Technique vs. Genre vs. Propaganda

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Philip
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2008/09/26 23:12:48 (permalink)

Technique vs. Genre vs. Propaganda

(Today I worked (not-too-hard), juggled my 4 children, laid a few semi-inspiring guitar tracks, and pondered ‘vital questions’ ...)

I've perceived that there may be another trichotomy in music-technique.

I’m hoping any of you will elaborate (without turning this into a spamming trolling extravaganza)

Propaganda is a dirty word: wholesale whoring of commercials, politics, science, religion, sex, and who knows what else? Perhaps, I’m most guilty. Is singing propaganda? CCM and worship genre may be equally guilty … no different than Stalin’s socialist anthems, whose purpose seems oft to lull false security into others.

Technique seems (to me) merely the scientific medium we use to communicate our pet-agendas … that targets the most audience (or something like that).

Please help me elaborate on what you perceive about ethics of technique, genre, and/or propaganda in music.

Philip  
(Isa 5:12 And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the LORD)

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    droddey
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    RE: Technique vs. Genre vs. Propaganda 2008/09/26 23:39:13 (permalink)
    Clearly all people have at some level a desire to rant at the world. It just happens that musicians have a particularly palletable mechanism to do it with, and some really learn to use it well. Nothing wrong with that I think.

    Dean Roddey
    Chairman/CTO, Charmed Quark Systems
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    Marah Mag
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 03:07:58 (permalink)
    Hi Phillip. I can always tell from the subject line when a thread is one of yours, before I see who posted it. :)

    I'm not exactly sure I understand what you're getting at here. But this is what it brings to mind.

    I think that contemporary music (and most art) that tries to contain a message or a point of view that could be considered political or religious, or some other variety of the ideological, tends to fail as art the more literal and explicit the message is.

    Of course the main carrier of the message will be the lyrics, even when the music is somehow designed to support that message. But the music itself can suffer when it's subservient to an explicit message.

    One of my favorite examples of this is Imagine by John Lennon, who in my view is one of pop's greatest songwriters and singers. Musically, Imagine is quite Lennonesq. It progresses harmonically and structurally in a very late-Lennon manner. The vocal is also very much like what you get from Lennon. But the lyrics are so consistently and deeply smarmy, and so self-consciously message-ridden, that I personally find the song unlistenable.

    And it's not only John's version: From time to time you hear covers of Imagine that are even more nauseating than the original -- because each artist adds their own layer of obligatory reverence to the song.

    Imagine's message, and the messenger-voice that's built into the lyric itself, overwhelms all versions of the song that I've ever heard. I can imagine doing a version in Sex Pistols style, which might somehow manage to transcend the song's over-earnestness, buy only by turning it into irony -- which Lennon, who's best work is deeply ironic, somehow managed to keep submerged in this song (unless, of course, he intended some people to react to it the way I do, and he know he was full of it, and everyone else is just buying his faux-piousness....?)

    It's interesting that shortly after Imagine, John and Yoko (some of whose work I quite like) put out an overtly political album, Sometime in New York City, that (IMO) suffered from the same thing most overtly political art does. (The one exception on that record I think is Woman is the Nigger of the World, though the production is a bit heavy handed. Someone should cover that. Madonna, maybe.)

    I'm not saying Imagine is a "bad song"; I'm saying it's bad art. Perhaps it takes an artist of Lennon's genius to turn out something like that. I find it funny (and ironic) that it's one of the songs that is most associated with him, yet it's nowhere near, and also chronologically far removed from, his best, e.g., in my view (and in no particular order) She Said She Said, Rain, And Your Bird Can Sing, When I Get Home, Strawberry Fields Forever, Nowhere Man, Across The Universe, Instant Karma, all of which contain a strong point of view and maybe even outline some vague ideas that suggest some kind of cumulative sense of a "message" or a "philosophy" but that do not from the first line say, in effect, "sit down children, here's your lesson for the day."

    I dunno. Imagine really turns me off. And I love John Lennon.

