Goals for Summer 2018

So this is the second installment of my 3-day blogathon thing (with a past/present/future theme). Today’s focus is summer goals. I have a lot of professional and personal goals to achieve this summer, some of which I’ve already knocked out—so I’m getting started on the right foot, at least. (The philosophy of goals is to have both achievable goals as well as stretch goals, after all!)

Writing goals

In a teaching-heavy position like mine, it’s very difficult to make substantial progress on writing during the semester, and nigh impossible to do so in the first year of a new job. So the summer is the time for me to reconnect with my researcher side and take care of all those creative tasks that require ample space for thinking.

  1. Today: I just today finished a complete draft of a book chapter for an edited collection, titled “Timbre, Genre, and Polystylism in Sonic the Hedgehog 3” and sent it off to the editor. I’m sure there’s more revising to be done, but it feels good to complete a draft.
  2. Sometime in June: I am collaborating with other authors on an article on another chapter in another edited collection, which analyzes “Partition” by Beyoncé—this is the followup project from a “summer school” I attended in Summer of 2015 (gosh, three years ago!). I promised my group members I’d respond to critique from editors in June, so I’d better keep my promise.
  3. By Early July: I’m presenting my dissertation research at a timbre conference in Montreal, hosted by McGill. It’s a poster presentation, so I need to design a pretty poster.
  4. July/August: I just heard back from a journal yesterday that I’ve gotten a revise (substantially) and resubmit on an article I’ve been kicking around for quite a while now. While I’m slightly bummed at the extent of the revisions that they want, the review I got was very thorough and had a lot for me to work with. Nevertheless, I’m gonna kick that can down the road a bit while I come to terms with all that.

Teaching goals

  1. By June 1: I am going to submit an application for a grant on behalf of a committee of people who are wanting to revise the theory curriculum. I am trying to do a modular (i.e., non-sequenced) theory curriculum that incorporates an entire semester focused on jazz and pop music, among other things. We are also working to bring performance experience into the classroom in more tangible ways, like including a playing component to the typical battery of timed quizzes in the Theory I class.
  2. By June 4: Redesign the DMA comprehensive exams.
  3. By mid-July: I will have completed a course through my university that teaches professors how to design an online course through Blackboard. I teach a graduate course required for all masters’ students, and because of differing scheduling needs (educators need night classes; performers need day classes), offering the course online is an ideal presentation for this course. But, I don’t currently know how I’m going to make it as discussion-based and interactive as my in-person class. Hopefully completing the course will inform me a bit better. I’m applying for funding for this activity too.
  4. By the start of next semester: Provided we’re awarded the grant, I will work with other members of the curriculum re-design team to develop new materials for the theory courses, particularly the jazz/pop course. We won’t implement anything til Fall 2019 probably but it’s still good to get this work done early.

Personal goals

(Not-so-)fun fact! I, like a lot of professors, don’t get paid over the summer. This is part of the motivation for trying to acquire some of this money for redesigns. So I’m going to really try to limit the work I try to do over the summer to these projects listed above (granted, that’s probably way too much unpaid work still). Here’s my plans for summer relaxation:

  • Several camping trips. I used to go camping when I lived in Florida, but (shocker) I sold all my camping goodies when I moved to New York City. Now that I’m back in the #suburblife, and I own a Subaru Forester, camping is a lot more attainable than it had been. I just went camping last weekend at a park 15 minutes from my apartment. It sounds like a silly thing to do, but it was actually amazing. I’m hoping to do this spontaneously any nice weekend that I can. I have two more camping trips already planned this summer, to Assateague and Chincoteague islands, where the wild horses roam on the beach.
  • Other non-camping trips. I’m going to New York City again and so thrilled to hang out with old friends and eat some decent food and get a decent haircut at my old place. I still miss Brooklyn terribly. I’m also going on a family vacation with my dad, both my brothers, and my brothers’ partners to West Virginia. It’s a lot to handle but should be good quality time.
  • Video gaaaames. I’m still obsessed with Crusader Kings 2, which I have been for, I’m guessing, 5 years at least. It’s still fun. I’ve also been playing a lot on the Nintendo Switch, like Mario Kart. Hopefully Smash Bros will come out soon too.
  • Singing! My church job recently decided to employ a quartet over the summer to sing some more polyphony in the summer Latin masses. While my church choir job has been stressing me out a bit lately, I’m definitely down for one-to-a-part singing, anytime, anywhere.

It’s a… erm… ambitious program I’ve laid out for myself here—it’ll be interesting to check in at the end of the summer and see how much of this I was able to follow through on.

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Using Scrivener to write your music dissertation or book

I am a huge, huge fan of Scrivener. (No, I am not a paid shill!) Scrivener is like a digital trapper keeper or scrapbook, with tons of options to organize, visualize, and move stuff around. Scrivener also has an iPhone app that syncs with your desktop app so you can write from your phone. Game changer.

I cannot overstate how much Scrivener helped me to write my first long document (my dissertation). By default, I think most people open up Microsoft Word or the equivalent when it’s time to write, and Word works fine for many years of one’s academic career. But long-form documents are a different beast, and a more flexible tool like Scrivener offers many advantages.

I’ll let you look up arguments for Scrivener on your own, as there are many (1, 2, 3). I’m going to focus instead on three practical tips for how Scrivener can make your life easier when you write your dissertation, thesis, or book: Continue reading “Using Scrivener to write your music dissertation or book”

What Makes It Sound Like Christmas?

Every year, music theory enthusiasts begin to ask the same question: “what makes it sound like Christmas?”

