Four bars of Mozart explains everything humans like in music

I’m not arguing here that everyone loves Mozart, or that I’m about to explain what all humans enjoy all the time. But I can say with confidence that this little bit of Mozart goes a long way toward explaining what most humans enjoy most of the time. The four bars I’m talking about are these, from “Eine Kleine Nachtmusik.”

What these four bars of music demonstrate is that humans like:

  1. Repetition
  2. Breaks in the repetition
  3. Repetition of the breaks in the repetition
  4. Breaks in the repetition of the breaks in the repetition
  5. Recursive layers of patterns of breaks and repetitions

In order to prove this to you, I’m going to talk you through these eighteen notes one at a time.

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Aurality

Writing assignment for Ethnomusicology: History and Theory with David Samuels

Ana Maria Ochoa Gautier (2014) Aurality: Listening and Knowledge in Nineteenth-Century Colombia. Durham: Duke University Press.

Aurality

The nineteenth-century Colombian writing discussed by Ochoa Gautier, like Western convention generally, opposes “art” and “folk” musics. “Art” music is comprised of works created by named authors, transmitted visually via scores, and speaking to transcendent experience beyond mundane reality. The work is an autonomous object that can be considered free of context. “Folk” music is a mass of common property, transmitted orally/aurally, and is of a part with daily life. Indeed, the folk object only makes sense in its social and cultural context. The folkloric voice is authorless, and therefore lacks authority. While the aesthesis of folklore may represent an ideal of “heightened sensorial perception and emotional expressivity” (172), its anonymity and adherence to tradition limits its potential for creativity.

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Ethnomusicology and world music

Writing assignment for Ethnomusicology: History and Theory with David Samuels

People like me listen to world music to hope for and imagine a world without imperialism. I’ve sampled Central African pygmy music in my own work, and while I do a better job of attributing my sources than Deep Forest does, I’m motivated by the same impulse.

Timothy Brennan attributes the popularity of African diasporic music among white people to our unconscious desire to resist imperial capitalism. The same is true of world music.

More than just expanding tastes, world music characterizes a longing in metropolitan centers of Europe and North America for what is not Europe or North America… It represents a flight from the Euro-self at the very moment of that self’s suffocating hegemony, as though people were driven away by the image stalking them in the mirror (Brennan 2001, 46).

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Teaching myself the Bach chaconne with Ableton Live

Recently someone posted this performance of the chaconne from Bach’s violin partita in D minor on an eleven-string guitar.

My favorite interpretation by an actual violinist is Viktoria Mullova’s. I appreciate her straightforward approach, without all the romantic schmaltz.

I also enjoy the version from Morimur, and I’m not alone. This is one of the most popular classical albums of all time:

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Classical composers, Bowie and Björk

This post originally took the form of a couple of Twitter threads, which I’ve collected and edited here for easier reading.

Greg Sandow asks two very interesting and provocative questions of classical music:

When the Museum of Modern Art did its first retrospective of a seminal musical artist, no surprise it was Björk who reached past music into the larger cultural world. Some day, couldn’t somebody from classical music do that? When a major musical artist died and the New York Times did more than 20 stories tracing his influence on our culture and on people’s lives, well, of course it was David Bowie. Couldn’t it someday be someone from classical music?

My answer: Probably not.

Björk in 1993 by Jean-Baptiste Mondino David Bowie

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Cultural hegemony in music education

Music education in American colleges and universities focuses almost entirely on the traditions of Western European aristocrats during the eighteenth and nineteenth centuries, known conventionally as “common practice music.” This focus implies that upper-class European-descended musical tastes are a fundamental truth rather than a set of arbitrary and contingent preferences, and that white cultural dominance is normative. In this paper, I discuss theoretical notions of pedagogical authority as a form of power. I then examine a music textbook catalog from a prestigious academic press in order to gain insight into the hegemonic culture of classical music, as well as the emerging challenges to that culture.

Biz

American musical culture is a riotous blend of styles and genres. However, there is a unifying core to nearly all of our popular music, and much “art” music as well: the loop-centric, improvisational, dance-oriented traditions of the African diaspora. Mcclary (2000) argues that the “various trickles” of the past hundred years of American music collect into “a mighty river” following a channel cut by the blues (32). Yet it is possible to complete a music degree at most American universities without ever coming into contact with the blues, or anything related to it. The music academy’s near-exclusive focus on Western classical tradition places it strikingly at odds with the broader culture. We need to ask what might be the ideological motivation for perpetuating the divide.

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Music Matters chapter seven

Public-facing note taking on Music Matters by David Elliott and Marissa Silverman for my Philosophy of Music Education class. 

This chapter addresses musical meaning and how it emerges out of context. More accurately, it addresses how every musical experience has many meanings that emerge from many contexts. Elliott and Silverman begin with the meanings of performance, before moving into the meanings of composition, listening and so on. They insist that performance is not an activity limited to an elite cadre of “talented” people, that it is within reach of anyone who has the proper support.

We propose that people’s capacities for and enactments of an intrinsic motivation to engage in different kinds of musicing and listening are extremely widespread phenomena, restricted only by lack of musical opportunities, or ineffective and indifferent music teaching. Indeed, developing a love for and devotion to musicing and listening is not unusual when students are fortunate enough to learn from musically and educationally excellent teachers and [community music] facilitators, and when they encounter inspiring models of musicing in contexts of welcoming, sustaining, and educative musical settings, including home and community contexts (240).

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