Loving the old hymns and encouraging respect for great music, I incorporated two classy hymns within the worship today, O God Our Help in Ages Past and Crown Him with Many Crowns. Both of these hymns have withstood the test of time and are highly regarded for their quality, their ageless texts, and their musical depth. Plus, I cannot help but mention my own respect and preference for these great hymns. Obviously my opinion is simply my own but is partly based on years of experience and training in high musical art.
Thinking I had found the recipe for the "blended" idea of worship, I surrounded these wonderful hymns with a few modern praise and worship choruses. And the congregation joined in, young and old, singing and praising the Lord. That is until we started the hymns, and suddenly the energy, the singing, the excitement disappeared. Gone. Very few people singing and nobody engaged in the process. Became distraught since I love those hymns. But I must ask the question, Why?
Are hymns old hat? Dinosaurs in an age of pop music? Anachronisms that have some kind of historical significance but little application in today's world? What has gone wrong? Can anything be done about this or should anything be done? Perhaps hymns have had their heyday and that day is gone. Not sure, and I certainly do not have the answers. What follows is conjecture.
Initially I would like to blame the lack of a powerful pipe organ for the problem. A pipe organ can lead a hymn, providing variety of voicing and sound on each stanza that allow for robust, expressive singing from congregants. In an acoustically sound environment, a pipe organ is the grandest of all instruments, bestowing comfort and excitement to anyone listening or singing. While I have mentioned before, and still stand by my assertion, that modern worship is governed at least to an extent by the architecture of the modern church, there remains, regardless of the acoustical properties or lack thereof, validity and power for an organ to lead out on hymns, imparting a high level of musical energy for proper hymn singing. Yet, this argument does not tell the whole story of the perceived problem of poor hymn singing.
I also would like to blame an ironic lack of familiarity on the poor singing. Maybe music ministers, committees, have shied away from singing the great hymns due to their complexity or label of being "high church." The less a particular hymn is sung, the less successful it will be upon its reintroduction. This is human nature in music and is true for hymns and choruses. Crown Him with Many Crowns may indeed be a great hymn but if people have rarely if ever heard it, then it stands to reason people will not sing it well. Point well taken. But in an odd "market" sense, this argument is rather weak. If demand for the so-called "great" hymn were high, would not people want to sing it? If time and value determine great art, then Crown Him ought to, by market rights, be sung with gusto in all churches.
This is not to say that great hymns are solely determined by their popularity, but it would be anathema to ignore popular inclusion of music. An individual can claim the Corvair was an outstanding vehicle, but time and public perception have stated it was not. The same could be true with music, at least to some extent, unless one is comfortable providing leadership to a small niche of people. In that case, a church would need to divide in groups, finding the ones who respond well to Crown Him with Many Crowns. Of course that never happens in our churches...or does it?
But the main problem, if it is a problem, or maybe it is simply a reality, is that congregants are seeking after a different mode of emotional expression in their music preference. Not all people necessarily, for I personally know of many who are comfortable in an entirely hymn-based high church approach, but certainly most, particularly protestants in the evangelical tradition. The world in terms of society and culture has simply progressed and this progress includes music. Rather than culture refining itself in a traditional, embracing of past musical expression mode, society has progressed to desiring a more popular sound, even in our churches.
If this is true, and it seems to be, then part of my responsibility as a music minister is to find music or create experiences using current and past music that will elicit some kind of congregational response--preferably singing to God's Glory. The mistake may not have been in doing two classic hymns, but it could have been not keeping them in the forefront of the experience plus trying to sing them in an older model. Time to reconsider.
But please do not take away the great classical hymns! Change them, add to them, recreate them, but let's keep them active.
Sunday, May 01, 2011
Joel at McDonalds
I enjoy taking Joel to McDonalds for breakfast and then running errands with him, but there are several challenges that accompany the experience. In the truck, Joel insists on listening to the Symphony station and really does not like any other kind of music. I have worked hard to teach him to accept other kinds of music, but mostly he just tolerates it, frustrated until we return to the Symphony station. I think he enjoys "picking" out the various kinds of instruments being played. He does not like the sounds of a trap set or an electric guitar. Related to this idea of the Symphony station is his hope to hear music composed by an Italian. When he does, that sets of a series off "Italian" discussions about food, composers, and "when are we going to Italy, Dad?"
When we get in the truck, he immediately puts the climate control on 70 degrees on his side and 74 on my side. Not sure why. He then begins counting the number of places and runs through them for me later in the day. "Dad, we went to 8 places--convenient store, McDonalds, bank, grocery store, AT&T store, laundromat, grocery store, and Home Depot." Joel tends to number things in his mind that fit broad categories. He does this with food, steps, movies, and various kinds of events.
Arriving at McDonalds, I order the same thing as always for him: hotcakes and sausage with a medium Mocha Frappe. We then sit down with our food and I cut up the hotcakes and sausage and pour syrup on everything. He then stares at me until I remember to go back and ask for a spoon. He insists on eating the Frappe with a spoon and to do so before eating the hotcakes and sausage. Once he gets a spoon, it all happens quickly until the Frappe followed by the food is completely gone. Happy, we head back to the truck for the errands, listening to Symphonies, talking about Italian music, and me explaining why we can't live in Italy next year.
We have learned to accept Joel for who he is and to enjoy his quirks at least to an extent. Sometimes they are frustrating and are always rather confusing and mysterious, but they also remind us that Joel is not wired like most people. He looks at life differently and has his own kind of ordering system. He struggles with time and space and has very little concept of the passing of time or why we cannot simply move to Italy. In his world, his goals tend to be immediate and are based primarily on his own narrow preferences. Generally unaware of his surroundings, he requires a great deal of routine and security. At the same time, he loves seeing friends and will often be the one "working the crowd" everywhere we go. The "Sunny Sparkle" smile continues to work magic in social settings. People may not understand the quirks and odd preferences, but they do understand the smile!
When we get in the truck, he immediately puts the climate control on 70 degrees on his side and 74 on my side. Not sure why. He then begins counting the number of places and runs through them for me later in the day. "Dad, we went to 8 places--convenient store, McDonalds, bank, grocery store, AT&T store, laundromat, grocery store, and Home Depot." Joel tends to number things in his mind that fit broad categories. He does this with food, steps, movies, and various kinds of events.
Arriving at McDonalds, I order the same thing as always for him: hotcakes and sausage with a medium Mocha Frappe. We then sit down with our food and I cut up the hotcakes and sausage and pour syrup on everything. He then stares at me until I remember to go back and ask for a spoon. He insists on eating the Frappe with a spoon and to do so before eating the hotcakes and sausage. Once he gets a spoon, it all happens quickly until the Frappe followed by the food is completely gone. Happy, we head back to the truck for the errands, listening to Symphonies, talking about Italian music, and me explaining why we can't live in Italy next year.
