Brian Roland wrote: ↑
Tue Jul 18, 2017 6:39 pm
Rob Tuley wrote: ↑
Tue Jul 18, 2017 5:55 pm
FlowerPower wrote: ↑
Tue Jul 18, 2017 1:27 pm
Not sure what you mean by that, but here's a typical scenario:
Music starts with ideas, inspiration, composition. So I start fumbling around with an idea for strings. ... So after some ideas have been recorded or note has been entered, one by one, ... So I need to export the material into a DAW again ... So while developing this idea, I can't really rely of on of this apps. ...
Sometimes (not very often!) I feel sad at being old.
Not because of any problems it causes ME, but because of how much more recent generations have never learned to do without continually relying on crutches like computer software.
OK, based on my previous posts in the forums, I'm incompetent to use two standard issue ears and a piece of paper.....as is my entire generation. I get it...
Newer generations don't have a choice. Our 'crutches' to include REAL PEOPLE in the process have been decimated by the slash and burn, high and mighty, snob infested, hazing tactics of our predecessors.
Try to build a real 200 piece marching band, or a local Suzuki String program in 2017 (every accomplished Conservatory performance graduate started somewhere). The resources, support and training from our academic and religious institutions, and the disciplinary and administrative clout to pull it all together has been all but decimated. No one led the way to preserve the system or enhance it, and did everything in their power to push any 'trouble makers' out of the industry. The few brave men and women I remember standing up in all the 'associations and union meetings' in the 70s and 80s who were voicing concerns or 'rocking the boat' towards meeting some of the on coming industry challenges head on were flat out black-balled and forced to find other occupations.
You can't even get a decent modern brass instrument (beginner, intermediate, nor professional, yet still costing into the thousands of dollars per unit after the families finance them) that doesn't fall apart within 2 years (with no way to fix it due to all the new electro-bonding processes involved). Even so....we're sending kids home with bills at over $75 a pop to put on a stinking water key, or replace junk pads that fall out a week later. "Do it yourself" the old heads say.....but the truth is, you can't anymore....none of it really works the way it did 30 or 40 years ago....the materials and methods available have changed that much. The brass is too thin to rub, it's of an alloy that cannot simply be hand soldered, etc. Modern woodwinds are even worse...you can't flex the keys and align/set the pads. Nothing uses the old heated laqure method anymore. The best you can do is peel a sticker, poke it in, and hope it sets at some point (which is rare). It's a bloody nightmare.....and this is coming from sales people that will bald face lie and tell you that intermediate flutes with step rather than inline key configurations 'do not exist', or that they can't supply you with replacement parts, etc. This is coming from places where directors can be blackballed from an entire state for wanting to use Brand X instruments instead of Brand Y. We're all locked in....and WE 'incompetent' teachers/directors don't have much course to fight back. Plus...one needs time to actually TEACH and PERFORM music at some point.
Building a solid instrumental music program is a constant series of dances with school/community ethics and politics. Almost anything we come up with to solve a seemingly simple problem is subject to stepping on some powerful person's toes who can crush you like a bug. It's not t he same world as it was in 1950. Even when we think we might have some options.....we often have to keep them quiet and 'under the table'....again, major ethical delimas. Good lord....why should it be an ethical delima full of potential legal pits to make sure a kid has an instrument that actually works?
Well...in 2017...it is. Passing out a great method book and teaching your bom off isn't enough
EVERYTHING is questioned and scrutinized instead of 'backed' by modern 'administrators'.
So here we are in 2017. A kid walks into your program holding some X brand horn made in India and purchased at Wal Mart that is 1/2" too long. It barely makes a noise even resembling the instrument it is supposed to be. Industry standard reeds/mouthpieces etc will not fit it. It can NOT be tuned to fit in with an 'ensemble' of various branded instruments...and we're stuck with it! We can't even send a note to the parents about it, as that would be politically offensive somehow. We can't go to an anonymous source and have a proper instrument 'donated'...again for the same political non-sense reasons. This is just one of many examples of the issues we 'modern incompetent younger whipper-snappers' (who based on previous posts, obviously can't transpose with two standard ears and a piece of paper) are faced with daily.
You can't ask parents to help raise funds anymore, and you can't ask a kid to practice and give an honest assessment without possibly getting sued into oblivion. You can't do instrument inspections, or enforce any kind of maintenance regiment (even if YOU offer to pay for it out of your own pocket, it's offensive, and a possible law suit waiting to happen).
You can't find anyone that will come tune a piano anymore. The few that try are clueless and end up making it WORSE. Try to find a school to learn how to do it properly, and they'll take your money for a while, then HAZE you out in less than 6 months with a bunch of social/fraternal nonsense that has nothing to do with maintaining musical instruments. So yeah, the churches are putting out beautiful and massive pipe organs on the curb for disposal, and moving in Digital pianos and wiz bang multi-media karaoke systems. Not so much because they 'desire this', but because they don't have many options anymore. Even if they are fortunate enough to find someone that can (or want to learn) how to play the old organ.........getting someone to fly in from 20 states away to maintain it is no longer practical (provided you can even find someone that can/will still do it).
Believe me....'my generation' tried with everything we had to be loyal, and devoted to our mentors and their guilds. We begged to keep our local instrument makers and service companies going strong, and locally financed, but the advice from YOUR GENERATION was to 'keep your mouth shut and keep your band hall clean. These things are NOT your problem." Then ya'll retired with tri-state trifectas for pensions and benefits, and never looked back. We practically WORSHIPED our mentors....and tolerated endless HAZING B.S. rituals that wasted YEARS of our lives, while our 'peers' were out there making millions to put together 4 track 'pop tunes'. We 'kept our band halls clean' as directed....and THIS is what we've inherited. The good, the bad, and the ugly.
