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Student Projects (Fall 2007)

It’s that time of year again - another semester finished, and time to grade the final projects. This used to be a bittersweet thing, knowing that just as these students were getting to really understand how to use technology in musical ways, I had to pass them off to the rest of the faculty, and never get to teach them again. Now, though, I get to see them again their final year, when they take the Studio Production course. Instead of being wistful, I start to get excited about what these freshman are going to be capable of in 4 years.

So, here’s this year’s round of “Best Of”. I’m grading all day today, so I’ll keep adding to this post as I go along. Enjoy!

(As a reminder, I’m posting these here just as a “Hey, check out this cool stuff my students are doing,” not as a “Hey, all of my highly talented professional musician friends, please harshly critique these earnest attempts at doing what you do.”)

Intro to Music Tech

“100 Years”, programmed and recorded by Mason Schroder. Mason doesn’t play keyboards so, being stubborn, he inserted every single note in the piano part using the mouse and the matrix grid. Yup. That’s like rebuilding the bay bridge using legos.

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“Drowning in Shallow Love”, by Kenton Fukuda. This is an arrangement of a song performed by his band Twentyfour64. Check the vocals; that kid has pipes.

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Production Techniques

This is the class where the students do absolutely everything - songwriting, arranging, contracting musicians, engineering the session, mixdown, the whole kit. Usually, it involves quite a bit of innovation on their part to get the whole thing done with limited studio resources and no money. This semester was the best to day, in terms of overall quality of the final product. Here are the standouts:

“Tiny Soldiers” by the production team RiCE/BeANS, written by Scott Ryan.

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“Aunque Gigantes” by the team RiCE/BeANS, arranged and produced by Alejandro Martinez, who might be one of the best students I’ve ever had. Smart, humble, eager, and talented. May his tribe increase.

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“Mud In My Eyes” by Production Team 2 (they didn’t come up with a fancy name). This is almost entirely the work of Robbie DeLong (who also sings on it). He spent this last summer interning with Chris Steffen out at Eldorado.

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Rate My Professor

Well, awards season is here again, and yet again, The Michael Lee Experience has failed to win. My lowly little profile on ratemyprofessor.com failed to place in the Top 50 Highest Rated Profs, and didn’t even get nominated for Top 50 Hottest Profs. I guess I’ll have to be content with critical acclaim and a small but dedicated local fan-base.

I’m the “Of Montreal” of uni profs.

By the way, can someone tell me why Facebook hasn’t developed a professor-rating app yet? Seems like a pretty natural fit …

Music and Ethics: With Strings Attached

Posts in the Music and Ethics: Blog Dilemmas series

  1. Why Be Virtuous?
  2. Ayana and the Sacred Song
  3. Music and Ethics: With Strings Attached

This is another in the series of ethical questions I’m having my class work through. I had just finished writing this up when i heard on NPR that Altria is shutting down it’s philanthropic work over the next two years. Good timing! Bonus points on this one if you can tell me what book I was reading when I came up with the names.

Gordon Struan is on the board of directors for Green Valley Orchestra (GVO), a professional regional orchestra known for its innovative programming and willingness to perform new works by modern composers. Struan’s role is to maintain and develop financial donors.

GVO, like many such ensembles, is having a difficult time meeting its financial obligations. Although their concerts are well-attended, the income from concert ticket sales alone is not enough to pay the salaries of the orchestra members. Without significant donations from outside foundations and wealthy patrons, the orchestra simply could not continue to perform.

Struan is faced with a dilemma. His three largest donors all lost large sums of money in the collapse of the real estate market, and have informed him that they are no longer able to donate to the orchestra. Struan must raise $6 million, or the orchestra will have to cancel their season and declare bankruptcy. Two potential donors have indicated that they might be willing to step in and give the needed money, but both come with strings attached.

smoking kidsThe first potential donor is a company named Altria. Altria has long been known in the arts community for their philanthropic activity; they support many regional performing ensembles, and seem especially interested in supporting innovative groups, like GVO, who perform new works. Altria is also the parent company of Phillip-Morris, a cigarette manufacturer that aggressively markets its Marlboro brand to children in 3rd-world countries. Altria’s support of the arts seems like a carefully calculated PR strategy to improve the public image of their company.

smokin grannyThe second potential donor is Victoria Wagner, a well-known and very wealthy member of the local community. Wagner has never shown an interest in supporting the arts before, so Struan is understandably curious when she contacts him with the offer. In the ensuing conversations, however, if becomes clear why Ms. Wagner has had a sudden change of heart. It turns out that her beloved nephew is a struggling composer, and has had difficulty getting his works performed by professional ensembles. Ms. Wagner makes it quite clear to Mr. Struan that if she writes a $6 million check, she expects the Green Valley Orchestra to debut his latest composition.

