Fine Arts? Mediocre Musical Monotony

"Pachelbel Rant" by musical comedian Rob Paravonian became a viral video several years ago, and although he begins the song by poking fun at the supposed uncool nature of playing the cello as a child, he make an excellent point about creative music composition in a humorous way.  (Warning: may contain inappropriate language for young ears).

 

Last week's post explored the fine arts-quality (or lack there of as the case may be) in today's pop music.  Today, let's take a peek at the artistry in today's music output.

Just as poetic forms exist to define existing poems or assist in shaping poetic order, musical forms have been heavily involved in how we listen to music today. Whether you listen to country, hip hop, rock, jazz, or indie, 99% of the musical output of today's composers and songwriters is dictated by what we understand as acceptable musical form.  Certain expected patterns form most of the music that we are comfortable with, and these patterns are typically formed from verses, refrains, tags, and bridges.  

Most songs contain two to three verses, where one set of music returns multiple times with varying lyrics.  For example,

Verse 1: Amazing grace how sweet the sound...

Verse 2: Twas grace that taught my heart to fear...

Verse 3: When we've been there ten thousand years...

A refrain is usually the main theme or idea of a song.  It's the part of the song that gets stuck in your head when you can't remember the rest of the song.  For example,

"So bye, bye Miss American Pie, drove my Chevy to the levy 

but the levy was dry; them good old boys were drinking whiskey and rye, 

singing, 'this'll be the day that I die, this'll be the day that I die..."

A tag is most used as a intro, an ending, or a transition, and is a phrase or word that repeats over and over.  For instance,

"Na na na na na na na, na na na na, hey Jude.  

Na na na na na na na, na na na na, hey Jude."

Finally, a bridge is a new section of music with different lyrics (or an instrumental-only section) that is usually used about 2/3 through the song to give your ear something new to listen to.  One example (from Bon Jovi's "Livin on a Prayer") is

"Hold on, ready or not; you live for the fight when that's all that you've got."

Now.  Having said all of that, when you look at the song as a whole and map out the patterns of the music and lyrics, that is called the form.  There are various types of form-- strophic (AAAAA...) would be a song that was completely repetitive musically, though the words may vary.  The opposite end of the spectrum would be a chain form (ABCDE...).  You might hear this in a medley of songs (eg. "Evolution of Dance"). 

Without going into all of the various type (binary, ternary, sonata allegro, rondo, etc.) let's consider the musical form of most popular music today.  Usually it looks a little something like this:

Verse 1  -  Chorus  -  Verse 2  -  Chorus  -  Chorus  -  Bridge  - Chorus

Another popular set up would be as follows:

Verse 1  -  Verse 2  -  Chorus  -  Chorus  -  Verse 3  -  Chorus

I would make a guess that about 80% of the music I hear today, regardless of genre, fits into one of these two molds, or something very similar.  (If you don't believe me, simply look up the lyrics to any song and break it down yourself!).  This means we are mercilessly cramming endless musical possibilities into the exact same-shaped mold.  The more music we consume that fits this cookie cutter form of musical writing, the less creative and artistic our music becomes.  

One final note: As I have considered this topic over the past several years, I have acquired a greater appreciation for rap artists, whose music refreshingly smashes this patterned formula to the ground much more frequently than any other genre I have encountered (save band/orchestral, upper level choral, and chamber music).  Not allowing our brains to be passive music sponges, but challenging our ears and stimulating our minds is such a valuable, worthwhile exercise.  I encourage you to step out of your stylistic comfort zone to consider the artistry in music you are less familiar with.  Happy listening!

Fine Arts? Lackluster Lyrical Lines and the Like

"Fine Arts" is a phrase I have been contemplating.  We all have our own understanding of what constitutes "art."  Music is typically lumped in this category, but is the musical output of this present culture quality enough to be branded as "fine art?" Today, let's take a look at lyrics.

So when we found that we could not make sense, well, you said that we would still be friends.  But I'll admit that I was glad that it was over.  But you didn't have to cut me off; make out like it never happened and that we were nothing.  I don't even need your love.

Don't ... tell me... I don't care... if you're hurt... I won't... tell you... you don't care... if you're true...

So what, we get drunk; so what, we smoke weed; we're just having fun; we don't care who sees; so what, we go out- that's how it's supposed to be living young and wild and free.

These lyrics come from three songs that are currently in the top 12 Billboard hits in the nation.  Where is the artistry?  Where is the clever lyricism?  Forget the music itself for a moment-- are these lyrics works of art?  FINE art, at that?  The first set of lyrics reminds me of a middle school break up note.  I'm not even sure what the second set is attempting to convey.  The third leaves nothing for the listener to contemplate.  It simply states.  It doesn't paint a picture.

