Student Work

  • Fine Arts (MFA)

    Saul Sanchez

    Every Good Boy Does Fine

    The sound that comes from the speaker is a reinterpretation of three music scores distributed during the Prohibition Era. (The period in nineteenth and early twentieth century in which a Constitutional band prohibited the consumption, distribution, and production of alcoholic beverage in United States of America. The temperance movement began in the late 19th, but the constitutional ban lasted from 1920 to 1933) Pamphlets, pocket books, and music were some of the several strategies for communication of the law, and for persuasion of the ideas that the Temperance Movement promoted. (e.g. public morals and health.) As part of those materials, there were included three sheets of score music extracted of the book, Silver Tones: A new Temperance and Prohibition Song, but found in the compilation The Purpose and Policy of Prohibition in All Its Phases. The Saloon Must Go. The songs are: The Three Eras: 1884-1892-1896, The liquor dealer to the Christian. The scores were interpreted by a musician, and then reinterpreted based on the negative space of the notes system; it means that unlike the literal interpretation, the pianist produces the sound using the notes that are not presented in each instruction of the score. Here, the music works as the conduit for the exploration of different experiences and variations in the interpretation. Here, opposites come to the realm of the experience of art making, as Hanne Darboven express: “The meaningful experience for me is the exploration of negative or positive avenues. In a sense for me negative is the proof of the existence of the positive and vice versa.”