Platforms for social statements can be interpreted as the Minimalist’s sonic independence put into spoken or sung word. With initial ground word laid by such compositions as Reich’s controversial “Come Out” (a taped statement from a police beating of an African American) Protopunk and Punk rock continued the metamorphosis of Minimalist music. Minimalist influences now presented not only aggressive musical sound, but aggressive lyrical content. Individualism now had not only a musical sonority, but it was given a voice. Songs, such as “God Save the Queen” by The Sex Pistols, and the 1969’s “Kick Out the Jams” by MC5, became accepted vehicles to promote political and social platforms.
American composer, David Lang, makes the connection between minimalist music and social platforms when he states, “I look at minimalism… as being the battleground that was necessary to remove those forces from power… to loosen up the power structure in America.” This strong statement pinpoints underlying themes of Minimalism, that when fully embraced, it cannot only authenticate rebellion, but it can subtly breed a culture of rebellion.
Like most genres of music, Minimalism is a musical response to numerous cultural influences as a whole. Not all affects, whether viewed as positive or negative, were the intention of the initial Minimalist pioneers; affects are the products of intent and perceived realities of society and its individuals. Composers like Reich and Riley are heralded in their own right for exploring musical ideas, however, as with all new ideas, innovators risk consequences and interpretations.
Looking back through the timeline or American music, discoveries of how a seemingly simple and innovative shift in the thinking process of composition, such as the basic development of individualism, can lead to such varied music styles like Punk rock, Conceptual rock and “drone metal” music, shows the direct influence music has on culture. As art continues to be the forerunner of society’s cultural shifts, perhaps the next musical shift will oppose the spirit of rebellion and welcome a spirit of unity.
Tuesday, December 30, 2008
Tuesday, December 23, 2008
Minimalist Music and Social Platforms – Part III of Part IV
The Minimalist’s concept of music, as described by Keith Potter in Four Musical Minimalists, holds the “belief that their music should somehow go beyond what their own imaginations were inherently capable of inventing.” (1) With musicologists describing “It’s Gonna Rain” as an “authentic audio downpour,” (2) Reich evidenced his sonic independent compositional style throughout his various electronic tape compositions.
Minimalism’s foundation of individualism and sonic independence created an opening for the formation of Protopunk and Punk music of the 1970s and 1980s. With stripped down instrumentation, use of limited harmonic structures (i.e. power chords), repetitive, and limited, chordal progressions and instrumental lines, former Protopunk and Punk bands like MC5, The Sex Pistols, The Clash, and The Ramones, exemplify the similar threads of individualism and sonic independence found in their Minimalist predecessors. The young rock-trained audiences welcomed the influence of Minimalism as records began to sell in niche markets such as Seattle, Michigan and abroad. Rebellion to past Western music styles and forms was now considered acceptable as garage bands began to form and create local followings. Individualism and sonic independence became the focal point of musical expression for many bands.
More recently, bands that are categorized as “Doom” rock, such as Sun o))) and “Drone-metal,”,such as the Seattle band, “Earth,” exhibit similar Minimalist aspects of individualism and sonic independence. Sun’s songs, such as “Dylan Carlson” from their 1999 album Grimmrobe Demos, has been described by Steve Dollar as “single notes [that] flatten the space around them until they sublimate into something atmospheric – like cloud formations dark with raindrops.” (3) The once subtle idea of creating a music rebellion against style and form assisted in the promotion of going beyond the musical aspects of Minimalist structure to form integrated societal subcultures of Minimalism.
As a continuation and permutation of Steve Reich’s focus on rebellion from specific musical forms, Dollar acknowledges that “Drone-metal,” and “Doom” styles aim “to reinvent the form in their own image, throwing out the rulebook with each new project.” (4) Challenging listeners’ perceptions on many fronts, such extremes of Minimalist music forms can be found throughout music research.
When a composer set out to focus on purposeful rebellion to a form of music, the music created in that mindset will manifest similar concepts in its structure. Sonic independence is a natural corroborator of adorning individualism. Keeping in mind that not all Minimalist composers and bands may purport such strong beliefs as others, the spirit of individualism and independence can generally be found in their social ideologies.
