Music for its own sake

At least once every few weeks, my social media feeds get flooded with links to the latest article about how kids should learn music because it turns them into excellent businesspeople and scientists and politicians. The latest is an opinion piece from the New York Times.

Condoleezza Rice trained to be a concert pianist. Alan Greenspan, former chairman of the Federal Reserve, was a professional clarinet and saxophone player. The hedge fund billionaire Bruce Kovner is a pianist who took classes at Juilliard.

Multiple studies link music study to academic achievement. But what is it about serious music training that seems to correlate with outsize success in other fields?

It may or may not be true that musical training sharpens math skills and teamwork skills and so forth. But I am irritated by the subtext that music isn’t something worth pursuing on its own merits—it is only valuable as cross-training for making a “real” contribution to society. Nobody ever seems to wonder whether education in mathematics or reading or science makes people into better musicians.

Photo, Bill Selak
Photo, Bill Selak

With American schools in crisis and the threat of budget cuts constantly looming, music education is only safe so long as it is believed to support “real” skills (like taking standardized tests and gaming the college admissions process?). When the next study rolls off the presses revealing that the connection between clarinet playing and algebra isn’t as close as we thought, school music programs will be on the chopping block again. Musicians and music educators seem anxious to bolster music’s place in education by playing up the music-improves-academics angle, but shouldn’t we be the ones pointing out that music is academics? Isn’t music as central to our society as accounting and chemical engineering and software development?

Friends, I encourage you to work for music in our schools using whatever tools are available, but can our main point be that music is important and valuable because it is music? When we argue for music—or the arts in general—as merely supporting other subjects, we feed the notion that the arts are disposable. Let’s remind education administrators and policymakers that, yes, music may improve math skills, but math also improves music skills, and that’s a worthwhile thing.

Dr. Rice, it’s not too late to put those skills in political science and diplomacy to work in a career as a pianist.

Similar Posts

  • 12(+) ways to practice a technical passage

    A popular article from the Bulletproof Musician blog has been making the rounds on social media again, which, to oversimplify, recommends variety in your practice routine.

    What is crucial is that you are keeping your brain engaged by varying the material.

    One of the suggestions the author (clarinetist Christine Carter) makes is to practice passages “in different rhythmic variations.” She doesn’t go into detail because that isn’t the main thrust of the article, but here are some of my favorite ways of varying rhythms for practice.

    Let’s take this example passage:

    Original excerpt (from Piazzolla Tango Etudes, notation simplified)

    The most obvious and common rhythmic variation for practice is to use uneven rhythms, alternating long and short notes. There are two ways to do it:

    Methods 1-2: Long-short, then short-long

    In all of these examples, note durations aren’t necessarily set in stone—they are just meant to show which are the long notes and which are the short ones. The first example above could alternatively be notated this way:

    Method 1a

    Those examples use groupings of two notes, a long one and a short one. We can extrapolate that to, say, groups of three notes, one long and two short. There are three ways to do that:

    Methods 3-5: Long-short-short, short-long-short, short-short-long

    Another variation would be groupings of four notes, done four different ways:

    practice4
    Methods 6-9

    For additional practice, try groups of five, six, and so on.

    Another extension of this technique is to keep the basic rhythm the same but shift it within the meter:

    Methods 10-12

    Use subtle anchoring to make this especially effective. Again, the possible variations are limited only by your imagination: try playing the passage in triplets instead of sixteenths, and then shift those within the meter.

    I find these techniques to be an excellent way to keep some variety and interest in my practicing even when I’m stuck on a particularly frustrating passage. The Bulletproof Musician article suggests rotating between several passages in order to keep the routine varied, and I agree that is a useful way to practice, but I find that, in moderate doses, playing one passage in many different ways has similar effects.

    Keep your practicing varied and goal-oriented!

  • Use your metronome most of the time

    Why should you use a metronome when you practice?

