Tuesday, April 24, 2007
Tuesday, April 10, 2007
A concert of electroacoustic music featuring Professor Hans Tutschku, director of the Harvard Studio for Electroacoustic Composition (whose bad-ass analog synthesizers can be seen above), and his students. Collaborative works by student in Music 167 and improvisation by Hillary Zipper, violion; Jean-François Charles, clarinets; and Hans Tutschku, live electronics.
Tuesday, April 10 at 8 pm.
The Harvard Advocate
21 South St.
Harvard Square, Cambridge, MA
free and open to the public.
Tuesday, April 03, 2007
text up! english + português
Scattershot thoughts on the beat diasporic concerns distilled, I hope, into something a little more digestible:
- On the English side, "Notes from the Hillside: Of Funk and Favelas in Rio de Janeiro", published for the "south" theme of the winter issue of The Harvard Advocate (full disclosure: I'm the prez).
- Em português, something I turned in last fall for a course on Brazilian civilization at the Université-Paris-8. Linguistic restraints hold back the prose from the deeper analysis and shinier polish of the English article.
Magazine cover specialists and Geo Bee sponsors, now world music mavens. World music, of course, being a tricky one to properly pin down. But I see more X-Plastaz and less Graceland, plus a digital distribution scheme that will hopefully keep it off the Starbucks shelves. With a pop-up Java app and $0.99 downloads, it's got an iTunes-esque death-to-the-music-industry imprimateur all over it.
I wonder, though, if the remix treatment to every song shines off too much tarnish when the result is "a super smooth house track" (DJ Afro's edit of Los Amigos Invisibles "Yo No Se"). Although there probably wasn't much tarnish to begin with if the album it came off of was produced by Dmitri From Paris. I've got nothing against French house -- why on earth would I have gone clubbing in Paris last fall otherwise? -- but such slinky sounds don't settle well alongside the righteous chicano indignation of "El Ballad de Jose Campos".
"World music" coming up short again as an empty category when it's overwhelmingly vast? Could be. Or maybe just misnomered: what's "worldly" (as opposed to "national", I suppose) about Spanish-language music when reggaeton dominates the airwaves?
An attempt, but I'm unconvinced a successful one, at imploding the top-down*/bottom-up** paradigm in "world music" circulation that professor wayne&wax told me he toyed with in class.
*i.e. Graceland and PG
**i.e. this, this, this, and maybe even yours truly.