Category: Prompts

In Covid times, it is important that musicians like many other professions learn to adapt to the changing social landscape. From revising the delivery method of their performances to alternate means of raking in revenue, musicians are facing a wall.  The provided articles suggest live streaming performances on platforms like Youtube, Instagram and Facebook. Monetization on these platforms however can be spotty, and so alternative avenues for payment are suggested. Online banking and money management applications and services like PayPal, Venmo and Cashapp all have QR codes that can be used to send money as a means of donating. With the novelty of generosity wearing out as the months of quarantine draw out, merchandise and subscription services are taking prevalence. Many artists are churning out merchandise both familiar and unfamiliar. From tee-shirts to jock straps, there is a wide range of different merchandise being put forward. Much of this merchandise also brings to light social issues like Black Lives Matter and the importance of social distancing, and in many cases a portion of the revenue goes on to support charities. Services are also being put forward to support content creators to act as intermediaries for sales. That way, smaller artists who could not otherwise afford to create and distribute merchandise themselves at reasonable prices can create designs and have the sales and distribution handled for them. A large proponent for staying afloat as a musician in Covid that hasn’t been addressed yet, is marketing.  Smaller artists tend to get swept under the rug, and must therefore advocate for themselves and market their art in order to gain attention and recognition.  Busking remains a good option for getting one’s music out into the world, and while busking one can advertise their music through the sale of CDs or through sharing their Spotify or Soundcloud handles.

Dr. Munarriz considers the term “Latin American Music” problematic, as it dramatically undersells the musical diversity present in Latin America.  Following his explanation in the recorded lecture, I agree.  Dr. Munarriz’s lecture covered the immense diversity of cultures, musics and backgrounds present in Latin America.  As part of his investigation of Latin American musics, Munarriz goes in depth on the origin, uses and variations on the habanera pattern as well as other Latin American rhythmic patterns.  I was completely in the dark regarding the scale of cultural diversity, and after investigating some of the diversity and roots of the many musics of Latin America, it became clear how applying a blanket term such as “Latin American music” is problematic.  

Latin American Music is music from Mexico, South America and the adjacent islands, and Latin Music is music from the Romantic language speaking countries like Spain.  Ostinatos are rhythmic repeated patterns. Ostinatos are featured heavily in Latin American Music, and often form the rhythmic texture. Different ostinatos are often layered to create a polymeric polyrhythm that is the basis of Latin American groove.

The Habanera pattern is central to many Latin American rhythms, however of those covered in Munarriz’s lecture, the Habanera pattern can be seen hidden in the amphibrach pattern, offset by a sixteenth note.  There are plenty of other patterns that function in a similar fashion to the habanera and amphibrach patterns, placing emphasis in similar places in the bar.  The cinquillo, tresillo and clave pattern all function in a similar way, and often work in combination to form the complex, multi-layered ostinato that characterizes many Latin American musics.

The participatory discrepancy in the OOIOO POLACCA was present in the rhythm section, between the bass and the drums, lending itself heavily to a get-up-and-dance kind of vibe. While this style of music is unfamiliar to me, it was amazing just how quickly I could get behind it due to the friendly groove put forward by the rhythm section. There was a clear discrepancy between the rhythm section as a whole and the vocal lines, which further deepens the groove. This feeling of uncertainty makes the music FEEL fantastic at the points where parts appear to line up only for a moment before going their separate ways. (on a side note, this song reminded me heavily of We Are The Night by the Chemical Brothers for the same sort of consistent rhythm that’s consistently slightly off, and I would like to hear your take on the subject.)  The participatory discrepancy in Sly and the Family Stone’s Space Cowboy took me a moment to truly identify. I misheard the clave pattern in the ride symbol a fair few measures before I realized where I was hearing it. The different levels of “agreement” throughout the rhythm section lead to a dense rhythmic groove that needs to be explored in order to be understood. I love that the rhythm is engaging and interesting well before it’s understood, and think it’s fantastic that the clave hid from me through the layered rhythmic texture.  For Agua que va a caer, the polyrhythmic nature of the rhythm section made it difficult to pick out the participatory discrepancy, with the distinct exception of the vocal line, which like the examples above gave a sense of security every time it staggered back into agreement with the accompaniment. I feel like the overarching conclusion that I have drawn regarding participatory discrepancy is that it is the disagreement but coexistence of rhythm and meter that lend themselves to creating a good groove. The consistently, ever so slightly off nature suggests movement and feels inviting. One song that uses participatory discrepancy that I don’t expect that even yourself, Dr. Boyle, will be able to stomach, is My Pal foot foot, by the Shaggs, and I have included a link below. I would be very interested to hear your two cents regarding this… extraordinary song. https://youtu.be/XR9d4ESlpHY?list=TLPQMTMxMTIwMjBs3qd6Na4Omw

