The 19th Annual Graduate Students in Music conference (GSIM), for which I was a co-chair with Tom Johnson, was held this past weekend (April 22–23). The conference is entirely organized by graduate students within the department of music at the Graduate Center, CUNY.
“Music and Radicalism, Radicalism in Music” was the theme of the conference, and our keynote speaker was Jonathan Pieslak of City College of New York. (View the full schedule here.)
I live-tweeted the conference in an effort to publicize the event and the presentations via social media (#GSIM2016). It was my first attempt at live-tweeting a conference and it was quite the learning experience! The 140-character limit means that you have to distill each talk to its most essential points, which are only sometimes laid out clearly by the presenter. I tried to @ people whenever I could to include them in the digital conversation, but a surprisingly small minority of people have Twitter handles.
Here’s a best-of from #GSIM2016.
Another energizing and inspiring conference is past: Music Theory Society of New York State’s annual meeting. This year it was held at Mannes’s new campus–beautiful space. And a lot of really wonderful papers! I actually found the conference short, I think because I only saw two full sessions, and the other was a “lightning round” of short papers.
Yesterday I presented my paper, “Following Schenker’s Lead in Analysis of Stravinsky” (handout here). It was actually one of two papers in the conference about understanding Stravinsky’s neoclassicism using tools for tonal analysis–the other presenter, Sarah Iker, approached it from schema theory! I had great discussion with her afterward.
As I expected the discussion after my paper was quite lively–maybe that’s why my paper was at the end of the conference!
In my pop music analysis seminar last Wednesday, four of my students presented on harmony and form in four songs that I had chosen. Being a huge Sufjan Stevens fan, I couldn’t help but toss in one of his newest songs along with the more standard Beach Boys and Beatles tracks: “Should Have Known Better,” from the 2015 album Carrie & Lowell.
One of my longest-standing research interests is in ear training pedagogy. Conventional wisdom says that the point of ear training class is not to train students’ ears in the classroom, exactly—everyone realizes that the majority of work must be done outside of class (though it’s hard to convince students that this is a good use of their limited time when ear training is a 1-credit-hour course)—rather the point is instead to give students methods for practicing. But what also takes up a large portion of class time is assessment. This assessment comes in the form of solo singing in front of their peers, and dictation tests. Both of these assessment activities are not ideal, as most pedagogues will admit. So then why do they persist?
So I’ve explained my rationale for analyzing timbre, and for specifically focusing on the Yamaha DX7, in another post; now it’s time to show this in action.
After reading roughly 10,000 articles and books about the analysis of timbre, I can say with confidence this is how all of them start out. So here’s my own explanation of timbre’s DEAL. Timbre is more colloquially known as “tone color.” Imagine two different instruments, e.g., a violin and a trumpet, playing the same exact note at the same exact pitch, the same exact volume, and the same exact duration. You can still tell them apart, because the instruments have different timbres. You don’t need to have special training to tell that they are different; timbre is something that we intuitively understand.
In terms of how timbre relates to music, or specifically to popular music, it’s what gives each band their “sound.” It’s often said by music theorists that timbre is one of the most important aspects of popular music (e.g., Tagg 1982), while in classical music it’s maybe not so important. Even though this is generally agreed upon, music theorists still focus on things they focused on when dealing with classical music: pitch, rhythm, harmony, form.
In other words: even though timbre is highly intuitive, and so central to our experience of music, music theorists still don’t really talk about it! It’s my assertion that this is just because there is not a clear methodology that’s been established for the analysis of pitch, at least not one which is as accessible as theories of pitch/rhythm/form. I want to try and fill this gap with my own work.
Paul Lester: Ke$ha, are you satirising teen America, their voraciousness and bloodlust when it comes to consumption and sex?
Ke$ha: Absolutely! And you either get it or you don’t.
From the first time I heard “Tik Tok”, I’ve had a special place in my heart for Kesha’s music. I was immediately fascinated with her sung style flow, which I jokingly refer to as Sprechstimme. Her self-awareness and satire makes her trashy style highly appealing.
Two of my karaoke standbys are Kesha’s “Dinosaur”, from her album Animal, and “Sleazy”, from her EP Cannibal. Both are more deep cuts—”Dinosaur” was never released as a single, and “Sleazy” was a B-side to “We R Who We R”—and most often my friends haven’t heard them before, and immediately roll their eyes at my selection because they assume Kesha’s music is just trashy boring pop. As far as I can tell, though, every time I win over some new Kesha fans with these two tracks. They’re catchy, but moreover, they’re funny!
One technique Kesha uses to create humor in her songs is through garden pathing.