Now, on the other other hand, also topping the Billboard are, what I would consider lyrical art.  Here are a few examples:

I set fire to the rain- watched it pour as I touched your face; let it burn while I cry 'cause I heard it screaming out your name

Yesterday we were just children playing soldiers, just pretending, dreaming dreams with happy endings; in backyards, winning battles with our wooden swords.  But now we've stepped into a cruel world where everybody stands and keeps score

I can taste the tension like a cloud of smoke in the air.

What a difference!  These snippets don't simply state an emotion-- they paint a vivid picture of one instead.  The listener goes from being a spectator on another's emotions to understanding those emotions.  Unfortunately, this type of thoughtful writing is not prevalent in most music or poetry.

Words have the ability to convey truth and meaning, but also to inspire imagination and passion!  Let's challenge passively absorbing simplicity in the art we consume by seeking out music that contains a wealth of lyrical richness.

Over the next two weeks, we will delve into the artistry of how instruments are utilized and the musical form itself.

God, My Heart, and Music

Bob Kauflin contributed a chapter about how we ought to view music in an excellent collaborative book titled "Worldliness: Resisting the Seduction of a Fallen World" and has some excellent suggestions on ways we can use music to benefit our souls and honor the Savior:

"Broaden your musical tastes: Music is neither a demon to be feared nor a god to be idolized. It's simply a part of God's creation intended to serve His glory and our good. That means we can appreciate a wide variety of different styles and expressions of music. But when it comes to music, most of us know what we like and like what we know. We rarely venture out into new styles and genres. In fact, we excel at mocking the tastes of those we think are less musically informed- people who like country, opera, or pop, for instance. Try asking your friends with different musical tastes to suggest songs or albums you should listen to. Discover what they enjoy about a particularly style or artist and what aspect of God's glory you might be missing by not listening to it."

"Listen to old music: Human beings have been making music at least since the fourth chapter of Genesis, where we are told that Jubal 'was the father of all those who play the lyre and pipe.' A lot of music has been written, sung, and recorded since then. And yet we can still think the best music is what was produced in the past ten years, or worse, what's coming out next month. Music that stands the test of time is worth giving our attention to. That doesn't mean everything written in the past is great music. But we're shortsighted, proud, and poorer if we never appreciate the music God has given us throughout history."

Nothing New Under the Sun

We are all rebels. Every generation decides at one point or another that the previous one mucked up the world, and the only difference is what they focus in on changing. Each week, I become increasingly more aware of this cultural push for individualism within the arts- mainly in the art realm (thank you, Etsy), DIY everything (hellooooo, Pinterest), and music ("My favorite band? I'm sure you've never heard of it- it's Indie"). It is fantastic that people with incredible ideas can share their incredible ideas with other people who have different incredible ideas. What a beautiful thing it is that genuinely talented artists and musicians have more opportunities to share their passions than ever before!

In the wake of this surge of creative sharing has come the inevitable "everyone is a musician/artist" mantra. Books, websites, apps, and tutorials are successful because formal education is being viewed as too old school. But are we trading quality for ease of accessibility? Every truly great musician will attribute their success to teachers who mentored, encouraged, and challenged them. Many of the greatest musicians and composers of all time learned by copying, note for note, others' musical scores. Hard work and learning from experienced teachers in person, is and always will be the most effective way to grow. Cultural values ebb and flow, but in this case, there is nothing new under the sun.

Technology's Place in Music Education

Every public school in America is talking about how to create 21st Century classrooms bubbling with technology that will put them on the top and make their graduates prepared for the real world of digital screens. This poses an interesting question for the arts, which are skills honed best through experience and diligent practice. Just as playing NFL '12 can teach someone about football will not make someone a great (or even mediocre) wide receiver or middle linebacker, nor will learning how to read or create music on a computer make someone a great artist or musician. Particular kinestetic skills music be acquired to succeed and truly understand these mediums.

A story was on the news earlier this week about a computerless school in the area, and it highlighted how popular it is becoming with increasingly more families. The more our culture gravitates toward reliance on battery or electricity-powered devices, the more we are seeing that technology DOES have its limitations. Some of the backlash seems to be nostalgia-driven (ie. "Nothing is more satisfying than closing the final pages of a big book"), as well as intrapersonal learning (learning through problem-solving with others). With music, experiencing balance between instruments, understanding the mechanics of playing louder and softer dynamics, feeling vibrations from the bass voices, and learning to respond to the conductor's movements are not things that will ever be able to be learned through technology. We need to evaluate the most effective ways of learning and not simply push technology for technology's sake.

If We Actually Built This City on Rock and Roll...

Here is a quick crash course in western music history. I am not just aimlessly providing a two minute dissertation for my health. I do have a point- I promise.

500 AD: The main purpose of music was to drive church liturgy . Pope Gregory assumed his role as the big man on campus and declared that it would be named after him. Music wasn't viewed as art, and had a medieval Weird Al existed, he would have undoubtedly been excommunicated for piddling with the chant.

Around 800 some bigwig at a meeting of bigwigs decided that they needed to assert a little more control over things because they had self-esteem issues (my own speculation). They decided that having things written down might be a good idea. A few rebels (Frenchies) started getting antsy over having to listen to the same music for several hundred years and opted to throw in a line of harmony, and BAM! Polyphony became the new girl in town.

