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Author Topic: What's a "musical snob"?  (Read 5048 times)
Turfan Fragment
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Formerly known as Chafing Dish


« Reply #255 on: 19:20:10, 03-07-2008 »

But I don't feel in the slightest bit 'snobbish' about any of this (really!).

You do however look it in that post, if you don't mind me saying.
So 'snob' means 'ignoramus' ? I'm going to have to re-read this whole thread now with that knowledge in mind.
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Baz
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« Reply #256 on: 19:25:36, 03-07-2008 »

Indeed Ollie, in fact one of my favourite pieces by Ligeti IS (from what I recall) just (or at the start anyway) vocals going Eeeeee (it was appropriately spooky music to accompany the finding of the monolith on the moon) but I'm sure there are other similar pieces by others that I would be very snobbish about Smiley
Let's tread warily here perhaps...   Kiss

(Good case in point though I suppose... aren't the voices actually going 'Kyrie / Christe eleison'? Anyone have chapter and verse?)

I think they are just vocalisations - but very effective they are indeed. Pity Ligeti himself did not (apparently) sanction its use there. This, however, is nothing like the point I am making about what I feel has become, let us say, a 'pop stereotype'. This seems to require (by default) a 'transatlantic accent' to assert its authority and credibility, and an overpowering accretion of (preferably computer-generated) percussion noises. Little effort seems to be made (or indeed needed) in many examples to allow the lyrics to be clearly and sensitively communicated (which is a pity because many offer quite profound ideas). Instead preference is given to preserving the 'transatlantic' credentials, and offering a stereotypical 'popcorn' rhythmic backing. My astonishment is not levelled at the ideas (musical, sociological or whatever), but only at the generally dismal quality of the performance or recording. There is not (in my view) much snobbery there - especially since I feel much the same about performances and recordings of 'Classical' music.

Baz
« Last Edit: 19:28:59, 03-07-2008 by Baz » Logged
pianola
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« Reply #257 on: 19:27:32, 03-07-2008 »

Baz, I'm with you to the extent that I dislike the volume levels at which pop music is sometimes played. Yes, yes, excessive volume is not specific to pop music, and I once had to walk out of a Contemporary Music Network concert in Cambridge. In the early 1990s my then lodgers took me down to The Venue in New Cross. I was the oldest person there, jumping about to the music, and it took about three days for my ears to get back to normal. Actually I enjoyed it, apart from the volume, and people grinned and called me "granddad", but I found out later that most of my friends wore earplugs, because they had been there before.

I dislike the bmmmf bmmmf bmmmf that comes out of many of the cars which pass me in south London, because I don't want to have someone else's choice of music forced upon me. Luckily they are usually zooming past so fast that it doesn't last long. I also find buskers in the Tube irritating, if I have music going on inside me. That may be my weakness, in that their music always manages to force mine out, but they give me no choice in a confined corridor. After all, I don't try to force my music on them.

Our local has no music at all, interesting books, even dictionaries and thesauruses (for ignoramuses) on shelves around the walls, though it does have a TV in the corner, but with the sound turned off. That's not bad for south-east London.

Cheers, Pianola
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Ian_Lawson
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« Reply #258 on: 21:10:19, 03-07-2008 »

Bacharach's arrangements are also an important factor in the memorability of his songs (which is as it should be of course), and to my mind haven't been equalled since for sophistication and originality in the genre he was working in (and aren't likely to be now that the art of the arranger is hardly required any longer) - from the bassoon in "Magic Moments" onwards each one has a particular feature which sticks in the mind along with the melody and lyrics.
One of the things I like about the Bacharach discs is that the arrangements don’t sound like ‘arrangements’ (i.e something generic and detachable) the ‘arrangements’ are simply part of the composition. I wouldn’t say they haven’t been equalled, however. I prefer the music of Steely Dan/Donald Fagen/Walter Becker and The Blue Nile both of which continue to produce, in very different ways, non generic/detachable arrangements.

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ahh
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« Reply #259 on: 21:36:58, 03-07-2008 »

One should not construct ivory towers, trading in such materials is banned under international law, not to mention tremendously old-fashioned vis a vis taste!. If any towers are to be built they should be clear, so that we may quite see the powers that construct them and the positions of power that may occupy them. Regardless, notions of taste are social constructs and will reflect hierarchies that exist in any given society; snobbery is a consequent manifestation of this hierarchy.

Snobbery and ignorance are not so far removed. A snob, in the attempt to align themselves with social superiors, to get to the upper floors in the tower, has to ignore much street-level activity. To declare that all pop music is this or that is clearly ignorant since it belies a breadth of practice that only a true aficionado could hear. Do all black people look alike? No. Are all men arseholes? (er...)No. Does all pop sound the same? No. The kind of material you hear in pubs is reflective of only a tiny proportion of this mass medium. It would be like saying Classic FM defines classical music (and BTW - I think the principles of heavy rotation apply to this station as much, if not more, than Radio One). In my opinion, as far as that stretches, this delimitation approximates stereotyping and is really unhealthy and, paradoxically, most distasteful.

Breadth is, of course, a problem to the snob. The Mass-ness of mass media, its ubiquity, its sprawl; all smack of unelevated, non-refined, undistinguished culture. This stems from fear of the mob and equally as important, fear of the lack of control - the idea of life without hierarchy is scary. I would hazard that this underlines an attitude that is not only ignorant of most of the world but actively encourages ignorance. How much easier it is to follow millenia (re: music) of cultural practices and pedagogic strategy than to junk it all and start again? For instance, musicology is only very recently been coming to terms with pop/rock because it wasn't designed for that purpose. Far from indicating a lack within pop music, this demonstrates we require broader structures of appreciation.

