One of our greatest musical thinkers in these last fifty years, Leonard B. Meyer has passed away. His series of books from 1956 onwards are still avidly bought, read and discussed in 2007, and that’s no mean feat. Some of his work was pioneering, some spookily prescient, and a lot of it has stuck in this head since my earliest college days. Thanks for all the fish, Leonard.
And you thought the only ones who needed to worry were the illegal file-sharers? After reading this article, think again:
…in an unusual case in which an Arizona recipient of an RIAA letter has fought back in court rather than write a check to avoid hefty legal fees, the industry is taking its argument against music sharing one step further: In legal documents in its federal case against Jeffrey Howell, a Scottsdale, Ariz., man who kept a collection of about 2,000 music recordings on his personal computer, the industry maintains that it is illegal for someone who has legally purchased a CD to transfer that music into his computer.
The industry’s lawyer in the case, Ira Schwartz, argues in a brief filed earlier this month that the MP3 files Howell made on his computer from legally bought CDs are “unauthorized copies” of copyrighted recordings.
“I couldn’t believe it when I read that,” says Ray Beckerman, a New York lawyer who represents six clients who have been sued by the RIAA. “The basic principle in the law is that you have to distribute actual physical copies to be guilty of violating copyright. But recently, the industry has been going around saying that even a personal copy on your computer is a violation.”
Last week, Democrats gave up their fight to block $70 billion in unrestricted war funding and on December 19, Congress sent the $556 billion omnibus spending bill to President Bush, who is expected to sign it.
Included in this bill is a historic increase in funding for the National Endowment for the Arts. Funding for the NEA will be increased by $20.144 million, or about 16%, to $144.706 million for FY08. This is less than the $160 million appropriation proposed in the House version of the bill, but more than the Senate proposal of $133.412 million and more than the President’s requested $128.412 million, and it represents the largest increase in NEA funding since 1979, when funding was increased by $25.735 million (which itself followed an increase of $23.978 million in 1978). The $144.706 million was actually $147 million before an across-the-board cut of 1.56%. NEA funding still has not recovered from the massive $62.8 million cut to the 1996 budget, but has increased every year starting with the 2001 appropriations.
Within the NEA appropriation, the biggest funding increase is to the “American Masterpieces” initiative, which the NEA website says “is a major initiative to acquaint Americans with the best of their cultural and artistic legacy. Through American Masterpieces, the National Endowment for the Arts sponsors performances, exhibitions, tours, and educational programs across different art forms that reach large and small communities in all 50 states.” The 2007 budget for this program was $5.911 million and it stands to nearly double to $13.289 million in 2008.
The League of American Orchestras is reporting that “Congressional Arts Caucus co-chairs Louise Slaughter (D-NY) and Chris Shays (R-CT) rallied House colleagues in support of the NEA, and Interior Appropriations Committee Chairman Norm Dicks (D-WA) championed NEA funding as a priority issue.” Special thanks to LAO’s Heather Noonan for help in finding the details of the bill, which you can see here and here.
National Endowment for the Humanities funding will increase by just $3.602 million, in spite of an $18.895 million request in the House version of the bill.
I missed this little diatribe from Bernard Holland in the Times. Thanks to Carmen Tellez for bringing it to my attention:
Unpleasant truths were another topic brought back forcefully by a concert at the Kitchen in September, by the fine young group Either/Or. Here was a program of 1960s arrogance and self-absorption, with people like Cornelius Cardew, Christian Wolff and Earle Brown as the main offenders. Listening to a collection of composers sharing inside jokes and private messages in music that reeked of contempt for the public made me get down on my knees and give thanks that an era so damaging to music was over. It didn’t drive an intelligent public away from classical music by itself, but it helped.
What’s Christmas without a little organ music? Der Engel by our own Steve Layton.
Thanks, Scott. And a special thanks to all of you who come around faithfully to contribute the entertaining thoughts and comments that make this the liveliest venue for new music conversation on the web. I love you all, even the cranky ones.
Note: Christian Carey’s File Under? posts now have their own page.
“A Harvard Business School study looked at job satisfaction. Orchestra players came just below prison guards. Chamber musicians came in at number 1. What’s the difference? The presence of a conductor.”
Boston Philharmonic Conductor Ben Zander, speaking at Leaders in London 2007
Gavin Borchert, composer and the Seattle Weekly‘s classical music critic, has an interesting take in this week’s rag, on current calls for jazzing-up or otherwise “slumming” the concert experience. A couple cogent paragraphs:
A couple of things puzzle me. First, the classical concert experience is, in all essentials, identical to that of dance, theater, literary events, or for that matter—barring the munching of popcorn and cheering the fireball deaths of villains—movies. Go to the performance space, buy a ticket, sit down in rows, watch and listen, try not to disturb your fellow audience members. Yet it’s only in conjunction with concerts that you hear complaints about what a crushing burden this all is. Second, why is sitting quietly considered such an unendurable ordeal? Millions of people do it every night in front of their televisions.
[….]
So what have we learned? Well, maybe people behave the way they do at concerts not because it’s an artificial standard imposed by ironclad tradition but because the music sounds better that way. Maybe listeners feel classical music most deeply when they pay quiet attention to it. Maybe sometimes not clapping is OK, and we don’t need to rush in and obliterate every silence. Maybe true innovations in concert presentation—new ways of getting music and music lovers together—will be concerned not with questions of formal vs. informal, loose vs. uptight, but with what setting best allows music to work its magic.
Don’t know what’s happening on PBS in your town tonight, but here in the center of the universe, Channel 13 is bringing us Kurt Weill’s brilliant (and somewhat depressing for the Christmas season) “The Rise and Fall of the City of Mahagonny.” Great cast includes Audra McDonald, Patti LuPone, John Doyle, and Anthony Dean Griffey. Check your local listings.