Western university music schools of today seldom explore non-western means of examining music, instead favouring the harmonic style of 18^th century European musicians.  I was highly engaged in Adam Neely’s video on the topic of white male supremacy in “music theory”, and western music.  As it challenged my own personal beliefs and interaction with music, it was difficult to wrap my head around the idea that in pursuing music education, I would be perpetuating white supremacist views.  My alignment with Neely’s video was chalky at times, regarding my own classical training on the tuba (seeing as it was not favoured by the “geniuses” outlined by Shenker’s list).  The turning point for my beliefs regarding the racist roots of the harmonic style of 18^th century European musicians was in examining whether I felt that ignorance was grounds for evaluation.  I believe that it is the ignorance shared by an abundance of musicians regarding the narrow lens through which western music theory is taught that Is the main platform for the perpetuation of the racist and sexist nature of music education. An improved university music school of the future might include different means of examining music from different cultures, as suggested by Neely in his video.  While I acknowledge that the harmonic style of 18^th century European musicians as it is today can be an arduous field, in the same way that I feel ignorance should not be an excuse for a narrow minded world view I feel that the expansion of western music education methods would benefit those studying it.  The added “difficulty” of university music courses would be justified by the broader and more inclusive material.  In regard to the provided quote, the practice that challenges “common sense intuition” on the tuba is simply acting as a melodic instrument. I personally revel in the surprise of strangers and even my peers when I play music that is not characteristically “tuba-like”.

I listened to Stan Getz, Astrud Gilberto, and Joao Gilberto’s recording of “The Girl from Ipanema” for the better part of an hour, and I was delighted by the results.  On my first listening, I tried to remain neutral and listen to the music without trying to pick anything out, as a sort of baseline test.  In the subsequent nine listenings, I noticed more and more, like subtle countermelodies and interesting devices used in the tenor saxophone solo. At first, I felt that the sax solo was a little lackluster, but I came to appreciate the voice leading and harmonic choices through the chord changes.  I felt as time went on that I was feeling the music more and more, and only on my eighth or nineth listening I started to appreciate the groove laid out by the rhythm section. There is one chord change in the guitar however that continues to perplex me, as it seems like the guitarist missed the change and moved late, but I imagine this could have been intentional to add to the laid back feel of the Latin chart.

I believe that playing music exclusively from the past largely discredits new composers, and prohibits the growth of classical music as a genre.  While playing the music of the greats offers a rich introduction and understanding of the possibilities of music, the repeated performance of a narrow selection of repertoire becomes an obstacle for individual interpretation.  As for what I might be limited to playing were the compositions of the greats erased from existence, my options as a tuba player would be somewhat limited.  I am only familiar with two contemporary composers of tuba music, Arthur Frackenpohl (the Frackenpohl Tuba Concertino, https://youtu.be/nt0afPk06Ws) and Anthony Plog (Plog Tuba Sonata, https://youtu.be/DPtpQAkiJrU) , and I am not particularly fond of their composition styles.  My taste in music, especially tuba music, has been largely molded by the monumental works I’ve had the pleasure of hearing.  That in combination with the more obscure niche that is contemporary tuba solo repertoire would place me in a difficult position as a performer.  While I do enjoy playing along with more popular and “in” music like Busty and the Bass’s “Baggy Eyed Dopeman”  (https://youtu.be/VJf00NkQS1s) and following bass lines in songs like Tame Impala’s “The Less I Know The Better” (https://youtu.be/2SUwOgmvzK4), I don’t feel that material of that nature is conducive to my growth as a tuba player.  As for Nietzsche’s quote, I interpret it to mean that in recalling and interpreting the past, one is imparting the present upon it. In recalling the past, one is going to latch onto what they like more so than what is there. In interpreting a piece of the past, little of the emotional expression is preserved, and in many cases only the framework remains

