Yorkshire Music: News and Updates

A British National Party promotional video that was released on the YouTube website allegedly included excerpts of the Kaiser Chiefs hit song I Predict a Riot. Since the band complained about the unauthorised use of their music by the BNP and, therefore, the infringement of their copyright by this far-right group, the video has been removed from the YouTube website. However, the BNP denies that the song was ever used on their promo, with this statement from their (unnamed) spokesman :

This isn't the type of music our party would ever want to be associated with, like rap music we think it's wrong to play this stuff. What's wrong with Beethoven?

However, the Kaiser Chiefs have been quick to condemn the BNP's attempt to associate their music with the racist, extreme right views held by party members. Their spokesman said that they are upset that the song was used by the BNP without permission and that they wanted to stress to their fans that they would never be associated with the political aims of the BNP.

Personally, I feel that the statement made by the BNP spokesman highlights how incredibly stupid these people are. Whether or not the video they released featured the music of the Kaiser Chiefs and whether this rock group's copyright was infringed is the matter at hand. For the BNP to state that it's "wrong" to play this "type of music" is utter nonsense, and what Beethoven has to do with the argument I have no idea!

Equally, I can understand the concerns of any group who find themselves associated with a political organisation whose viewpoint and ideals are opposed to their own, particularly when this association has come about as a result of unauthorised use of their material. Frankly, to be intentionally involved with the BNP - who are more honestly understood as a group of racist, violent thugs than as a legitimate political party - would be commercial and, more importantly, ethical suicide. Just as the BNP's aspirations for Britain as an all-white nation cannot be taken seriously, so we should look upon their connection to the Kaisers. Indeed, the BNP simpletons seem to have found themselves once again on the foul side of British law and should be treated as the dim-witted, petty criminals that they are.

Many of the diaries that WHSmith publish have on each page an amusing anecdote from some famous person or other and, although they catch my eye now and again, I've got to admit to having ignored them for the most part of the past 6 or 7 years that I've bought organisers etc from this newsagent. But, having a look through this year's academic diary there are actually some really excellent ones that I thought I would share on this sunny Friday afternoon :

This morning I received my copy of this year's programme for the Ilkley Literature Festival and it is truly packed with absolutely wonderful events, including some really quite famous names from around the world in the fields of poetry, journalism, novel authorship, sociology, politics and analysis of written word. Among these visitors to Yorkshire are John Simpson, Nick Hornby, Melvyn Bragg, Kate Adie, Jeremy Paxman, Simon Armitage, John Mortimer, Anthony Joseph, Harriet Walter and Mardani Younis.

Kicking off at the end of September, the Ilkley Literature Festival offers events of all kinds through more than a fortnight to Sunday 15th October (plus a feedback session on the 19th). Some of these are designed specifically with the aspiring writer in mind, such as Simon Armitage's Poetry Masterclass on 6th October, whilst other focus on the writings of the speaker or on other more open issues - Jeremy Paxman will be discussing the role of the Royal Family in modern day Britain and inviting questions from the floor on this and other relevant political subjects. There are also readings, theatrical and musical events, and many opportunities for the audience to bring their own work to the attention of a wider audience, including critique from the experts in the appropriate field.

Pricing is quite reasonable with many events being free of charge and going up to approximately £9 - £10, and booking of tickets will be opened online shortly. You can find out more by visiting www.ilkleyliteraturefestival.org.uk.

I had the pleasure this weekend of catching some of the last day's performances at Scarborough's free music festival, Beached 2006. The whole premise of this 4 day event is that anyone can show up to see one or all of the bands and solo musicians do their thing on the main stage, built right on the beach at South Bay, just nearby the Spa Complex, and entire thing is free of charge. As well as an ecclectic mix of local and nationally recognised artists on the stage, other facilities are provided including a licensed bar and many shops selling gig t-shirts etc.

The weather was very changeable yesterday with some heavy downpours at times so, with no umbrella or jacket for protection, I only caught a few of the items that went on during the brief sunny spells. I was lucky enough, though, to see a good friend of mine, Billy Neilson, get up and sing some of his own songs (backed up by bass guitar and drums). It's a pity I wasn't around for the previous few days aswell because there really were many more great musicians playing over the course of the festival. Once again, a great idea, well planned and coordinated - just a shame that the Yorkshire weather didn't behave itself when it came to the crunch. Ah well... there's always next year!!

