Final paper for Approaches To Qualitative Inquiry with Colleen Larson
Section 1: Reflections on Received View of Research
I was raised by two medical researchers and a former astrophysicist, surrounded by stacks of quantitative journals. I rarely questioned the assumption that quantitative empirical research is the gold standard of truth, and that while subjective accounts are interesting and illuminating, they are not ultimately reliable. From scientists I learned that stories belong to mythology, while facts do not necessarily organize themselves in ways that can be apprehended so easily. Creation myths tell the story of a human-scale world in which humans are the most important element. Astrophysicists tell us that the universe is unfathomably vast and incomprehensibly old, and that we are insignificant in the grand scheme of things, while evolution teaches that we are more like mushrooms or daisies than unlike them. It is axiomatic for scientists that reality is empirically knowable, and while social and emotional considerations are a fact of life, they are noise to be filtered out.
If you have even a passing interest in funk, you will want to familiarize yourself with Herbie Hancock’s “Chameleon.” And if you are preoccupied and dedicated to the preservation of the movement of the hips, then the bassline needs to be a cornerstone of your practice.
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).
One of the high points of my musical career was playing in a cover band in college called Harsh Mouse, and one of the high points of our repertoire was this song.
I was asked by Alison Armstrong to comment on this Time magazine op-ed by Todd Stoll, the vice president of education at Jazz at Lincoln Center. Before I do, let me give some context: Todd Stoll is a friend and colleague of Wynton Marsalis, and he shares some of Wynton’s beliefs about music.
Wynton Marsalis advocates for jazz as “America’s classical music,” the highest achievement of our culture, and the sonic embodiment of our best democratic ideals. The man himself is a brilliant practitioner of the art form. I’ve had the pleasure of hearing him play live several times, and he’s always a riveting improvisor. However, Wynton’s definition of the word “jazz” is a narrow one. He thinks that jazz history ended in about 1965, right before Herbie Hancock traded in his grand piano for a Fender Rhodes. All the developments after that–the introduction of funk, rock, pop, electronic music, and hip-hop– have bastardizations of the music.
Wynton Marsalis’ public stature has given his philosophy enormous weight. His effect on jazz culture has thus been profound, but problematic. On the one hand, he’s been a key force in getting jazz the institutional recognition that it was denied for too many years. On the other hand, the form of jazz that Wynton advocates for is a museum piece, a time capsule of the middle part of the twentieth century. When jazz gained the legitimacy of “classical music,” it also got burdened with classical music’s stuffiness, pedantry, and disconnection from the broader culture. As the more innovative jazz artists try to keep pace with the rest of the culture, they can find themselves more hindered by Wynton than helped.
Victor Wooten is an absurdly proficient bassist best known for his work with Béla Fleck and the Flecktones. There was a period in my life when the Flecktones’ music was my favorite thing in the world. That period is long behind me, but I have a lingering fondness for their amiably nerdy sound. Recently, I came across a TED talk that Vic gave, and it’s a good one.
Vic’s experience doesn’t necessarily generalize. Most of us aren’t born into families of professional musicians. Still, his central message applies: we do a much better job teaching language than teaching music, and we barely “teach” language at all. We learn to talk by being around other people while they talk, and by doing it badly a lot without anyone correcting us. Eventually, through real-life practice, we iron out the technical kinks, find our own voice, and in the process, barely even notice that we’re learning. What if we learned music this way? It would probably be more effective.
Vic’s wisdom about music education is undeniable. What about the wisdom contained in his actual music? On this, my feelings are mixed. If you aren’t familiar with Vic’s playing, here’s a representative sampling.
Björk did the music theory world a huge favor by writing a pop hit entirely in Locrian mode, since it’s really hard to find a good real-world example of it otherwise.
You don’t see too many melodies written entirely, or even partially, in Locrian mode. It’s not a friendly scale. That mostly has to do with its fifth degree. In a typical Western scale, the fifth note is seven semitones above the root (or five semitones below, same thing.) In the key of C, that note is G. Almost all scales starting on C will have a G in them somewhere. But not Locrian. It has the note on either side of G, but not G itself.
This is confusing to the Western listener. So confusing, in fact, that it’s hard to even hear C Locrian as having a C root at all. Depending on the phrasing, it quickly starts feeling like D-flat major, or A-flat Mixolydian, or B-flat natural minor, all of which are way more stable.
I’ve been transcribing a lot of beats for the MusEDLab‘s forthcoming music theory learning tool. Many of those beats require swing, and that has been giving me a headache. In trying to figure out why, I stumbled on a pretty interesting shift in America’s grooves over the past sixty or so years. To understand what I’m talking about, you first need to know what swing is. Here’s a piece of music that does not use swing:
Here’s a piece of music that uses a lot of swing:
I have a whole lot of explanatory writing about rhythm in the pipeline, and thought it would be good to have a place to link the word “syncopation” to every time it arises. So here we go. Syncopation is to rhythm what dissonance is to harmony. A syncopated rhythm has accents on unexpected beats. In Western classical music, syncopation is usually temporary and eventually “resolves” to simpler rhythms. In the music of the African diaspora, syncopation is a constant, in the same way that unresolved tritones are constant in the blues.
Syncopation is not just a subjective quality of music; you can mathematically define it. Before we do, it helps to visualization a measure of 4/4 time, the amount of time it takes to count “one, two, three, four.”
The more times you have to subdivide the measure to get to a given beat, the weaker that beat is. When you accent weak beats, you get syncopation. Continue reading