Talent, Technique, and Timelessness

What do the following quotes have in common?

“Yes, the sonorous image is a preoccupying concern of all musicians. In that phrase we include beauty and roundness of tone; its warmth, its depth, its ‘edge,’ its balanced mixture with other tones, and its acoustical properties in any given environment. The creation of a satisfactory aural image is not merely a matter of musical talent or technical adroitness; imagination plays a large role here. You cannot produce a beautiful sonority or combination of sonorities without first hearing the imagined sound in the inner ear. Once this is imagined sonority is heard in reality, it impresses itself unforgettable on the mind” (Copland, 1952:22)

Copland, A. (1952). Music and imagination. Cambridge, MA: Harvard University Press.

“I asked Hunter what she hopes people will say years from now about her influence. Without a pause she replied, ‘If I could have my wish, I would hope my work would help move teaching from a craft to a profession based on research translated into artistic practice, where the professional is a decision maker and where that professional never stops learning’” (Goldberg, 1990: 43).

Goldberg, M. (1990). Portrait of Madeline Hunter. Educational Leadership, 47 (5), 41.

Whether in a concert hall or a classroom, on a score or in a schoolbook, by the wave of a conductor’s baton or the stroke of a teacher’s chalk, the timelessness of a sonorous image is dependent on both technique and talent. Creativity and craft must be combined with care. Sentiment and substance must be summoned ceaselessly. If one is elevated at the expense of the other, the image becomes blurry and the potentially timeless temporal.

I think debates such as those related to whole language versus phonics or direct instruction versus discovery learning illustrates how emphasis on one over the other leaves some parts of the paint by number picture blank.

In order for the image (or instruction) to be timeless, balance needs to be brought in.

Musical Manipulation and Minor Miracles

Week 10 - Discussion Post (also on FB)

“Recognizing the beautiful in an abstract art like music partakes somewhat of a minor miracle” (Copland, 1952: 8).

As I reflected on this statement and listened back to the selected songs, I realized that, in some cases (like “Sexyback”), a more major miracle is required. Not able to find the beauty in the beat of that song, I steered toward “Jesus Take the Wheel.”

In addition to the hook, my head and heart were held throughout what could be considered a country classic. As I mentioned last week, melody produced the preliminary and primary pull (“hook”), but what kept me listening? Was it simply that “circle, yearn, and leap pattern,” or was there something more? Part of me senses that it is something haunting or hopeful or even hallowed, but that speaks more to nature than design. The question posed this week is, what do you think “the musicians are trying to do to keep the music developing, continuous, and interesting”? I had to dig a little deeper to discern these details.

“Notes can be manipulated as if they were objects, certainly – they can be made to do exercises, like a dancer. But it is only when these exerciselike patterns of sound take on meaning that they become music” (Copland, 1952: 12)

For me, it was easy to find “meaning” in this song, but being able to identify how were the notes manipulated was more of a challenge. To begin, I think dynamics definitely played a role in development, maintaining continuity, and sparking interest. The introductory instrumental, played at a dynamic level of piano (soft) or maybe a mezzo forte (medium loud), seems to suspend the listener in a state of sad (or suspenseful) serenity. When the vocals enter in, the instruments dial down an additional notch. The violins fade leaving only the dynamically-constrained chords on the keyboard / piano and a subtle snare as accompaniment for the vocal artist. On occasion, the voice of the violin ventures in, again softly. Quiet can pique curiosity and promote concentration, as the listened must tune in more purposefully in order to appreciate the musical nuances nestled into the score.

As we approach the chorus, the sound swells substantially. The musicians modulate from mysterious to majestic in a matter of a meter (4 beats) and mount from mezzo to full-out forte (loud). The cymbals, strings, and snare all work together to whelm the listener with sound, summoning strength from On High. This dynamic development is both interesting and inspirational and is reprised after the second verse.

The transition from the chorus back to the verses varies slightly. As the sound subsides, there is a poignant and almost-pleading pause. While the strings are not silenced, there is the suggestion of such, a moment when the music and musicians maneuver the mind from a state of strength as a result of surrender to the Sovereign back to the struggles of self. This dynamic shift back to a softer sound serves to sustain the story. Notably, this dynamic decrescendo is repeated after the reprisal; however, rather than a feeling of resignation there is a sense of resilience. As the pleading continues, it is not as passive as in the previous passage. Somewhere along the way, purpose has been found, which the musicians are able to communicate through the dynamics and tone.

