monod believed that the musical idea as he understood it was such a development; generation of music from central idea; difference between music that is complex and music that is complicated; pre-compositional material; Jacques and pro-compositional material.
Part 3- Influence of music pedagogy on music practice; music architecture manuals; historical roadblocks caused by building permanent monuments to yourself; more on Pat Carpenter; How Schoenberg's music was disseminated despite unpopularity; the problem with style designators; organic unity as the way artists think; Pat Carpenter directing Walsh to Monod; changes in music atmosphere at Columbia through electronic music; The malibu Dolphins and being back in the New York punk scene; Willie Bobo Shaw; Wayne Kramer; authentic standpoint; the Guild of Composers and real first exposure to Monod's music.
Part 2- Who is Jacques-Louis Monod?; Anti-semitism at Julliard?; Fixed "Do", moveable clefs and the advantages in score reading; music in the middle-ages, iso-rhythmic motets, and music where intellect was valued; rejection of comparative literature; how musical pieces are true compared to fiction which is false; truth and falsity in music; fake and real in Treme- depicting yourself; encounter with Pat Carpenter and form and analysis; organic unity, grund gestalt, and how the composer "thinks" the piece; Pat Carpenter's background; what the importance of Schoenberg was at Columbia, "The Musical Idea"; the growth of music history in the 20th century; Vienna in the early 20th century and delusional philosophies; the rise of St. Cecilia societies.
This interview continues where Walsh's last interview left off. See below for other introductory information. Here Jimbo goes deeply into the later experiences that formed his ideas and paints some prtraits of some rather large musical figures that he has been around over the years.
Part 1- Starting Columbia and the tough undergraduate music program there at that time; loving the challenge of it; the shock of studies with Edward Lippman; Jacques Louis Monod; the influence of Paul Henry Lang on the faculty of the time and "preservation of standards"; Richard Taruskin; what the program entailed; problems with "band"
Jeff Albert is more than a musician. Like a few others interviewed here he has contributed to the New Orleans music scene through the Tuesday Open Ears series at the Blue Nile. The series allows an open forum for a wide variety of musical performance. It is a rare night where one can witness any sort of musical exploration. Through improving the breadth of what is presented he has contributed to the formation of musical groups and associations of musicians that otherwise would not have a place to develop their playing and ideas. It also brings in adventurous groups from outside New Orleans. Jeff has developed his own expression and his self- understanding steadily over the years. He has learned a great deal from his own associations with musicians and gigs and he shares a lot about those experiences here. There is also interesting information about the trombone and electronic music.
More on Jeff and the Open Ears Music Series can be found at www.openearsmusic.org
Part 2- musical aspirations as a starting trombone student; becoming conscious of jazz music; decision to be a musician and go to Loyola University over University of North Texas; J.J. Johnson; Clint Maedgen, Coltrane Live in Japan; studies with Dick Erb; early rewarding professional gig experience in horn sections; Pedro Cruz and latin music scene experiences; the feeling of being a professional musician and enjoyment of the lifestyle; urge for self-expression bubbling to the surface; comfort with computers and meeting John Worthington, the computer guru; becoming aware of the greater relative power of emotional playing; UNO for a masters degree and improving composition; learning strengths and limitations.
Coherence creating scenarios, consciousness as a rationalization for pre-conscious mechanisms, music compositional systems as an analogue to the coherence creating system in society, how different coherence scenarios clash and cause difficulty in musical appreciation or communication, coherence and incoherence as a concept in western compositional and how it integrates with other cultures, Pat Carpenter, Schoenberg's concept of the musical idea and organic unity, study and analysis of western musical classics, the heresy of organic unity in the post-modern era, beginning playing experiences, music in his family, affection for the Beatles, family dynamic, influence of Father and his engagement with philosophy.