Note-taking for Approaches to Qualitative Inquiry with Colleen Larson
Willis, J.W., (2007) Foundations of Qualitative Research, Sage, chapters 1-4.
The simplest way to define the difference between quantitative and qualitative research methods is that one uses numbers and the other uses words. But in reality, qualitative researchers use stats too, and all quantitative studies contextualize their findings with qualitative arguments. The real difference is not in the type of data being collected and studied; it’s the foundational assumptions behind each method, otherwise known as their underlying paradigms.
The mighty river of social media recently brought an essay to my attention, The Arts Electric by Tom Uglow. His central point is that the computer has not yet fulfilled its potential as an art medium.
I started out agreeing with him, and ended thinking he’s missing the point. Let’s dissect! Continue reading
I’m currently reading On Immunity by Eula Biss, which is so good you can’t believe it. Recommended if you’re interested in vaccination, health generally, being a parent, gender, race, class, the history of medicine, Greek mythology, vampires, or if you just need an example of how to parse out a difficult subject in a warm and elegant manner.
Also, if you have money and want to make a well targeted public health intervention, I recommend buying a bunch of copies and handing them out in front of the Park Slope Food Coop and the equivalent locations in Berkeley, Ann Arbor, Laurel Canyon, Portland, and wherever else well-educated professionals aren’t getting their kids vaccinated.
My last post discussed how we should be deriving music theory from empirical observation of what people like using ethnomusicology. Another good strategy would be to derive music theory from observation of what’s going on between our ears. Daniel Shawcross Wilkerson has attempted just that in his essay, Harmony Explained: Progress Towards A Scientific Theory of Music. The essay has an endearingly old-timey subtitle:
The Major Scale, The Standard Chord Dictionary, and The Difference of Feeling Between The Major and Minor Triads Explained from the First Principles of Physics and Computation; The Theory of Helmholtz Shown To Be Incomplete and The Theory of Terhardt and Some Others Considered
Wilkerson begins with the observation that music theory books read like medical texts from the middle ages: “they contain unjustified superstition, non-reasoning, and funny symbols glorified by Latin phrases.” We can do better.
Wilkerson proposes that we derive a theory of harmony from first principles drawn from our understanding of how the brain processes audio signals. We evolved to be able to detect sounds with natural harmonics, because those usually come from significant sources, like the throats of other animals. Musical harmony is our way of gratifying our harmonic-series detectors.
Update: a version of this post appeared on Slate.com.
I seem to have touched a nerve with my rant about the conventional teaching of music theory and how poorly it serves practicing musicians. I thought it would be a good idea to follow that up with some ideas for how to make music theory more useful and relevant.
The goal of music theory should be to explain common practice music. I don’t mean “common practice” in its present pedagogical sense. I mean the musical practices that are most prevalent in a given time and place, like America in 2013. Rather than trying to identify a canonical body of works and a bounded set of rules defined by that canon, we should take an ethnomusicological approach. We should be asking: what is it that musicians are doing that sounds good? What patterns can we detect in the broad mass of music being made and enjoyed out there in the world?
I have my own set of ideas about what constitutes common practice music in America in 2013, but I also come with my set of biases and preferences. It would be better to have some hard data on what we all collectively think makes for valid music. Trevor de Clerq and David Temperley have bravely attempted to build just such a data set, at least within one specific area: the harmonic practices used in rock, as defined by Rolling Stone magazine’s list of the 500 Greatest Songs of All Time. Temperley and de Clerq transcribed the top 20 songs from each decade between 1950 and 2000. You can see the results in their paper, “A corpus analysis of rock harmony.” They also have a web site where you can download their raw data and analyze it yourself. The whole project is a masterpiece of descriptivist music theory, as opposed to the bad prescriptivist kind.
Another thought-provoking Quora question: Are there any hereditary units in music? The question details give some context:
In his blog post “The Music Genome Project is no such thing,” David Morrison makes an edifying distinction between a genotype and a phenotype. He also makes the bold statement “there are no hereditary units in music.” Is this true?
Morrison’s post is a valuable read, because it’s so precisely wrong as to be quite useful in clarifying your thinking.
Here’s my final project for NYU’s Psychology of Music class, enjoy. Feel free to download this presentation or the full paper.
The more I learn about biology, the less I believe in free will.
All of our behavior results from a bunch of molecules bouncing around according to the laws of quantum mechanics. Seen that way, we don’t have any more free will than pebbles being tumbled down a river. We think we have free will because we can’t predict the future, and because our immediate experience is full of so much ambiguity.
Imagine you’re a parent with a young kid, and you’re hearing all these stories about vaccines and autism. Who do you trust?
Probability is a deeply weird and disturbing topic. The harder I look at it, the weirder and more disturbing it becomes. I find the many-worlds interpretation of quantum mechanics to be the least weird and disturbing way to think about it.