On December 5th 2019, Berklee staged its annual Singers’ Showcase, and the theme this year was A Night at the Opera—The Music of Queen. As a lifelong fan, I was honored to be asked to write the program notes for the evening’s performance.
Each song entry features a reference to the original Queen recording, and the official video embedded, plus a description of the approach the students took for the Berklee version. Selected excerpts from the show itself will appear online sometime in the future, but for now you can get a great behind-the-scenes flavour of the quality of the performance by watching Marshall Lilly’s terrific drumcam footage.
The Institute was founded on a musical question, which is:
What would jazz sound like in a culture without patriarchy?
This morning I was viewing the video of remarks from our outstanding keynote speaker Dr Farah Jasmine Griffin (William B. Ransford Professor of English and Comparative Literature and African-American Studies at Columbia University NY). Like a lot of people, when an inspiring speaker mentions artists, music or books that are new to me, I like to explore further – cue a brief trip down a Google ‘rabbit hole’. So here’s the full presentation, with citations below.
After a brief (and fascinating) biography, Woody shares a list of possible music-related therapies and treatments, and provides his macro hypothesis:
More about Right Turn, an addiction treatment center that uses arts therapies. [JB comment – note that this is an example of a non-profit organization that attracts real health insurance dollars, and designs and evaluates its treatments based on clinical evidence and data. This is a model of funded mental health/addiction therapy that we don’t see in the UK in quite the same way, and indeed may only be possible because of the way US health insurance works – there is a particular cost incentive to investing in preventative treatments of this type].
Dr Brandoff opens with two vignettes; one where he describes a time of personal social frustration where he wanted to punch a wall (but played some classical piano instead – he demos it live!). His second example is a patient case (see slide).
As a palliative care expert and pain specialist, he gives us an overview of patient needs, in the context of his profession, and in the context of US healthcare. He considers opioids an important part of pain treatment, but acknowledges the rampant public health opioid crisis. We look at some disturbing stats of overdose deaths involving opioids in the US, correlated with heroin and fentanyl takeup, and a more local analysis of the picture here in Massachusetts.
Dr Carr ones with a powerful statement: Pain itself is a disease. There are a number of causes, and types, of disease (heart disease, lung disease etc) but once they become established and manifest as pain, they have similarities. Dr Carr believes that having access to pain control is a human right. Pain is a public health issue. Pain professionals view it it as a disease, which can be understood as a combination of pathology, host and environment. Definition discussion (Williams and Craig, 2016).
Pain, Dr Carr suggests, is a public health issue (O’Brien et al, 2017) and lower back pain is argued to be a global disability.
Dr Heiderscheit begins with an historical overview, which is fascinating – see photo. She presents this slide with minimal comment due to pressure of time.
We see some quantitative (and remarkable) stats relating to public health issues – economic costs of addiction, trauma and pain – but Dr Heiderscheit suggests that the human cost of these issues is literally unquantifiable. They affect our health, relationships, wellbeing, security, purpose, community and environment. “We can work to slap band-aids on gaping wounds, but if we don’t address these areas we are not achieving [societal] well-being”.
On the bus to the university this morning I introduced myself to the person sat next to me, who turned out to be John Bigus from my own institution (Berklee’s a great community, but it’s a BIG community, so it’s possible to work there for a long time without knowing everyone’s name). John is responsible for the PULSE free resource, available at pulse.berklee.edu, which is part of Berklee’s initiative to work with K-12 school age music creators and teachers.
John has been working with Bandlab, so there is an introduction from the company’s Lauren Henry Parsons, and our interviewer is Bandlab’s Michael Filson. It’s a cloud-based, free, 12-track DAW app (mobile app or browser-based) with 3.5m users across the world. It’s sponsored by the music instrument industry, which is why the end product is free for musicians – and a walled-garden version for students and teachers. It’s also part of a relaunch of SONAR’s Cakewalk.
This morning, on the final day of my visit to Berklee Valencia, I attended a gig/masterclass with the remarkable Dutch jazz trio Tin Men And The Telephone. ‘Jazz Trio’ is really an inadequate term for this ensemble. It might better be described as ‘interactive iPhone jazz gaming with live humans’.
The setup is as follows: the trio is piano, upright bass and drums. The drummer has a MIDI drum pad and snare sensor. The bassist has an effects pedal. The piano has a MIDI converter attachment, feeding a MAX patch, with occasional effects processing of the piano signal.
Today I attended two presentations at the DIY Musician Conference. The first one, which I’ll get to in a later post (because it’s kinda techy and will take time to write up) was an open DJ session with Ableton Live. The second, which I’ll briefly summarise here, is a one-hour overview of contracts for independent musicians, presented by my estimable colleague Tonya Butler, Assistant Chair of the Music Business department at Berklee.
ABSTRACT: When it comes to getting signed as a musician, a bad deal can be much worse than no deal at all. In this session, Tonya Butler, a top negotiator, will be providing vital information on key music contract clauses while walking the group through the key negotiation points of each clause.
Peter begins with some caveats; he comments that the report deals particularly with the recording industry (and does not cover other music industries – e.g. live music and music education). Second, he notes the support from Kobalt Music, whom he notes are a very particular type of publisher, with a particular interest in digital and many very large-scale song catalogues in their portfolios.