    Lots of songwriters fall into this trap, especially after a first phase of their careers and some success, once they've run out of things to say but have a sense of obligation that they should still say something -- and especially when they think they should really be saying "something more" than the kind of stuff that made them successful in the first place, which in retrospect must seem somehow less "important" than what they try to say in their later career. Especially if their success has a large "pop" quotient. Lennon wrestled with this to the end.

    I don't know if that's at all what you had in mind, but that's one of the things your post made me think of.


    post edited by Marah Mag - 2008/09/27 04:14:57
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    kev11111111111111
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 05:14:10 (permalink)
    ORIGINAL: Philip

    (Today I worked (not-too-hard), juggled my 4 children, laid a few semi-inspiring guitar tracks, and pondered ‘vital questions’ ...)

    I've perceived that there may be another trichotomy in music-technique.

    I’m hoping any of you will elaborate (without turning this into a spamming trolling extravaganza)

    Propaganda is a dirty word: wholesale whoring of commercials, politics, science, religion, sex, and who knows what else? Perhaps, I’m most guilty. Is singing propaganda? CCM and worship genre may be equally guilty … no different than Stalin’s socialist anthems, whose purpose seems oft to lull false security into others.

    Technique seems (to me) merely the scientific medium we use to communicate our pet-agendas … that targets the most audience (or something like that).

    Please help me elaborate on what you perceive about ethics of technique, genre, and/or propaganda in music.



    Heavy post for a saterday morning ! I think maybe you're being too hard on yourself ?If you've perfected your inner voice and the medium, I think that deserves respect not criticism dude.
    I guess it all depends on what you want with the music. I've been reading a lot into Yoga recentley,and it has some real interesting views on creativity. Basically they don't see music from a individual point of view (the 'I'),but that of the collective. Our inspirations all come from the same source (God / The Holy Ghost / The Universe !).Its not the case that the music is ours excately...more that we are open and receptive to drives coming from the creative source.In this sense none of us are creating...we're revealing.What used to bewilder me more than anything in music was sometimes how two bands from differant sides of the world could write something which sounded so similar in spirit. I think the Yoga explanation (though a bit abstract lol) is a good one.We're all tapping into the same source when we write.
    Maybe I'm the forever optimist,but I think as long as we tap into our inspiration for its own sake it will always be for the greater good. Phil - be proud !
    Kev
    post edited by kev11111111111111 - 2008/09/27 05:21:46
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    bitflipper
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 11:19:08 (permalink)
    I am the Walrus. Goo goo goo joob.


    Music is best when not taken too seriously.


    All else is in doubt, so this is the truth I cling to. 

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    kwgm
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 13:55:12 (permalink)
    Philip,

    Don't know what you're saying here, because propaganda has little to do with technique, in my book.

    Perhaps you might start with a definition of technique?

    Yes, techinque can be genre specific, because technique depends on ideas, and those ideas generally are specific to a genre.

    For example, I know a few rock&roll guitarists who are quite good, and have a great deal of technique when they play within their own limitations of the rock/blues genre. But if they try to play a jazz number, they sound terrible, because they have little if any technique. Do you follow?

    Technique is the ability to express ideas, musically. When I was a kid, I studied classical piano, and to learn the technique, I studied Bach, Clementi, Czerny, Chopin, Brahms, and Liszt. Each taught me a different piece of technique. Bach taught me how to finger and phrase the Baroque repetiore. Clementi and Czerny taught me how to do the same in the Classical realm. Chopin taught me more about chromaticism than finger skills, to begin with, because his exercises demanded the reader be in possession of certain prerequisites. However, with a good teacher and patience, the Etudes unlock the world the Scherzo, Polonaise, and those 4 exquisite Ballades. From Brahms and Liszt, I learned how to do more with my left hand than I ever imagined possible.

    But, with all that technique (alas, lost with my youth), I couldn't play a decent solo to Satin Doll in those days, if my life depended on it. Satin Doll requires an entirely different technique, as does the One Way Out like the Allman's played in in 1969.

