Jul 13

Sound and Music’s: Sounding Out – Digital

South Bank Centre. July 6 2014.

 

Jenni Roditi in attendance – out of personal interest.

(Unfortunately I missed the first 20 minutes or so of this discussion.)

Chair: Jean-Baptiste Thiebaut (Sound and Music board member)

Speakers: Robin Rimbaud (aka Scanner), Brittney Bean (Songdrop),
Andrew Dubber (Bandcamp) and Michela Magas (Music Tech Fest)

 

Andrew Dubber (Bandcamp)

Ages of Communication –

Aural

Scribe

Print

Electric

Digital

 

The goal of creating music hasn’t changed completely yet and neither has digital age become fully embedded yet. We are solving electric age problems with digital age tools. What is the natively digital commodity? Older age products don’t disappear…. Music is a way that makes for other people… There’s an opportunity to invent new types of music creation that haven’t been invented yet.

 

Scanner

 

collaboration social interaction. Band width is slow in certain parts of London. Move to Birmingham!!

 

Michela Magas (Music Tech Fest)

 

Generation C : “content creators”. Generations X and Y are passed now. They were about up and download speeds.

“The maker community” new sounds, new instruments, circuit bending, old electronics, sensors, transducers, all very cheap so lots of kids are into this all round the world. Super simple super effective. Immediacy of expression – messing round, working quickly and see how you can communicate! Rough like punk, raw expression. ‘Gunk – geek punk’. It’s immediate and genuinely felt.

 

Andrew Dubber (Bandcamp)

 

Music Tech Fest – experimentation hasn’t really happened for forty years. Minimalism with reel to reels – using available technology to experiment.

Scanner

‘Modular synthesis’ movement in last ten years actually. Can find joy in simply making noise.  MIT body experience and music research with Scanner.

 

Audience member says things are going on but they are not being noticed….

Audience: exchanging music – used to be shops. ‘The Orchard’ distributor of Scanners music. Not great return, but still worth it because it makes it accessible.

 

It’s not so much about selling as experiencing….. Feedback through letters so encouraging. Always respond to that.

 

Brittney Bean (Songdrop)

How to make a business out of a new digital platform that she owns – it’s called “Song Drop”.

How do I work the digital world to share my work? Its like Lego …. But its also like clay.

 

Work with technologists! To help.  “I imagine a world where my music does this in this way. ” then the technologists can build that!,

 

Scanner

 

explain – what is circuit bending by the way?? Re appropriating recycling the components from like old Casio machine. It’s part of a hacking scene. Didgeridoo blocked on one side and hooked to computer and amplification and then beat boxes through the didgeridoo. This kind of music is attractive not only to musicians but also to noise lovers and techno geeks.

 

Band Camp and Sound Cloud are the main sites on the rise. When the Cloud works properly this will be where it’s at with live relay of this new experimentation. Circuit Bending is being discussed as a new genre!

 

(who said this?) The bathroom tap in Venezuela was his most popular sound cloud upload – because it made a beautiful sound like Tuuvan throat singing.

 

Kicking at the edges of technology is the exciting thing. Like Sargent Pepper was in the old days (!)

 

Monetising music making

 

Scanner – Gambling is good ! Work on a lot of projects at the same time… Some pay well some don’t. But just work hard! Multi tasking and be out there and meet people and build relationships.

Scanner approached bbc and channel 4 with idea they didn’t reply – but Red Ball online , did – a six week series about how we listen to music – is now being made.

 

In the past you were either lottery winner musically or striving. Now it’s much more grey scaled.

 

The manner of conversation following up from whatever you post is crucial. Seeding conversations is important.

 

Band Camp is the best site to sell your music!! (Not reverbnation!).

 

Stems – what are stems ?  Stems are channels. People put up their individual stems online…..

 

Then once the stems are online people go off and are creative with individual stems.

 

Breaking silos – MTV have recorded video of individual stems so people can use them.

 

‘Whose Sampled’ company lets you find the source of samples in songs.

Copyright was designed to create a creative middle class. Copyright needs to be reformed.

Copyright comes from publishers 200 years ago. No one else should be dealing with your copyright.

 

Notes by Jenni Roditi © July 2014

 

Jul 13

Third Ear Symposium notes

South Bank Centre, July 5 2014.

CJEC representation at conference: Alan Bullard, Jenni Roditi and Wesley John.

 

Mathew Caines Editor Guradian Culture Professionals.

Snowfall article in the New York Times. Immersive article. Beautiful.

Content teams for all the outlets available.

Nobody knows what they are doing really. Membership models etc. taking risks to try things.

 

Chris Shipman Digital Content Producer, Royal Opera House.

Democratising criticism. Vox pops – not really transparent discussion. Not really dialogue.

Blogging tweets worked well, use a selection of good and bad to be representative.

Stay open to criticism. Try and respond. Nurture relationships. Aim for a snowball effect. Twitter embeds is the way to go.

 

Lee Etherington Creative Director Tusk Music Newcastle

Left field experimental music. Used to be press and printed media only. Now all laptop. Bypassing editors. Audience development – always include a few unknowns. Online marketing is all. FB and twitter all important.