As for buying 'stock arrangements' from the publishing houses.....well, in 2017 it's notoriously difficult to build an ensemble that actually fits the ideal model. One ends up having to rearrange stuff to fit whatever odd-ball instrumentation you can manage to cobble together out of a rapidly changing community. We can have as many as 9 different pedagogical ability levels in the same ensemble to account for...so a good 60% of the time we end up having to re-arrange everything anyway...thus the growing popularity for Scoring software and some sort of personal or portable PC. We need custom arrangements on a daily basis, but we do NOT have time to sit down and hand write all fifty-some odd parts, in all the clefs and transpositions we need (which literally can change from day to day, week to week, as players come and go on about their lives).
We know our theory, and we know many of the old rules, methodologies, and processes. To this day, a good ole Rubank or Arban book is golden, but we don't get a schedule or a pedagogically leveled group of students that those methods will work in anymore. We could do it if we had the OLD 'people' systems in place....but all those systems and support groups are long gone, and attempting to rebuild them is pretty much professional suicide among modern school districts...so please keep all this in mind.
The constructivst learning theory currently pushed by many school systems around the world pretty much forces us to abandon the old proven methodologies rooted in behaviorist or situated cognition learning theory. Many of us in the field don't like it, but to keep our jobs, we must turn in 'differentiated' lesson plans for every individual child. Besides the fact that music method books are not on our state text book lists, and we are not allowed to ask kids to buy their own, All this means, on multiple levels, that we really need the Notation software to create our own 'method books'. They change and grow pretty much daily. Yep, it's forcing us to reinvent the music methodology wheel...and in many ways make it WORSE than anything that was used in the 1950s, but if we want the public school gig...we fall in line or get fired.
Moreover, In Nineteen Seventy weird, your typical school music program for a student body of 1,000 kids to build a talent pool from had 6 to 8 people on music staff. You got the same students every day, for at least 50 minutes per day (we're lucky to get a different group every day for 20 minutes a pop). If you wanted to keep oboes and bassoons in inventory, and develop people to play them...you could do so. It's not that simple anymore though. There is no money for a bassoon, which cost as much as a small fleet of beginner line trumpets. These days we are lucky to get ONE quazi certified teacher for EVERYTHING music on campus, who is expected to do Instrumental, Vocal, and General Music for all grades K-12. They demand we field up to 6 performance groups open to public scrutiny in any given month, incorporating all kinds of dance and movement drills, full uniforms, etc...with zero budget, and all that is expected with less than 90 minutes rehersal time per week (all scattered minutes, mostly spent setting up and breaking down in a 'temporary' classroom at that).
So...forgive us if we find 20 minutes and a set of technologies to sketch out and communicate ideas. It's not our fault the unions have died (and we were never 'good enough' to join them anyway), and getting a group of studio musicians together is not only extremely difficult, but far more expensive than quite an elaborate home studio. It's not our fault that universities and conservatories no longer graduate enough specialists in various instrument families to set up studios for private lessons in every decent sized town anymore. It's not our fault that a kid right out of college, will be expected to lead two choirs, 4 bands, and teach 12 general music classes in a single day can't develop oboe and basson players for 'traditional' wind band stock arrangements (that are ironically still on required lists for program evaluations). It's not our fault that budgets are not provided, and that arranging various booster or sponsorship organizations is now a taboo (considered unethical) practice.
Forgive us that our 'peers' that we might attempt to organize into reading and session groups, who majored in some instrument 20 years ago hasn't had time to pick one up and PLAY in more than 20 years....because he's got a family, and a life, and is always slogging popcorn and cokes in some two bit concession stand to help pay for that $6,000 community tuba and twelve $200 mouth pieces that'll be shared among a dozen kids.
Enjoy the 'superior generation' complex, but in all honesty, you didn't leave much of a legacy to keep us on your dream path for the way music 'should be done' throughout the ages. What we have, is what we have. We do the best with it that we can.
We begged and pleaded, warned of the coming changes in the world, and possible methods to 'get organized' and address them. We protested, courted, tried our best to lobby as 'young fools', and went unheard. We can't turn back now...at least not without a major social movement, orchestrated from the top down by leading Music Universities and Conservatories, with some BIG MONEY backers, and loads of international law firms to undo the morbid and nearly insane legal, social, and ethical 'advances' that have put us in the position we are today when it comes to building musicians for acoustical instrument based ensembles. My 'incompetent' generation asked our Deans these things, and when we submitted our thesis papers to attempt to address some of these issues about our crumbling support systems and resource supply lines, not only did they fail us on those papers for 'trying to rock the boat' and 'stick our noses into industrial matters of which they do not belong'....they pretty much told us to shut the heck up and get out of their institution. So...we did....and from then on they went from graduating hundreds of musicians per year, to graduating less than 10 per year (most of which leave professional music via attrition). The Universities have their most qualified scholars, still getting six digit salaries to direct the same basketball pep band they've been doing since they came on as a 'graduate assistant' 20 years ago....and such 'scholarly leaders' out right refuse to publish, or sit on any peer review boards where they might actually be influential in helping to hammer together plans and resources do something about some of these issues......
They play the fight song 200 times a month, graduate maybe a dozen music major students per year, and get the six figure pay check........this is what MY GENERATION had/has to work with in terms of scholarly 'leadership'.
We're now a DAW generation....and don't have much choice in the matter anymore.