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1. Keith Potter, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (New York: Cambridge University Press, 2000), 6.
2. Daniel Kingman, American Music: A Panorama (New York: Schirmer Books, 1990), 211.
3. Steve Dollar, “Heavy Meddling” http://www.newmusicbox.org/article.nmbx?id=4871 (Published November 28, 2006), 2.
4. Ibid., 2.
Minimalism’s foundation of individualism and sonic independence created an opening for the formation of Protopunk and Punk music of the 1970s and 1980s. With stripped down instrumentation, use of limited harmonic structures (i.e. power chords), repetitive, and limited, chordal progressions and instrumental lines, former Protopunk and Punk bands like MC5, The Sex Pistols, The Clash, and The Ramones, exemplify the similar threads of individualism and sonic independence found in their Minimalist predecessors. The young rock-trained audiences welcomed the influence of Minimalism as records began to sell in niche markets such as Seattle, Michigan and abroad. Rebellion to past Western music styles and forms was now considered acceptable as garage bands began to form and create local followings. Individualism and sonic independence became the focal point of musical expression for many bands.
More recently, bands that are categorized as “Doom” rock, such as Sun o))) and “Drone-metal,”,such as the Seattle band, “Earth,” exhibit similar Minimalist aspects of individualism and sonic independence. Sun’s songs, such as “Dylan Carlson” from their 1999 album Grimmrobe Demos, has been described by Steve Dollar as “single notes [that] flatten the space around them until they sublimate into something atmospheric – like cloud formations dark with raindrops.” (3) The once subtle idea of creating a music rebellion against style and form assisted in the promotion of going beyond the musical aspects of Minimalist structure to form integrated societal subcultures of Minimalism.
As a continuation and permutation of Steve Reich’s focus on rebellion from specific musical forms, Dollar acknowledges that “Drone-metal,” and “Doom” styles aim “to reinvent the form in their own image, throwing out the rulebook with each new project.” (4) Challenging listeners’ perceptions on many fronts, such extremes of Minimalist music forms can be found throughout music research.
When a composer set out to focus on purposeful rebellion to a form of music, the music created in that mindset will manifest similar concepts in its structure. Sonic independence is a natural corroborator of adorning individualism. Keeping in mind that not all Minimalist composers and bands may purport such strong beliefs as others, the spirit of individualism and independence can generally be found in their social ideologies.
-----
1. Keith Potter, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (New York: Cambridge University Press, 2000), 6.
2. Daniel Kingman, American Music: A Panorama (New York: Schirmer Books, 1990), 211.
3. Steve Dollar, “Heavy Meddling” http://www.newmusicbox.org/article.nmbx?id=4871 (Published November 28, 2006), 2.
4. Ibid., 2.
Thursday, December 18, 2008
MInimalist Music and Social Platforms – Part II of Part IV
According to music researcher, Jonathan Benard, Minimalism’s purposeful development of individualism included the ideas of thought that music was created by Minimalist composers “in a spirit of rebellion against the rigidities of the musical “establishment” or because they felt genuinely isolated in the world of music and were looking for some way to connect with the arts – or both. (1) This “rebellion” is modeled in Terry Riley’s, “In C” composition - a reactionary response to atonality. The listener can hear the Minimalist rhythmic and melodic simplicity within the ”limited improvisational freedom” (2) of the fifty-three varying figures. Yet, “In C” gives rise to an overall sonic complexity and seemingly non-unified blanket of sound when all ensemble members are playing. This blanket of sound can be viewed as a metaphor for the structure of individualism found in Minimalism –patchworks of ideas that obtusely display unique qualities while still being held together by the common frame of humanity.
In a brief period of time, and with the American cultural paradigm shift of the late 1960s, the construct for individualism grew in acceptance. The welcomed shift for individualism spurred musical reactions throughout the United States as exemplified in the style of Conceptual Rock. The seemingly unknown band named Devo’s made a 1978 appearance on Saturday Night Live that sparked questions, and laughter, about individualism in music style. With its rebellious robotic-like dance, repetitive motion and simplistic form, Devo made a Minimalist response to the Rolling Stones’ song “(I Can’t Get No) Satisfaction.”
