Is It Live or Is It Memorex?

I always got a kick out of the commercials for Memorex audio tapes when I was growing up. Here's one of the ads that I clearly remember. It seemed so amazing that a recording could have the same acoustic effects as a live performance. While I still thrill at the technology, I find myself asking if it is live or is it lip-syncing?

As most of you know by now, Beyonce Knowles was accused of lip-syncing during President Obama's Inauguration earlier this week. I'm not here to debate whether or not Beyonce actually did use a prepared recording. Instead, I want to think about the question of integrity as it relates to the life of an artist.

My music appreciation students composed their first journal of the semester yesterday. Many of them were struggling to find a topic, so I provided some possible topics in class. One idea was the issue of lip-syncing. A large number of them chose to write on the subject; frankly, I was surprised at their views on the issue.

The overwhelming feeling by these students was that it was completely understandable that a professional artist would record their voice. Their acceptable reasons given for relying on a recording were cold temperatures, the possibility of not being able to hear clearly, and stage fright in front of millions of people. It was stated repeatedly that "everyone does it" and served as a moral imperative making it an acceptable action.

I don't want to make this into a bigger issue than it really is. Let's accept the fact that lip-syncing is not a matter of life or death. I must take exception with the issue though. Of the three reasons provided by my students (many of which I have also heard proclaimed by the media), I can accept the issue of the weather -- at least, to a degree. Any artist given the opportunity to sing at such a historic occasion is willing to risk a cold. I know that cold temperatures can reek havoc on the vocal cords; that risk is part of the excitement of watching a "live" event.

Many have compared singing in the open air of Washington with the acoustic issues one faces in a football stadium. Are you kidding me? I simply don't see the connection. Monday's setting was wide open with few objects around that would have caused the bounce-back that is the main reason cited. Stage fright? No way! These artists are touring all over the world, facing enormous audiences on a regular basis. It's part of the job and something performers learn to deal with.

As an educator, I am troubled that these accusations are not viewed as more seriously by some in society. Any student who falsely submits work that is not their own is charged with plagiarism. When an examination is administered, it is an opportunity to show the level of preparation and how well they perform under pressure. Yet we find it acceptable for a singer to pre-record and pass it off as live? Do you really think the recording wasn't doctored in the studio? Do we have any assurance that the first take was the only one?

It simply comes down to this for me: if I am going to hear you in person, I expect to hear you performing LIVE! Otherwise, I'll just stay home and let you send me the CD or I'll download the video on YouTube.

Beyond the Page

Notes, rhythms, dynamics, phrase markings, tempi......all of these are clearly communicated to the performer on the page. Even when impeccable attention is given to the many details of the score, no two accomplished musicians will present the same piece in an identical manner. This truth speaks to the importance of the musical aspects which are not on the page -- those extra-musical ideas that we bring to the stage.

The importance of the unprinted musicality was made painfully obvious to my own ear recently. I am in the process of recording two CDs and have received an initial version of the Christmas album for preliminary review. As I prepared to listen, I was rather apprehensive because I recalled my emotional and physical state on that Thursday afternoon. My mind was filled with a laundry list of things that had to be completed in the closing days of the summer semester and my body was beginning to drag as a result of the many recent demands of church, home, and work. As I listened to the recording, my concerns were obviously justified; the playing was accurate for the most part, but it was flat, lifeless, and -- well, let's just cut to the chase -- quite BORING! This wasn't an issue associated with the recording technician or the quality of the instrument. The problem was that I was not in a place to communicate musically on the day of the recording.

Many musicians play their instruments with great technical facility and amaze us with their virtuoso displays. For me, such performances are thrilling in the moment, but their power is short-lived. I would rather listen to an interpretation that speaks to me at the deepest level -- one that expresses the unique ideas of the recitalist. In a perfect world, we never have to choose between artistry and technique. Sadly, I'm only human and sometimes find myself having to choose between technique and musicality-- we all do from time to time if we're willing to admit it. Without fail, I choose artistry. I choose to communicate with my audience through the music's voice rather than play merely the notes on the page. Without communication, my performance is nothing more than a metronomic regurgitation of the notes on the page that is no different from that of any second-rate pianist.

Needless to say, I'm arranging a date for another recording session. To get ready for this round of studio time, I am continuing to review notes and fix problematic passages, but more importantly, I am taking the time to rest so I am emotionally and spiritually prepared to musically communicate those messages that are most important to me.

Reflections on Recording

Last week, I spent an afternoon at the piano in the sanctuary of my church to record two CDs. I have been through the process a few years ago, but this time it involved a different setting and a different production team. Here are a few things that I have learned about myself, recording, and music.

First, I am a huge critic of myself. Regardless of whether we are talking about my writing, playing, relationships, or leadership skills, I can always see where things could be improved drastically. On one hand, this is a great asset because I am constantly pushing myself to new levels of excellence in everything I do. On the other hand, my perfectionism can be crippling -- never allowing me to accept that anything is good enough. I cannot count the tasks that I have left undone because I couldn't execute them in the manner in which I wanted.

The recording session reminded me of the importance of practice. For various reasons, the repertoire selection process for these CDs was delayed a bit longer than I would have liked. This resulted in learning some of the passages rather quickly and figuring out how to navigate them musically. While the performances might be acceptable in a public performance, it drives me CRAZY to hear the errors----er, shortcuts---repeatedly on the recording.

I'm not going to continue blogging an evaluation of my playing right now. I have to do some more critical listening to the CDs and don't want to become overcritical of myself at this juncture. Once the entire process is complete, I will probably write a bit more about it.