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Hitting Hard 2018


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13 minutes ago, ContraFart said:

But every band kid I know goes gaga for Phantom (at least the kids in my area do) and their music choices aren't exactly hip. 

When today's kids study and listen to music, what do they listen to? Classical European music. Beethoven, Tchaikovsky, Rachmanioff. Seeing music that you listen to often on the field is a bit more gratifying than seeing patriotic/American classics that you're only occasionally exposed to if ever. A shift away from nationalism to globalism, is my guess as to why this is the case. 

If you have Spotify, (a very popular music streaming app/site that anyone in the middle school and above age use, if you aren't familiar) you will notice that a lot of the "study music" playlists curated by Spotify are filled with classical European literature rather than American compositions. 

Keep in mind I'm not stating whether this is good, bad, right, or wrong. I'm just stating the realities of what young students are exposed to. 

 

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2 hours ago, dans said:

Per Hopkins, the Cadets are not obligated to do the music of Bernstein for the next two years.

If I lease a car to drive for three years I am not 'obligated' to drive it; but it would be foolish for me not to.

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7 minutes ago, Stu said:

If I lease a car to drive for three years I am not 'obligated' to drive it; but it would be foolish for me not to.

That's WAAAAAAAY to logical for DCP.

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5 hours ago, MikeRapp said:

I hope and pray the activity can embrace or at least support everything from Bernstein to Mad Max. 

The difficult thing is, if you do Bernstein, imho you have to trust your design and the audience, and embrace subtlety and nuance. Not exactly strong points for GH. But even though my favorite corps and recent shows are Bluecoats, I refuse to give up on classical concepts. They just need to be done in a way that is respectful to the medium.

Restrictions on creativity from Bernstein estate, combined with GH's propensity for taking things to the most literal it can go does not have me too optimistic about the next two years' productions; but I'll keep an open mind until I see em. 

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3 hours ago, Cappybara said:

If they are limited by the Bernstein estate, then I'm worried the next show will be too literal just like 2017. 

 

3 hours ago, Tim K said:

 The Bernstein Estate, not all that different than those who own the rights to Richard Rogers music, is very protective of how the music is used. I do not question that the use of "Mass" was agreed upon during the winter, but we have seen on more than one occasion that agreements have been made, composers, publishers, etc. have a different interpretation, and portions of shows are blocked out or omitted. If anything, this has more to do with copyright issues.

Also, I doubt that DCI has lost all that many sales of DVD's and BluRay because shows have had portions blacked out or missing. 

 

 

2 hours ago, Ediker said:

Is that how they solved the copyright problem, blacking out portions of shows?

 

34 minutes ago, Cappybara said:

Restrictions on creativity from Bernstein estate, ...

Alfred Reed made sure he had editorial control when Regiment, Crossmen, and SCV arranged his music, Ron Nelson kept a tight watch on ther Cadets and Cavaliers, Orff's wife shut down Carmina Burana when she felt the corps arrangement disrespected her husband's work, the Bernstein Estate keeps a watchful eye, ... and I am in 100% agreement with all of them.  When you get permission to arrange that does not mean permission to butcher, permission to disrespect, permission to hack; the copyright holder still owns the material being arranged and in most cases even owns the arrangement once it is produced.  Using the car lease analogy, I can take that leased car to most all destinations and use it in all the ways described per the lease agreement, but it is still owned by someone else, and I cannot put it in a destruction-derby without also me getting legally whacked from the owner.

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7 hours ago, jwillis35 said:

Whether or not a corps "comes out swinging" as some might say depends on what the design team is really looking to do. It's a competitive activity, yes; but not every corps is out to win a title. Most corps realize they don't have much of a chance due to finances, infrastructure, talent, etc.  For many corps out there making top 12 is a blessing. That is hard enough to do these days. Some of the corps that did not make top 12 are incredible, like Mandarins, Academy, Colts, Troopers, SCVC, BDB, Pacific Crest, and on and on. 

First and foremost drum corps is an art form, then the competition side kicks in. And only for a few can they truly make a run for top 3 or a championship. So I really believe that what we will see on the field mostly depends on where designers want to go. No corps is going to come out and "throw punches" or "come out swinging" as if they are still ###### over last year. They may be motivated by the previous year. Maybe they had a positive finish, maybe a bit of a let down.  It's unlikely they will really transfer any of that to the next show. The only thing they can do is work just as hard, concentrate on the new show, let their staff lead the way and design and teach, and perform as well as they can. Once that is done everything is in the hands of the judges as far as competition, but when it comes to straight-up performance it's all in the hands of the performers. 

Good job. Not as much fun as those of us being wishful, however.

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