Reacting to the loss of individuality in rock music, Theo Cateforis describes Devo having displayed “an absurd procession of minimalist, stunted riffs and nervous vocals.” This nationally broadcasted musical rebellion of Minimalism made a light-hearted disguise of the growing shift of music attitude that would continue to surface in other music outgrowths that focused not only on the self-adorning individualism, but inclusion of the Minimalist style of sonic independence.
Sonic independence can be heard in Reich’s use of phasing vocal lines from a street evangelist, in “It’s Gonna Rain.” This composition was a statement that demanded the listener to view to the music as an entire structure. The concept of hearing music through whole sonic structures, and not only pitch or rhythm, was the focal point. A shift from regular rhythmic pulses and pitch relationships and that of Western music’s harmonic form had emerged. Thus, with this shift, Minimalists laid the foundation for sonic independence. Not only was the composer in rebellion to previous musical ideas of form and structure, the Minimalist works themselves were sonic composites of rebellion. In order for the listener to understand a work, the entire work had to be viewed as its own identity with each piece creating its own form and independent structure.
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1. Jonathan W. Bernard “Theory, Analysis and the “Problem” of Minimal Music” Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies (New York: University of Rochester Press, 1995), 281.
2. Wim Mertens, American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass (New York: Pro/Am Music Resources, Inc., 1983), 42.
In a brief period of time, and with the American cultural paradigm shift of the late 1960s, the construct for individualism grew in acceptance. The welcomed shift for individualism spurred musical reactions throughout the United States as exemplified in the style of Conceptual Rock. The seemingly unknown band named Devo’s made a 1978 appearance on Saturday Night Live that sparked questions, and laughter, about individualism in music style. With its rebellious robotic-like dance, repetitive motion and simplistic form, Devo made a Minimalist response to the Rolling Stones’ song “(I Can’t Get No) Satisfaction.”
Reacting to the loss of individuality in rock music, Theo Cateforis describes Devo having displayed “an absurd procession of minimalist, stunted riffs and nervous vocals.” This nationally broadcasted musical rebellion of Minimalism made a light-hearted disguise of the growing shift of music attitude that would continue to surface in other music outgrowths that focused not only on the self-adorning individualism, but inclusion of the Minimalist style of sonic independence.
Sonic independence can be heard in Reich’s use of phasing vocal lines from a street evangelist, in “It’s Gonna Rain.” This composition was a statement that demanded the listener to view to the music as an entire structure. The concept of hearing music through whole sonic structures, and not only pitch or rhythm, was the focal point. A shift from regular rhythmic pulses and pitch relationships and that of Western music’s harmonic form had emerged. Thus, with this shift, Minimalists laid the foundation for sonic independence. Not only was the composer in rebellion to previous musical ideas of form and structure, the Minimalist works themselves were sonic composites of rebellion. In order for the listener to understand a work, the entire work had to be viewed as its own identity with each piece creating its own form and independent structure.
-----
1. Jonathan W. Bernard “Theory, Analysis and the “Problem” of Minimal Music” Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies (New York: University of Rochester Press, 1995), 281.
2. Wim Mertens, American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass (New York: Pro/Am Music Resources, Inc., 1983), 42.
Wednesday, December 10, 2008
Minimalist Music and Social Platforms – Part I of Part IV
As recorded in many aspects throughout history, art reflects an anticipated response of a cultural shift. Forerunners of cultural shifts, artists generally have a pioneering spirit that, for good or bad, exemplify the road to be taken by a culture in the forthcoming years or generations. The musical response of Minimalism and its composers foreshadowed, as well as provided a entry point, for many of the changes brought forth in American music during the late 1960s and 1970s. Beyond “merely a pop music for intellectuals,” (1) as stated by music academician Keith Potter, the spirit behind Minimalism provides listeners, both present and future, with a foundation to explore the development of individualism, sonic independence, and platforms for social statements.
