What follows is a guest post by Jay Miller. One of the great legends of heavy metal music history goes like this: In the early 1990s, a little known three-piece band from San Jose, California named Sleep worked out a deal with London Records to produce their third album, Jerusalem, which included the rare luxury of maintaining full creative control. Instead, they blew most of the $75,000 advance on custom guitars, high-end amplifiers, and lots of marijuana. During two month-long recording sessions, they recorded a single, hour-long song filled with slow, churning guitars and monotonic chants having something to do with a new race of “Weedians.” Throughout the recording process, the song (which in various forms the band had played live for several years) evolved: it got longer; and, in the words of bassist Matt Pike “It got weird.”
Musician Ivan Anderson interviewed by Christy Mag Uidhir Ivan Anderson is a guitarist and copyeditor living in New York City. He graduated from Brown University. Ivan plays lead guitar in SWEET FIX, a neon, futuristic, cyber rock band in NYC. Their first full-length album, Golden Age, was produced by Geoff Stanfield (Sun Kil Moon, Firehorse, Black Lab). Members of SWEET FIX are endorsed by Godlyke Distributing, Jo Lyon Underfashion, and ZU Shoes.
What follows is a guest post by Christopher Bartel. The standard view of the ontology of musical works in the Western classical tradition holds that musical works are some kind of abstract entity and they are intended to be instantiated in live performances. I take it that this is the typical starting point for the debate. Disagreements arise over the kind of abstract entity that a musical work might be, and over how works are to be individuated. I have some skepticism toward these latter ontological projects (Bartel, 2011). But, I am not thereby opposed to other kinds of ontological projects. Actually, I think some do rather helpfully clarify exactly what is going on in our musical practices.