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 Being a "Stickist" 
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Post Being a "Stickist"
http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.457.2153&rep=rep1&type=pdf
by Jeff Hodges

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Sat Apr 16, 2016 11:10 am
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Post Re: Being a "Stickist"
I was about to get into a marathon session of Mario Kart and then Super Mario Maker with the kids, and then saw this and got to "tabula rasa" and the kids yelled at me. I'm going to read this later tonight!

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Sat Apr 16, 2016 11:23 am
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Post Re: Being a "Stickist"
Wow, that's a piece of work!

Looking forward to further reading later on.


Thanks for the share and to Jeff Hodges.

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Sat Apr 16, 2016 4:40 pm
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Post Re: Being a "Stickist"
I don't know why I never thought about the Stick this way before - as an instrument that is coming of age as the Internet does.

I mean, the trumpet or the oboe, as they were being developed, never had a rapidly-interacting world-wide group of aficionados, making videos and thinking about the best techniques and repertoire. The Chapman Stick does.

Wow! OK then! I just got a new "meta" going.

R


Sun Apr 17, 2016 6:14 am
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Post Re: Being a "Stickist"
A very interesting read, thanks for sharing!

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Sun Apr 17, 2016 9:17 am
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Post Re: Being a "Stickist"
Done! Favorite bits were:

Although it is empowering to feel unique and special, it is also, paradoxically, inspiring to come to the realization that others are similarly distinctive.

Additionally, due to Levin’s influence, many of the instrument’s early adopters come to the instrument with a bass background (myself included), and inadvertently perpetuate this preconception of the instrument.

In a sense, I had vernacularized a musical Stick pidgin, created from a pastiche of technique: a self-directed post-modern pedagogy that would only take me so far. This situation forced me to conclude that, contrary to the usual quick description of the instrument, the Stick was not a “bass and guitar at the same time.” Approaching it from disparate and perhaps irrelevant pedagogies could lead to frustration. Instead, it was an instrument that had to be played in a way that was appropriate and feasible for its possibilities.

A great read. Very enlightening to hear voiced in such an analytical way. Thank you for this.

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Sun Apr 17, 2016 11:02 am
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Post Re: Being a "Stickist"
Wow, very enlightening read. I had to put my English grad school hat on next to my musician's hat (it's a weird hat, I'll admit), and remember what "semiotic" means (stuff about signs) and a few other big words, but that's awesome! Me's likeys sum big wordz!

Too many great quotes, but a few:
Quote:
The Stick, however, also plays the player. It is the instrument’s implicit task to sound forth, but this task cannot be realized without the musician’s body to attend to and complete its design (Downey 2005, 97).


My favorite footnote:
Quote:
World, in the Heideggerian sense, is not an object, a collection of objects, or even a subjective coloring of objects. Instead, “world” is an a priori significance-structure that directs the things that human beings may meet as “the means by which something can be done in order to accomplish this or that” (King 2001: 51, emphasis in original).

I'm a big fan of Heidegger's work! :geek:
https://en.wikipedia.org/wiki/Martin_Heidegger

From existentialism, to Heidegger, and ontological discussions, I enjoyed a lot of that heady English major stuff combined with music--I don't get to meld those two worlds like this in a formal setting and really enjoyed it.

I especially liked the history of the young Emmett Chapman and how the Stick CAME TO BE. Many good stories here:

Quote:
This Stick prototype and its successors began to appear in live situations in the Los Angeles area. In 1971, Chapman briefly joined Tim Buckley’s adventurous Starsailor band. In contrast to Buckley’s previously folk-inspired work, the Starsailor project was far more open-ended and improvisatory, receiving accolades from jazz critics while popular critics panned it. The band consisted of Chapman, Buckley, drummer Maury Baker, and occasionally trombonist Glenn Ferris, and their performances were likened to watching a “Stravinsky jam session” (Brown 2001, 218). The Starsailor project was short-lived, but the presence of the instrument, now dubbed the “electric stick,” in the group marks an early instance of the instrument’s voice in experimental musical situations.

Loved the stuff about seminars as well--like to try one myself!

rodan07 wrote:
I don't know why I never thought about the Stick this way before - as an instrument that is coming of age as the Internet does.
The Internet is the only reason I ever heard of the Stick: reddit.com and Keith Warren, Stickman, winning indy.com's contest.

Lots to think about and lots to quote and like in the article. Thanks so much for sharing!

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Rosewood 10-string, #5989, M4s
Sapphire Railboard, #6763, MR
Wenge-on-Wenge NS/Stick, #170130, Bass 4ths
http://soundcloud.com/stephen-sink-1
https://www.youtube.com/channel/UC-RDlN ... Ez0hN49_Qg


Mon Apr 18, 2016 8:48 am
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