It's those safe, high ground parameters that stifle the appreciation of new music as much as it does pop/rock. I'm extremely distrustful of it, indeed I hate it, probably as much as some hate the thud, thud, thud of pop music. So, the towering irony for me is that I'd call myself a snob, I'm forever sneering, heaping derision on bad or worthless culture while championing what I believe is good. I'm not anti-tradition, I just believe that culture is  alive, fluid and varied; thus if bound by condescension it is liable to shake free. I'm not against value judgement, however I do question the criteria for judgement and I hope I always will. There! I'm the king of the castle and you're the d...






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martle
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« Reply #260 on: 21:43:50, 03-07-2008 »

ahh, well said, sir.
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Green. Always green.
richard barrett
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« Reply #261 on: 21:46:51, 03-07-2008 »

Bacharach's arrangements are also an important factor in the memorability of his songs (which is as it should be of course), and to my mind haven't been equalled since for sophistication and originality in the genre he was working in (and aren't likely to be now that the art of the arranger is hardly required any longer) - from the bassoon in "Magic Moments" onwards each one has a particular feature which sticks in the mind along with the melody and lyrics.
One of the things I like about the Bacharach discs is that the arrangements don’t sound like ‘arrangements’ (i.e something generic and detachable) the ‘arrangements’ are simply part of the composition. I wouldn’t say they haven’t been equalled, however. I prefer the music of Steely Dan/Donald Fagen/Walter Becker and The Blue Nile both of which continue to produce, in very different ways, non generic/detachable arrangements.
Yes, but hardly within the 3-minute chart pop genre that Bacharach was working in.

Baz, you are being I believe just a little disingenuous if you want us to believe that your attempted onomatopoeic ridicule of pop music is an innocent attempt to characterise its sounds.
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Ian Pace
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« Reply #262 on: 21:48:55, 03-07-2008 »

ahh, well said, sir.
Indeed so.
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
burning dog
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« Reply #263 on: 21:55:50, 03-07-2008 »

I like pop that goes bong, bong, bomb diddle ding-ding, bomb.

 Edit -Odd, I listen to  jazz/classcial 90% of the time these day but this thread has got me back into listening to dub, early punk etc.
« Last Edit: 22:03:01, 03-07-2008 by burning dog » Logged
martle
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« Reply #264 on: 22:06:25, 03-07-2008 »

Edit -Odd, I listen to  jazz/classcial 90% of the time these day but this thread has got me back into listening to dub, early punk etc.

Well, that's r3ok for you, dogger.  Wink

NEW BACHARACH THREAD ALERT
NEW BACHARACH THREAD ALERT
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Green. Always green.
Baz
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« Reply #265 on: 22:13:02, 03-07-2008 »

Baz, you are being I believe just a little disingenuous if you want us to believe that your attempted onomatopoeic ridicule of pop music is an innocent attempt to characterise its sounds.

Well Richard - I think that statement is another way of telling me that it is your opinion that I am, indeed, a 'snob'. Thank you.

Baz
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martle
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« Reply #266 on: 22:19:15, 03-07-2008 »

Baz, you are being I believe just a little disingenuous if you want us to believe that your attempted onomatopoeic ridicule of pop music is an innocent attempt to characterise its sounds.

Well Richard - I think that statement is another way of telling me that it is your opinion that I am, indeed, a 'snob'. Thank you.

Baz

I'd have thought it virtually proved it, Baz. But then you are at liberty to refute that statement in cogent terms when you feel so moved.
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Green. Always green.
Antheil
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« Reply #267 on: 22:25:55, 03-07-2008 »

Baz, you are being I believe just a little disingenuous if you want us to believe that your attempted onomatopoeic ridicule of pop music is an innocent attempt to characterise its sounds.

Well Richard - I think that statement is another way of telling me that it is your opinion that I am, indeed, a 'snob'. Thank you.

Baz

I'd have thought it virtually proved it, Baz. But then you are at liberty to refute that statement in cogent terms when you feel so moved.

I think Baz' choice of Amy Winehouse is flawed becquse that is not the "pop" music being discussed is it?
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burning dog
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« Reply #268 on: 22:32:05, 03-07-2008 »

I remember having a conversation with one of the record shop owners in Harlesden,  one was old skool ska bluebeat mento etc and some jazz called Orbitone at Willesden Junction, one was really "out of it" (seriously stoned rastas, not student strength stuff) favoided that one mostly -right on Jubilee clock, it was still there not long ago, further up at more middle of the road shop the ownersaid  to me I dont why people smoke dope to listen to this (dub), this gives the effect without smoking.
 
Only if you are familiar with "straight" reggae/ska I guess.

http://www.youtube.com/watch?v=PNTKEIhbQgM&feature=related

  You have to dance to it, really loosed limbed, to get the full effect, it really transforms the music somehow.



« Last Edit: 22:40:09, 03-07-2008 by burning dog » Logged
Turfan Fragment
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Formerly known as Chafing Dish


« Reply #269 on: 22:45:21, 03-07-2008 »

What is dub? Is it spelled dUb as in the union of d and b, thus drum 'n bass?

Pardon my ignorance snobbishness.
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