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Here are some of the questions readers sent me in celebration of this blog’s 10-year anniversary. I have edited, combined, and otherwise adapted some of them but hopefully there are answers here for those of you who were kind enough to inquire.
Why does music move humanity so profoundly?
My personal belief is that music is divine in origin, and that there is something inherent to humankind that responds to music. Since I believe that everyone is a child of God, I suppose the love of music is a divinely-inherited trait. Leaders in my faith have said, for example, that “Music is given of God to further his purposes,” and observed “Music is truly the universal language, and when it is excellently expressed how deeply it moves our souls.”
If that’s not your style, you may prefer Darwin’s speculation that the earliest attempts at human language were more like musical gestures than like words. An ability to relate to these sounds is at the foundation of language in the more modern sense, and thus underlies virtually all human experience and culture.
In any case, even as a faith-plus-science kind of guy, I’m definitely out of my depth here, so feel free to share your theories in the comments.
Are applied music studios in higher education sustainable considering the supply of music graduates exceeds available employment?
There are issues here for sure. I can only vouch for my own approach:
Most of my university students are music education majors, and where I live this does seem to be sustainable. My graduates for the most part are able to land and keep jobs doing what they are trained for: directing middle school and high school bands.
Many of my students at some point inquire about the degree in performance. If they are interested in that route and have the skill to pursue it, we have a long talk about the career path of a performance major. Essentially, a bachelors degree in performance qualifies you for one thing, entry into an masters program. The masters qualifies you for a doctoral program, and that qualifies you to teach in higher education and perpetuate the cycle. We talk seriously about the prospects for employment in higher ed (slim).
On the other hand, a college or university education isn’t a trade school certificate—it is meant to produce a well-rounded citizen of the world, with literacy in key fields of human thought and skills in areas like communication and critical thinking. If a prospective student wishes to study the art of musical performance for reasons that are not necessarily 100% practical, then I would like to see that opportunity available to them. Schools and students should be clear with each other about their goals, so there isn’t any confusion about, for example, guarantees of employment.
Some of my students have leveraged some of the more general skills developed in their musical education to pursue careers in other fields, which I find to be a perfectly good outcome. There is also at least some anecdotal evidence that college music majors are welcomed by challenging, high-status programs like law and medical schools.
When will woodwind makers deplete resources of grenadilla/mpingo wood?
I don’t know the answer. My understanding is that these woods are not in danger of extinction, exactly. But the culling of the tallest, straightest specimens for products like oboes and clarinets has potential to cause an evolutionary bottleneck, since only trees that are unsuitable for instruments (because they are curvy, for example) are left alone to reproduce.
I think that the inevitable conclusion to this is alternative materials for instruments. This will be a tough sell for some musicians, but will ultimately be for the better. If modern science can develop amazing new materials for everything from mobile phone technology to medicine to space travel, why not for music? I’m confident that the “wood”-wind instruments will continue to exist in materials that are more sustainable, stable, affordable, crack-free, ergonomic, and beautiful-sounding.
Why does the principal oboist tune the orchestra?
Tradition. We have methods of providing a reference pitch that are far more accurate and reliable than even the best oboist. But the ritual is a comfortable one.
There are lots of additional theories. I’ve written previously about why a bunch of these don’t make sense, and that post continues to draw comments largely based on questionable understanding of “overtones.”
Thanks for your questions! These are some tough ones.
More 10-year anniversary Q&A
Sorry, but to me this article is just as biassed against accurate, purposefully measured swing, as it claims the triplet notation to be AGAINST swing-FEEL.
I beg to differ on this, both, in terms of the ability of even triplets to ‘swing’, and in terms of the historical predominance of triplet swing conception. Swing ratios, microtiming descrepancies, and tempo dynamics aside, triplet conception AND feel are central to jazz theory and practice. Ever read a jazz drumming manual? Triplet and/or dotted quaver – semiquaver divisions are standardly notated for PRACTICE of RHYTHM in JAZZ by good swinging drummers worldwide. In any case, several studies on the execution and perception of groove in swing, funk, and rock styles have consistently shown that, while moderate microtiming deviations in performances are acceptable, even preferred over other options, performances with strictly quantized tuplets (TRIPLETS in the case of swing examples) rate highly for sense of ‘groove’ and entrainment, and are preferred to extreme deviations of beat placement and swing ratio – yes, even for jazz. You tell us jazz is a ‘duple’-only phenomenon, while declaring the duplets to be unmeasurable, only ‘feelable’. But the great Max Roach told us that jazz rhythm is “all twos and threes” [he also said, “it’s all two over three”]. One of the main distinctions between ragtime feel and early ‘swing’ was the transition from straight/duple subdivision to a triple conception OVER the duple meter (as demonstrated by stride and boogie-woogie pianists).
Fifty years of playing, teaching, and living jazz tells me you’re trying too hard to be ‘intellectual’ about this, rather than practical. I can play you a 2-1, 3-1, 3-2, 4-1 swing, or even a 5-3, or 7-3 – by FEEL – NOT ‘counting’. However, I can do that because I HAVE counted them, have LISTENED to them, and have VISUALISED them. If I compose swing that I HEAR a particular way, then THAT’S how it gets written, and that’s how I want it PLAYED! When I play, I’m not known for ‘mechanical’ feel. So how does your statement that, “writing or playing lots of triplets is a common mistake that non-jazz musicians make when they are trying to imitate a swing sound” play out in my world? It doesn’t. Nor in Max Roach’s, nor Cannonball Adderley’s, nor Elvin Jones’, nor Jim Chapin’s, nor Art Tatum’s, nor many, many, MANY others’. Jazz is a free world man, and Western ‘classical’ notation is good enough to get us conceptually oriented to swing … So, YES – we CAN write swing in triplets if we want to (ESPECIALLY if we’re experts).
Pat Metheny believes that the triplet feel is the foundation of swing. It is the the most important subdivision and he talks of feeling triplets even when not playing them. I think this article is poorly thought out.
Jazz drummer here. I stumbled on this article looking for info on the time old argument that Max Roach couldn’t swing (I don’t subscribe to that idea). Anyway, I can see what you are saying but I have to agree with Jazz Warrior on the whole. May I suggest listening to Kenny Clarke’s ride cymbal work on the composition ‘Willow Weep for Me’ from the Dexter Gordon LP ‘Our Man in Paris’. A mixture of dotted notes and triplets. I would say they both ‘swing’ in different ways. All that being said, Jazz has become a little too dogmatic, where everything is quantified & measured and overly cerebral.