    • Music is about organizing sounds in time. Often my students are so focused on playing the “sounds” (pitches) that they forget about the time part. They learn to play the right sounds in the right order, but not precisely in time.
    • The metronome helps reveal problem areas. Without a metronome, it’s easy to conveniently slow down or hesitate over a challenging spot. The metronome annoyingly reminds you that something went wrong.
    • Working with an audible steady pulse helps develop your inner sense of time, so you’ll play more accurately even after you turn the metronome off.

    How much should you use a metronome?

    • Probably most of the time. I use a metronome for at least 80% of the time I spend practicing.

    But doesn’t playing with a metronome make your playing sound too mechanical?

    • I know very few musicians who have the problem that their tempos are too steady. It’s important to practice the tempo nuances too, but if you can’t play the line in perfect time then you probably can’t do a convincing accelerando/ritardando.

    What about when you’re practicing something that doesn’t fit well with a metronome, such as changing time signatures?

    • Smartphone metronome apps have pretty amazing features these days. And music notation or audio editing software can create anything you can imagine. (For examples, see Adam Ballif’s “Ballif Beats” for clarinet repertoire, or James Barger’s classical saxophone accompaniment track videos.) Time invested creating practice tools like these can pay off in a big way. And in many cases you don’t have to create a metronome track for the whole piece, just for the spots that don’t work well with a standard metronome.

    What if you’re “not good” at playing with a metronome?

    • Practicing with a metronome is a crucial and mandatory skill for a developing or advancing musician. It’s time to learn.
    • Start slowly, maybe very slowly, and work in small chunks.
    • Learn to use your metronome’s features, including subdivisions and time signatures.
    • Make sure the metronome is loud enough. If feasible, consider using an earphone, an external/Bluetooth speaker, or metronome features like flashing lights or vibrations you can feel.

    But what if you heard a big-shot musician say you shouldn’t practice with a metronome?

    • In my experience, there are two kinds of musicians who think they don’t need a metronome. One is the top 1%, who have spent a lifetime developing world-class musical abilities. The other is beginning and intermediate musicians, who haven’t learned the value of metronome work because they haven’t done it enough. Don’t mistake a top-level musician’s musings for good beginner advice.

    Fire up the metronome and go practice!

  • Starting at the right tempo

    For me it’s an ongoing challenge to start a piece of music at the right tempo. Here are a few tricks I have used:

    • Practice, a lot, with a metronome, to internalize and habituate the tempo.
    • If circumstances allow, check a metronome backstage immediately before beginning the piece.
    • If circumstances allow, have a metronome with you on stage. Most have a “silent” function that you can use to discreetly double-check.
    • Maybe your piece has a fast or tricky part, and you’re worried that you will go too fast and that part won’t go well. Sing that part in your mind before you start to play, so you can pick a tempo that will work for that part.
    • Be aware of your tendencies. For example, if the adrenaline of performance makes you tend to rush, you can adjust accordingly.
    • Find a song that you know really well and have thoroughly internalized, that has a tempo very close to the one you wish to play at. Sing a few bars of the song mentally to find your tempo. For example, here’s a list of songs that have a tempo of about 94 beats per minute—I bet you can find at least a few that you know.

    Good luck!

  • On purple violins

    Photo, Glamhag

    I’m a little late commenting on this, but I still think it’s an issue worth addressing. Last month there was a minor scandal over an incident in a Farmington, New Mexico school orchestra program, where a beginning violinist was informed that she would not be allowed to use her own, um, unique instrument. Most of the reporting on the story took a similar tone to that employed by the Los Angeles Times:

    The gift violin was a surprise from her grandmother. The color was purple, the girl’s favorite.

    Lopez encouraged her daughter to stand up for what she believed in. “I told her, ‘Camille, you’re not like everyone else. We’re all different.'”

    “She’s done with the orchestra class,” Lopez said. “She switched out. She no longer plays.”