In addition to dynamics, some rhythmic revelations can to the fore this week. At the outset of the song, the slightly syncopated sounds were long and drawn out, as if to create an image of the down-and-out damsel in distress dragging her feet along a dark and dusty road. As the musicians pulled from one not to another, there was a feeling that, at any moment, the character (and song) would collapse.

The chorus, though, combated the sense of hopelessness as a robust and regular rhythm was rapped out on the drums and cymbals. While the strings sustained their longer notes throughout this portion of the song, the percussive instruments, electric guitar, and perhaps an almost-staccato stroke on other strings (sets of 8th notes) added life to the step of the song. Moving into the second verse, while not as prominently played, the regular rhythm is a driving (no pun intended) force that compelled me to follow, although I didn’t notice this in early listenings. With these rhythmic alterations in the second verse, I sensed that the musicians were attempting to develop / increase the tension or intensity as compared to the first verse, although there certainly was not as much emotion expressed / encouraged as was evident in the chorus sections.

Instrumentation also played a role in the making of what I consider to be a moving piece of music. While the violin stood out initially as the most influential instrument throughout this piece of music, as I listened more closely, it seemed as if the musician sought to feature a different instrument in each of the verses or chorus sections. In the first chorus, for example, it was the drum / cymbals that helped drive and develop. The electric guitar also emerged in this section and continued into the second verse with what some might consider scarce but, what I would say are significant slides. Going into the final chorus, all the instruments are intermingled. Layered upon one another, the strings, drums, guitars, and piano / keyboard merge and are manipulated into something memorable, meaningful, and for which I want more.

Penny Whistle Ponderings

Nature and Design of Music that Moves Project - Video (also on FB)




Transcript

The principal concern of the composer is to seek out the expressive nature of any particular instrument and write with that in mind. Aaron Copland, Music and Imagination, 1952: 29

What if that instrument is… a penny whistle?

Come… Listen… Ponder with me…

Penny Whistle Song
Composer: Hans Zimmer
Album: The Power of One – Original Motion Picture Soundtrack
Label: Elektra / WEA
Copyright: May 19, 1992

In an attempt to analyze this piece of music and describe what the musicians are trying to do to keep the music developing and interesting, I have formulated a set of questions aimed at what I consider to be a few compelling components. In the first set of questions, instrumentation and the expressive nature of the instruments will be addressed. In the second set of questions, the roles of rhythm and repetition will be explored, particularly as they work to create a sonorous image. Are you hooked yet? If so, let’s take a closer look… or should I say listen?

What is the expressive nature of the penny whistle?
Might I propose…
playful?
perky?
piercing?
penetrating?
precocious?
persnickety?
peculiar?

From the initial note, this instrument intrigues and invites if not the cultured, certainly the curious ear.

A playful parade of notes prances from this peculiar “piccolo,” the pitch of which piques the interest of the listener.

As this form of a flute frolics from note to note, there is a feeling of freedom.

In addition, the delightful duet (or perhaps duel) creates a desire to join the dance.

Will you come out and play?

What of the other instruments like the…

hands?

As it happens, they hear the call and hearken.

The palms serve as personal percussive instruments, prepared to prop up or participate in a piece at any moment.

Hands help, hearten, and… harmonize in the sense that they bring unity to the community, which is, in this case, a myriad of musicians (and “gifted listeners”).

While definitely individual instruments, do the hands also have a role in the rhythm and repetition?

“Repetition creates that sense of belonging to something greater than us” (Kapilow, 2002).

As the chorus of claps repeats a regular beat, the hands cling to the cultural and community context from which they come.

Belonging is part of each beat.

This steers us toward the idea of a sonorous image.

As layers of lilting sounds merge, unity in diversity is rhythmically repeated.

The penny whistle proclaims the power of one.

One instrument. One voice. One rhythm. One song.

