In my paper about whiteness in music education, I tried to make a point about sampling classical music that my professor was (rightly) confused about. So I’m going to use this post to unpack the idea some more. I was arguing that, while we should definitely decanonize the curriculum, that doesn’t mean we need to …
Continue reading “The orchestra hit as a possible future for classical music”
Update: evidence that racism is an urgent problem. Further update: the online alt-right has some feelings about this post. Music education is in a ”crisis of irrelevancy” (Reimer, 2009, p. 398). Enrollment in school music has declined precipitously for the past few decades. Budget cuts alone can not explain this decline (Kratus, 2007). School music …
On October 25, 1932, Percy Grainger invited Duke Ellington and his orchestra to perform “Creole Love Call” as part of a music lecture at New York University. It was the first time any university had invited a jazz musician to perform in an academic context. I will argue that the meeting of Grainger and Ellington …
Continue reading “Duke Ellington, Percy Grainger, and the status of jazz in the music academy”
I’m not arguing here that everyone loves Mozart, or that I’m about to explain what all humans enjoy all the time. But I can say with confidence that this little bit of Mozart goes a long way toward explaining what most humans enjoy most of the time. The four bars I’m talking about are these, …
Continue reading “Four bars of Mozart explains everything humans like in music”
Writing assignment for Ethnomusicology: History and Theory with David Samuels Ana Maria Ochoa Gautier (2014) Aurality: Listening and Knowledge in Nineteenth-Century Colombia. Durham: Duke University Press. The nineteenth-century Colombian writing discussed by Ochoa Gautier, like Western convention generally, opposes “art” and “folk” musics. “Art” music is comprised of works created by named authors, transmitted visually via …
Writing assignment for Ethnomusicology: History and Theory with David Samuels People like me listen to world music to hope for and imagine a world without imperialism. I’ve sampled Central African pygmy music in my own work, and while I do a better job of attributing my sources than Deep Forest does, I’m motivated by the same …
I complain a lot on this blog about traditional approaches to teaching music theory. Fortunately, there are some alternatives out there. One such is Everyday Tonality by Philip Tagg. Don’t be put off by the DIY look of the web site. The book is the single best resource I know of for how harmony works across …
Recently someone posted this performance of the Chaconne from Bach’s violin partita in D minor on an eleven-string guitar by Moran Wasser. My favorite interpretation by an actual violinist is Viktoria Mullova’s. I appreciate her straightforward and unsentimental approach. I also enjoy the version from Morimur, and I’m not alone. It’s one of the most …
Continue reading “Teaching myself the Bach Chaconne with Ableton Live”
Over on Quora, David Leigh complains that it doesn’t take much musical ability to be a popular singer these days, not like when Enrico Caruso sold a million records. People had taste back then. Kids today, amirite? Here’s my response:
This post originally took the form of a couple of Twitter threads, which I’ve collected and edited here for easier reading. Greg Sandow asks two very interesting and provocative questions of classical music: When the Museum of Modern Art did its first retrospective of a seminal musical artist, no surprise it was Björk who reached past music …