This year's MOBO awards ceremony will be broadcast live on BBC Three (the digital television channel) on 20th September and once again as it approaches I am filled with mixed feelings about the validity of putting on a show to specifically celebrate music of 'black' origin to the exclusion of all other musics.

Firstly, it would be interesting to find out who it is that deems a piece of music as having black origins or otherwise. We know that, for example, jazz has its roots in West Africa and yet to date no jazz performers, of any ethnicity, seem to have featured in any major way at any of the awards. As an extension to this argument, it would be perfectly plausible to trace routes of most western 'pop' and 'rock' music back in one direction to black communities worldwide. So, I am intrigued as to where the organisers of this event draw the line as to what does and does not constitute music of black origins. To be quite frank, it seems to be the case that if your music is vaguely in the reggae, R&B or gangster-rap type bracket then you're in. Any other musicians can forget it, whatever genre they work in and whatever colour their skin.

Advocates of the MOBO's often cite past winners of these awards as evidence that there is nothing racist about the way it is put together, specifically wins by Eminem and Mick Hucknall of Simply Red. But for me there is still something deeply concerning about the need in our multicultural, 21st Century world to categorise our music as either being white or black. Those on the far right wing of white British and American culture often argue that the televising of the MOBO's demonstrates how the evil of racism has tipped in favour of people with brown skin (perhaps they wouldn't normally put it in quite those words!) and that a MOWO would not be tolerated by anti-fascist groups. My response is that these MOBO awards have obviously grown out of a cultural need for black people to be recognised for their massive contribution to music and the arts - a recognition that is wholly deserved and a need that must be addressed. It is not an inherent and explicit sense of racism on the part of the organisers that I believe to be the reason for these events, but they must see that by excluding any music that is considered to have 'white' routes (as if such a thing truly exists) they are contributing to the mindset of a fractured society.

The MOBO's in my eyes cannot be likened to Classical Music Awards, dealing with music of certain genres that are governed by the characteristics of the works themselves. Even though the majority of Western Classical Music would be considered whiter-than-white by many, it is not the ethnicity of its artists, listeners, supporters or heritage that categorises it as suitable for one event or other but the content of the music itself. If the awards we were talking about were, for example, exclusively for music of the hip-hop style then the question of whether or not the event is ethical would not come up, even if each and every participant of the ceremony were black, white or yellow. Having said that, race doesn't seem to be the only sticking point with groups who are concerned about the nature of the MOBO's : back in 2002 gay rights activists protested outside the ceremony in London because three of the nominees were known for singing lyrics that urge the murder of homosexuals.

I personally think that the popularity of the MOBO awards as they currently stand is a clear indication of very serious underlying problems in the way we see ourselves in the Western World. Yes, it is fascinating to look back at our history and see how people of all ethnicities have come together, each contributing in different ways to various aspects of our current musical culture, but in the present day there is no more need to classify music as black or white as there is to put any weight on those classifications of the people themselves. So, why am I reading in the news today that Beyonce Knowles is heading up the nominations for a competition that is closed to music that somebody has decided is not black enough?

Music's true ethnic origin can not be traced as purely one colour or other, any more than can the bloodline of the very people who make up the population of the Western World - as far as I'm concerned, such a scenerio is neither realistic nor desirable. Once we accept this truth we'll be closer to understanding the nature of our multicultural society, being able to empathise with those whose cultural backgrounds have differences to our own, and to putting an end to racism and its close cousins - divisive concepts such as the MOBO's.

The International Tchaikovsky Classical Music Contest, that's held in Moscow, Russia, will this year for the first time be broadcast live on the internet. According to RIA Novosti :

The competition, named after the 19th century Russian composer whose music is loved throughout the world for its harmony, stirring melodies and distinctly Russian and yet international character, is one of the world's most prestigious contests.

The 13th International Tchaikovsky Competition will take place June 12-30 in 2007. Held once every four years since 1958, it was originally organized for pianists and violinists, but later included cellists and vocalists.

If your Russian is any good you can get more information about this event on the following website : www.XIIITC.ru Personally, I'll let the music speak for itself!! :)

Last night The Superkings appeared at Baildon's Suburban Bar, capturing and keeping hold of the attention of many of the regular punters in the bar : something that is a real challenge to any band that plays pub-gigs.