Hook ‘em and Hold…

At the outset of his article, “A typology of ‘hooks’ in popular records*,” Gary Burns says, “According to songwriters Al Kasha and Joel Hirschhorn, hooks are ‘the foundation of commercial songwriting, particularly hit-single writing’” (Burns, 1987: 1) Burns goes on to note Kuroff’s (1982) definition of a “hook,” which is described as, “A memorable ‘catch’ phrase or melody line which is repeated in a song. The author also references Bennett’s (1983) definition, which summarizes “hook” as an “attention grabber.”

After reading about and listening for the “hook” in various articles and songs, I couldn’t help but think about the “hook” heralded by Madeline C. Hunter in her (7-step) lesson planning and delivery model. In the Hunter model, the “hook” is referred to as the anticipatory set.

According to Thomas H. Allen, Ph.D. of Humboldt State University,
“Anticipatory set or Set Induction: sometimes called a "hook" to grab the student's attention: actions and statements by the teacher to relate the experiences of the students to the objectives of the lesson. To put students into a receptive frame of mind.

• To focus student attention on the lesson.
• To create an organizing framework for the ideas, principles, or information that is to follow (c.f., the teaching strategy called "advance organizers").
• To extend the understanding and the application of abstract ideas through the use of example or analogy...used any time a different activity or new concept is to be introduced” (Allen, 1998).

Allen, T. H. (1998). Some basic lesson presentation elements. Humboldt State University. Retrieved from: http://www.humboldt.edu/~tha1/hunter-eei.html

Beth Lewis also elaborates on this second step of an adapted version of Hunter’s seven step model, stating, “The purpose of the Anticipatory Set is to:

• Provide continuity from previous lessons, if applicable.
• Allude to familiar concepts and vocabulary as a reminder and refresher.
• Tell the students briefly what the lesson will be about.
• Gauge the students' level of collective background knowledge of the subject to help inform your instruction.
• Activate the students' existing knowledge base.
• Whet the class's appetite for the subject at hand.
• Briefly expose the students to the lesson's objectives and how you will get them to the end result.”

Lewis, B. (2010). Lesson plan step #2 – anticipatory sets. About.com. Retrieved from: http://k6educators.about.com/od/lessonplanheadquarters/g/anticipatoryset.htm

While not identical, I was surprised at how similarly “hook” was characterized by each of these writers. In each definition, a few words grabbed me (or, perhaps I could say served as hooks) and the idea of impressions (first and lasting) came to mind. As it happens, another author made a similar connection… in the realm of learning (and lesson planning).

“First impressions are important, and the beginning of your class or lesson is no exception. You have certainly experienced how important first impressions of people or places [or songs] can be. Research in learning validates that effect. Information introduced at the beginning of any sequence is more easily learned and better remembered than equally difficult material encountered later in that same sequence. … The beginning of any class or lesson is the prime time for that learning. Obviously, when certain material is more vivid, more meaningful, or more interesting, it will be more easily learned and remembered regardless of its position in a sequence.” (Hunter, 2004: 38)

Hunter, R., & Hunter, M. C. (2004). Madeline Hunter's Mastery teaching: Increasing instructional effectiveness in elementary and secondary schools. Thousand Oaks, Calif: Corwin Press. Retrieved from http://books.google.com

I think it is the last sentence the most aptly summarizes the ultimate (or desired) role of the “hook”. Certainly, in order for learning (or gifted listening, as Copland might say in the world of music) to take place, there must be more than that one moment when all eyes (or ears) are attending. It is not just the first impressions that matter, it is the lasting impressions that make the difference. Hooks must be more than head turners; they must be mind movers.

After the hook, one must hold.

Feel a Thought?

Week 9 - Discussion Post (also on FB)

Despite having a musical background and sitting in on Robert Kapilow’s fascinating crash course in song analysis, I’ve struggled to identify “THE hook” in each of the songs. As I have listened to the suggested songs, I found myself riveted by rhythm at one point only to be dazzled by dynamics in another. In some of the songs, the melody proves to be memorable at moments, but is sometimes inched out by instrumentation later on. While held by a hook, I seem to get knotted in a net of notes and other musical nuances. I get tangled in the fishing line of tempo and timbre and text. Certainly Kapilow and Copland are more than capable of navigating the nets, holding true to “THE hook,” but I want to know if there has to be just one? That said, I will attempt to articulate my analysis.