Polyphony was, understandably a great deal more attractive than the preexisting monkish music, and several schools popped up to develop this emerging genre. At some point, non-churchies wanted in on the action and realized that not only was it pretty swell to listen to, but a skilled composer could win the affection of the ladies. Enter: Wandering, perverted minstrels.

Contrasting to the religion-centric times of the Medieval period, Renaissance music marked the first serious outbreak of expressive, passionate music that no longer was confined to church ideals. Music was still fairly restricted to simplicity in the sacred setting (paranoid of a half cadence corrupting young, impressionable minds) but the invention of various secular music genres went absolutely bananas.

After about two hundred years, all of the cool kids reverted to sitting around the lunch table talking about the olden days (Ancient Greece) and how they'd really had it goin' on. The loosy-goosy Renaissance tunes were for backward thinkers- form and order were much more liberating and fashionable, and thus, we had the Baroque period... Which would have been perfect for the OCD composer. The Classical era followed, but began to add complexity to the Baroque form because people started melting and bending brass in new ways because they were tired of the harpsichord and violin. Who could blame them?

Jumping into the historical arena next was the cocky, older brother who was a little experimental and not afraid to be passionate- and helloooooo Romanticism. Music was bigger, badder, and certainly louder than ever before (Berlioz's 1000+ piece orchestra had to be SOME kind of fire hazard). That brought us into the twentieth century: much of whose music I would prefer not to acknowledge as being musical.

Over the past hundred years, we have transitioned away from trained musicians creating the bulk of music. Today, in 2012, much of the musical output is being created and spread by unskilled, inexperienced, often self-taught people who settle for mediocre music. As we look back at the history of music, it strikes me how much music reflects the culture it was a product of, and conversely, how the values of a culture can be seen in the music of a given period.

What will musicologists 100 years from now deduce of our society on the representative music of our time? We have had more participants and variety in our music than ever before thanks to technology, and with a greater production offers a clearer window into the soul of our society. Frankly, I am scared.

Class Offerings

In case you haven't visited the main website, check out www.SoliDeoGloriaMusic.com

Since you are here, Soli Deo Gloria Music is offering three group classes as well as individual lessons. Here is a brief outline of what each class entails:

General Music: Presently, this class is for any children in 3rd, 4th, and 5th grades and will include singing games, instrument playing, basic music reading skills and introductory composition!, and world music. There will also be elements of music history and music appreciation, but the bulk of the class will be focused on creating and enjoying music.

Vocal Music: The voice is the most basic and natural instrument of all, and everyone has has one at their disposal! The vocal music ensemble will provide singing techniques to protect this precious instrument, and learn how to use it within the context of a group of other singers. Learning how to balance one's own voice in with a group of other unique voices is a valuable skill that any musician should possess. This class is currently offered for students in 5th-8th grade and will culminate in a performance.

Instrumental Music: This is the class that makes the SDG Music program unique from other non-traditional music programs! We do offer private instrumental lessons, but recognize that there are many wonderful and skilled instrumental teachers in the area. Many of these instruments are best suited within the context of an instrumental ensemble, however. Playing trumpet in your bedroom by yourself is a wonderful place to start honing techniques, but absolutely nothing can match the personal experience of learning to sensitively play in respect to other musicians... Or the sensation of goosebumps as you hear how your harmony blends perfectly with the other brass to complement the woodwind and percussion sections. The ensemble and private lessons are offered for any student in 4th-12th grade on flute, clarinet, saxophone, trumpet, trombone, French horn, baritone, or percussion.

For more information or to register, check out the website above.

Unleashing the Power of the Fun

I could cite countless research that prove why music helps develop the brain. I could point to the myriads of case studies that explore how musical training will build skills used in writing and math. I could prove how making music with others fosters communication, teamwork, and flexibility.

But kids don't care about developing their brain, using music study to get achieve higher standardized test scores, or improving communication with others. What motivates a child to do anything? Kids care about fun.

Several years ago, I taught preschool, and during my training the school director told me, "Make everything a game. Lining up is a game. The lesson is a game. Handwashing is a game. Cleaning is a game. Everything." Children are motivated by enjoyment. The greatest compliment I ever received was from a fifth grade boy who exclaimed during class, "This is better than gym class!" (In case you missed the memo concerning school specials hierarchy, this is the ultimate honor). He didn't care that the lesson's goals included connecting with cross-cultural values or aurally discerning complex rhythmic patterns through call and response. He cared about the fact that he got to bang on a drum for forty minutes and it was fun!

Making music is inherently enjoyable. Rather than to reduce it to its cerebral benefits, it is absolutely essential to allow students to have fun creating music together. That is the main reason for the Soli Deo Gloria Music classes. Allowing children to have the opportunity to make music together is an experience unparalleled by any other activity. And because it's fun and kids care about fun.