The section that I chose from the Glenn Gould performances of the Goldberg Variations is the second variation (or first variation, assuming the first section is the statement of the theme).  I chose this section not because it was my favourite section, but rather that I felt it was representative of Gould’s growth through the stylistic change it underwent during the time between the recordings.  In his 1955 recording, the second variation was light and fast, and Gould’s performance lent itself to the style of the piece more so than his own interpretation.  This may be due to the rather hasty tempo he chose; however, the 1981 recording gives the sense that there is more Gould behind the keyboard.  In both recordings, the opening section of this variation is stately, grand and buoyant – not much to be played with stylistically, but in the later more quiet and calm section, it feels as though Gould leans into what the style calls for in his early recording, and pours his emotion into the music for his second recording. The rubato and thoughtful placement of the notes gives the listener the sense that Gould himself is trying to communicate an emotion, as is simply using the music as a vessel for an unspoken meaning. In the ’55 recording, the listener gets the sense that the roles are reversed, and that Bach is speaking through Gould.  It appears as though Gould gains his sense of identity as an artist some time between the two recordings, as is evident through what he chooses to say through the music.

Were I to head a new Golden Record Project, I would include the soundtrack from Christopher Nolan’s Interstellar (https://www.youtube.com/watch?v=uwkLZg6WDek&list=PLco_u-O9FeQ_cV5gc3VdUHoQYBI73MYkU), a sci-fi blockbuster following a father-daughter connection that transcends space and time. Hans Zimmer’s original composition perfectly captures the stresses of interstellar travel and what it means to be human. The next sound I would include would be Beethoven’s 9^th symphony (https://www.youtube.com/watch?v=t3217H8JppI&t=85s).  Not only is this symphony a hallmark of human artistic expression, but a portion of the dialogue wonders after humankind’s place in the universe, asking “are we alone?”.  The final sound I would include Is Frank Ticheli’s “An American Elegy” (https://www.youtube.com/watch?v=YIIKdBYfmlo).  This soulful piece for concert band recounts the tragedy of the Columbine school shooting, and perfectly encapsulates the wistful hope that those who have suffered trauma might feel.  I feel these three pieces of music would be a good choice for a new Golden Record Project, as each of them captures something that is fundamental to conscious human life: to love, to wonder and to feel. Selfless love is the grounding subject of Interstellar, and as such is reflected in the score, the wonderous choral sections of Beethoven’s 9^th ponder life in the universe, and “An American Elegy evokes a sense of yearning fundamental to human life.

1. Looking back at the “bones of summer” how have you engaged or created art? If you haven’t engaged or created art, please describe why.

This summer has been a rather scary and dynamic time, but a fantastic opportunity for creative expression and development.  Other than the performance of music I do not see myself as being a particularly artistic person, at least not in the conventional sense.  While I am not particularly fond of practicing visual arts, I find joy in creation.  During what could have been a rather mundane 6 months, I spent a significant amount of time practicing the tuba like a good music student, but my creative outlets reached further than that.  I went on numerous beautiful hikes with my film camera, and I knit a handful of scarves for my close friends.  I am not sure however if I would consider the products of my creative expeditions “art”, as it was the creation which brought me the most joy. That, and what one considers to be “art” is subjective.

2. What things, if any, surround you that you consider powerful?

There are a number of things that surround me, and that I interact with on a daily basis that I might consider powerful.  There are things that possess the capacity for largescale impact, like my cellphone or computer, and there are things that have a powerful significance to me and to my life.  Technology’s ability to connect millions of people and share millions of ideas is powerful, but I don’t think that is the kind of power Laskey would be referring to.  Objects around me that carry an emotional significance are admittedly more abundant, be it my tuba both for my memories associated with it, or for it’s capacity to make music and evoke an emotional response.  I find playing the tuba to be incredibly empowering too, as we humble brass players can make a piece of sheet metal sing.