Not being familiar with any of these songs (My time overseas, while illuminating in many ways, was also isolating, particularly in terms of pop culture), I was able to listen to each song with fresh ears. Not really knowing much about any of them and having no preference, I listened in order of appearance.

Not Ready to Make Nice
The first two musical phrases in this song, absent of any vocalization, were quite intriguing. The dark, deep, resonating note pounded out on the piano created a hollow, hurting feeling. An emptiness echoed inside me as that first note sounded and was followed up with low, lingering sounds on the downbeat of each mournful measure. The slow stepping in the bass created an image of a heavy and lonely left hand plodding along the piano, somber and solitary.

On top of this tense, timekeeping tone, a discordant turn of the guitar was added. The almost-goading grace note seemed to stick a finger in an open wound and twist. That hurt feeling served as an initial hook. As the lyrics entered in, a sense of cynicism about forgiveness confirmed that some form of hurt was at the heart of the song.

As the song progressed, we eventually reach the refrain, which, for me, served as a secondary hook (if that’s possible). Up until this point, the instrumentation and vocalization consisted of a series of short phrases with longer pauses in between. This measured means of “communication” added to the tension and contributed to the message that forgiveness was not forthcoming. The refrain, though, seemed to release some of the rage. Rather than a somewhat muted snare keeping beat, time was kept with a crashing cymbal. And, while the tempo did not increase, the number of articulated beats did. The pauses were virtually eliminated (or at least significantly reduced) and words spewed forth. I felt as if all the pent up anger was being unleashed. Certainly, the opening hooked me initially, but it is this portion of the song that echoed in my mind later on.

Ain’t No Other Man
I loved the opening to this song. From the first blast of, what I assume are, a set of saxophones, I was hooked. As the raspy bass sax and the harmonizing tenor sax climbed curiously up a nonstandard scale, I couldn’t help but experience a sense of anticipation. What would come next? Certainly, the subsequent sound of the singer’s voice was unexpected. As she glided up the scale and wiggled (for lack of a better term) her way back down, I was amazed by her range and was prepped for a powerful performance. This power was punctuated by the big band sound as the brass broke through.

After catching listeners’ attention, the song settled in to a strong and steady bass drum beat. My toes couldn’t keep from tapping. The brass blasts (repeated regularly throughout) continued to keep my attention. In addition to repetition, dynamics (the brass blasts were much louder than the rest of the instruments) and rhythm (somewhat syncopated) served as, what Bennett would call, constant “attention grabbers” (Burns, 1987: 1).

Waiting on the World to Change
Syncopation, the snare, and the cymbal started this song off with a special something that sparked interest. Combined with sometimes clumsy-sounding (although, surely calculated) claps, counting, and keyboard, I was caught. The instruments created a very bright, hopeful feeling, which is welcomed if one is “Waiting on the World to Change.”

The rhythm also played a role in catching and keeping my attention. While not a “driving, danceable” rhythm (Burns, 1987: 1), I felt the need to move and groove a bit in the chair. That said, this song, with its somewhat monotonous meter (accent on every other beat), had the potential to lull me into a state of listless listening. Thinking about this, I was reminded of a couple comments from Tom Ashbrook’s interview with Robert Kapilow. At one point, Kapilow quoted Stravinsky saying, “All of composition essentially comes down to a balance of unity and variety” (Ashbrook, 2002). The snare and cymbal, while sleepy at times, was both consistent and unifying. Subtle syncopation and slight rhythm alterations, though, provided the variety needed to balance out the song and keep it interesting.

Kapilow made another statement I think is applicable, “Repetition creates a sense of belonging greater than us” (Ashbrook, 2002). While not necessarily profound or riveting, the rhythmic repetition in this song draws listeners in and allows them to partake in the musical experience. Considering that the very first line of lyrics states, “Me and all my friends, we’re all misunderstood…,” I think the rhythmic repetition is refreshing, reaching out to those would want to be a part of the change but are currently marginalized. Maybe that’s more meaning than was / is intended, but these are the risks of reflection.

SexyBack
This song epitomizes “a driving, danceable rhythm,” part of the definition of “hook” described by Kasha and Hirschhorn (Burns, 1987: 1). Beyond the beat, the synthesized sounds effects served to showcase what the song was selling… sex (or sexiness).