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As you can see, this discussion recurs every year in /r/musictheory.

Vox.com has incurred the wrath of Twitter’s musicologists after posting a video focusing on Mariah Carey’s “All I Want for Christmas Is You” that suggested that iiø7 chords are what make it sound Christmassy. The video begins by stating the research question, “What makes Mariah Carey’s song sound so incredibly Christmassy? Aside from the sleigh bells, of course.” They then proceed to discuss the harmonic content of the song and how the harmonies signify Christmassy-ness.

Vox’s declaration that iiø7 chords sound Christmassy irritated musicologists for many reasons, perhaps best summarized thusly:

In the Vox video and in all those reddit posts, and indeed in much of beginner music theory, there is an obsession with finding explanations in the harmonies, specifically, of a song. This is a reflection of the overall bias in music theory: we focus on teaching harmony most of the time. Curiosity about how harmony elicits emotions is natural in this context. It only becomes problematic when this discussion really leads to the exclusion of other music-analytical domains that are more relevant to the track’s signification—namely, timbre!

Continue reading “What Makes It Sound Like Christmas?”

Lerdahl’s Timbral Hierarchies

The real reason, I would argue, why timbre has been regarded as a secondary musical dimension is that, unlike pitch and rhythm, it has lacked any substantial hierarchical organization.

–Fred Lerdahl, 1987

Yesterday I read “Timbral Hierarchies” by Fred Lerdahl, originally published in 1987 in Contemporary Music Review Vol. 2. This article is post-GTTM (A Generative Theory of Tonal Music) and represents an attempt to explain how timbre prolongations, or at the very least timbral hierarchies, might be possible, in much the same vein as L&J-type metrical or tonal hierarchies.

This article is another curious entry in the outpouring of timbre music theory research that occurred in the mid-1980s (see also Cogan 1984, Slawson 1985). Since I wasn’t researching in the 1980s, I’ve wondered myself what the music theory community was like at this time, and what in the culture propelled this sudden interest in timbre. I presumed that this was due to a wider access to 1) spectrograms, a useful visualization tool for timbre, and 2) digital synthesizers, which allow for the level of precise control necessary in many perception studies. Lerdahl identifies out another possible impetus for a sudden rush to theorize timbre: “The issue has sharpened with the recent rise of computer music. There is now such an infinity of timbral possibilities that the need for some kind of selection and organization has become acute” (136).

I’ve found it funny in the past that I study 1980s popular music, and that so many of the existing articles and books on timbre research also date from the 1980s. But this quote in particular helped me realize that the unifying factor in all of this is rapid technological advancement.

Continue reading “Lerdahl’s Timbral Hierarchies”

Beat of a Different Drummer?

In my dissertation research I’m turning toward drum machines. It’s a natural extension of my ’80s sound inquiries: if the Yamaha DX7 was so important to the ’80s sound, drum machines like the LinnDrum and the Roland TR-808 were at least equally important.

Analyzing the timbre of drum machines using my existing apparatus has revealed how biased toward pitched phenomena theories of timbre really are. For example, so many theories of timbre are completely preoccupied with overtones/partials and their relative loudness. (For more info on spectrogram analysis, check out the first half of this blog post.)

harmonica
This spectrogram is of a harmonica synth playing a melody. Time is on the x-axis in seconds. Pitch is on the y-axis in Hertz (higher Hz = higher pitch). The bottom line of this spectrogram, at around 500 Hz, is the fundamental pitch. Colloquially we just call this “the pitch.” The parallel lines running above the fundamental are the partials of this sound. You don’t hear them as separate notes, but instead you hear a change in timbre.

But for many percussion instruments, drums and cymbals and such, you won’t see any partials like that at all. Even drums that are pitched don’t really have partials running in multiple parallel lines above it.

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These are samples from a Roland TR-808: bass drum, low tom, mid tom, high tom, snare, closed hi-hat, open hi-hat, clave, and handclaps. Notice how these are all just thick bars of sound, not at all like the parallel strands in the above example.

So it does us no good at all to talk about partials, how those partials compare to the ideal natural harmonic series, whether there’s vibrato, etc. Yet, that’s the majority of the focus of spectrogram analyses.

Over the next few weeks I’m going to start finessing how we can talk about timbre in non-pitched percussion instruments. For now, back to the grind…

What helps me survive writing my dissertation

For dozens of years in a row, I was a student that took classes every semester which were taught by a professor and culminated in a final project or exam. I didn’t really need long-term goals because they were largely articulated for me. I got pretty good at writing a 15-ish page paper every semester for every class.

Transitioning into the new full-time job of writing a long document (my dissertation) has been somewhat bizarre. I can’t rely on my old thought patterns anymore.  I’ve made number of changes to my working style that improve my mentality and attitude toward writing, which I hope could be helpful for someone else out there. (This seems to be a pretty common type of post for a PhD blogger!) I have six tips and recommendations to share.

Continue reading “What helps me survive writing my dissertation”

’80s-inspired music

Last Wednesday I was a featured contributor to the podcast Pop Unmuted on an episode about ’80s music—listen here.

We are currently living in a kind of ’80s revival. Google “How do I make my song sound 80s?” and you can see hundreds of posts on online forums from amateur producers looking for an ’80s sound.

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The funny thing about this is that of course the ’80s was an entire decade of music, and there were tons of different genres and styles that were going on at this time. Obviously it would be difficult to name even a single characteristic that was represented in every ’80s style. And yet there’s something that persists in the collective memory of people today that can be called an ’80s sound.

How do we make something sound ’80s?

Continue reading “’80s-inspired music”