    Technique is genre specific -- you either have it or you don't. And propaganda has nothing to do with it.


    --kwgm
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    Spaceduck
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 16:01:01 (permalink)
    We can't help singing our opinions. But that doesn't mean it has to be presented as propaganda. I consider propaganda to be superficial, blatant opinions presented as straightforward as possible. Slogans & quips you can print on a pamphlet and drop out of an airplane.

    Art gives us the opportunity to share our opinions while being subtle instead. To me, that's a clear distinction from propaganda, even though our opinions may be just as strong.

    2 examples. Two anti-war songs. First we have Edwin Starr's "War".
    Lyrics = "War, what is it good for, absolutely nuthin." This is direct, literal communication of a political idea. So I'd put that in the propaganda box.

    Example 2, Yes "Gates of Delirium".
    I don't think he says the word "war" a single time in the whole 22-minute song. He definitely doesn't say any opinions. Yet, through the masterful use of music, soundscapes and imagery, by the time the song is over, we're all thinking the same thing: "War, what is it good for, absolutely nuthin." (btw "Gates of Delirium" = best song ending ever)

    I can't say which approach is more effective, but I always find the subtle approach to be more memorable. Of course, if you're too subtle, people won't know what you're talking about. But if you're too obvious, you could lose your audience as well. It's a tough line to walk. You could always play it safe like Journey and write all your songs about chicks.

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    Philip
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 19:13:53 (permalink)
    (Off Topic: Spaceduck, Magicshow is some truly amazing work (with the Cello work, potent lyrics, wide panning, majestic drum-work, etc. ... and your final guitar riff) ... where did you get such astonishing depth of music? You are one inspiring composer-singer, IMHO)
    I listened to “Gates of Delirium” (You-Tube versions did it no justice to my ears). Yes turned it into a full-blown concert … no offense, but Spaceduck’s Magicshow inpires me much more than “Gates of Delirium”-live, though having a full orchestra and war-images.

    There are elusive definitions for propaganda (below) and technique (Kurt); but I think you artists have addressed the dilemma much better.

    If you've perfected your inner voice and the medium, I think that deserves respect not criticism dude.
    --I hear you Kev, I agree with you

    It just happens that musicians have a particularly palatable mechanism to do it with, and some really learn to use it well. Nothing wrong with that I think.
    --Dean, I see nothing wrong with the palatable mechanism (= technique, I think). It seems excellent in and of itself.

    Lots of songwriters fall into this trap, especially after a first phase of their careers and some success, once they've run out of things to say but have a sense of obligation that they should still say something
    --‘The words get in the way’, etc. Marah, I think you’ve addressed my (limited) understanding of the ‘vital question’ quite well … especially lyrical dissonances. My favorite song by John Lennon was “I’m just Watching the Wheels” (or whatever the dopy title was) … and those you mentioned while he was with the Beatles.

    … Satin Doll requires an entirely different technique, as does the One Way Out like the Allman's played in in 1969.

    Technique is genre specific -- you either have it or you don't. And propaganda has nothing to do with it.
    --Kurt, I have extreme respect for your historical exposure, your thoughtful response, and your suggestions.

    What is Propaganda?: Unfortunately there are many definitions, mates.
    http://www.historians.org/projects/giroundtable/Propaganda/Propaganda8.htm:
    To some speakers and writers, propaganda is an instrument of the devil. They look on the propagandist as a person who is deliberately trying to hoodwink us, who uses half-truths, who lies, who suppresses, conceals, and distorts the facts. According to this idea of the word, the propagandist plays us for suckers.
    Others think especially of techniques, of slogans, catchwords, and other devices, when they talk about propaganda. Still others define propaganda as a narrowly selfish attempt to get people to accept ideas and beliefs, always in the interest of a particular person or group and with little or no advantage to the public. According to this view, propaganda is promotion that seeks “bad” ends, whereas similar effort on behalf of the public and for “good” ends isn’t propaganda, but is something else. Under this definition, for example, the writings of the patriotic Sam Adams on behalf of the American Revolution could not be regarded by American historians as propaganda.
    The difficulty with such a view is that welfare groups and governments themselves secure benefits for a people through propaganda. Moreover, national propaganda in the throes of a war is aimed to bolster the security of the nonaggressor state and to assure the eventual well-being and safety of its citizens. No one would deny that this kind of propaganda, intelligently administered, benefits every man, woman, and child in the land.
    The experts have plenty of trouble in agreeing upon a satisfactory definition of propaganda, but they are agreed that the term can’t be limited to the type of propaganda that seeks to achieve bad ends or to the form that makes use of deceitful methods.

