It is the instrument used in theory classes to explain the system ofharmony, and students in some schools must take courses in “key-board harmony” in which they learn to harmonize simple melodiesby ear
While I agree having chordal instrument facility is unbelievably necessary as a musician, it should be a yes-and situation. Have seen discourse in the last few years that in the jazz/BAM realm drumset is just as important to know as piano given the complex rhythmic theory involved in the music
But women’sassociation with vocality is widely regarded as a specialty, whereas therelative monopoly of males over instruments may be symbolic of malepolitical domination and may be related to traditional male controlover large, complex tools, particularly over weapons.
I know the use of "traditional" here isn't used as approval here but it does feel a little "that's just how things are"
ut they are much less frequently expected to facethe outside world on behalf of the institution than are the adminis-trators, and 'they do not get as much involved in the acquisition ofcustomers.
what does this say about the community we build? Shouldn't their job be enriching the place they live and work in- beyond the campus to the surrounding town/city?
he atmosphere suggests a kind of camaraderie moretypical of chief executive officers or captains of industry than of ac-ademic administrators as a whole.
I think this is a generational/gender/cultural divide. I can think of a lot of old professors at my undergrad that loved and lived for the conference thing as leaders in the department. What does this say about what they actually do though? What does this say about how our society views both artists and teachers, god forbid teachers of art?
sequence regarded by society atlarge as quite normal, it parallels the rise of an apprentice to valuedworker to member of the management team and finally perhaps own-er of a business. At the same time, this conception of the ideal careerseems to be realized less frequently in other academic fields. The typ-ical history or sociology professor expects to go from study to teach-ing and remain there,
really resonated with this. as someone in k-12 education and with a partner in that same field, the lack of recognition (monetary and otherwise) for those that actually do the bulk of the work is perennially frustrating. Didn't even think about how it might be different in other fields
hy do the denizens of theMusic Building love so well a kind of music that grows from princi-ples they would probably dismiss as characteristic of an unkind soci-ety?
I think this privileges the characteristics of some music within the "West" more than others. But at the same time, the phrase "great Western art" makes me leery as it more often than not refers to European music romanticised through neo-classical thought
family
Can relate- this particular movie was a childhood mainstay for me, probably a little too early on. I think it was justifiable because of it being “historical” and “a Disney movie”
producer
Rather on the nose in regards to recording politics
rarely
Makes me think of how work songs of enslaved Africans have had points of revival/repropriation
chantey
Interesting how the cheery versions are also as the work becomes less working/poor class.
Sailor
Sailor Dad cracks me up
improvisation
Stands to reason; as with many things the canonization came after its actual popularity
call and
Fascinating, makes sense that there would be a different kind of form to sustain short or long effort
content of their pieces
Interesting parallels, at least surface level, to American music traditions
manner that appears entirely indigenous”
Provoking phrase. Given the complicated history of indigenous-ness, so to speak, in Japan, that’s an even more loaded statement
purity
Reminds me of more contemporary commentary to “shut up and play” or “shut up and dribble”, etc
white
Common theme of dominant white culture loving the art but not the artist
objectification
This!!! Fundamentally the root of when discourse becomes problematic
non
Textbook exoticism that seems more reminiscent of early jazz reviews than of late 90s (or so I assumed I guess)
journalistic output, but understands reviewing as a form of popular
Art reflecting/imitating life, etc. A judgement of art can often be coded in judgement of the culture it comes from
Cosmopolitans are more thoroughly local, in that they and their ances-tors often grow up and live in their heritage home, while also being culturallytrans-local - belonging to the trans-state cultural formation - at the same time.
Struggling with this meaning a little bit.
One thing that distinguishes cosmopolitan formations from diasporas is theabsence of an original homeland as a key symbol, if not an actual ground forthe formation.
Helps clarify for me.
(i.e., when a factorlike racism is not in play), however, is gradual assimilation into the new homesociety and the disappearance of the group as a distinct cultural formation.
Why is it so hard to imagine a situation where racism is not in play? Even when more euro-centric immigrant groups "assimilate" into white American culture, this is aided oftentimes by colorism and anti-blackness.
Just as the traditional-modern dichotomy was a paradigmatic substitutionfor the earlier social evolutionist primitive-civilized diad, the local-global con-trast is the new paradigmatic substitution for the traditional and the modern
Wow!! Compelling statement for this argument of "global" terminology as offshoot of colonialist thought
discourse of globalism is to space what the discourse of modernity is to time
in that the labels are subjective based on the label-er?
