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Wednesday, September 24, 2008

A Matter of Grave Import

posted by on September 24 at 16:51 PM

Sure, the American financial system precariously wobbles over the abyss, but on Friday Sept. 26 at the Northwest Film Forum (12:30 pm), a group of distinguished individuals will mull over a much more important matter: the future of music journalism. Held as part of the Decibel Festival, this panel discussion will ponder whether music writing makes a bit of difference in the lives of homo sapiens in 2008—and beyond. Much is at stake, that’s for certain.

The Stranger’s excellent columnist Christopher DeLaurenti (The Score) moderates a panel consisting of yours truly, Dale Lloyd (and/OAR and the Phonographers Union), TJ Norris (Signal to Noise and MIT/Leonardo Magazine), Todd Burns (NA Editor for Resident Advisor), Robert Crouch (co-director and curator of Bleeding Edge Festival and Volume Projects) and Lusine (Ghostly International recording artist). It promises to be a very stimulating hour of prognosticating and pontificating.

Full press release after the jump.

“Wasted Words? The Future of Music Journalism”
We will explore music writing - criticism, reviewing and description of performances and recording processes and ask whether or not they still have any relevance today and if they have a use and audience in the future. Our panel includes musicians, writers, and representatives of record companies engaged in an attempt to find answers to these perplexing questions.

When Frank Zappa said; ‘…writing about music is like dancing about architecture…” , he was referring to the difficulty, if not futility of interpreting one art form using the methods of another. Be that as it may, for as long as people have made music, others have been compelled to talk and write about it; in an attempt to describe, understand and share the experience of music. Up to now, writing about music has been important – critical to spread public awareness of and reinforce music cultures. Does music writing in the “internet era” have the same influence that it once did in the “print era”? Is there an identifiable audience for music writing? Is the role and form of music writing changing? And if so, how and why? Is the emergence of the blogosphere a benefit or just a lot of white noise? Are there benchmarks to measure the effectiveness of using the printed word to describe auditory experiences? Join us as we explore the role and relevance of music journalism, criticism, blogging, performance reviews and more!

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Argh! I would have loved to see this, especially to hear your input. I can't believe I missed this posting from a couple of days ago; I'm sure it was excellent. Wish it had been tonight or on a weekend day.

Posted by Chris Estey | September 26, 2008 2:02 PM

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