Listening to works by Minimalist composer Steve Reich, such as “Piano Phase” or “Drumming,” one can observe the music from many vantage points. On a surface level, the music sound is repetitive and simple in form. Many listeners may hear the music for the first time and possibly judge it to be a type of white noise. On a deeper aesthetic level, if the listener is willing to explore music with all of the senses engaged, the music can cause the listener to raise questions and answers regarding individuality.
To authenticate the underlying theme of individualism, consider the development of Reich’s “Piano Phases.” This work begins with one pianist and then adds a second pianist in tandem: the two pianists performing the same notes in unison. Progressing through the unison work, one pianist accelerates by a subtle tempo so that unity between the players is broken. As the note delay begins to be perceived by the listener, individualism has subtly emerged from the previous unison harmony. Eventually, as the work progresses, the one player has accelerated until the players are heard with a sixteenth note in delay. Musically, this method, known as phasing, explores the sense of time and rhythms through subtle change. Taken from a broad cultural standpoint, this music exemplifies the shifting of focus on unity within a culture to a strong development of the individual as its own entity.
When discussing the development of his drum works, Reich qualifies the development of individualism as a human approach to the idea of phasing; “I wanted to think Balinese or African which meant that I would sound like myself while expanding my ideas about how to rhythmically structure my pieces.” (2) Stressing the idea that he used other music cultures for starting points, or unison, Reich then created his own individual musical interpretation. The musical expression of “Piano Phase” was not only a composition to Reich, it was part of his development as a person and composer.
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1. Keith Potter, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (New York: Cambridge University Press, 2000), 10.
2. Jonathan W. Bernard “Theory, Analysis and the “Problem” of Minimal Music” Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies (New York: University of Rochester Press, 1995), 263.
Listening to works by Minimalist composer Steve Reich, such as “Piano Phase” or “Drumming,” one can observe the music from many vantage points. On a surface level, the music sound is repetitive and simple in form. Many listeners may hear the music for the first time and possibly judge it to be a type of white noise. On a deeper aesthetic level, if the listener is willing to explore music with all of the senses engaged, the music can cause the listener to raise questions and answers regarding individuality.
To authenticate the underlying theme of individualism, consider the development of Reich’s “Piano Phases.” This work begins with one pianist and then adds a second pianist in tandem: the two pianists performing the same notes in unison. Progressing through the unison work, one pianist accelerates by a subtle tempo so that unity between the players is broken. As the note delay begins to be perceived by the listener, individualism has subtly emerged from the previous unison harmony. Eventually, as the work progresses, the one player has accelerated until the players are heard with a sixteenth note in delay. Musically, this method, known as phasing, explores the sense of time and rhythms through subtle change. Taken from a broad cultural standpoint, this music exemplifies the shifting of focus on unity within a culture to a strong development of the individual as its own entity.
When discussing the development of his drum works, Reich qualifies the development of individualism as a human approach to the idea of phasing; “I wanted to think Balinese or African which meant that I would sound like myself while expanding my ideas about how to rhythmically structure my pieces.” (2) Stressing the idea that he used other music cultures for starting points, or unison, Reich then created his own individual musical interpretation. The musical expression of “Piano Phase” was not only a composition to Reich, it was part of his development as a person and composer.
-----
1. Keith Potter, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (New York: Cambridge University Press, 2000), 10.
2. Jonathan W. Bernard “Theory, Analysis and the “Problem” of Minimal Music” Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies (New York: University of Rochester Press, 1995), 263.
Thursday, December 4, 2008
Integrating Philosophies and History
From the historical growth charted throughout the timeline of music education philosophy, coupled with an understanding of both aesthetic and praxial philosophical belief, one can begin to discover how music curricula can be enriched through the inclusion of both philosophies. While the limited discovery as outlined in this paper has incited deeper understanding of personal music education philosophy, strong implications of additional study and analysis can be reasonably affirmed. Therefore, further suggestions to developing a stronger music education philosophical foundation may include studying historical philosophical texts, such as Broudy et al’s Democracy and Excellence in American Secondary Education, examining the music education teachings of non-Western cultures, and analysis of personal classroom curricula and routine for qualitative examples of philosophical bents.