They certainly caught my eye because it is rare to see a group in this kind of venue that have the guts to do their own songs, totally avoiding the standard, high-volume covers that usually blast out of pubs on a Sunday night. And they should be congratulated on the originality of their sound - The Superkings are an unconventional acoustic outfit held together by a rhythm section seated strongly on the steady chords of keyboard / piano. Added to this are really interesting, sometimes intense lyrics sung in a style the can be likened to Belle and Sebastian and some really quirky counter melodies provided by cello. The lead vocalist, David Wright, has an understated, throaty tone that works wonderfully with the band's overall musical style and Sophia Lockwood is clearly a gifted cellist whose musicianship is every bit as vital to The Superkings' success as the other elements.

Really great stuff : I look forward to catching this band live again soon. In the meantime, you can visit their website to download mp3's off their most recent EP. They will also be appearing at Morecambe's The Dome on Aug 26th and Carpe Diem in Leeds on 21st October.

In the BBC music news today is a story about how the heightened security in British airports is affecting traveling musicians who carry very fragile and often very valuable instruments with them on their journeys around the world. The problem is that, with the increased caution on flights to and from the UK, musicians are now being told that they have to check their instruments into the cargo hold of flights - a part of the plane that can get colder than -10 degrees centigrade.

Apart from the damage caused to instruments by airport staff who, probably due to time constraints more than anything else, have a tendency to be less than careful when loading and unloading luggage into the planes, the materials that many instruments are made from and the delicacy of their construction means that sudden changes in temperature and air pressure can themselves cause irreparable harm to instruments, particularly on lengthy flights. Normally, musicians carrying large instruments go to great lengths to keep their tools with them, including booking an additional seat on the aircraft so that there'll be enough room in the pressurised cabin for it to travel by their sides.

But, the new rules for inbound and outbound UK flights means that no hand-luggage whatsoever is allowed in the cabin and this includes musical instruments with or without their cases. And, to some degree I can understand this precaution by the authorities, although it does conjure images in my mind of mafia bosses carrying machine guns down dark, rainy backstreets in violin cases! There must be a compromise, though - surely airlines realise that some people will need to travel with belongings that simply cannot be kept in the cargo hold of a jet, either because of the fragility of the item or due to its importance or value, for example laptops containing extremely sensitive or business-critical information. The way I see it, there are two possible solutions : either drastically improve the manner in which luggage is checked in, how it is handled by airport staff and provide a system by which the stuff can be picked up without the risk of it being damaged or stolen by other passengers, or else take some of the seats out of the cabin and replace them with a large, locked storage area in which passengers can check in anything that cannot be placed in the cargo-hold, perhaps for an extra charge. In the meantime, people who need to keep their valuable equipment with them will either have to find a way of packaging it up in the safest possible way or just choose another way of getting to their destination. Obviously, though, if the place is a long-haul flight away that could be something of a problem!

A violin teacher from Texas was last week sacked for "using alcohol" whilst watching a musical performance at a mountain resort in Colorado called Music in the Mountains.

The 25 year old classical musician it seems enjoyed a glass of wine whilst watching students perform on stage and, despite being one of many people who were consuming alcohol during the event, he was sacked a few days later. This, apparently, was because he was sat among students at the time he was drinking wine.

The source report on this young teacher's sacking was published by The Durango Herald and describes how Richmond Punch has now left the state of Colorado for his hometown in Texas but that he believes there was more to his sacking than meets the eye. Certainly, enjoying a glass of Chardonnay during a performance is perfectly ordinary practise and would not normally constitute grounds for dismissal, especially because this event was, presumably, not during Punch's normal working hours. But, he had been warned about other aspects of his conduct, such as his habit of busking in the street on days off, this that the Conservatory of Music in the Mountains deemed to bring down the tone of their esteemed establishment. Although, how what this teacher does in his spare has anything to do with his employer I'm not sure - seems like there would be grounds for unfair dismissal if this happened in the UK.

It doesn't help that those who jumped to his defence also seem to say nothing of worth, for example Punch's mother, Gayle coming out with this corker :

"People are usually enlightened when they see a young African-American man playing classical music."

What the relevance of Punch's ethnicity is I'm really not sure!