We have learned to accept Joel for who he is and to enjoy his quirks at least to an extent. Sometimes they are frustrating and are always rather confusing and mysterious, but they also remind us that Joel is not wired like most people. He looks at life differently and has his own kind of ordering system. He struggles with time and space and has very little concept of the passing of time or why we cannot simply move to Italy. In his world, his goals tend to be immediate and are based primarily on his own narrow preferences. Generally unaware of his surroundings, he requires a great deal of routine and security. At the same time, he loves seeing friends and will often be the one "working the crowd" everywhere we go. The "Sunny Sparkle" smile continues to work magic in social settings. People may not understand the quirks and odd preferences, but they do understand the smile!
Thursday, April 28, 2011
Music Boy
Last Sunday morning, Easter Sunday, the preacher who is an elderly gentleman with a long career in evangelism, stepped up to the pulpit to give the morning announcements. In an effort to compliment me for our opening hymn, he forgot my name and called me the "music boy!" Somewhat incensed, I was tempted to respond back to the "preacher boy," but I wisely held my tongue and went on with the service. Of course the service was not about my bruised ego nor was it about my embarrassment nor was the service about what people were thinking. The service was about Jesus Christ and the events of the Resurrection.
Later the preacher apologized to me for his statement, which meant no harm, and explained that in his casual country background, he tended to called everybody a "boy." And in thinking about it more, I realize I have heard people refer to each other as "old boy" many times. So I suppose music boy makes a little bit of sense in some ways. All is forgiven and I am over it.
I have always resisted being labeled a "music person" or a "music" expert or even a musician in that it makes me feel rather limited and narrow, which could be true in some ways but certainly not in others. In fact I resist labels (I sound exactly like my father!) and would prefer to go another direction than be labeled a certain type of person. Truthfully, a complete musician is also knowledgable in poetry, literature, theater, art, sports, math, science, education, computers, and often business. In today's world, one cannot be a musician without having some kind of knowledge in other disciplines. Not to mention the need to be sensitive, emotional, bold, communicative, profound, confident, compassionate, and healthy. Being a music boy is to synthesize knowledge and perception, melding skill with experience, embracing humanity, and communicating emotions to the world. To be a musician is to be more than a musician, applying depth of thought and intrinsic expression to extrinsic practice.
I like being a musician but I want to be known as more than a musician. Yet because of the abstract qualities associated with music, because music is inherently mysterious in many ways, because music is powerfully emotional, musicians tend to be placed myopically into small compartments. Bursting out of my compartment is easy since for me it never was a compartment. For others to see me as greater than my compartment is difficult, but worth the effort.
We tend to become or at least attempt to be whatever others project for us. Which is one reason I enjoy a moment to project success to my students by calling them "famous" or "skilled" or "wealthy" or "educated." In my case, I suppose I am the music boy, but I sure hope one day to grow up and simply be a man!
Later the preacher apologized to me for his statement, which meant no harm, and explained that in his casual country background, he tended to called everybody a "boy." And in thinking about it more, I realize I have heard people refer to each other as "old boy" many times. So I suppose music boy makes a little bit of sense in some ways. All is forgiven and I am over it.
I have always resisted being labeled a "music person" or a "music" expert or even a musician in that it makes me feel rather limited and narrow, which could be true in some ways but certainly not in others. In fact I resist labels (I sound exactly like my father!) and would prefer to go another direction than be labeled a certain type of person. Truthfully, a complete musician is also knowledgable in poetry, literature, theater, art, sports, math, science, education, computers, and often business. In today's world, one cannot be a musician without having some kind of knowledge in other disciplines. Not to mention the need to be sensitive, emotional, bold, communicative, profound, confident, compassionate, and healthy. Being a music boy is to synthesize knowledge and perception, melding skill with experience, embracing humanity, and communicating emotions to the world. To be a musician is to be more than a musician, applying depth of thought and intrinsic expression to extrinsic practice.
I like being a musician but I want to be known as more than a musician. Yet because of the abstract qualities associated with music, because music is inherently mysterious in many ways, because music is powerfully emotional, musicians tend to be placed myopically into small compartments. Bursting out of my compartment is easy since for me it never was a compartment. For others to see me as greater than my compartment is difficult, but worth the effort.
We tend to become or at least attempt to be whatever others project for us. Which is one reason I enjoy a moment to project success to my students by calling them "famous" or "skilled" or "wealthy" or "educated." In my case, I suppose I am the music boy, but I sure hope one day to grow up and simply be a man!
Sunday, April 24, 2011
Raccoons, skunks, birds
We used to feed our cat (we used to have lots of cats but they dissipated into the unknown, perhaps finding better fare elsewhere or succumbing to the ecological world of the outdoors) at night, but the raccoons and skunks sent messages out and took over the cat food. Of course our cat just stands there staring as her food disappears. When I open the door to get rid of the animals, the raccoons run away but the skunks just stare at me, daring me to come outside.
But who is going to walk outside to confront a skunk? Not I, said the wise one. The raccoons eventually make their way back to the food which is pretty well gone. So now we feed the cat in the morning and laugh uproariously when the night creatures come looking for food. No food for them anymore!
Meanwhile during the day, the birds love our back porch. They love the fan, the bricks, the bushes nearby, the grill, and the eaves. We do not permit nests on the porch or on the columns, but for some reason the birds do not follow the Tucker policies of the house. And of course when I went to get rid of the nests, there were eggs. My soft-hearted nature decided to wait until later. This means the birds are near to taking over. But we will stop them and we will win. No birds at our house.
But I must say that I like birds quite a bit. I love the sounds they make, the chirping, twittering, crowing, really all of it. I am completely in awe over the sounds of birds and nature and believe the sounds to be the finest of all music in the world. Intriguing are the multitude of sounds offered by birds that include low tones, high tones, repetition, intensity, and all manner of emotion. Yes, I realize that birds are simply being birds and not responding emotionally to anything in particular, but I do enjoy ascribing human musical terms to nature. I prefer the sounds of morning birds over the evening and I prefer sounds of many species of birds over singular species. But preference aside, it is all rather fascinating, satisfying, and immensely musical.
Another glorious natural sound (and we have heard a lot of it lately) is wind. Wind creates vibration in the trees, grass, and even the atmosphere. Since sound comes from vibration, we hear lots of it during the wind. The musical sounds alter with speed and yes with a little imagination to create a wonderful symphony of natural sounds in the world.