It is through such self-discovery and action-oriented beliefs the one can analyze new ideas and proposed thoughts for the music educator to consider when creating, and re-creating, music education curriculum. By truly knowing your teaching philosophy, one supports self in understanding the values and beliefs that will be presented to students through the act of teaching and learning - thereby, under-girding how one’s curriculum will be formulated and executed. From an actively engaged music education philosophy, one can begin to provide teaching and learning examples for music students that can have a positive affect on teaching and learning for the classroom of life.
It is through such self-discovery and action-oriented beliefs the one can analyze new ideas and proposed thoughts for the music educator to consider when creating, and re-creating, music education curriculum. By truly knowing your teaching philosophy, one supports self in understanding the values and beliefs that will be presented to students through the act of teaching and learning - thereby, under-girding how one’s curriculum will be formulated and executed. From an actively engaged music education philosophy, one can begin to provide teaching and learning examples for music students that can have a positive affect on teaching and learning for the classroom of life.
Saturday, November 29, 2008
Combining the Philosophies
Rather than mutual exclusion, use of the combined philosophies presents a more acceptable approach for accommodating both the role of feelings along with the cognitive activities found in the music experience. Finding the middle ground that is a feasible and workable solution to decades of philosophical debate is an educator’s personal adventure. There will not be any guarantee that the use of any philosophical system will provide an educator with the perfect curriculum, however, the understanding of one’s philosophical placement will provide the avenues for exploration in order to present a thoughtful and provoking program. It is up to the student to choose to engage.
Perhaps, Reimer found his blend of philosophical thought as he submitted his third revision of A Philosophy of Music Education in 2003. From this revision, one reads about the enlightenment of a need for a synergistic approach to music education that proposes a model of experience-based music teaching and learning that joins the reality of the music created with the interpretation by individuals. (1)
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1. Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 3rd ed. (Upper Saddle River, NJ: Pearson Education, 2003), 38.
Perhaps, Reimer found his blend of philosophical thought as he submitted his third revision of A Philosophy of Music Education in 2003. From this revision, one reads about the enlightenment of a need for a synergistic approach to music education that proposes a model of experience-based music teaching and learning that joins the reality of the music created with the interpretation by individuals. (1)
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1. Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 3rd ed. (Upper Saddle River, NJ: Pearson Education, 2003), 38.
Saturday, November 22, 2008
More thoughts about Praxialism
A praxial philosophy of music education highlights the action of music, and, “that music ought to be understood in relation to the meanings and values evidenced in actual music making and music listening in specific cultural contexts.” (1) Elliot further explains that, “Without some form of intentional human activity, there can be neither musical sounds nor works of musical sound. In short, what music is, at root, is a human activity.” (2)Therefore, when looking at music education philosophy from a praxialist thought, one understands the musical experience as, “explained completely in terms of cognitive challenges.” (3)
There are notable positive outcomes for embracing a praxial philosophy of music education - mainly the result of the integration of multi-dimensional musical aspects. Elliott suggests the high cognitive use of “performance-interpretation, the standards of traditions of practice, expression, musical representation, and cultural ideaological information,” (4) for music learning. Based on the understanding of music as a performance-experience, praxialism suggests promotion of high quality musicianship since the music student is involved in the various action-guided aspects. Highlighting action-based objectives, Elliott states that, “By itself, formal musical knowledge is inert and unmusical. It must be converted into procedural knowing-in-action to achieve its potential.” (5)
A second notable positive aspect of the praxial approach to music education is that it includes more inclusion of, “social, historical and cultural conditions and forces in which practices of music production arise and have meaning.” (6) It should be noted, that although, aesthetic music education did not originally give much attention to the social and cultural condition of music, revised understanding of aesthetic music education currently uphold the importance of the social and cultural conditions of music making.