Redundancy of terminology across fields (advertising, academia,journalism, corporate and political statements) is crucial to the process of mak-ing given conceptions common sense. Without careful definition, the continu-ing use of a politically loaded terminology helps to naturalize and actualize theconceptions through an iconicity with their uncritical and even blatantly self-serving use in other fields such as advertising and political discourse
I agree with this concept, though it's hard not to feel like it is conspiratorial. Is it related to the similarity of goals when countries work as monetary oligarchies?
in "global investing" to make it pertain tothe world-as-a-whole? Are relatively small groups of "world music" fans in adozen countries enough to designate this a global musical movement?
There is irony in a “global movement” still being dependent on a select few tastemakers.
2004a). 5 Nationalism in the twen
Wow. This whole section. Thinking of America as a successor of other empires certainly rubs with the “city on a hill”, “beacon of democracy” rhetoric we maintain as a country
Through redundant juxtaposition, graduallystrong indexical relations are established between the paired terms such that onecan come to replace the other, i.e., they become synonyms (global = capitalist).Indexicality within the discourse is key to making the substitutions seem actualand natural; that is, we have heard the terms together so frequently in our actualexperience that we often do not even notice when one starts to replace the other.Through this process, the objects of the original signs become fused and a newconception of reality emerges: global culture = capitalist cosmopolitan culture
Really intrigued by this idea. Thinking about how much I've heard since I was little about globalism being tied to connectivity (particularly monetary connection to the west), and had not examined the way that this reinforces a default economic system of capitalism.
eeply, indexically, tied to the contemporary discourse naturalizingincreased capitalist expansion and control throughout the world - a discoursereferred to here as "globalism".
interesting- my first thought was that it was out of a eurocentric perspective, but that too is tied to capitalism.
Many who could well afford ticketspreferred sitting with friends and family in coffeehouses and homes.
I find this illuminating- I think there is some level of contemporary handwringing that recorded music (streaming) is the death of live performance (or maybe the most culturally significant part of it- experiencing music as a collective) and this repudiates that
Another of Junior’s teachers was itinerant dancing master and fid- dler Paddy Barron, an older rival of Thady Casey who taught step and set dancing in local homes.
Interesting to think about- why is dance not taught in conjunction with the practice of music? Why are they often entirely separate worlds in academia when one facilitates the other? Should this even be addressed in academia or is the solution fostering and valuing community-based learning?
here was a kind of routine. They were very gentle modest people who would come in the door quietly with their instruments usually hanging down by their legs, like they were sneaking it in, and they would park their instruments somewhere around the stage, if you had a stage.
reminds me of jazz jam session culture.
is dance is one in a genre of social dances performed in square formation that were first brought to Ireland by French dancing masters in the mid-to-late nineteenth century. Originally called “Sets of Quadrilles,” the dances were also exported from France to England and the United States. The dances were quickly indigenized in Ireland by the composition of new choreography and the use of Irish dance tunes for the accompanying music.
Interesting parallel- Afro-Cuban dance culture was similarly influenced through colonists bringing Quadrilles. It would morph into 19th cen. Contradanza, and from it would be derived the Danzon, and the habanera rhythm often utilized and appropriated by composers even in the US would stem from this.
People that come in there want to come in and converse and talk and maybe sell a bullock or a heifer or something like that among them- selves. It’s a farming community. So it’s very important that you can hold a conversation, listen to the music if you want to.
Very revealing statement as to the role of the music in a cultural function
After a few minutes, the musicians move to the stage. Junior Crehan and Michael Downes are the senior fiddlers, each in his eighties. Kitty Hayes, whose late husband Josie played flute with Junior for seven decades, plays concertina. Eamon McGivney, fiddler, and Conor Keane,
This is what I would argue gets lost when we as a culture only value the practice of music making and study in academic settings. It removes opportunities for intergenerational learning through practice rather than by exclusively didactic means
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Really interesting point and speaks to the ways that white supremacist structures support assimilation through its very specific idea of "respectability"
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I think this is a really interesting point, and speaks to similar parallels in a lot of hyphenated-american cultural identities, where there is an aspect a couple generations along the line of ambiguity between what is "authentically" of the old country and what is of the new country- at least for residents of the new country
It is simply there , floatingthrough histor y untouched b y time and change, waiting for the ideal per-
I wonder how much of this comes from the Enlightenment-era European fetishization of Classical Greek philosophy and labeling of things
This privilegin g o f Wester n classical music
Makes me think of a very excellent video essay by YouTuber Adam Neely discussing this, especially in regards to what we label “music theory” as taught in Western conservatory programs.
to as k a question tha t has no possible answer
I wonder if this is necessarily true… if we categorize music making as an action humans make, we could at least examine possibilities for it as we do any other human action