"Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene Page: 89
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marked my seminar experience. In the online scene, my instrument and its relationship
to my auditory conception had never opened up like it did over that three-day period.
While I could easily say that I had been inspired by some discussions on Stickwire and
learned a couple of tricks from YouTube, no virtual interaction had put Stick music in my
mind and body as profoundly as the seminar.
In this face-to-face interaction, the grain became both personal and shared
because the audience is comprised primarily of other embodied stickists, and for these
participants it is a particularly vital environment. While there is a way to play the Stick,
there is also your way to play the Stick, and this latter interpretation of the grain has the
potential to add to the former. For example, playing the Stick using hand movement as
opposed to digital strength is not an explicitly outlined concern in either The Stick Book
or Free Hands, nor is it universally acknowledged by the community. Instead, Howard
developed this approach over the course of over fifty seminars, several of which have
occurred internationally. By teaching, talking, experimenting, asking, playing, listening,
and reflecting to the Stick's unique sound-body interface in multiple contexts, Howard
mirrored and made physically manifest the experiences of other Stick players as he has
taught them, building up an idiosyncratic pedagogy to the instrument. The seminar,
then, emerges as a space in which members of the community mutually explore the
potentials of the instrument in an intercorporeal environment.89
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Hodges, Jeff. "Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene, thesis, May 2010; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc28430/m1/97/: accessed April 25, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .