June 17, 2015
I’ve written a short article examining the music in the new “Do You Know A Muffin Man” commercial that’s been broadcasting recently. It’s written for more of a general audience than what you find on IPAP, but I thought that many of you might be interested nonetheless. It’s cross-posted from my personal blog: 12-Tone Telephone. If any of you feel moved to make comments, please do so there.
Rhythm and Message in America’s Hottest Spot
Abstract: Thumbtack’s “Do You Know A Muffin Man” distinguishes itself by using an old-fashioned jingle to present its message. While it does an undeniably excellent job at communicating Thumbtack’s brand promise, certain details of the music’s rhythm inhibit Thumbtack’s product identity from being efficiently impressed upon the viewer. In this essay, I will attempt to answer the following questions: 1) Why is it hard to acquire and retain Thumbtack’s identity? 2) Is there an easy fix for this problem, and 3) Are there principles embedded in this solution that can be applied to future projects outside of Thumbtack?
Meeting the Muffin Man
As we enter Mid-June of 2015, Thumbtack’s new “Do You Know A Muffin Man” is easily my favorite broadcast advertisment of the moment. Its jaunty music, sympathetic plotlines, and friendly wit all combine to make for an engaging and memorable 30-second spot in which a variety of hapless do-it-yourselfers turn their small tragedies into small triumphs with the help of the professional service providers found through the Thumbtack app.
Based on my experience as a viewer, ‘Muffin Man’ is clearly an attention-grabber that does an excellent job at educating the viewer about Thumbtack’s brand promise. The situations the characters find themselves in are highly amusing yet also highly relatable. I can immediately understand the types of problems in my life that this app will solve. However… after three or four viewings of the spot, I realized that I still had little to no idea of the product identity. That is, I knew there was an app that would fix my lights, my deck, and my life, but I didn’t really know that it was called Thumbtack.
Why is this? After thinking about it, I believe that the reason it was difficult for me to process and retain Thumbtack’s product identity stems from some extremely specific interactions between the words and rhythms of the jingle.
September 30, 2013
A bassoonist friend of mine suggested that you all might be interested in this recent article by Sarah Robinson of Classical Revolution and noted critic Greg Sandow. It discusses a wide range of topics, but primarily focuses on how to adapt your music and performance style to different types of venues and the pros and cons of performing in alternative spaces.
September 25, 2013
Although things have been quiet around here recently, there are some exciting features that will be coming in the next few weeks, including an interview with a very special guest who will of great interest to most of you.
In the meantime, have some fun with this fantastic web page called “Boil The Frog”. It creates a playlist that will connect (almost) any two artists. For example, I’ve had great luck connecting Guillaume de Machaut to Katy Perry, and John Williams to the Pet Shop Boys. You can find it here:
February 20, 2013
Many of you probably remember the previous posts that discussed the situation with Sibelius and its continued development or lack thereof. There is now an update to that story: the fired Sibelius development team has been hired by Steinberg (makers of Cubase) to develop a new software notation environment. The complete story can be found here:
February 7, 2013
I thought that many of you would be interested in this site put up my the Swiss flutist Mats Möller. It’s a mini-textbook of sorts for extended flute techniques that includes both audio and notation examples.
January 14, 2013
This article comes from my former flute professor, Dr. Roger Martin, the Professor of Flute at Tennessee Techonological Unviersity in Cookeville, Tennessee, where I got my Bachelor’s in Flute Performance. During my last few years there, we knew he had started to develop a strange problem – his fingers wouldn’t do what he “told” them to do. We knew he was immensely frustrated with this and I am so glad he has written about his experiences. Focal Dystonia is a mysterious and much misunderstood problem and I reprint his article here with his permission. You can find out more about the TTU Flute Studio by going to their website: ttuflutestudio.yolasite.com
December 11, 2012
We’re in the midst of some pretty big changes.
Multiple orchestras across the US are facing huge deficits and are putting the pressure on their musicians to make enormous sacrifices while hoping to preserve the artistic integrity of these organizations. It is not my intent to discuss or debate the current issues, but instead address how individual musicians may respond to these changes.
The future of classical music has been a breeding ground for infighting in the ranks. Gary Sandow’s blog eloquently discusses these challenges and reading the comments to his blog posts have expanded my horizons since sometimes, the arguments are ones I haven’t necessarily considered. It baffles me how some don’t appear to believe that things are shifting, or they believe that we’re merely in a chaotic part of the cycle and things will return to “normal” soon enough. I think the concept of normal is changing, and we’re beginning to see shifts and artists who are no longer satisfied with what once was.
It’s no secret that I’ve begun creating a new path for myself. I’m shunning the audition circuit and seeking creative freedom. I’ve never felt happier or more liberated. I’m now able to more easily deal with criticism. Rather than doing what everyone else is doing, I’m doing my own thing. Because I’ve done so much soul-searching and have arrived at a musical philosophy that works for me, I feel that I’m better able to look at these issues from a balanced mindset since I have no self-preserving interests in the matter. This is what works for me, and this is where the beauty of these changes lies. Musicians will be empowered to begin making individual choices about their careers, and I believe they will become more able to sustain careers while making a living.
Did I see the current lockouts coming? No. I’m not involved in the orchestral world; however, I am a trained musician. I’m aware of how music schools and conservatories place emphasis on orchestral training. When I think back to my college days, I think about all the time I spent working on excerpts. That training took precedence over the various chamber music experiences or solo performances. I trained to become an orchestral musician. I believed for many years that getting into an orchestra was the pinnacle of a serious music career (that, or making it as a soloist…the orchestral career seemed more likely).
Because I was so involved in this training, my ears were closed to pearls of wisdom that I may have received about doing things my own way. It’s not like I wasn’t interested in entrepreneurial ventures. I even researched taking some business classes, but I wasn’t able to enroll in any due to various issues.
We had a “Business of Music” class that was offered for a few semesters but by the time my schedule allowed me to take the course, the person teaching it had moved on to a different school and no one replaced her since it was an elective. More and more schools are adding essential courses to their curriculum to expand students’ skill sets, but the question still remains of, “What is academia emphasizing? Are students being encouraged to become free-thinking individuals with creative dreams or are they simply being trained in a system that better fits what used to be?”
I’ve instead spent my own time expanding my horizons. I knew what my options were and I faced reality. Every musician’s circumstances are different; however, one thing remains the same. Every musician must take personal responsibility for their career. We’re lucky, you know. We can and should be able to adapt as artists when something happens that knocks us off kilter.
The changes that are coming and that are currently happening will affect everyone individually. I am inclined to believe that funding will begin shifting to smaller groups and individuals. I believe that audiences want to be personally connected to artists and they want to know exactly where their money is going and for what project. Crowd funding successes through platforms like Kickstarter and GoFundMe confirm this. Audiences will have to be cultivated on an individual basis. No audience is the same.
Perhaps the orchestral audience is diminishing, but I don’t believe the audience for the larger art form is diminishing. Be brave, be courageous and above all, find your audience. Be creative in your artistic endeavors, but also approach your art with an entrepreneurial mindset. If a concept or idea doesn’t work, then try something else.
The shifting winds have the potential to either harm or help the parties involved. I want all the musicians to come through these storms unscathed, but I know that won’t be the case.
I’m pretty excited about these changes. If you allow the changes to happen and forget what you thought you knew about classical music, then the future becomes a collective of individual change. Let’s keep it going and support each other.
©Alexis Del Palazzo, 2012