Revolutionary Alchemy: Incantation and Collage as Magical Methods in Rock of the Countercultural Era

Magic held a special fascination for the post-war counterculture, a movement that valued music and art as tools of the imagination to counter what Theodore Roszak called the “technocracy” in which science was to blame for cultural disenchantment in the West. At a time when countercultural rhetoric was bolstering a newfound faith in the power of music to generate social change, rock music began to be conceived by many musicians and perceived by audiences as a kind of magic. This article considers music by the Beatles, the Doors, Pink Floyd, Frank Zappa, Captain Beefheart and others to show how musicians invoked magical imagery and how some drew on magic-inspired techniques of art such as incantation and collage. This study finds that invocations of magic in rock during the countercultural era balanced precariously between the charismatic religious shaman whose magic corresponds to the faith of the cultural group and tricks of the secular illusionist who practices a magic of deception

« The Long Freak Out » : musique inachevée et folie contre-culturelle dans le rock d’avant-garde des années 1960 et 1970

This article examines avant-garde ‘freak out’ recordings in rock music: extended album tracks that suggest madness in their sonic anarchy, conceptual absurdity and amateur technique. Products of the counterculture rooted in the historical avant-garde, these recordings by musicians in the 1960s and 1970s rejected musical conventions of song structure, meaning and competence in their attacks on an emerging music industry. While such extreme recordings bring to the fore the uneasy relationship between art and rock, avant-garde recordings by pop musicians are not antithetical to rock, but part of its discourse of rebellion. This article demonstrates how recordings of this kind ranging from the hippie era of the 1960s to the postpunk era of the late 1970s functioned more as aggressive acts of resistance to social and musical convention than attempts to elevate popular music to a higher level of art.Cette contribution examine les enregistrements « freak out » dans le rock, à savoir de longs titres d’album qui, par leur anarchie sonore, leur absurdité conceptuelle et leur technique amateure, connotent la folie. Ces enregistrements datent des années 1960 et 1970 et sont de purs produits de la contre-culture, tout en étrant enracinés dans la tradition des avant-gardes artistiques. Dans leurs attaques lancées contre l’industrie du disque, ils rejetaient les conventions musicales à l’œuvre à l’époque : structures des chansons, signification et compétence technique. Là où des disques aussi extrêmes mettent en évidence les relations difficiles entre art et rock, que des musiciens pop s’essaient à l’avant-gardisme n’est pas antithétique au rock ; au contraire, elle fait partie de son discours de révolte. Cet article démontre comment cette production, qui va de l’époque hippie des années 1960 au post-punk de la fin des années 1970, fonctionna plus comme une série actes de résistance agressifs contre les conventions sociales et musicales que comme des tentatives d’élever les musiques populaires au rang d’art légitime

“The Long Freak Out”: Unfinished Music and Countercultural Madness in 1960s and 1970s Avant-Garde Rock

This article examines avant-garde ‘freak out’ recordings in rock music: extended album tracks that suggest madness in their sonic anarchy, conceptual absurdity and amateur technique. Products of the counterculture rooted in the historical avant-garde, these recordings by musicians in the 1960s and 1970s rejected musical conventions of song structure, meaning and competence in their attacks on an emerging music industry. While such extreme recordings bring to the fore the uneasy relationship between art and rock, avant-garde recordings by pop musicians are not antithetical to rock, but part of its discourse of rebellion. This article demonstrates how recordings of this kind ranging from the hippie era of the 1960s to the postpunk era of the late 1970s functioned more as aggressive acts of resistance to social and musical convention than attempts to elevate popular music to a higher level of art.Cette contribution examine les enregistrements « freak out » dans le rock, à savoir de longs titres d’album qui, par leur anarchie sonore, leur absurdité conceptuelle et leur technique amateure, connotent la folie. Ces enregistrements datent des années 1960 et 1970 et sont de purs produits de la contre-culture, tout en étrant enracinés dans la tradition des avant-gardes artistiques. Dans leurs attaques lancées contre l’industrie du disque, ils rejetaient les conventions musicales à l’œuvre à l’époque : structures des chansons, signification et compétence technique. Là où des disques aussi extrêmes mettent en évidence les relations difficiles entre art et rock, que des musiciens pop s’essaient à l’avant-gardisme n’est pas antithétique au rock ; au contraire, elle fait partie de son discours de révolte. Cet article démontre comment cette production, qui va de l’époque hippie des années 1960 au post-punk de la fin des années 1970, fonctionna plus comme une série actes de résistance agressifs contre les conventions sociales et musicales que comme des tentatives d’élever les musiques populaires au rang d’art légitime

Yoshio Kurahashi: Honkyoku, musique zen pour shakuhachi

La popularité internationale de la flûte japonaise shakuhachi a suscité ces dernières années une prolifération considérable de publications commerciales. Les disques abondent, enregistrés par des interprètes qualifiés, japonais ou non, que ce soit dans des répertoires traditionnels en solo, en musique de chambre avec d’autres instruments japonais tels que la cithare à treize cordes koto et le luth à trois cordes shamisen, ou dans des compositions récentes de musique de méditation, d’improvisa..