Live streaming event. Will it stop people turning up? Seems not. Boilerroom.tv – streams live gigs. “Network Awesome” – online TV station. Comes from arts curator. They trawl YouTube and put up most interesting stuff.

YouTube monetisation. Possible. Basic FM online radio in Newcastle. Difference between an arts and a media organisation is very fluid. You can broadcast from your bedroom. Things have moved on.

 

Juha vant Zelfde Artistic Director LightHouse The Digital Culture Agency.

Netherlands DJ and promoter. Arts institutions have become liquid. Breadcrumbs – is how you build audience. Tumblr Instagram. Twitter. Tumblr is memory dump sketch book open studio….  – at the heart of his work. Twitter is a ‘water cooler’ moment. Twitter is like Cefax for everyone.

Instagram – is like a behind the scenes archive. Snap chat !?

 

Discussion

Citizen journalism – but how can it be authenticated? Can be under the radar promotion not unaffiliated with the story – therefore bias.

 

The balance between good and bad comments – how do you pitch it? ROH? Try to be representative …. Embrace it whether good or bad and keep a balance.

 

The real drive now is towards SHARING… ( JR the ‘sharing economy’ – article recently in The Week magazine June 2014). Curating is like marketing without the spin.

Promoting unknowns – playlists, links, biogs, Band Camp.

 

How do you decide what to do what on what platform? ROH tends to mix things up. Spreading. One could be ‘silo’ing the platforms but no better to spread. Also good to give people a break from onslaught of marketing.

 

Twitter is the big one. FB has become corrupt… As only 10/15 % actually see anyway.

 

‘Culture Pros’ – guardian online. – Ambient communication between announcements is really important. ‘ Words of wisdom “Do what you do best and share for the rest.”

Academic and curatorial mainstream has space for the untrained personal reaction or a informal journalist commenting on culture.

Soundcloud – use to promote as a playlist. Selling platforms for audio ??  (JR BAND CAMP best for selling  – as promoted by the SaM Digital Conference the next day!)

Sound cloud good for live performances.

 

How do we convert online engagement into ticket sales.? It’s not happening at all in some instances. CS – Sales is not always the bottom line…..

How do you recruit more followers? – It’s just sort of happens there’s no strategy. 5

How much time to invest online and how much time in real world?

 

PR Surgery with Helen Stallard

 

Check out the ” Arts Marketing Association. ” useful pointers.

Press release – who is it going to?

Not arts savvy – then plain English.

Savvy – more in depth.

 

3 bullet points at top.

Then structure it like a news article. 2 pages a4 max. All info for article is in the press release. Journalist doesn’t do further research.

Summarise in email cover. Then attach word doc. Then contact individuals personally in papers.

Upload to big companies. ‘Media Disk’ is part of big orgs. Easy to use.

“Arts Media Contacts” . £200 a year.

 

Work with individual freelancer PR rather than big agency… To build up trust…better.

 

NEWS and arts stories. Afternoon session

 

Prof Jane Chapman Prof of Communications, Uni of Lincoln.

ALCS – equivalent of PRS for journalist – join if you want to write copy.

Average wage for freelance journalist £5K.

‘Casualization’ of the industry. Multi platform. Increase cross over with amateurs.

Passion is starting point.

Still need for critical analysis – Brian Sewell vg example of professional writer.

What is it that your brain can offer that Jo Public cannot? Need for training.

Collapse of print not collapse of journalism.

Boutique niche services and creativity needed. Uni of Lincoln arts journalism Masters only one in the world. Globalisation and niche are going together – ironic.

 

Lindsey Clarke Editor thelondonist.com

Looking for quality and quirky things that have something different about it.

Big following! .Songlines Choir uses them. Become a reader then use them for promotion.

Used their public to feedback on sound and music events. Punters feeding back on new music.

60 people volunteered.

The Londonist is working towards being fully professional.

Tell us why our readers would be interested.

hello@londonist.com

 

 

Jasper Rees Editor www.theartsdesk.com. Off shoot of the telegraph Launched on 9.9.9

Do the arts need critics?

Article style they use a lot: long form q and a.

After 3 years of being free –  starting charging £2.95 a month. £25 a year.

The “pay wall”.

 

Amanda Holloway Editor Sinfini music

How do we know what to listen to? Who do we trust? Sinfinmusic is it. For classical and contemporary. Talk to us about collaboration and partnerships.

 

Session after Tea

Jane BurtonTate Media – established 2007

Goldie at the Tate film 500,000 views.

Cinema streaming of Tate exhibition of Matisse. One film a week made by media department.

Apps – shake your phone for different bits of art. Android and apple. “MagicTateBall...

Music meets art, fashion meets art.

4 million reach via social media platform.

Make your nails look like a Matisse painting…

 

 

Director of Arts at the BBC Jonty Claypole

Cultural devolution. Glasgow – less ambitious but more creative than London. British media is too metro centric.

Metrocentricity needs to be challenged. There are world class stories in all parts of the UK.

Digital does help challenge this. BBC is one of the most successfully devolved companies in the Uk.

