Musical Mapping

Before answering the Week 6 question, I would like to post some thoughts I have about musical mapping at the Faculty of Music. These observations are not meant to be accusatory as criticism, but just my own thoughts prompted by Prof. Averill's lecture notes.

Prof. Averill addresses a central problem with artistic urban planning and Toronto's so called "renaissance of the arts." He points out that the city links revitalizing the arts with revitalizing building spaces. This is exemplified in the millions of dollars invested in buildings such as the RCM, ROM, AGO, Four Season's Centre, etc. This funding is invested in these projects with a largely ethnocentric attitude: that Western European art music (and art in general) needs to be displayed in architecturally impressive buildings that attract tourists and effectively "put Toronto on the map." These building projects are fantastic for this "elite art" but does very little for the everyday grassroots art of the common people. This art does not live in buildings. It gathers and forms where people are, but transcends mere physical space. Thus, what do these projects do for the jazz clubs that are closing down, and the community groups that can't afford to rent rehearsal space? Even the TSO has more office space than rehearsal space at Roy Thomson Hall. Will the same happen at the RCM?

This is not directly related, but think about the musical mapping, or allocation of space at our own Faculty. How much of it is dedicated to "elitist" music? The Faculty is progressive with the addition of many world music ensembles and even a world music artist-in residence. But do we have a space that is just dedicated to the sound of the students, when we remove ourselves from the music we study, and just play? We have to main performance spaces: one designed for opera, and one designed for chamber music. Obviously both spaces see a lot of different genres and student groups, but the common theme is that they only see the music we study...either through recitals or ensemble performances. I would like to see a space that does not have professional stipulations, but that just promotes our personal music. What about the classical pianist who is also a singer/songwriter? What about the jazz drummer that fronts an emo band? What about the flute major who also plays sitar? (These are fictional, without any real associations :)). We lock ourselves into boxes and label each other as the pianist, or guitarist, or flautist but we have to go elsewhere to see the other sides (musically) of each other.

Regarding the ethnography of Toronto, I find hidden musical communities on Myspace! This is a new type of musical community that truly transcends physical space: the artistic vision of these artists is accessible worldwide. I don't know that I can apply one style to music I hear coming out of Toronto, or if I can recognize a distinctively Toronto sound - I think I'd have to do much more critical listening of music from various regions to make this judgeent. But I think that with Myspace and the Internet, style and genre barriers are falling down as people become exposed to so much more music. What I do see more and more is musicians rebelling against the "schooled" music taught in universities and conservatories. This is the classical musician by day and rock star by night conundrum. I think this is in itself a new style of music - jazz and classical training that informs rock, or other style totally.

Here's a link to an article originally from the New York Times about the principal percussionist of the Chicago Symphony who quit his position and started a band:

New York Times Article

Well, that's enough writing for now. I've typed more than I intended to.