    Lopez said she’ll never know whether the decision ended the career of a budding Yo-Yo Ma. “I’d pay for private lessons if I could afford them,” Lopez said. “But it doesn’t matter now, I guess. Camille is taking choir now.”

    The Times story sets up the uninformed reader for outrage: an underprivileged but spunky girl, a gift from a grandmother, stifled individuality, personal “beliefs” under attack, abandoned dreams, and a stodgy, stuffy establishment.

    But a more careful reading of the Times story reveals some details that won’t escape the attention of music educators.

    Read More “On purple violins”

  • Jazz and classical musicians’ concerns about jazz playing

    Recently I asked some questions on social media related to (self-identified) non-jazz musicians playing on jazz or jazz-adjacent gigs. This kind of thing might happen, for example, at a symphony pops concert, or a big band gig in a smaller market.

    A number of concerns were raised about this, but two stood out.

    • Self-described non-jazz players overwhelmingly expressed misgivings about having to improvise in these situations.
    • For jazz players, asked about having to play a gig with non-jazz musicians, none of them expressed concern about the non-jazz players’ improvisational ability. They were overwhelmingly concerned with style (mentioning specifics like swing, articulation, and inflection).

    I think for a non-jazz player, being asked to improvise is understandably frightening. But I’m hard-pressed to think of a situation like this where improvisation would be strictly required. For example, if your local pick-up big band has some jazz players and some non-jazz players, it’s a simple enough matter to pass the improvised solos off to the jazz players. (And there are plenty of big band charts with written-out solos.) If I’m hiring for the gig, I’d certainly rather rearrange the solos than put somebody in a situation that will be to their embarrassment and mine.

    But everyone on the gig needs to be prepared to do good section playing. I’ve been in the frustrating situation of trying to lead a section (from the lead chair or from the director’s stand) with players who aren’t tuned into the conventions and nuances of swing, articulation, and inflection. Often these things aren’t specifically notated, the way they would be in orchestral parts, or the notations aren’t intuitive.

    (A case in point: a curved marking like ⌣ over a note, which I hear classical musicians interpret by playing the note at pitch, then bringing it down, then back up. I understand why they think it means that, but it’s an un-jazz-like sound—it should almost always be interpreted as a scoop up to pitch.)

    My takeaway: if you don’t consider yourself a jazz musician, and aren’t planning to really become one but want to play some jazz-oriented music on the occasional gig, study jazz style.

  • Buying more instruments, or making do with what you have

    I get asked every so often whether it’s a good idea for a woodwind doubler to try to have a fairly “complete” set of instruments, or whether it’s better to make do with a few and make substitutions as needed. For example, do you need a B-flat clarinet and an A clarinet, or can you just transpose? Is it worth it to buy an English horn for sporadic use, or can you cover the part on saxophone?

    The answers, of course, depend on your goals. It’s hard to predict for sure which instruments will end up being useful or financially worthwhile. And a new instrument isn’t always something you can just hurry and buy when a gig offer demands it. 

    If your aim is to maximize your income, and some substitutions are acceptable at your gigs, then you should buy as few instruments as you can get away with. Prioritize the ones that are most likely to pay for themselves in terms of new gigs within the shortest time frame.

    If it makes you happy to have a larger collection of instruments, and you can afford to make it happen, then there’s nothing wrong with that, either. For many of us music straddles the line between profession and hobby, and being a woodwind doubler isn’t necessarily any more expensive a hobby than boating or fine woodworking or international travel. If you can count the purchase as a business expense as well, then all the better.

    Follow the instrument acquisition strategy that best suits your financial situation and personal goals.

Leave a Reply

Your email address will not be published. Required fields are marked *

Comments that take a negative or confrontational tone are subject to email and name verification before being approved. In other words: no anonymous trolls allowed—take responsibility for your words.

This site uses Akismet to reduce spam. Learn how your comment data is processed.