World class artistic communities outside London tend to be there because they want to be there. London can be superficial and corrupt. Artists often move out of London because of this.

Who is the spotlight for?  Overexposure can be very damaging for artists.

 

Helen Stallard PR Consultant

Lots of readers of Birmingham post.  Aprox 300,000

And online too 1,500,000. !

Really worth using local papers.

Regional TV news big promotional support. National press high profile but local actually brings in new audience.

The art isn’t enough -,the story is all important.

 

Jonty Claypole – thespace.com is a new initiative with 16 million over three years to co create new work. BBC.

 

General Notes

Check out www.sounduk.net

Check out “Hugs Bryson” live streaming only £200

_______________________________________________________________________________________

Notes by Jenni Roditi CJEC, BASCA © July 2014

 

 

Oct 29

Growing at the Mind Body Soul Exhibition!

MBS5_show

So it’s the morning after the weekend before… plus one day off!!

Vocal Tai Chi came of age at the weekend when I set off – with generous back up from a number of individuals – to Olympia to announce the arrival of VTC to planet Earth… as of …one year and ten months ago! It’s hard to believe the work is still so young and yet enjoying this positive response from so many people! We must have given away about 650 leaflets and goodness knows how many people eyeballed the name. There were about a dozen bookings for workshops and a handful of individual session bookings as well. CD’s were sold and people signed up to the mailing list. It’s all starting to make an impression and that’s gotta be a good thing.

The four days went by in a flash – and yet they passed moment by moment in vivid techni-colour – as each task, conversation, vocal sound and booking felt like another mark on the universe that confirmed VTC is here to stay.

I have to thank Jazz Rasool for his enormous amount of help in making it possible to exhibit. He covered so many bases – excellent graphic design, web trouble shooting, planning, roady-ing, ironing on transfers to t-shirts, encouraging me and telling me to rest – and a lot more besides. Brilliant support, really. Helpers on the stand Louise, Danusia, Hazel, Lucy, Denise and Catherine are thanked again as well. 10008_10151740164223877_82760886_n

Feb 01

Arts Council e-zine article on Vocal Tai Chi

Article for the Arts Council e-zine on the ’21st Century Leadership programme’ (which I was part of in 2012) legacy document.

Vocal Tai Chi

Creator: Jenni Roditi GGSM, MMus, VMTR

 Composer, vocalist, voice movement therapist.

Vocal Tai Chi is a new approach to vocal improvisation-performance and workshops grounded in a Tai Chi approach to singing, breathing and voice-body coordination. Improvisations are also supported by especially composed backing tracks. This new work is part of my evolving music practice and points to a further integration of my composition-improvisation dialogue as a primary artistic pathway.

I am also offering workshops, one-to-one sessions and friends-and-family concerts that welcome all singers, non-singers and those with physical damage affecting the voice, for example long-term smokers. Public concerts may also be possible in the future. I’ve also attended several conferences in the last few months and presented Vocal Tai Chi in the contexts of:

All of these contacts are embedding themselves for the future.

My Tai Chi approach emerged from observation of a subliminal movement flow that was congruent with my vocal improvising and clearly evident in my body. I am familiar with Tai Chi from practice over a number of years. My partner named it Vocal Tai Chi after he noticed this correlation.

Musically VTC takes an elemental approach to solo, duo, trio and group voice work and emphasizes non-genre specific material. In workshops I invite people to explore openly, using a voice placement technique to help develop range, colour, articulation, control, stability, fluidity, confidence and depth of feeling.
I also see the work as a metaphor for exploring the nature of 21st Century Leadership, authority and collaborative models – through asking (myself and others) of the improvising: What did it say to you? Did it work? Why did it work? These questions are often most easily answered through audience response, though analysis in workshops can also be used.

The questions provide a felt-sense thinking space for reflection and learning and often begin a more wide ranging conversation.

Vocal Tai Chi embraces influences from many indigenous vocal cultures as well as the classical and modern Western art and popular traditions (demonstrated in my own singing) and looks to find new aural-visual images of voice. The vocal elements in my own Vocal Tai Chi encourage the workshop-vocalist to find a way towards their own authentic vocal expression, alongside my voice coaching, based on twenty-five years experience.

Vocal Tai Chi relates musical (inner) intention to musical (outer) invention. The core, body-mind stability of Tai Chi settles into a relationship with this individual intention and invention so that the voice can liberate itself. This poses another question: from where are we vocalising?

Many other inquiries come out of the core questions cited here all of which can provide insights not only into the discipline of vocal improvisation, but also into the many layers of informative psycho-physical process and how we are in the world.

The work seems to consistently deliver a transformational experience, both in a listening and participatory context that many have found highly valuable.

In its ten months of public life I have placed Vocal Tai Chi in various professional contexts – a full list of archived activities since January 2012 can be found at VTC Archive.  Here is one example of a potential application for Vocal Tai Chi, as endorsed by Vick Bain, Chief Operating Officer of BASCA who approached me in August 2012:

JR. 06.11.2012

Written for the 21st Century Leadership Programme Arts Council e-magazine legacy document.

Oct 06

Singing the paintings of Russell Hatton

 

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