The limits of notation and the organizing impulse.

I’m not making this fairly obvious statement so that we can all wring our hands and fret about the downfall of the Western classical tradition. Rather, I’m pointing out that as “crossover” artists continue to take advantage of their unique position, one in which two distinct kinds of cultural capital—the “Western composer” kind and the “hip creative person” kind—are abundantly available in a society that recognizes no inherent contradiction between them, the terms and conditions of production will change for all of us.

Such are the issues surrounding the status of the composer of music. I think this goes to the heart of the Jeff Trzeciak debacle, but I think the issue is a lot more tied to technical know-how and institutional support than it is in music (I could be wrong). The reason I bring up the analogy is specifically because of the comment made on this post, and it addresses what the commenter sees as a particular and unwieldy piece of technical know-how, musical notation:

Common practice music notation has increasingly become inadequate for what composers do today.If you compose music out the conventional 12-equal system, conventional music notation won’t work. -mclaren

Perhaps Trzeciak’s point lies somewhere in here, but I think that both privilege institutionalized forms of understanding over others, to a much greater degree than in music, and also that this makes us all blind to the fact that the organization of information is not proprietary to PHDs, MLIS’, Libraries, Archives, Museums, Content Managers, or any other kind of “Knowledge Worker.” The impulse to organize is prevalent in most people, whether or not they have institutional backing or not.  That impulse is born of passion (or sometimes mere interest) in the object of collection and organization.

Like quilting, archiving employs the obsessive stitching together of many small found pieces into a larger vision, a personal attempt at ordering a chaotic world. It’s not such a far leap from the quiltmaker to the stamp collector or book collector….

Our primary impulse, then, has moved from creators to collectors and archivists, proving Walter Benjamin, once more to be prophetic: “If my experience may serve as evidence, a man is more likely to return a borrowed book upon occasion than to read it. And the non-reading of books, you will object, should be characteristic of collectors? This is news to me, you may say. It is not news at all. Experts will bear me out when I say that it is the oldest thing in the world. Suffice it to quote the answer which Anatole France gave to a philistine who admired his library and then finished with the standard question, ‘And you have read all these books, Monsieur France?’ ‘Not one-tenth of them. I don’t suppose you use your Sevres china every day?’” -Kenneth Goldsmith, “Archiving is the New Folk Art

What separates the knowledge worker type folks from the average collector goes beyond the inclination to collect and organize. It is the impulse to share with others. I suspect this is the same reason that people call themselves composers, because they feel the need not just to create music, but want to harness larger amounts of resources to get their work out. It is unsurprising that traditional musical notation would sometimes turn out to be irrelevant to the process, just as the technical tools of librarianship might (and have) fallen by the wayside from time to time. While archiving is the new folk art, the desire to do it writ large to have an impact on greater numbers of people requires not only the technical knowledge, but also the desire to continue sharing new and old ideas with other people. That’s what makes us all, degrees and job titles aside, librarians.

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