Jesus Take the Wheel
Melody was the most moving element of this song for me. The opening phrase, repeated once prior to the introduction of the voices, serves as the foundation for all instrumental and vocal phrases throughout the remainder of the song. This reminded me of Kapilow’s analysis of “Somewhere of the Rainbow,” in which he described a circle, yearn, and leap pattern. While not in the same order, this repeated phrase does seem to have a similar construction. Opening with a high note conveys a sense of yearning. Hope slowly fades as the three subsequent notes slump down the scale. Hope and yearning circle around, though, as the phrases repeats, leaping once again to a high note.

While melancholy and even mournful most of the time, when this melodic phrase manifests in the refrain, the circle, yearn, and leap pattern modulates into something more majestic. For me, this reflects the fact that when “Jesus Takes the Wheel” things change. Dynamic, tempo, and register (higher notes) changes all add significance to this act of surrender noted in the lyrics. It gave me goose bumps. As I listened to this song, Kapilow’s quote of E. Yip Harburg came alive, “Words make you think a thought, music makes you feel a feeling, a song makes you feel a thought” (Ashbrook, 2002).

A Table for…

“My comments thus far have been intended to free the aesthetic from the province of the arts alone and to recognize its presence in all human formative activity” (Eisner, 1985: 28)

As I read Eisner’s article last week, with last week’s prompt at the fore, my mind kept drifting to the dining room. I envisioned the ordinary with pots plopped down on the table straight from the stove, a mismatched set of silverware sidled up next to a sorry set of dishes, and cups and glasses of all kinds capping off each tough-looking table setting. While homey, perhaps, and certainly not a hindrance to hospitality, this arrangement would not be considered aesthetic by any stretch of the imagination.

How would the eating experience be different if the food was served up in matching dishes designed to adorn the table center? What if the conforming cutlery cascaded down from the top of the plate to the table’s edge in a flowing fashion like that of water? What if the plates and bowls, bound together by a beautiful border, brightened the table and somehow subconsciously bolstered the flavor of the food? What if crystal cones and cylinders containing cool, refreshing drinks sparkled as a synchronized set? Is this something reserved only for royalty? Or, can the regular Joe relish these aesthetic amenities?

As I thought about this masterpiece before the meal, my mind marveled at how the mundane can be made marvelous. What a surprise I experienced when Eisner noted a similar scene. “The need for coherence… manifests itself in all walks of life from the setting of a table to our social interactions. The exquisite creation of either is a very high aesthetic achievement.” Eisner goes on to say, “The aesthetic, then, is motivated by our need to lead a stimulating life” (Eisner, 1985: 30). Does this mean that if we set the table more aesthetically the food will taste better, the conversation will be more captivating, and the meal will be more memorable overall? Does this mean that, while satisfied with sustenance, we search for the zest and the salt and sparkle?

How does this connect to the classroom? How do we create coherence?

To be continued…

(My train of thought was interrupted... I need to return to this at a later time)

Insight from a Hospital Bed

Week 8 - Discussion Post (also on FB)

Reading Eisner’s article took me back to one of our opening readings about the arts in education. In Phillip Jackson’s article, Judith Burton was referenced as identifying two approaches to art – “art with a capital A” and “art with a small a” (Jackson, 1994: 1). I couldn’t help but link, albeit loosely, Eisner’s “form” (noun) to “Art” and his “form” (verb) to “art” (or forming to artistry).

In thinking about these terms, I also thought about if one could be considered “nature” and which one “design.” Creating this link was somewhat more difficult. In the end, I wasn’t able to attach nature and / or design separately to either the noun or verb version of “form,” but it was interesting to read about and reflect on the design elements of the forms mentioned by Eisner and the nature evoked by them. In addition, I was intrigued by his discussion of form (verb), and how “To be able to produce such forms the qualities that constitute them [design?] must be appraised by their contribution to the life of feeling [nature?]” (Eisner, 1985: 27). Maybe this is redundant, but somehow the relationship between nature and design as they pertain to form (noun) and form (verb) were somehow proportioned differently. What do you think?