Many challenges for Elliott’s praxial philosophy suggest that the core experience of praxialism is purely challenge at the cognitive level. Such challengers of praxial thought include Constantijn Koopman who stated, “There is no reason to believe that the enjoyment one derives from musical activities is exclusively a function of the magnitude of the cognitive challenge they involve.” (7) Praxial thought does not permit an explanation for those music experiences that do not provide high challenge opportunities. Taken further, this thought can lead to the assumption that if there is lack of challenge in performance, and therefore lack of true musical experience, one can also assume that the actual performance itself would be void of musical experience. This type of thinking can invalidate the performance of common, traditional works that perhaps do not require demanding facility solely on cognition of the performer and exclude the listener as well as the social traditions that the music may hold for society.
Therefore, it can be suggested that pure praxialism does not constitute a successful music experience. It explains the concepts of knowing about, and why a concept exists, however, it generally cannot give precise explanation on the reasoning for existing feelings brought forth from the music experience itself.
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1. David J. Elliot, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995), 14.
2. Ibid., 39.
3. Constantijn Koopman, “Music Education: Aesthetic or "Praxial"?” Journal of Aesthetic Education 32:3 (1998): 9.
4. Ibid., 11.
5. David J. Elliot, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995), 61.
6. Philip Alperson “What Should One Expect from a Philosophy of Music Education?” Journal of Aesthetic Education 25: 3, (1991): 236.
7. Constantijn Koopman, “Music Education: Aesthetic or "Praxial"?” Journal of Aesthetic Education 32:3 (1998): 8.
There are notable positive outcomes for embracing a praxial philosophy of music education - mainly the result of the integration of multi-dimensional musical aspects. Elliott suggests the high cognitive use of “performance-interpretation, the standards of traditions of practice, expression, musical representation, and cultural ideaological information,” (4) for music learning. Based on the understanding of music as a performance-experience, praxialism suggests promotion of high quality musicianship since the music student is involved in the various action-guided aspects. Highlighting action-based objectives, Elliott states that, “By itself, formal musical knowledge is inert and unmusical. It must be converted into procedural knowing-in-action to achieve its potential.” (5)
A second notable positive aspect of the praxial approach to music education is that it includes more inclusion of, “social, historical and cultural conditions and forces in which practices of music production arise and have meaning.” (6) It should be noted, that although, aesthetic music education did not originally give much attention to the social and cultural condition of music, revised understanding of aesthetic music education currently uphold the importance of the social and cultural conditions of music making.
Many challenges for Elliott’s praxial philosophy suggest that the core experience of praxialism is purely challenge at the cognitive level. Such challengers of praxial thought include Constantijn Koopman who stated, “There is no reason to believe that the enjoyment one derives from musical activities is exclusively a function of the magnitude of the cognitive challenge they involve.” (7) Praxial thought does not permit an explanation for those music experiences that do not provide high challenge opportunities. Taken further, this thought can lead to the assumption that if there is lack of challenge in performance, and therefore lack of true musical experience, one can also assume that the actual performance itself would be void of musical experience. This type of thinking can invalidate the performance of common, traditional works that perhaps do not require demanding facility solely on cognition of the performer and exclude the listener as well as the social traditions that the music may hold for society.
Therefore, it can be suggested that pure praxialism does not constitute a successful music experience. It explains the concepts of knowing about, and why a concept exists, however, it generally cannot give precise explanation on the reasoning for existing feelings brought forth from the music experience itself.
-----
1. David J. Elliot, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995), 14.
2. Ibid., 39.
3. Constantijn Koopman, “Music Education: Aesthetic or "Praxial"?” Journal of Aesthetic Education 32:3 (1998): 9.
4. Ibid., 11.
5. David J. Elliot, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995), 61.
6. Philip Alperson “What Should One Expect from a Philosophy of Music Education?” Journal of Aesthetic Education 25: 3, (1991): 236.
7. Constantijn Koopman, “Music Education: Aesthetic or "Praxial"?” Journal of Aesthetic Education 32:3 (1998): 8.
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