    http://www.businessdictionary.com/definition/propaganda.html
    In general, a message designed to persuade its intended audience to think and behave in a certain manner. Thus advertising is commercial propaganda. In specific, institutionalized and systematic spreading of information and/or disinformation, usually to promote a narrow political or religious viewpoint.

    Knowing most of you, I think you don't want to be labeled as propagandists. Nor do I.

    You've suggested that a (partial?) cure for propaganda is artform, subtle lyrics, reality lyrics. Indeed, the difficulty (for me) lies mostly in lyrical music (which you and I may prize the most).

    Philip  
    (Isa 5:12 And the harp, and the viol, the tabret, and pipe, and wine, are in their feasts: but they regard not the work of the LORD)

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    kwgm
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 19:36:37 (permalink)
    Well, thanks Philip. That is very kind of you to say so.

    I must say in all honesty that I still have no idea what you're pondering, but am grateful to hear that you found something useful in my post, and in your optimism I find the encouragement to share one more insight (just one, I promise), which is that during those years when my own children were small and looked to us for all of their needs, I discovered that their existence often provided me with the best possible answer to most questions of this sort. Perhaps you agree?

    best wishes,

    -- kwgm


    --kwgm
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    Spaceduck
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 20:01:47 (permalink)

    ORIGINAL: Philip

    (Off Topic: Spaceduck, Magicshow is some truly amazing work (with the Cello work, potent lyrics, wide panning, majestic drum-work, etc. ... and your final guitar riff) ... where did you get such astonishing depth of music? You are one inspiring composer-singer, IMHO)
    I listened to “Gates of Delirium” (You-Tube versions did it no justice to my ears). Yes turned it into a full-blown concert … no offense, but Spaceduck’s Magicshow inpires me much more than “Gates of Delirium”-live, though having a full orchestra and war-images.


    Haha I'm doing the "in your face I'm better than Yes!" dance
    Thanks man!!! That crazy 4-minute bit represents a decade of work. Glad you like it!

    In general, a message designed to persuade its intended audience to think and behave in a certain manner. Thus advertising is commercial propaganda. In specific, institutionalized and systematic spreading of information and/or disinformation, usually to promote a narrow political or religious viewpoint.

    Knowing most of you, I think you don't want to be labeled as propagandists. Nor do I.


    But you know, the more I think about it... Aside from possibly looking ridiculous, is there anything really awful about making propaganda art? Take those old Hollywood war films from the 40s-50s. Every one comes with a thick dose of propaganda (Tora Tora, The Longest Day, even Casablanca). But they're great films nonetheless. I guess what I'm saying is in time the 'art' component overshadows the 'propaganda' component. Provided that it's good art, that is.

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    Guitarhacker
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    RE: Technique vs. Genre vs. Propaganda 2008/09/27 21:28:21 (permalink)
    Bob Dylan, Joan Baez, Richy Havens, Beatles, Country Joe MacDonald, Stevie Wonder, .... , heck...almost every artist at one time or another protests something or encourages something (as in CCM) .... call it propaganda...it might be..... I call it music. alot of valid points were made in these songs and quite a few changed things in this crazy world, or at least opened our eyes to what was happening, and in a unique and musical way.

    I'm not saying it's right or wrong..... because it's music, it doesn't have to be right or wrong.

    Oh yeah... almost forgot Bob Marley.
    post edited by Guitarhacker - 2008/09/27 21:31:07

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