Today begins a new world of work for me.
Step one: Establish routines of work. This is the future of my focus on my music-making (or musicking as Chris Small would have described it). When I no longer work on others’ enterprises, I will have fewer people working with me on a regular basis, so the work will go slower. But my efforts will have greater focus on my enterprises.
If I’ve learned anything from working in teams, communication and routines are incredibly important tools for self awareness.
I will need to find a p;rotocol of routines (including communications) that will lead to both self-awareness and self-documentation.
>IDEA: use a blog to document muy working routines – include my creative work in the documentation. iPhone videos might speed the creation of content when it comes to music – and it has the additional benefit of giving me practice making and editing content. However, writing long-hand slows my thinking process and allows for consideration and thoughtfulness. AND, when I transcribe what I’ve written long-hand, I find myself improving the my previous thoughts. A second version employs my “judging” skills.
The coin of the realm is TIME. How I spend my time will be a measurement of my investment in music. Who I employ to help me amplifies my intention.
I’ll need to reflect later today on…how to extend routines into the late morning. Written at 8am
Left messages for the baritone and soprano. Need to call them later today.
Snow fence around the arbor vitae
CII: Respond to Sarah Miller
Read excerpts of Brené Brown's ATLAS OF THE HEART. Happy / Sad / Angry.
Freakonomic's NPR show on the downside of DISGUST
Copied definition of "epistemology"
Lunch with PA.
Explained to PA the idea behind the 2/27 show and how I am thinking about how music (and all the arts) can be used to manipulate a response in audiences. The power of music is primarily emotional and the techniques used to evoke emotions is, ultimately for good or for bad, manipulative. For the arts to “work,” audiences must be open and self-aware to their emotional responses and then to begin to understand (PA used the work “analyze” which I find too educated a word) how they are being manipulated.
DOCUMENTING EMOTIONAL RESPONSES
Over the course of the 2/27 program, I want the audience to generate a personal vocabulary (or glossary) of musical devices used to evoke specific emotional responses. Danger Danger Danger, Will Robinson! “Musical devices” sound like a lot of music talk. Remember that this is a “show” and not a “tell.”
I need to script the program as a show – not a tell. At every point possible, the audience will check their responses to music compositions using: score cards, emoticons, show of hands…