TV is experiencing a renaissance, sure, using a subscription model, sure, but there’s some real holes here.
All the shows named are super violent. First, inure people to violence, then make them crave it. And we wonder why we have a gun problem.
1. Target adults, not kids.
The kids and the adults are all listening to songs about sex. Songs which are getting increasingly explicit (though, I always find it curious how my middle school students don’t quite totally realize what the songs they listen to are about). I’m not sure how the songs are not already targeted toward adults.
2. Embrace complexity.
You would think that an author who’s written about jazz would know how well this has worked out for music in the past. Because everyone is really into Braxton and Boulez, right? Right? Oh, and prog rock is still in.
3. Improve the technology.
Okay, the sound quality isn’t as good, but if you really want to hear good sound quality, go hear a string quartet in Jordan Hall or something.
4. Resist tired formulas.
Stop writing symphonies, Shostakovich, geez! Nine is enough! Come on people, no more blues, and I’m not talking about the Jobim song. Form is what makes music work, particularly songs.
5. Invest in talent and quality.
Ah, now that makes sense.
Otherwise, I think Mr. Gioia doesn’t really get how people use music. Yes, we explore values and relationships with the tv shows and films we watch, just as with the music we listen to, but the situations in which we use these are forms and how we use them are quite different. While there are some people who watch movies and tv shows repeatedly, I would argue they are in the minority. Whereas music thrives on easy access and repetition — which is why the technology has gone in this direction, not towards sound quality (and that’s debatable, too). No one is dancing to their favorite movie. People don’t put on Breaking Bad in the background of the restaurant to set the mood. And while big ol’ nerds like Mr. Gioia and myself will put on some music and just listen to the music (hello, complexity!), I figured out a long time ago, that that was just me, not most people.
Don’t let the title fool you: the article is really about how important teacher prep and interact is and not so much about American math prowess (or lack thereof) at all.
If pedagogy is going to change, of course it means teachers teaching differently than the way they were taught. That in turn means retraining years of learning habits. Sure we do some of this on our own, but it takes a huge amount of time and effort. But as the article points out, what teachers rely on the most when teaching is recollections of their own schooling — ca. 13,000 hours of it. This, too, is why so many people outside of education think they are education experts and can press their opinions onto others — they’ve been to 13,000 hours of school, they know what it’s all about!
Can I just say I hate it when “the news” gets this stuff all wrong? “Yeah, let’s call it the diatonic phrygian tetrachord so that it sounds fancy and sophisticated and classical!” This is not phrygian — yes, it’s the same four notes as the beginning of the phyrgian mode, but it doesn’t function as the phrygian at all. It’s just your basic, run of the mill, boring old minor. It’s a i-VII-VI-V or a t-D/tP-S/tP-D perhaps? I still need to get a grip on Riemannian theory. Terms like “phrygian” don’t exist simply to shut people out of our discipline. They have meaning. Bandying words about takes away that meaning.
Back in October 2011, I attended the BGSU New Music Festival as a guest composer. We were all put up in a hotel about 20 minutes from campus in a giant outdoor shopping mall. Having been raised in southern New Hampshire (where, because of the absence of sales tax we have a lot of malls) and having lived in Germany for the past five years (well, at the time two years, but still…), it was something of a culture shock. The waste of space, the lack of character, the obvious failed attempt at creating a sense of place and community, but the most egregious was the constant canned music being broadcast outside. I went out to look for coffee at 6:30am — sure enough, the music was already playing. (I’m not even going to go into how pedestrian unfriendly such an outdoor mall is and how far I had to walk to find a coffee shop — at least it wasn’t Starbucks.)
The main guest composer was David Lang, who gave the keynote speech and — sure enough! — he talked about the presence of “unwanted” music, specifically citing our quarters as an example, while all the composers nodded with a knowing smirk.
Let me clarify the difference between art and entertainment. Entertainment is not the opposite of art—please Lord don’t let entertainment be the enemy of art, be opposed to art in any way, or we are goners. What distinguishes entertainment is that it happens within what we already know. Whatever your response to the entertainment presentation—laughing, crying, getting excited—underneath the surface, it confirms. Entertainment says, “Yes, the world is the way you think it is.” It feels great to have your worldview confirmed in the many dynamic, imaginative, exciting ways our entertainment industries provide.
Art, on the other hand, happens outside of what you already know. Inherent in the artistic experience is the capacity to expand your sense of the way the world is or might be. The art lives in an individual’s capacity to engage in that fundamental act of creativity—expanding the sense of the possible—every bit as much as the art resides in the what’s being observed.
Even the comments are worth reading!
I was recently contacted by these folks, too. Fascinating article.
I was recently invited to participate in a community outreach educational project spearheaded by akademie : der steg. Architect Matthias Loebermann’s work Unschärfe provided the focus and locus of the workshops on music, dance, photography, and art. The goal of my workshop was to guide students to compose and perform a ca. 15 minute piece inside the structure.Read more