So, Struan is left with three options. He can accept the money from a cigarette giant hoping to buy some public good-will, he can accept the money from the doting rich aunt looking to launch her nephew’s career, or he can refuse both and close the doors of the Green Valley Orchestra.

Your job isn’t to solve this problem for Mr. Struan. In fact, I don’t even want you to tell me what you would do. Instead, I’d like you to think about the moral values that are in conflict in this dilemma. We will answer the following questions in class:

  1. If GVO takes the money from Altria, is it an implied statement of support for the company’s business practices?
  2. If a utilitarian were to evaluate the Altria donation, what consequences would they have to consider?
  3. Struan is having a hard time evaluating the Wagner donation. He has a sense that some moral principle is being violated by her request, but he isn’t sure exactly what it is. What do you think is wrong with her request? What kind of moral principle does it violate?
  4. Does it matter if the composition by Victoria Wagner’s nephew is well-written or not? Would it matter if he were already a well-established composer?
  5. Struan is a devout Lutheran, and believes that God’s commands are the final source of moral authority. Is there a biblical command that could help Struan navigate either decision?
  6. Kant said that we should act in ways that we would wish to see made universal rules. If Struan refuses to take money from morally tainted sources, is that an act that we would want to see universally applied? What would the consequences be if we applied that principle universally?

Previous in series: Ayana and the Sacred Song

Ayana and the Sacred Song

Posts in the Music and Ethics: Blog Dilemmas series

  1. Why Be Virtuous?
  2. Ayana and the Sacred Song
  3. Music and Ethics: With Strings Attached

This is another in the series of posts I asked my Music and Ethics students to consider and comment on. Thought I’d toss it out to the wolves here as well:

Ayana and the Sacred Song
Ayana grew up the daughter of an international trade lawyer, and is an accomplished singer. Ayana moved around the world with her parents when she was young, and along the way learned several songs that were indigenous to the cultures she was living in. One particular song she remembered from a year spent in Australia, called YALKERI MURA MURA.

As her professional career advanced, Ayana often sang solo concerts, and used an arrangement of YALKERI MURA MURA as her encore. The melody was haunting and beautiful; people frequently approached her afterward and commented on how moving that particular song had been.

After one concert, Ayana is approached by a young Aboriginal Australian man, who confronts Ayana over her use of the song YALKERI MURA MURA. The young man informs Ayana that the song is a “naming song”, used by an artist when he creates a churinga, a sacred stone painting. The soul of the artist is imparted to the painting, and both the churinga and the song are considered sacred. The song is only to be sung while creating the churinga, and afterward only when handling it.

The young man tells Ayana that it would be considered highly offensive, even sacrilegious, among Aboriginal Australians to hear the song used to entertain listeners in a concert, instead of its intended ceremonial use. He asks Ayana to stop using YALKERI MURA MURA in her concerts.

What should Ayana do? Does the original cultural setting of the song have any moral weight in how she ought to use it?

Previous in series: Why Be Virtuous?

Next in series: Music and Ethics: With Strings Attached

Why Be Virtuous?

Posts in the Music and Ethics: Blog Dilemmas series

  1. Why Be Virtuous?
  2. Ayana and the Sacred Song
  3. Music and Ethics: With Strings Attached

As part of the Music and Ethics class, I post something on the course blog each week for the students to read, consider, and then comment on. This is the first of the blog assignments, and I thought it would be interesting to post it here as well, for you folks to interact with:

Blog Assignment #1: Why Be Virtuous?
In class today, I gave you Plato’s view on the interaction between virtue and the human soul, and how a life lived excellently must mean a life lived with virtue. Plato’s is not the only view on the matter, of course. There are other views, by other smart people, on the meaning and purpose of virtue.

Let’s start off the blog assignments by reacting to a few of those perspectives. Here are four statements on reasons to be virtuous. They aren’t quotes, they are my own paraphrases of the views held by different philosophers:

  1. “The best reason to be virtuous is because of the nature of the human soul - we were created to be virtuous, and we do damage to our own nature, our own souls, if we deceive others and act with cruelty.” (Plato)
  2. “The best reason to be virtuous is because of God’s decree - He commands us to do certain things and not to do certain other things, and out of either love or fear, we ought to obey his commands.” (William of Ockham)
  3. “The best reason to be virtuous is the force of social pressure - if you are dishonest and cruel to others, society will shun you, and your capacity to enjoy life will be diminished.” (Ayn Rand)
  4. “The best reason to be virtuous is for the cause of greater social good - society as a whole is better off when people are honest and compassionate toward one another.” (Peter Singer)

There are certainly more options than the ones I’ve presented (include the option to say we shouldn’t be virtuous!), but let’s start with these. Which of the four statements above seems the most true to you? This isn’t a survey, don’t just jot down your answer; give us a little insight into why you think your option is the best choice.

Next in series: Ayana and the Sacred Song