If you ever need a break from the proliferation of electronic music you hear on the radio, cds, television, movies, ipods, itunes, and everything else, then take a few minutes to experience the natural musical world. Pretty amazing and at times preferred!
But who is going to walk outside to confront a skunk? Not I, said the wise one. The raccoons eventually make their way back to the food which is pretty well gone. So now we feed the cat in the morning and laugh uproariously when the night creatures come looking for food. No food for them anymore!
Meanwhile during the day, the birds love our back porch. They love the fan, the bricks, the bushes nearby, the grill, and the eaves. We do not permit nests on the porch or on the columns, but for some reason the birds do not follow the Tucker policies of the house. And of course when I went to get rid of the nests, there were eggs. My soft-hearted nature decided to wait until later. This means the birds are near to taking over. But we will stop them and we will win. No birds at our house.
But I must say that I like birds quite a bit. I love the sounds they make, the chirping, twittering, crowing, really all of it. I am completely in awe over the sounds of birds and nature and believe the sounds to be the finest of all music in the world. Intriguing are the multitude of sounds offered by birds that include low tones, high tones, repetition, intensity, and all manner of emotion. Yes, I realize that birds are simply being birds and not responding emotionally to anything in particular, but I do enjoy ascribing human musical terms to nature. I prefer the sounds of morning birds over the evening and I prefer sounds of many species of birds over singular species. But preference aside, it is all rather fascinating, satisfying, and immensely musical.
Another glorious natural sound (and we have heard a lot of it lately) is wind. Wind creates vibration in the trees, grass, and even the atmosphere. Since sound comes from vibration, we hear lots of it during the wind. The musical sounds alter with speed and yes with a little imagination to create a wonderful symphony of natural sounds in the world.
If you ever need a break from the proliferation of electronic music you hear on the radio, cds, television, movies, ipods, itunes, and everything else, then take a few minutes to experience the natural musical world. Pretty amazing and at times preferred!
Friday, April 22, 2011
Just a few thoughts...
Today is Good Friday, but really it is the Friday we acknowledge as the day Christ was crucified. As a faithful believer, the idea that Christ was crucified is a stunning reality of the Christian faith. A man was killed for being the son of God and then subsequently arose demonstrating the ultimate salvation. What a magnificent gift He gave to us in the form of his son who lived, died, and was resurrected.
But even for those who are not believers and cannot seem to grasp the events of Christendom, it should be abhorrent to imagine anyone being crucified. For men to cause another man to suffer deliberately is among the most barbaric of actions and completely antithetical to the concept of love of humanity or refinement of culture.
We drove to Abilene to look at a computer, get some dinner, and take care of a couple of things. Nice little trip but I missed a performance of the Requiem by John Rutter. I have played it twice and sung it once. Very nice music. Rutter is an idiomatic composer for voices who has branched into children's music, folk music, and instrumental music. Will his music stand the test of time? Not sure, probably not, but for now is great stuff. Very singable, catchy, well-crafted but at times a little predictable and simplistic. Still...as I have mentioned before who am I to criticize a composer of Rutter's stature and fame?
Moths are irritating us. They seem to multiply fast and have no purpose. They flit around bumping into things and then die. We get rid of them but more show up. What is the deal with the moths this year? Has the dry weather contributed to their invasion of our lives? Down with moths. I'm sure they have some purpose but I cannot figure it out. Knowing me, this will bother me until I do some research as to the ecological reason for the moth's existence.
Going to finish another book today I suspect. It is Bound for the Promised Land by Richard Marius. What a great writer. Engaging stories, rich human insights, beautiful descriptions of the land, accurate portrayal of fear, and sentences that flow like liquid gold through the pages. This book is a journey book, the people travel across the country in a couple of wagons to head to California. This is the fourth novel of his I have read. He also wrote a wonderful biography of Martin Luther and another one of Thomas More. After I finish this one, I am likely going to head back to TR for another biography. My collection of TR books is impressive and I have plenty to read!
Considering running a 5k. But am wondering if I am up to that. I can do a couple of miles but am huffing and puffing quite a bit by the end. I probably am going faster than I am ready to do. Don't really like running but with my hurting shoulder, I need to do something to stay in shape. Still, I do like the outdoors and running is a liberating and naturally intoxicating endeavor.
Might go see Water for Elephants today. Enjoyed the book and will probably enjoy the movie. All about the circus. More than that, it serves as a reminder that occasionally we need to clean up the mess in order to make things smoother for others and ourselves. Also the book has an altruistic message to look out for the weak. Hopefully the movie will bring some of these things out. We'll see.
But even for those who are not believers and cannot seem to grasp the events of Christendom, it should be abhorrent to imagine anyone being crucified. For men to cause another man to suffer deliberately is among the most barbaric of actions and completely antithetical to the concept of love of humanity or refinement of culture.
We drove to Abilene to look at a computer, get some dinner, and take care of a couple of things. Nice little trip but I missed a performance of the Requiem by John Rutter. I have played it twice and sung it once. Very nice music. Rutter is an idiomatic composer for voices who has branched into children's music, folk music, and instrumental music. Will his music stand the test of time? Not sure, probably not, but for now is great stuff. Very singable, catchy, well-crafted but at times a little predictable and simplistic. Still...as I have mentioned before who am I to criticize a composer of Rutter's stature and fame?
Moths are irritating us. They seem to multiply fast and have no purpose. They flit around bumping into things and then die. We get rid of them but more show up. What is the deal with the moths this year? Has the dry weather contributed to their invasion of our lives? Down with moths. I'm sure they have some purpose but I cannot figure it out. Knowing me, this will bother me until I do some research as to the ecological reason for the moth's existence.
Going to finish another book today I suspect. It is Bound for the Promised Land by Richard Marius. What a great writer. Engaging stories, rich human insights, beautiful descriptions of the land, accurate portrayal of fear, and sentences that flow like liquid gold through the pages. This book is a journey book, the people travel across the country in a couple of wagons to head to California. This is the fourth novel of his I have read. He also wrote a wonderful biography of Martin Luther and another one of Thomas More. After I finish this one, I am likely going to head back to TR for another biography. My collection of TR books is impressive and I have plenty to read!
Considering running a 5k. But am wondering if I am up to that. I can do a couple of miles but am huffing and puffing quite a bit by the end. I probably am going faster than I am ready to do. Don't really like running but with my hurting shoulder, I need to do something to stay in shape. Still, I do like the outdoors and running is a liberating and naturally intoxicating endeavor.