Mimesis stories: composing new nature music for the shakuhachi

Nature is a widespread theme in much new music for the shakuhachi (Japanese bamboo flute). This article explores the significance of such music within the contemporary shakuhachi scene, as the instrument travels internationally and so becomes rooted in landscapes outside Japan, taking on the voices of new creatures and natural phenomena. The article tells the stories of five compositions and one arrangement by non-Japanese composers, first to credit composers’ varied and personal responses to this common concern and, second, to discern broad, culturally syncretic traditions of nature mimesis and other, more abstract, ideas about the naturalness of sounds and creative processes (which I call musical naturalism). Setting these personal stories and longer histories side by side reveals that composition creates composers (as much as the other way around). Thus it hints at much broader terrain: the refashioning of human nature at the confluence between cosmopolitan cultural circulations and contemporary encounters with the more-than-human world

William (Bill) Peterson's contributions to ocean science, management, and policy

© The Author(s), 2020. This article is distributed under the terms of the Creative Commons Attribution License. The definitive version was published in Schwing, F. B., Sissenwine, M. J., Batchelder, H., Dam, H. G., Gomez-Gutierrez, J., Keister, J. E., Liu, H., & Peterson, J. O. William (Bill) Peterson's contributions to ocean science, management, and policy. Progress in Oceanography, 182, (2020): 102241, doi:10.1016/j.pocean.2019.102241.In addition to being an esteemed marine ecologist and oceanographer, William T. (Bill) Peterson was a dedicated public servant, a leader in the ocean science community, and a mentor to a generation of scientists. Bill recognized the importance of applied science and the need for integrated “big science” programs to advance our understanding of ecosystems and to guide their management. As the first US GLOBEC program manager, he was pivotal in transitioning the concept of understanding how climate change impacts marine ecosystems to an operational national research program. The scientific insight and knowledge generated by US GLOBEC informed and advanced the ecosystem-based management approaches now being implemented for fishery management in the US. Bill held significant leadership roles in numerous international efforts to understand global and regional ecological processes, and organized and chaired a number of influential scientific conferences and their proceedings. He was passionate about working with and training young researchers. Bill’s academic affiliations, notably at Stony Brook and Oregon State Universities, enabled him to advise, train, and mentor a host of students, post-doctoral researchers, and laboratory technicians. Under his collegial guidance they became critical independent thinkers and diligent investigators. His former students and colleagues carry on Bill Peterson’s legacy of research that helps us understand marine ecosystems and informs more effective resource stewardship and conservation

Generating developmentally appropriate competency assessment at a family medicine residency.

BACKGROUND AND OBJECTIVES: Ten years after the Accreditation Council for Graduate Medical Education\u27s (ACGME) mandate that residency programs evaluate learners\u27 competency, research is needed to guide efforts to meet this challenge. During an innovative residency redesign, the authors developed a process to effectively measure competence. This particular family medicine residency admits six residents per class year and is sponsored by an academic community hospital. Our objective was to generate developmentally appropriate observable behaviors that assess competencies. METHODS: Eight steps guided the development of this assessment system: (1) Generate residency-specific competencies, (2) Define residency-specific competencies, (3) Identify principles of assessment, (4) Compose and analyze narratives of excellence within each competency, (5) Distill standard statements from narratives and organize into Dreyfus levels of competence, (6) Derive observable behaviors from standard statements to directly correlate behaviors and competency levels, (7) Design assessment tools (based on observable behaviors) for six residency learning sites, and (8) Translate assessment tools for ACGME competencies. RESULTS: The results of this process include an assessment system that (1) features six tools used with strategic frequency throughout the academic year and (2) generates global assessment of residents\u27 performance in both ACGME and residency-specific competencies. CONCLUSIONS: Narrative reflection was an effective method to tie observable behaviors to competencies. The process was time intensive; however, greater efficiency and enthusiasm is expected in the use of these assessment tools, with greater confidence in the program\u27s capacity to assess training outcomes. Future research should include comparison of these tools with those of other programs