Paul Kildea's article entitled Prose and Cons in the arts publication Frieze is a fascinating read. In it he examines how classical music is approached by the mainstream music critics and asks why the quality of most comments on this genre is mostly very simplistic and at it's worst actually fails to say anything insightful about the experience of being involved with 'serious' music :

The critical shorthand employed today is rarely helpful. Piano accompanists can be ‘sensitive’ or ‘supportive’. Conductors do frequently show ‘command’ or ‘authority’ as they bring about ‘tidy ensemble’ with ‘orchestral clarity’. Violinists are commonly ‘virtuosic’. Singers often present ‘clear text’ with ‘vocal maturity’.

And it's got to be said that when one takes the time to look at reviews of either live performances or recordings of the classical music repertoire (as well as music of many other genres) this is the kind of language that is employed, especially when the critic in question is writing for a local readership. In this latter case, the writers often attempt to flatter the performers of a given work by being extremely cagey about what they actually thought about the details of the event, to say nothing of how this particular rendition fits alongside the artistic, authentic or societal traditions or expectations. Certainly, when I've been involved in semi-amateur productions of West End musicals, every review I have bothered to look at seemed to praise the singers' outstanding talents and in some cases perhaps remarked in passing about the volume at which the orchestra / band were mixed. Even when you look to the established national press, there is little discussion in these columns about any historical or extra-musical context or even an analysis of whether or not, say, the polyphonic texture of a given section was successfully carried by the string section or, more importantly, why this is the case!

In the third of his Reith Lectures the conductor and pianist Daniel Barenboim asked why it is that cultured, educated people talk freely of books, art and theatre, but rarely of music.

Well, I guess that the nail is on the head with this one : there is an 'educated' elite in academia who approach the study of music in an entirely different fashion to the way broadsheet critics discuss these things, the only difference between this discipline and those that relate to other artistic fields is that there seems to be less crossover between the two methods. If a reader is interested in music enough to want to learn about it's greater societal context and then to analyse how a piece works and the agenda for its performance then there is plenty of material to go at. But, unfortunately, these kinds of articles tend to be expensive to buy, often not available in public libraries and so much harder to come by than the waffle that's printed daily and on sale for 30p a copy!

Avid Technology has purchased what has become the world's most popular music notation software, Sibelius. This is a programme that allows users to either point and click notes into a score on the screen or else attach a MIDI compatible device and play the parts in, outputting beautifully crafted sheets in any number of different styles, including standard 'printed' manuscripts and quasi-handwritten scores. The programme also syncs with an onboard soundcard to allow the user to listen to the work that (s)he has put together, giving the tool the functionality to become a composers right arm!

So, today the relatively small corporation that has owned and developed this programme since its conception has sold it, and it seems for something of a bargain price : the new owners only paid just over twelve million pounds (that's a year-and-a-half's turnover) for the rights to continue this work. My only hope is that they make the programme more affordable to the average man on the street - there is a limited student version available for about £90 but the full version is really too expensive for any novice musician to consider buying, which is a shame because it really is such a great piece of software!!


The source for this blog came from http://www.theregister.co.uk/2006/08/03/avid_buys_sibelius/

I think it's long been established that the brain is like many other organs in your body in as much as that if you use it and keep stretching its scope, the net effect tends to be that it grows to cope with more useage and ultimately lasts longer into old age, avoiding the onset of neural dysfunction and diseases such as Alzheimer's. The basic message is use it or lose it. As the muscles increase their working capacity as they are exercised, so does the brain.

Further research has been carried out recently on the different types of usage and how they affect the brain's overall performance and it has been clearly demonstrated that being active in music (i.e. playing an instrument or studying music in great detail) has the impact of improving many people's abilities with other brain activities such as with maths, language and even emotional cognition.

The following article recently appeared in the Canadian Timmins Times :
http://www.timminstimes.com/story.php?id=245463

There is a wealth of evidence that indicates that music lessons offer children intellectual benefits that put them ahead of others who do not participate in music education. These advantages include higher grades and IQ scores, a lower propensity to misbehave and a fine-tuning of their sensitivity to emotion in speech... But watching television or listening to music is not enough to gain the benefits of music. One must be involved in the education process to see the best results.

So, if you ever had any doubt that piano lessons would improve your child's all-round education, take a look at some of the evidence on offer.

Today is Yorkshire Day : the one day of the year that Tykes get to celebrate their Yorkshire heritage. So, it seems appropriate for me to do my bit on this blog and invite everyone to sing their own private performance of the Yorkshire anthem On Ilkey Moor Bah Tat before the day is out. Incase you didn't know them off by heart, the words are as follows :