Might go see Water for Elephants today. Enjoyed the book and will probably enjoy the movie. All about the circus. More than that, it serves as a reminder that occasionally we need to clean up the mess in order to make things smoother for others and ourselves. Also the book has an altruistic message to look out for the weak. Hopefully the movie will bring some of these things out. We'll see.
Tuesday, April 19, 2011
Careers in Music--Beyond the Classical
http://www.careersinmusic.com/
Looking at the link above and studying the 100+ jobs in music, it occurs to me that in academia, based on our curriculum, we are preparing students for approximately 11 of the positions listed. Before going further with this idea, let's take a step back for a minute to discuss academia as vocational training. I am not supportive of this concept, embracing a broader reason for a college degree as something necessary for quality of life, thinking skills, decision making ability, adaptability, and entrepreneurship. We are not, nor should we be in the business of vocational training, teaching skills that are functional for the work place immediately upon graduation. This defeats the totality of the educational process.
But the other extreme defies logic as well. Educating students for something that is narrowly focused with limited possibilities becomes irresponsible. To remove our process from the pragmatic need to make a living is to create a world that has no purpose or place for anyone. In that respect, the truth lies somewhere in the middle. We are to help our students achieve success in their discipline that will allow them the greatest possible options for careers. We are to hand them tools they can use in the discipline of music that can be applied comprehensively to any number of careers in music.
As I look at this remarkable list of professions in music, I begin to question the traditional training ground that has been established as the curriculum in music in universities. Are we truly preparing students for the complexity of the musical world that awaits them upon graduation?
Obviously it is impossible and not even wise to try to be all things to all people. At some point, a college curriculum must narrow its focus to try to prepare students for particular positions and upwardly mobile opportunities. This idea requires the identification of those professions deemed appropriate for collegiate study. A closer look at the list shows us some areas that either do not require advanced study or whose content is not rich enough to warrant a college degree.
In addition, there are several areas of specialization which demand a particularly substantive program and credentialed specialists in the field. The most obvious is a career in music therapy which involves music, psychology, special education, and social work. Much of the careers in marketing and web design require training in advertising, design, and communication, all of which are demanding disciplines outside of music. They may need some degree of music training and understanding but quickly move outside the regime of the musical mosaic.
Not all of the careers are within the scope of a small liberal arts institution, this much is certain. But perhaps there is way to encompass more than the usual 11 identified earlier. If we in academia are targeting our professions to cut into a sliver of the world of music under the auspices that the "classical" training and cognition imparted and subsequently received provides foundational informational applicable to all areas of music, then there is little doubt as to the efficacy of the academic program. But if, however, that idea does not hold up in light of the myriad opportunities in music, most of which do not have much to do with a stronghold built on classical music, then it stands to reason the training, the skills, the information received, does not have comprehensive application.
This therefore implies that colleges and universities who are steeped in a classically based model in music may need to reach beyond the traditional scope to encompass a broad-based professional world that touches, maybe not all, but certainly more, possibilities in the music profession than previously delivered. Down with a laborious and ancient rite of passage, we need to create a world that allows for industry, initiative, and entrepreneurship to find fruition for the musicians of the future.
Rather than this being debilitating to our programs in music, in fact it may be liberating in many ways. We in academia often feel constricted to a form and style that while meaningful in most ways is also oddly restrictive to the masses. Having an opportunity to teach music that garners acclaim from a wide audience may be a battery charge to the cause of music and higher education. We just need to be willing to take a risk.
Looking at the link above and studying the 100+ jobs in music, it occurs to me that in academia, based on our curriculum, we are preparing students for approximately 11 of the positions listed. Before going further with this idea, let's take a step back for a minute to discuss academia as vocational training. I am not supportive of this concept, embracing a broader reason for a college degree as something necessary for quality of life, thinking skills, decision making ability, adaptability, and entrepreneurship. We are not, nor should we be in the business of vocational training, teaching skills that are functional for the work place immediately upon graduation. This defeats the totality of the educational process.
But the other extreme defies logic as well. Educating students for something that is narrowly focused with limited possibilities becomes irresponsible. To remove our process from the pragmatic need to make a living is to create a world that has no purpose or place for anyone. In that respect, the truth lies somewhere in the middle. We are to help our students achieve success in their discipline that will allow them the greatest possible options for careers. We are to hand them tools they can use in the discipline of music that can be applied comprehensively to any number of careers in music.
As I look at this remarkable list of professions in music, I begin to question the traditional training ground that has been established as the curriculum in music in universities. Are we truly preparing students for the complexity of the musical world that awaits them upon graduation?
Obviously it is impossible and not even wise to try to be all things to all people. At some point, a college curriculum must narrow its focus to try to prepare students for particular positions and upwardly mobile opportunities. This idea requires the identification of those professions deemed appropriate for collegiate study. A closer look at the list shows us some areas that either do not require advanced study or whose content is not rich enough to warrant a college degree.
In addition, there are several areas of specialization which demand a particularly substantive program and credentialed specialists in the field. The most obvious is a career in music therapy which involves music, psychology, special education, and social work. Much of the careers in marketing and web design require training in advertising, design, and communication, all of which are demanding disciplines outside of music. They may need some degree of music training and understanding but quickly move outside the regime of the musical mosaic.
Not all of the careers are within the scope of a small liberal arts institution, this much is certain. But perhaps there is way to encompass more than the usual 11 identified earlier. If we in academia are targeting our professions to cut into a sliver of the world of music under the auspices that the "classical" training and cognition imparted and subsequently received provides foundational informational applicable to all areas of music, then there is little doubt as to the efficacy of the academic program. But if, however, that idea does not hold up in light of the myriad opportunities in music, most of which do not have much to do with a stronghold built on classical music, then it stands to reason the training, the skills, the information received, does not have comprehensive application.
This therefore implies that colleges and universities who are steeped in a classically based model in music may need to reach beyond the traditional scope to encompass a broad-based professional world that touches, maybe not all, but certainly more, possibilities in the music profession than previously delivered. Down with a laborious and ancient rite of passage, we need to create a world that allows for industry, initiative, and entrepreneurship to find fruition for the musicians of the future.
Rather than this being debilitating to our programs in music, in fact it may be liberating in many ways. We in academia often feel constricted to a form and style that while meaningful in most ways is also oddly restrictive to the masses. Having an opportunity to teach music that garners acclaim from a wide audience may be a battery charge to the cause of music and higher education. We just need to be willing to take a risk.
Reinventing music curriculum
The previous posts have primarily leveled an attack on music curriculum and its traditional prescription of theory, history, applied, ensembles, and technical courses all aimed to create a classical musician. But if the world no longer has interest in classical performance, what is a musician to do? Where are the positions in music and how should a university respond to the changes?
