
Beck Hansen. Stage name: just “Beck”.
Avant-garde musician Beck Hansen recently produced a new “album,” Song Reader, that was not released in stores or via mp3 files. Instead, he released the score and asked his fans and other musicians to upload their interpretations of the score for others to hear. The tagline on the website says, “Only you can bring Beck Hansen’s Song Reader to life.”
The idea is quite intriguing for our pop music era: The composer trusts his audience to be true to the score he has provided, allowing them the liberty to interpret his notations in ways that seem interesting or apt to them. Of course, this is the way new music used to be disseminated in the days before Mr. Edison imposed the new authority of the recorded product through the phonograph. There is, as the Preacher once noted, little that is new under the sun.
The uploaded versions of the songs to-date run the gamut of quality and texture. It is an interesting experiment in artistry, to be sure, refusing to dictate every jot and tittle of the sounds and instrumentation and allowing the fans to fill in the blanks, so to speak.
I suspect that Beck intended this move to be an ironic statement about postmodern sensibilities and the vacuum of authority that is left in the wake of irony and subjectivism. Instead, however, he has produced something that is really more of a metaphor about the authority of the author. What unites the products of the project is the shared score that he has provided; if the product has no relationship to the score, it is not a part of the wiki-album.
Indeed, this is something of a metaphor for what God did for us with his revelation of himself through the Scriptures. The notes are there for us to follow but there is a wide allowance for cultural differences. Unlike Islam, for example, where only Arabic is used in the purest pursuits of the language and cultural assimilation is expected on a significantly prescribed level, Christianity has always allowed for a diversity of cultural and interpretive expressions. Sure, we have some difficult passages that we must navigate in terms of history and culture, but to be Christian is not, per se, to be Western or African or Eastern. We have the foundations and circumscriptions of Scripture, Creed, and so forth, but when we tour the world, we find these commonalities articulated in many different ways. And this seems to reflect the timeless truths that we serve a faith that has been sent forth for all peoples in all ages until he returns to gather us home.




February 4th, 2013 | 3:03 pm
Us living composers, of course, find the breathlessness of commentary about Beck’s release a bit on the silly side. Hi, there! We’ve been doing exactly this kind of thing for, oh, hundreds of years! Unlike some of my colleagues, I don’t get bent out of shape about Beck’s project–after all, anything that increases amateur music-making is a good thing. Even so, the only thing about it that differs substantially from what living composers have been doing all along is the width of distribution. On that count, Beck has pretty much all of us beat.
February 4th, 2013 | 5:53 pm
In the heyday of sheet music distribution, when sheet music sales rather than downloads or album sales were an important index of composers’ and lyricists’ popularity, the author (who composed the work) in most cases was not the same as the performer (who actually performed it for consumers). And so there were two levels of authority at work: the authority of the author, and the authority of the interpreter/performer. (I’m using past tense to describe this dynamic, but in fact it lives on in classical music, in church music, in quite a bit of jazz, and to some degree in pop music). Even with the advent of the phonograph, this separation between author and interpreter continued.
The dynamic between these two levels of authority is an important one. In many cases, a supremely talented composer is not a supremely talented performer/interpreter, even of her own works (I’ve read that an Irving Berlin song never sounded so unpromising as when Berlin played his new compositions for his film or theater bosses). A gifted interpreter is able to bring the artistry latent in the score to life – in some cases, finding threads that the composer didn’t intentionally write in, or embellishing the score in ingenious ways.
This Beck project seems somewhat different, in that it is the consumers, rather than a caste of interpretive experts, being asked to interpret his compositions. Interesting stuff.
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