In applying Eisner’s concept of “form” to the domains of photography, television & film, and architecture & design, there are a relatively easily identifiable list of “qualities that constitute them,” as gleaned from our readings. In photography, of course, one must consider “Space distribution, color, mood, perspective, depth, light and time of day, shapes, etc.” (Hopkins, 2003). Frame boundaries, texture and patterns, leading lines, symmetry, depth of field, focus, foreground / background (Calvetti, 2006; Rowse, 2010; Tal, 2010) are other compositional elements to consider. One could argue that any amateur could apply these elements and end up with a “good photo,” a form that is functional and maybe even fabulous. What make a photo and photographer great, though, is when that final form seizes and stimulates story, sentiment, and something about the stuff of life (Calvetti, 2006; Hill, 2010)

Story (Groh, 2001) is also central to the success of television and film, but so are sound, score, sequencing, staging, and special effects (Oldham, 1995). Paul Hirsch says, a great deal of work also goes in to “the script, the set, the costumes, the lighting, the shooting, the acting, all that is devoted to accumulating the raw materials.” (Oldham, 1995: 192). On top of the more technical elements, filmmakers must carefully contemplate how tension, suspense, surprise, solemnity, foreboding, and humor enter in and affect an effect on the viewers. When done well, one might hear, “And the Oscar goes to…”

On the home front, Susan Susanka dares to design with three “simple” forms in mind – space, light, and order. Each, though, is split into subcategories, some of which are more tangible than others. Shelter around activity, light to walk toward, and theme and variations are just some elements that transform a house into a home.

Being holed up in the hospital with my husband, I’m trying to think of how form applies in this place. In medicine, the following of Eisner’s statements is true, “Not only must a certain kind of competence be acquired in order to perceive the qualities of form in the objects available to us, but the nature of our experience with these forms is influenced not only by the form itself but by our past” (Eisner, 1985: 26). I thought about this in the middle of the night, as a technician did an ultrasound on my husband’s abdominal area. As she poked and prodded and purposefully positioned the tools of her trade, interesting and informative images began to appear. As I watched he wander with the wand, I was fascinated by her ability to form the form on the screen, to be able to find the culprit of the pain. How much more amazing must this be for moms, when there is life looming inside?

So far this morning, we have had two visits from our surgeon. Thankfully, he likes to talk about his art and artistry. His initial visit came shortly after all the test results were in, so we got an anatomy lesson focused on the affected area. There was something artful about the verbal form he formed, a clear picture of each organ and its function (and potential faults). His ability to communicate clearly cultivated confidence and calm in us.

Later, he shared some about the impending surgery. To him, the inside of a human body must be like a lump of clay waiting to be formed or a canvas on which to leave his signature. Surely he could say, “The aesthetic, then, is motivated by our need to lead a stimulating life. Related to the need to explore and play, the aesthetic is part and parcel of what these processes are intended to yield, not only practical outcomes related to premeditated goals, but the delights of exploration” (Eisner, 1985: 30). As he engages in his art, surgery, his primary goal (practical outcome) is hopefully to fix the problem, but as he forms the fix, might he find some aesthetic (delights of exploration) in the incision or the process of suturing or in the study of what he finds inside. Just as he already drew on his past experience in order to communicate with us, his exploration of this form will be added to his experience and past, from which he will draw in the future. I’m sure if he was asked this question, he might be able to elaborate more fully on form, but this is as far as my flirtation with this form goes at the moment.

As a added note… I also appreciated the common call from these two authors to consider “the nature and design of compelling experiences.”

“The aesthetic in education has two major contributions to make, neither of which is yet a purposeful part of our educational agenda. First, it tells us about the world in ways specific to its nature. Second, it provides the experiential rewards of taking the journey itself. These potential contributions must surely be important to those who wish, as we do, to improve the quality of school for the young.” (Eisner, 1985: 36)

“‘Our children,’ they [Stake, Bresler, and Mabry] explain, ‘need to be encouraged to explore, to see and hear with other eyes and ears, to sense the power of understanding that can be gained from another’s point of view, to translate their own thoughts and feelings into a socially communicable and engaging form.’” (Jackson, 1994: 2)

Do the preceding two paragraphs not sound like they could have been written by the same author? Both advocate artistry and the aesthetic.