There is a temptation in the study of history, to increase the knowledge base to match the additional years as well as any current research. We may learn some new details about George Washington that need sharing or we may need to spend quite a bit of time discussing the current problems in the Middle East. Yet universities cannot keep adding history courses to match the growing knowledge. This means that professors have to make discerning judgments on the necessary information that is essential for students to receive a balanced and well-rounded liberal arts education. Affecting the teaching of history is the encyclopedia of information that is now found with a click or two on a computer or a cell phone. How necessary is it to teach broad general concepts of the causes of the civil war, when that information can be acquired instantly?
Why impart information that is readily available with a click and look? College professors at one time felt the responsibility to teach facts of the discipline, facts that were integral to the success of the student for the future. But the rules are changing with each passing hour as it becomes more apparent that learning the facts has no gain if all the information is there for everyone to see and experience. In that respect then, there is no reason for a college professor or even a college education. Time to close up shop!
Yet education is more than learning information and regurgitating it for a test. Education is the process of moving from the known to the unknown and acquiring the ability to process information that allows for quality judgment, critical thinking, and correct decisions. These are traits that cannot be delivered by the internet. These characteristics are developed over time and through the broad study of several disciplines, applying the knowledge in a collective package that allows for further development. Thus it takes several years of learning and maturity to actualize the potential and utilize the skills acquired. For example, the causes of the civil war are evident but not so obvious is how to avoid the same mistakes in the future, mistakes that resulted in pain and suffering for millions. What does it mean to have states rights and at what point does that concept interfere with the collective good of the centralized government? We ended slavery with the Civil War but can slavery be manifested in many other ways such as poverty, ignorance, fear? These are the kinds of questions that a college education seeks to resolve. In college work we learn the reasons, the results, the influences, the developments, and we begin to apply principles for the future.
Returning now to the music curriculum. We must broaden our scope and our purpose not just to meet the changing market demands but to be able to make informed decisions for the future. I am not advocating a moving away from a performance base but I am recommending varied performances. I am not suggesting a music curriculum devoid of music theory but I am suggesting a theory that encompasses vast styles of music. I am not a proponent of all that is past should be forgotten but I am pushing for a broader, comprehensive look at music history that goes beyond the facts and deals with developments, influences, reasons, and possible future experiences. A type of holistic music history sequence integral to the total musician regardless of what musical profession is desired. A program of study applicable to every student in music.
It is difficult to imagine a curriculum that fits all students and with the varying types of music professions available, it is nearly beyond the scope of an undergraduate degree to prepare completely music students for a career in music. Yet that is in fact what I advocate--a broad-based curriculum that is somehow comprehensive, specific, and general. A curriculum for the music "everyman," the student who can use the information, the skills, the knowledge, and with ingenuity, initiative, and industry meets the musical world of today head-on and ready.
We now seek to devise such a concept.
There is a temptation in the study of history, to increase the knowledge base to match the additional years as well as any current research. We may learn some new details about George Washington that need sharing or we may need to spend quite a bit of time discussing the current problems in the Middle East. Yet universities cannot keep adding history courses to match the growing knowledge. This means that professors have to make discerning judgments on the necessary information that is essential for students to receive a balanced and well-rounded liberal arts education. Affecting the teaching of history is the encyclopedia of information that is now found with a click or two on a computer or a cell phone. How necessary is it to teach broad general concepts of the causes of the civil war, when that information can be acquired instantly?
Why impart information that is readily available with a click and look? College professors at one time felt the responsibility to teach facts of the discipline, facts that were integral to the success of the student for the future. But the rules are changing with each passing hour as it becomes more apparent that learning the facts has no gain if all the information is there for everyone to see and experience. In that respect then, there is no reason for a college professor or even a college education. Time to close up shop!
Yet education is more than learning information and regurgitating it for a test. Education is the process of moving from the known to the unknown and acquiring the ability to process information that allows for quality judgment, critical thinking, and correct decisions. These are traits that cannot be delivered by the internet. These characteristics are developed over time and through the broad study of several disciplines, applying the knowledge in a collective package that allows for further development. Thus it takes several years of learning and maturity to actualize the potential and utilize the skills acquired. For example, the causes of the civil war are evident but not so obvious is how to avoid the same mistakes in the future, mistakes that resulted in pain and suffering for millions. What does it mean to have states rights and at what point does that concept interfere with the collective good of the centralized government? We ended slavery with the Civil War but can slavery be manifested in many other ways such as poverty, ignorance, fear? These are the kinds of questions that a college education seeks to resolve. In college work we learn the reasons, the results, the influences, the developments, and we begin to apply principles for the future.
Returning now to the music curriculum. We must broaden our scope and our purpose not just to meet the changing market demands but to be able to make informed decisions for the future. I am not advocating a moving away from a performance base but I am recommending varied performances. I am not suggesting a music curriculum devoid of music theory but I am suggesting a theory that encompasses vast styles of music. I am not a proponent of all that is past should be forgotten but I am pushing for a broader, comprehensive look at music history that goes beyond the facts and deals with developments, influences, reasons, and possible future experiences. A type of holistic music history sequence integral to the total musician regardless of what musical profession is desired. A program of study applicable to every student in music.
It is difficult to imagine a curriculum that fits all students and with the varying types of music professions available, it is nearly beyond the scope of an undergraduate degree to prepare completely music students for a career in music. Yet that is in fact what I advocate--a broad-based curriculum that is somehow comprehensive, specific, and general. A curriculum for the music "everyman," the student who can use the information, the skills, the knowledge, and with ingenuity, initiative, and industry meets the musical world of today head-on and ready.
We now seek to devise such a concept.
Sunday, April 17, 2011
Justifying the Music Curriculum
Previous blogs against the traditional music curriculum stand as stated. We need to make serious changes and we need to do so immediately. Reasons stated are based on market demand and the rapidly declining interest in classical music. To continue to teach our students in the same way we did 40 years ago is to promote that which has little to no place in modern culture.
Yet there are some reasons for maintaining at least some of what we do. It is true that knowledge and skills in music develop the "whole" person and emphasizes both right brain and left brain activities. The cognition of music allows for greater mathematical understanding, historical framework, and a form of another language. All these and more are integral to the educational process and help students understand not just themselves but other subjects as well. Music is a subject that encompasses so much education and provides a necessary balance to the objective cognition of much of academia today.
