Note-taking for Learning of Culture with Lisa Stulberg
We have read some dense canonical European White Guys. None of them have been as difficult and off-putting as Freud. I would have rather read Civilization And Its Discotheques.
Freud begins with the observation that for most of human history, our happiness has been tied to our ability to control nature: to keep away predators and stinging instincts, to keep ourselves fed and sheltered, to alleviate pain and disease. At the time Freud was writing, nature was well under control. You would think, then, that we would be really happy. But as Louis CK puts it: “Everything is amazing and nobody is happy.”
Note-taking for Learning of Culture with Lisa Stulberg
This week, we read another cornerstone of the sociology canon: Émile Durkheim on where religion comes from.
The book is very much a product of its time, with continual and annoying references to “primitive” religions and peoples. No question that Durkheim’s methodology doesn’t pass contemporary muster. But his theoretical insights are on point.
[R]eligion is something eminently social. Religious representations are collective representations which express collective realities; the rites are a manner of acting which take rise in the midst of the assembled groups and which are destined to excite, maintain or recreate certain mental states in these groups (10).
You could substitute the word “music” for “religion” and this paragraph would still be true. This is food for future thought.
This post is public-facing note taking on Music Matters by David Elliott and Marissa Silverman for my Philosophy of Music Education class.
This chapter goes after the big questions: What is music and why does it exist? I love chewing over this stuff.
My computer dictionary says that a melody is “a sequence of single notes that is musically satisfying.” There are a lot of people out there who think that rap isn’t music because it lacks melody. My heart broke when I found out that Jerry Garcia was one of these people. If anyone could be trusted to be open-minded, you’d think it would be Jerry, but no.
I’ve always instinctively believed this position to be wrong, and I finally decided to test it empirically. I took some rap acapellas and put them into Melodyne. What I found is that rap vocals use plenty of melody. The pitches rise and fall in specific and patterned ways. The pitches aren’t usually confined to the piano keys, but they are nevertheless real and non-arbitrary. (If you say a rap line with the wrong pitches, it sounds terrible.) Go ahead, look and listen for yourself. Click each image to hear the song section in question. Continue reading
Marvin Gaye is one of the great singers and songwriters of all time, with a status deservedly approaching secular sainthood. Robin Thicke is a sleazy dirtbag who made a giant pile of money by knocking off one of Marvin’s songs to produce a rapey earworm, accompanied by a porn video. Naturally, I side with Team Marvin, and am delighted that Thicke and Pharrell lost the lawsuit.
While my fellow musicians are gleefully crowing, other observers are worried that this case sets a bad precedent. Michaelangelo Matos is among them.
I encourage vocal fans of this verdict to demonstrate their solidarity by deleting and/or destroying every piece of music they own featuring an unlicensed sample or bearing a notable resemblance to an earlier piece of music. But they won’t, and they shouldn’t, because that would entail deleting just about everything. Even if you loathe Thicke, this is no cause for celebration, because the size of the Gaye estate’s bounty is only going to encourage more lawsuits like this one.
Bennett, J. (2011). Collaborative songwriting – the ontology of negotiated creativity in popular music studio practice. Journal on the Art of Record Production, (5), online.
My professional life at the moment mostly consists of teaching classical and jazz musicians how to write pop songs. While every American is intuitively familiar with the norms of pop music, few of us think about them explicitly, even trained musicians. It’s worth considering them, though. While individual pop songs might be musically uninteresting, in the aggregate they’re a rich source of information about the way our culture evolves. Bennett describes popular song as an “unsubsidized populist art form,” like Hollywood movies and video games. The marketplace exerts strong Darwinian pressures on songwriters and producers, polishing pop conventions like pebbles being tumbled in a river.
A Quora user asks whether artificial intelligence will ever replace human musicians. TL;DR No.
If music composition and improvisation could be expressed as algorithmic rule sets, then human musicians would have reason for concern. Fortunately, music can’t be completely systematized, much as some music theorists would like to believe it can be. Music is not an internally consistent logical system like math or physics. It’s an evolved set of mostly arbitrary patterns of memes. This should be no surprise; music emerges from our consciousness, and our consciousness is an evolved system, not an algorithmic one. We can do algorithmic reasoning if we work really hard at it, but our minds are pretty chaotic and unpredictable, and it isn’t our strong suit. It’s a good thing, too; we may not be so hot at performing algorithms, but we’re good at inventing new possible ones. Computers are great at performing algorithms, but are lousy at inventing new ones. Continue reading
Recently, WNYC’s great music show Soundcheck held a contest to see who could do the best version of the 100 year old song “Yellow Dog Blues” by WC Handy.
Marc Weidenbaum had the members of the Disquiet Junto enter the contest en masse. I did my track, put it on SoundCloud, and promptly forgot all about it.
A month later, I was surprised and delighted to learn from Marc’s blog that the contest winner was Junto stalwart Westy Reflector.
There’s an interview on the Creative Commons blog with Disquiet Junto instigator and Aphex Twin historian Marc Weidenbaum. It’s full of his usual keen insight.
Here are some key quotes. Continue reading
Continuing my series of posts on the ways that science might explain why we like the music we like. See also my posts on the science of rock harmony, harmony generally, and Afro-Cuban rhythms.
Quora user Marc Ettlinger recently sent me a paper by Sherri Novis-Livengood, Richard White, and Patrick CM Wong entitled Fractal complexity (1/f power law) determines the stability of music perception, emotion, and memory in a repeated exposure paradigm. (The paper isn’t on the open web, but here’s a poster-length version.) The authors think that fractals explain our music preferences. Specifically, they find that note durations, pitch intervals, phrase lengths and other quantifiable musical parameters tend to follow a power law distribution. Power-law distributions have the nifty property of scale invariance, meaning that patterns in such entities resemble themselves at different scales. Music is full of fractals, and the more fractal-filled it is, the more we like it.