3. Over the next couple of days, take note of the dominant sounds in areas that you consistently walk. What are the sounds you notice most of all? Be specific.

I found this exercise to be far more challenging than I had anticipated.  I had not really noticed until I put real thought to it, that I seldom listen to my surroundings.  I am constantly determining the soundtrack to my life through the music and podcasts I listen to pretty well whenever I go from point A to point B.  I was however, refreshed to discover through this activity, how wonderfully quiet Victoria (Saanich specifically) can be,  disturbed only by the constant slight rustle of leaves.  Despite the impressive amount of biodiversity available on campus ( such as deer, squirrels and adorable bunnies), It’s worth noting that I have heard very few birds.  The sounds I MOST encounter are the chatter of students, the sound of my feet upon the ground, my own breathing through my masks, and the construction near my building.

4. How do you relate to the phrase “free time only works if you steal it?”

I resonate really well with this phrase, because I know that having a lot of free time is not conducive to a productive lifestyle.  During my 6 months of quarantine, I was the laziest I have been for years.  While it was nice to have all the aforementioned free time, I felt largely unfulfilled.  Before schools closed due to Covid, I was taking twelve classes, performing with seven ensembles and working thirteen hours a week.  I do not consider myself to be an organized person, however the sheer amount of work I had to do forced me to be productive.  Without the need for such a high level of organization, I wasted my free time.  Stolen free time has an apparent value, and so it does not simply become a time to turn off.

5. Do you have any other takeaways from the film?

I really enjoyed looking at art through Laskey’s eyes, and I found it to be incredibly insightful.  I had never really looked at art in the same way that Laskey does, and I was honestly just impressed by the way in which he sees the world.  I am not sure whether Laskey’s perspective is one that can be learned or one that he has had since birth, and I hope that this class will help to open my eyes to looking at music and other forms of art in a broader way.  I would love to sit down and have a chat with you about YOUR view on Laskey’s life beyond the apparent admiration.  Laskey himself seems like an interesting character, and I would very much like to look more into his life and work in the future.

This blog site is the primary way you can submit work for MUS 116. In particular, the 20 Blog Prompts you will be given through the course website. You’re also able to take this site with you forever as a portfolio/website.

Before proceeding, I expect you to consider your privacy preferences carefully and that you have considered the following options:

1. Do you want to be online vs. offline?
2. Do you want to use your name (or part thereof) vs. a pseudonym (e.g., West Coast Teacher)?
3. Do you want to have your blog public vs. private? (Note, you can set individual blog posts private or password protected or have an entire blog set to private)
4. Have you considered whether you are posting within or outside of Canada? This blog on opened.ca is hosted within Canada. That said, any public blog posts can have its content aggregated/curated onto social networks outside of Canada.

First tasks you might explore with your new blog:

• Go into its admin panel found by adding /wp-admin at the end of your blog’s URL
• Add new category or tags to organize your blog posts – found under “Posts” (but do not remove the pre-existing “Prompt” category or sub-categories, like Free Inquiry).
• See if your blog posts are appearing on the course website (you must have the course categories assigned to a post first and have provided your instructor with your blog URL)
• Feel free to add pages
• Embed images or set featured images and embed video in blog posts and pages (can be your own media or that found on the internet, but consider free or creative commons licensed works)
• Under Appearance,
  • Select your preferred website theme and customize to your preferences (New title, etc.)
  • Customize menus & navigation
  • Use widgets to customize blog content and features
• Delete this starter post (or switch it to draft status if you want to keep for reference)

Do consider creating categories for each course that you take should you wish to document your learning (or from professional learning activities outside of formal courses). Keep note, however, that you may wish to use the course topic as the category.

Lastly, as always, be aware of the FIPPA as it relates to privacy and share only those names/images that you have consent to use or are otherwise public figures. When in doubt, ask me.