Teaching students to sing or play well is to encourage them to reach their full potential as humans. The discipline required for musical success is applicable to any field. Employers are often looking for students who have paid the price for excellence and have achieved a high level of success in some area. It is remarkable how many politicians, doctors, actors, lawyers, and bankers are musical. They diligently applied themselves to excellence and achieved musical skills that propelled them to the kind of rigorous discipline that is required for all professions. The time and effort spent to be musical paid and continues to pay compound dividends in all walks of life.
Sometimes we do things in an excellent way regardless of who is present to share in our excellence. We choose to be the best we can be partly out of our own self-respect and desire to attain the highest level we can accomplish. Our audience may be small, minimal, or apathetic toward our accomplishment, but we act on our own desires rather than external rewards of applause or affirmation. Musicians must teach themselves to reach for the intrinsic, those emotional experiences that strengthen the inner self, the psyche, the soul. All of these and more make music one of the greatest, most rewarding experiences a human can have, and they all require relentless effort to achieve a high level of music making.
As I have written in the past, music is a human need that cannot be extracted from our culture. It is here to stay. People want it, people need it, society craves it, and it is everywhere. Audience or not, music is a ubiquitous event in our lives.
But none of this solves the problem of what are the necessary skills, the processes, the developments that are necessary for students to learn in music for today's and tomorrow's world. Does the training require music theory? Yes, most definitely. Does it require Music History? Sure. Does it require applied lessons and ensemble experiences? Yes. Will it require knowledge in all music styles, technology profiency, composition, improvisation, music business? Most likely. It is time to broaden our curriculum and provide student choice in what to pursue in music, giving them the fundamental tools that will catapult them to new careers and creative ways to approach music. Time to reinvent the music curriculum for the world of tomorrow (which, frighteningly enough, may in fact be the world of today!).
Yet there are some reasons for maintaining at least some of what we do. It is true that knowledge and skills in music develop the "whole" person and emphasizes both right brain and left brain activities. The cognition of music allows for greater mathematical understanding, historical framework, and a form of another language. All these and more are integral to the educational process and help students understand not just themselves but other subjects as well. Music is a subject that encompasses so much education and provides a necessary balance to the objective cognition of much of academia today.
Teaching students to sing or play well is to encourage them to reach their full potential as humans. The discipline required for musical success is applicable to any field. Employers are often looking for students who have paid the price for excellence and have achieved a high level of success in some area. It is remarkable how many politicians, doctors, actors, lawyers, and bankers are musical. They diligently applied themselves to excellence and achieved musical skills that propelled them to the kind of rigorous discipline that is required for all professions. The time and effort spent to be musical paid and continues to pay compound dividends in all walks of life.
Sometimes we do things in an excellent way regardless of who is present to share in our excellence. We choose to be the best we can be partly out of our own self-respect and desire to attain the highest level we can accomplish. Our audience may be small, minimal, or apathetic toward our accomplishment, but we act on our own desires rather than external rewards of applause or affirmation. Musicians must teach themselves to reach for the intrinsic, those emotional experiences that strengthen the inner self, the psyche, the soul. All of these and more make music one of the greatest, most rewarding experiences a human can have, and they all require relentless effort to achieve a high level of music making.
As I have written in the past, music is a human need that cannot be extracted from our culture. It is here to stay. People want it, people need it, society craves it, and it is everywhere. Audience or not, music is a ubiquitous event in our lives.
But none of this solves the problem of what are the necessary skills, the processes, the developments that are necessary for students to learn in music for today's and tomorrow's world. Does the training require music theory? Yes, most definitely. Does it require Music History? Sure. Does it require applied lessons and ensemble experiences? Yes. Will it require knowledge in all music styles, technology profiency, composition, improvisation, music business? Most likely. It is time to broaden our curriculum and provide student choice in what to pursue in music, giving them the fundamental tools that will catapult them to new careers and creative ways to approach music. Time to reinvent the music curriculum for the world of tomorrow (which, frighteningly enough, may in fact be the world of today!).
Declining Audience, Declining Market
Reading through several articles about concert attendance, management is concerned about the declining audiences to all concerts. Rock concerts, jazz concerts, Christian artists, ensembles, symphony concerts, and musical events in general are down nearly 30% in attendance. Is this a trend or an anomaly? Why are athletic events so supported with over 50,000 attending a professional football game but auditoriums are rarely filled?
A performing musician works hard for years to develop skills, to achieve a high level, to communicate music to others, to offer his years of training and talent to the world. But what happens when the world is no longer interested? Where will those performers go? What will they do? Will they be found on youtube videos, recordings, mp3 files but not in the concert hall? If we look into the window of the future, it is starting to look dismal for performing musicians regardless of what they are bringing to the table.
As a classical musician, I accepted many years ago that I would have a limited but appreciative audience for my music. I recall working very hard for my Masters horn recital, only to have about 35 people in attendance. As a college teacher, most of my recitals were well-attended but I do not remember a full house. When I taught public school, every band concert was a guaranteed full house of parents, grandparents, friends, administration, and often other teachers. But when I returned to university teaching, once again the auditorium remained empty with the occasional 400+ audience for special events.
On the other side, I attended a Kansas concert last year with a packed house and a Stevie Wonder concert a few years ago where our seats seemed nearly a mile away. Knowing rock concerts will attract more people, it surprises me to read that even rock concerts are in decline. Perhaps it is the economy where people do not feel led to spend $50 or more for a ticket. Or maybe the proliferation of music on the web is interfering with the desire to attend live concerts. Or maybe people need more than just music for their experience. They may need a greater integration of the arts to include sound, media, theater, art, food, and social times.
Maybe the choices that are out there--go to a movie, go to a party, attend an athletic event, go to a play, go play golf, drink coffee with friends, go to the park, the mall, the museum, and the list continues--are so many that we are dividing our potential audience into small compartments. Or maybe the stresses of life make people prefer to stay home watching television or reading? I think the internet has brought every kind of music experience to everyone at a moments notice. There is no need to attend concerts other than to be supportive of the performer. This means parents will always attend but general appreciators have no need for the live experience.
It is a frightening thought to imagine an entirely digital world, a world with little need for live music. Thinking through this then, is it possible to create a music training world that is viable, educational, and necessary? Yes but it will take some creative thinking to reimagine a new musical world and how to approach that academically. The market for live performance may be in decline, but the market for music is at an all-time high. We simply need to fit into the changes.
A performing musician works hard for years to develop skills, to achieve a high level, to communicate music to others, to offer his years of training and talent to the world. But what happens when the world is no longer interested? Where will those performers go? What will they do? Will they be found on youtube videos, recordings, mp3 files but not in the concert hall? If we look into the window of the future, it is starting to look dismal for performing musicians regardless of what they are bringing to the table.
