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Bebop Spoken There

Roy DuNann: "I would have sent him [Ornette Coleman] home ... It wasn't music at all for me" (JazzTimes May 2022)

The Things They Say!

Hudson Music: Lance's "Bebop Spoken Here" is one of the heaviest and most influential jazz blogs in the UK.

Rupert Burley (Dynamic Agency): "BSH just goes from strength to strength".

'606' Club: "A toast to Lance Liddle of the terrific jazz blog 'Bebop Spoken Here'"

The Strictly Smokin' Big Band included Be Bop Spoken Here (sic) in their 5 Favourite Jazz Blogs.
Ann Braithwaite (Braithwaite & Katz Communications) You’re the BEST! --

Postage

14264 (and counting) posts since we started blogging 14 years ago. 483 of them this year alone and, so far, 83 this month (May 26).

From This Moment On ...

May.

Sat 28: Whitley Bay Carnival: Northern Monkey Brass Band (1:00-1:45pm & 4:00-4:45pm); Baghdaddies (2:00-2:45pm & 5:00-5:45pm) @ Spanish City Plaza Arena, Whitley Bay. Northern Monkey Brass Band (2:30-2:45pm) @ Rainbow Corner (Marine Ave.), Whitley Bay.

Sun 29 Vieux Carré Hot 4 @ Spanish City, Whitley Bay. 12 noon.
Sun 29: Musicians Unlimited @ Hartlepool United Supporters’ Club, Hartlepool. 1:00pm.
Sun 29: Foundry Jazz Ensemble @ The Exchange, North Shields. 3:00pm.
Sun 29: Groovetrain @ Tyne Bar, Newcastle. 4:00pm. Free.
Sun 29: Zoë Gilby Quartet @ Allendale Village Hall, Northumberland. 7:30pm.
Sun 29: Two of a Mind: Sue Ferris-Steve Summers Quartet @ The Globe, Newcastle. 8:00pm. £10.00 adv., £12.00. door.
Sun 29: Jam session @ Fabio's Bar, Durham. 8:00pm. A Durham Uni Jazz Soc event. All welcome.
Sun 29: Cedric Burnside @ Cluny, Newcastle. Superb Mississippi hill country blues!

Mon 30: Jazz in the Afternoon @ Cullercoats Crescent Club. 1:00pm.

Tue 31: Jam session @ Black Swan, Newcastle. 7:30pm. House trio: Stu Collingwood, Paul Grainger, Rob Walker.

June

Wed 01: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm.
Wed 01: Darlington Big Band @ Darlington & Simpson Rolling Mills Club, Darlington. 7:00pm. Rehearsal session (open to the public).
Wed 01: Four @ The Exchange, North Shields. 7:00pm.
Wed 01: Take it to the Bridge @ The Globe, Newcastle. 7:30pm.

Thu 02: The Vieux Carré Jazzmen @ The Walled Garden, Gibside National Trust, NE16 6BG. 12.30 - 3.30pm.
Thu 02: (CANCELLED THIS WEEK ONLY!) Vieux Carré Jazzmen @ The Holystone, North Tyneside. 1:00pm.
Thu 02: House of the Back Gardenia @ Gilsland Village Hall. 7:00pm.
Thu 02: The Blues Band @ Whitley Bay Playhouse. 7:30pm.
Thu 02: Thursday Night Prayer Meeting @ The Globe, Newcastle. Featured performers: Tony Bevan & Williwaw. 7:30pm. Free admission (donations). Upstairs.
Thu 02: Atom Eyes @ Hoochie Coochie, Newcastle. 8:00pm. Free.
Thu 02: Maine Street Jazzmen @ Sunniside Social Club, Gateshead. 8:30pm.
Thu 02: Tees Hot Club @ Dorman’s Club, Middlesbrough. 9:00pm.

Fri 03: Classic Swing @ Cullercoats Crescent Club. 1:00pm.
Fri 03: New Orleans Preservation Jazz Band @ Oxbridge Hotel, Stockton. 1:00pm.
Fri 03: Rendezvous Jazz @ The Monkseaton Arms, Monkseaton. 1:00pm.
Fri 03: Tyne Valley Big Band @ Bywell Hall, Stocksfield. 2:00pm.
Fri 03: Sam Braysher Trio @ Saltburn Community Hall. 7:30pm. Braysher, Matyas Gayer, John Williamson.
Fri 03: Ruth Lambert Quartet @ The Vault, Hexham. 7:30pm (doors). £15.00.
Fri 03: Lee Bates @ Prohibition Bar, Newcastle. 8:00pm. Blind Pig Blues Club.

Tuesday, September 14, 2010

Listening Through the Noise: The Aesthetics of Experimental Electronic Music

Even people who admit to being tone-deaf could once tell the difference between radio static and music. Not anymore. “We live in an era where all types of sound in art have become equally legitimate,” explains Joanna Demers, associate professor of musicology at the USC Thornton School of Music. “I don’t make this claim lightly: Electronic music has precipitated an end of music.” In a timely new book, Listening Through the Noise: The Aesthetics of Experimental Electronic Music (Oxford University Press: October 2010), Demers offers the first comprehensive assessment of electronic music and how our approach to listening has radically departed from the last 500 years. Beginning with philosopher and composer Pierre Schaeffer, who lugged a turntable engraver around Paris in the mid-20th century to record the sound of trains, Demers shows how recent experimental electronic music destroyed the conventions — such as tonality, tempo, timbre and harmony — that once helped identify music and demarcate it from the sounds of everyday life. “Even though people will no doubt continue to use the word “music,” the experience of listening will be markedly different from what it meant a century ago,” Demers says. As Demers explains, electronic music introduced the possibility that the sounds of the outside world could be treated with aesthetic consideration. Building on a “rhetoric of difference” and the work of avant-garde composers such as John Cage, experimental electronic music embraced previously undesirable sounds such as feedback, field recordings and silence. “When the framing devices of Western art music began to disappear or undergo critique, so, too, vanished many reasons for regarding music as separate from the outside world,” says Demers, author of Steal This Music: How Intellectual Property Law Affects Musical Creativity (University of Georgia Press: 2002). But in the absence of any musical parameters, how do we listen to previously nonmusical sounds, say, a recording of waves lapping on a beach? Theorists have postulated that the end of music might enable listeners to hear all sounds as if they were music. Or, conversely, we might begin to listen to sounds without context or meaning. Others offer the idea that music is no longer music at all, but a form of art incorporating sound and space. “Just as photography instigated a philosophical crisis in visual arts, so did the introduction of electricity into music making at the turn of the twentieth century change musical aesthetics forever,” says Demers, who teaches classes at the USC Thornton School of Music on intellectual property and music, hip-hop, music videos, and popular music history. In Listening Through the Noise, Demers distinguishes among types of listening: hearing, listening for meaning and comprehension, and aesthetic listening, that is, appreciating the characteristics of sound as aesthetic objects. Whereas once listening to music might have required full attention, Demers notes that aesthetic listening allows for listening in intermittent moments without beginning or end, reflecting the way many of us actually listen to popular music now, while doing other things. “While insiders still might still insist on the distinctions among various genres, outsiders might well perceive in electronic music a whole not only new musical experience but a new medium in which sound is aesthetic but not especially musical,” Demers says. “These sounds are strange in the real world, but they also succeed in making the real world strange.”
From a press release sent to me by OUP (USA) - What do you think?
Lance.

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