The Australian National Academy of Music (ANAM) lives in the suburb next to mine and is a Good Thing. It’s housed in one of the umpteen magnificent town halls of Melbourne, in this case South Melbourne Town Hall and a lot of its concerts are put on by students, often supplemented by their teachers or some professional musician.
Now apart from liking the idea of listening to students play beautiful music, I can’t really tell the difference between lots of music students and great professional players, so what’s there not to like?
In any event in recent times a mysterious plywood box has been build outside the Town Hall. It’s a Quartetthaus would you believe and there are three concerts a day going on in there for the next week or so. The sound is a bit like being inside a set of headphones. The space is not larger than a largish room of a house. 52 seats are located in two concentric circles around a small circular stage on which four players play string quartets. You become aware after about five minutes that the stage is actually rotating. Which is kind of cool (In your case, owing to this article, you will be aware of this before you go, so please take appropriate precautions).
I went last night and heard a Beethoven string quartet and then a Janácek string quartet. It was very enjoyable, and cheap as such things go ($30 per person).
So I say go. Go Now. Go if you can. While you’re there you can find out why they spell Quartetthaus with a double ‘T’. And why do they speed up the rotation of the stage at the end until the players fly out into the audience (OK, I made that bit up. They don’t – but only because ethics approval would have been so hard to get. Maybe next year.)
This TED talk from 2008 was recommended to me by my piano teacher. If you haven’t already seen it it’s well worth taking a look. If you have seen it, a second look wouldn’t be wasted.
After watching it I realised I had a considerable challenge in front of me – to transform myself from a rigidly centrist two buttock piano player to a more relaxed sometimes left-leaning, sometimes right-leaning one-buttock piano player.
No more singing unless you are as good as this.
Happy new year
There’s a beauty to cover songs. The musician, free from obligation to be new, hip commercial or even original, has simply to play homage to the songs that they love. When some people, not big stars, just talented people with some recording gear and the desire to have a crack on their own, put their own little gems on the internet. I think it’s worth pointing them out.
This, I think, is one of the very best examples. Do you agree or have you found better?
It wasn’t enough that we were all recently exposed to the unbelievably tone-deaf talents of Craig Emerson.
Before that there was former Senator Mary Jo Fisher’s very strange spoken rendition of the Rocky Horror Timewarp number, eerily presaging the instability that eventually segued into serial shoplifting.
Now, God forbid, we have Treasurer Wayne Swan on a Bruce Springsteen kick, although at least he leaves the singing to his daughter who can actually more or less hold a tune.
They played the studio version of this song by Colin Hay on the day that we learned that Greg Ham had died. It was a good choice.
I saw Colin Hay play this song back in 2002 at Woodford. Back then it was just him, a guitar and his gorgeous wife.
Here he is playing it at the Corner Hotel Richmond, with a very tight band, and the same gorgeous wife.
This wasn’t supposed to be the theme of part two (Part One is here) but Jessica Irvine’s recent and timely column on superstardom and One Direction prompted me to add my two cents’ worth – well someone else’s two cents’ worth but at least inserted by me.
First; highlights from Jessica’s column:
US labour market economist Sherwin Rosen in his 1981 paper ”The Economics of Superstars” identified two preconditions that lead to superstardom. First, every customer in the market must want to buy the good supplied by the best producer. The second condition for the birth of a superstar is that the good provided must be able to be distributed cheaply to all customers in the market. You don’t see superstar plumbers, because their services are only available to one geographic area.
Rosen’s theory of superstardom as an efficient outcome of the market was challenged by another US economist, Moshe Adler, who pointed out that whether people preferred one singer over the other was not necessarily determined by how talented they were. There is, after all, no standard unit to measure increments of talent. The key thing about groups like One Direction, according to Adler, is not that they are the most talented – for such a thing can never be measured – but that they are simply the most popular.
According to Adler, consumer desires are not innate preferences – as standard economics assumes – but are influenced strongly by society. We desire the same art, culture and music that is desired by other people.
To which I would only add the graph below which features in Paul Ormerod’s forthcoming book. In a controlled experiment with people listening to music if they were not ‘networked’ which is to say they didn’t know what other people thought was good, there was a fairly big inherent difference between songs. If they were networked, they ‘herded’ strongly.
Typical outcome of the music download experiments; number of each of the 48 songs downloaded over the course of an experiment, participants only know the names of the song and band and can listen to songs before deciding whether or not to download. The average number of downloads is set equal to 100 for comparative purposes
Same experiment as before except the participants know the number of previous downloads of each of the songs before they decide themselves
Of course the upshot of this is that we’re all madly herding from one place to another, but the extent to which there’s signal in the noise of our herding is greatly attenuated. Further; large amounts of rent are being expended trying to get people’s attention with marketing to get into people’s headspace and win the battle for the next hit.