As a classical musician, I accepted many years ago that I would have a limited but appreciative audience for my music. I recall working very hard for my Masters horn recital, only to have about 35 people in attendance. As a college teacher, most of my recitals were well-attended but I do not remember a full house. When I taught public school, every band concert was a guaranteed full house of parents, grandparents, friends, administration, and often other teachers. But when I returned to university teaching, once again the auditorium remained empty with the occasional 400+ audience for special events.
On the other side, I attended a Kansas concert last year with a packed house and a Stevie Wonder concert a few years ago where our seats seemed nearly a mile away. Knowing rock concerts will attract more people, it surprises me to read that even rock concerts are in decline. Perhaps it is the economy where people do not feel led to spend $50 or more for a ticket. Or maybe the proliferation of music on the web is interfering with the desire to attend live concerts. Or maybe people need more than just music for their experience. They may need a greater integration of the arts to include sound, media, theater, art, food, and social times.
Maybe the choices that are out there--go to a movie, go to a party, attend an athletic event, go to a play, go play golf, drink coffee with friends, go to the park, the mall, the museum, and the list continues--are so many that we are dividing our potential audience into small compartments. Or maybe the stresses of life make people prefer to stay home watching television or reading? I think the internet has brought every kind of music experience to everyone at a moments notice. There is no need to attend concerts other than to be supportive of the performer. This means parents will always attend but general appreciators have no need for the live experience.
It is a frightening thought to imagine an entirely digital world, a world with little need for live music. Thinking through this then, is it possible to create a music training world that is viable, educational, and necessary? Yes but it will take some creative thinking to reimagine a new musical world and how to approach that academically. The market for live performance may be in decline, but the market for music is at an all-time high. We simply need to fit into the changes.
Saturday, April 16, 2011
Books and movies
It is Saturday night and I am wishing Rio Bravo starring John Wayne, Dean Martin, Ricky Nelson, and Walter Brennan were on the television. Fun western with entertaining songs, good story, comical balanced with serious moments, just a good old movie. I just came from the movie theater where I saw Hanna, a shoot-em-up movie about a little girl who is a trained assassin. She kills with the best of them and was trained in the cold forest by her father. Turns out she was genetically engineered and had no real father. The lady in charge of the initial project was mean and spent the movie chasing her to kill her. Lots of running, lots of fighting, lots of bad guys, very few good guys, and not much plot. Sweet little cute girl kills a bunch of people. Cool rock, techno-pop music accompanied the running and fighting.
Finished reading Water For Elephants. Great story and well-written. I read it as a Kindle download on my iPad. Big step for me as a lover of books and a collector of rare books. Once again, I let go of the past and forged ahead, forsaking my love of actual books in favor of the convenience of reading. Still it worked out okay. The fascinating plot of Water for Elephants surrounded the events of a traveling circus. Lots of endearing people and few that were not so charming, that's for sure. Ought to make a good movie.
Also finished The Lost City of Z, a non-fiction narrative following the famed explorer Percy Fawcett as he looks for the City of Z. Set in the Amazons, journalist David Grann attempts to unravel the mystery of the disappearance of Percy Fawcett by tracing his life and the events leading up to his vanishing. Good book with lots of history and information about tribes and nature in the Amazons.
Just read another article about ways a music conservatory is changing its degree offerings and programs for the future. We really need innovative thinking if we are going to survive the electic musical world in the future. It is a frightening and yes glorious time for musicians, as long as we recognize the changing world. We must hold on to the truths that make music so powerful but let go of the unnecesary but valued skills we so dearly love.
Thinking about church tomorrow. I was asked by someone I respect to use more hymns in the service. But a few weeks ago, I was asked to do more choruses by a committee. What a mess we have in our churches today. Fortunately I have the ability to lead music in any style preferred. Sadly enough, most churches do not know what is right nor what approach to take. With exceptions, the mature and giving group prefers a hymn-based service, whereas the less experienced but highly energetic group wants more contemporary choruses. Ironically, the mature group enjoys many of the older choruses and the other group is gravitating toward the hymns. There is no easy answer other than seeking the Lord's wisdom in all things.
Youngest son won a UIL event today and is headed to the State contest for creative writing. Meanwhile Joel acquired the Wheel of Fortune wii game and loves it. He would play all day if we let him. Oldest son is finishing up his Masters degree and about to do his defense of his thesis. Daughter-in-law continues to be successful in her job and is considering a career in administration someday. Family is happy which always makes Dad happy!
On the other hand, the air conditioner went out last week, the washing machine went out last week, wife's car needed a new battery, my truck needed a new headlight, Jordan's truck got a new transmission a few weeks ago, and today my tire got a screw in it and had to be repaired. Challenging financial requirements.
We are in a drought and lots of places are fighting fires. Yesterday, my All-State horn student lost her father in a tragic fire accident. He was a volunteer trying to help. He died bravely trying to help a community from being enveloped in a fire. Sad story for sure.
Finished reading Water For Elephants. Great story and well-written. I read it as a Kindle download on my iPad. Big step for me as a lover of books and a collector of rare books. Once again, I let go of the past and forged ahead, forsaking my love of actual books in favor of the convenience of reading. Still it worked out okay. The fascinating plot of Water for Elephants surrounded the events of a traveling circus. Lots of endearing people and few that were not so charming, that's for sure. Ought to make a good movie.
Also finished The Lost City of Z, a non-fiction narrative following the famed explorer Percy Fawcett as he looks for the City of Z. Set in the Amazons, journalist David Grann attempts to unravel the mystery of the disappearance of Percy Fawcett by tracing his life and the events leading up to his vanishing. Good book with lots of history and information about tribes and nature in the Amazons.
Just read another article about ways a music conservatory is changing its degree offerings and programs for the future. We really need innovative thinking if we are going to survive the electic musical world in the future. It is a frightening and yes glorious time for musicians, as long as we recognize the changing world. We must hold on to the truths that make music so powerful but let go of the unnecesary but valued skills we so dearly love.
Thinking about church tomorrow. I was asked by someone I respect to use more hymns in the service. But a few weeks ago, I was asked to do more choruses by a committee. What a mess we have in our churches today. Fortunately I have the ability to lead music in any style preferred. Sadly enough, most churches do not know what is right nor what approach to take. With exceptions, the mature and giving group prefers a hymn-based service, whereas the less experienced but highly energetic group wants more contemporary choruses. Ironically, the mature group enjoys many of the older choruses and the other group is gravitating toward the hymns. There is no easy answer other than seeking the Lord's wisdom in all things.
