Note-taking for Principles of Empirical Research with Christine Voulgarides. Images of interesting intersections from various sources.
Hill, C. P., & Bilge, S. (2016). Intersectionality.
One of the best guest verses in the history of hip-hop is the one that Chance The Rapper does on Kanye West’s beautiful “Ultralight Beam.”
The song is built around an eight bar loop. (See this post for an analysis of the chord progression.) Chance’s verse goes through the loop five times, for a total of forty bars. It’s not at all typical for a rap song to include a one and a half minute guest verse–it’s almost enough material to make a whole separate song. By giving up so much space in his album opener, Kanye is gaving Chance the strongest endorsement possible, and Chance makes the most of his moment.
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.
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.
Public-facing note-taking for Philosophy of Music Education with David Elliott
This week, I’m taking a look at two chapters from a new book on the red-hot topic of artistic citizenship, the social responsibility of artists and arts educators.
Note-taking for Learning of Culture with Lisa Stulberg
This week’s reading was C. J. Pascoe’s riveting study, Dude, You’re a Fag: Masculinity and Sexuality in High School. If you’re at all interested in gender, or the culture of schools, it’s a must-read.
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).
I’m taking a sociology class called Learning Of Culture with Lisa Stulberg. It could just as easily be called Culture Of Learning, since it views school as just one cultural setting among many. Our first assignment was to read Between The World And Me by Ta-Nehisi Coates. I agree with Toni Morrison’s cover blurb.
After reading just the first few pages, I couldn’t help but adopt Coates’ prose style. It’s infectious.
I’m continuing to gather materials for my upcoming ISMIR 2016 presentation on Why Hip-Hop Is Interesting. One of my big themes is the melodic content of rap. Emcees are deliberate in their use of pitch, whether they’re singing or rapping or some combination of the two. In the post, I’ll analyze segments of three great emcees’ flow. I made the graphics by loading acapella tracks into Melodyne, and then added the lyric annotations by hand using Omnigraffle. The selection of these tracks represents the intersection of “songs that I like” and “acapellas that are available to me.”
Emcee: Rakim Allah
Rakim Allah stands out among eighties rappers for the complexity and subtlety of his flow. Here’s an excerpt from verse one:
Update: I’ve turned this post into an academic article. Here’s a draft.
The conference is organized by the International Society for Music Information Retrieval, and it’s the fanciest of its kind. You may well be wondering what Music Information Retrieval is. MIR is a specialized field in computer science devoted to teaching computers to understand music, so they can transcribe it, organize it, find connections and similarities, and, maybe, eventually, create it.
So why are we going to talk to the MIR community about hip-hop? So far, the field has mostly studied music using the tools of Western classical music theory, which emphasizes melody and harmony. Hip-hop songs don’t tend to have much going on in either of those areas, which makes the genre seem like it’s either too difficult to study, or just too boring. But the MIR community needs to find ways to engage this music, if for no other reason than the fact that hip-hop is the most-listened to genre in the world, at least among Spotify listeners.
Hip-hop has been getting plenty of scholarly attention lately, but most of it has been coming from cultural studies. Which is fine! Hip-hop is culturally interesting. When humanities people do engage with hip-hop as an art form, they tend to focus entirely on the lyrics, treating them as a subgenre of African-American literature that just happens to be performed over beats. And again, that’s cool! Hip-hop lyrics have significant literary interest. (If you’re interested in the lyrical side, we recommend this video analyzing the rhyming techniques of several iconic emcees.) But what we want to discuss is why hip-hop is musically interesting, a subject which academics have given approximately zero attention to.