Youngest son won a UIL event today and is headed to the State contest for creative writing. Meanwhile Joel acquired the Wheel of Fortune wii game and loves it. He would play all day if we let him. Oldest son is finishing up his Masters degree and about to do his defense of his thesis. Daughter-in-law continues to be successful in her job and is considering a career in administration someday. Family is happy which always makes Dad happy!
On the other hand, the air conditioner went out last week, the washing machine went out last week, wife's car needed a new battery, my truck needed a new headlight, Jordan's truck got a new transmission a few weeks ago, and today my tire got a screw in it and had to be repaired. Challenging financial requirements.
We are in a drought and lots of places are fighting fires. Yesterday, my All-State horn student lost her father in a tragic fire accident. He was a volunteer trying to help. He died bravely trying to help a community from being enveloped in a fire. Sad story for sure.
Music Curriculum--pushing forward
Posturing that because classical music, at least as related to live performance, is dying, we in colleges and universities need to alter our educational approach to teaching young musicians. We are producing too many great performers who have almost no place to perform after they graduate from college. While it is comfortable to continue to teach the same things in the same way year after year, it is also irresponsible to produce a musician who cannot find employment in the field. The demand for live classical music is much smaller than the supply. This makes for an untenable economic position in classical music.
Ironically, classical music is loved by millions. A music appreciation teacher recently informed me that the favorite listening experience by his 70 students was the Beethoven Piano Concerto No. 5. I find people everyday who comment to me how much they like classical music (incidentally I am using this term to refer quite broadly to high art or cultured music. It is a poor term to use and is difficult to define, yet for my purposes, it will have to suffice.) and how enjoyable it is to hear in performance. They love Mozart or Brahms or Bach or great operas or the symphonies of Mahler or the tone poems of Strauss or a beautiful sounding choir. People quickly acknowedge the joy gained in hearing the classics at a wedding or a formal concert or in taking a few minutes to enjoy an orchestra on youtube play a piece that has withstood the test of time and is considered a classic. Classical music deserves its recognition as great art as exemplified by its longevity and ability to transcend time and space. Classical music is well-crafted, expressive, profound, emotionally satisfying, and requires great skill by performers.
But if classical music is loved by so many and acknowledged for its power and beauty, why is concert attendance and subsequently professional performance in decline? How do we deal with this in our universities? Should we work harder, battling the unknown forces, and insist that people once again support classical music? Or should we alter our philosophical approach to the arts?
If you the reader are seeking curriculum revolution, then please stop reading. I will not propose a radical revolutionary shift in what we do in academia. But I am proposing a broadening of our content and an acceptance of other means to accomplish the same goals--the education of students for today's eclectic world. We have for too long relied on a tried and true approach to teaching students music. Using a rigorous and prescriptive system of music theory, music history, applied music, ensembles, music classes, and various expansions of the aforementioned, we have molded the future musician. But now suddenly the future musician who looks great by the end, has no place in the world due to his myopic training.
Luckily, entreprenuership and self industry seem to propel students forward, resulting in musical success regardless of the initial personal goals. This means that graduates, recognizing the lack of professional opportunities due to declining audiences, will often furrow new ground, forging new opportunities to make a living in music. Many enter the world of music education where there is no lack of an audience. Parents always support their children! Or they may find themselves in the entertainment world where there is always a need for something new and exciting. Or they may go into music business or utilize music technology or for many who are called, they may be church employed, leading worship in church. Or they may recognize the mass appeal of music theatre and all that goes with that.
I do concede that for some, the professional world is ripe and there are certainly positions available for the finest performers. Opera companies, symphonies, universities, and military ensembles continue to support musicians and for the remarkable few, those opportunities are there. I further concede that we should do all we can to encourage excellence in all things musical. This includes music performance, music knowledge, and music creativitity. To do less is to accept mediocrity--a quality unacceptable at all times.
But a teacher has a tremendous responsibility to the student of the future. While we feel compelled to continue to advance the cause of classical music, at the same we must face reality: the future for classical music is found in old recordings not live performances. Yes, live performances will and should continue, and live performances are always (mostly always!) preferred to recordings. But in general, audiences seem content with recordings and are not supporting the live experience any longer at least not without some kind of special hook. What should that hook be? Orchestras continue to try different things--film music, video game music, media integration, dancing, popular music, rock music, audience participation, and lots of different thematic approaches to generating an audience. Pop artists as well are experimenting with including orchestras and choirs integrated with their popular music, in a kind of broad and eclectic blending of music styles.
Many of these approaches are working and orchestras that try different approaches are thriving. The players within these groups may not always be satisfied with the quality of literature or the depth of the musical experience, but at least they have an audience that appreciates their abilities. Keep an audience, keep your job! Or another way to express this: No audience, no job.
Back to curriculum. What are the essential skills, abilities, and knowledge required to ensure students will have a place in the musical world of the future? Are colleges and universities meeting the needs?
We can no longer pretend that the old world of classical music performances will return and be supported by the masses. That world is gone. But we can find new horizons, new hope, and new ways to bring quality music to the world, and we can as college professors teach our students what they need to know for the future. But we have to be willing to take the risk and take ourselves, at least to an extent, out of the equation.
No revolution is necessary, but change is essential. I am calling for a broad-based curriculum of music study, one that includes all styles and prepares students for the future. It is time to let go of the old and usher in the new. The new will include technology, media, pop music, integrated arts, entrepreneurship, and unbridled creativity. Can it be done? Yes, and it must be done. The time is nigh.
Ironically, classical music is loved by millions. A music appreciation teacher recently informed me that the favorite listening experience by his 70 students was the Beethoven Piano Concerto No. 5. I find people everyday who comment to me how much they like classical music (incidentally I am using this term to refer quite broadly to high art or cultured music. It is a poor term to use and is difficult to define, yet for my purposes, it will have to suffice.) and how enjoyable it is to hear in performance. They love Mozart or Brahms or Bach or great operas or the symphonies of Mahler or the tone poems of Strauss or a beautiful sounding choir. People quickly acknowedge the joy gained in hearing the classics at a wedding or a formal concert or in taking a few minutes to enjoy an orchestra on youtube play a piece that has withstood the test of time and is considered a classic. Classical music deserves its recognition as great art as exemplified by its longevity and ability to transcend time and space. Classical music is well-crafted, expressive, profound, emotionally satisfying, and requires great skill by performers.
But if classical music is loved by so many and acknowledged for its power and beauty, why is concert attendance and subsequently professional performance in decline? How do we deal with this in our universities? Should we work harder, battling the unknown forces, and insist that people once again support classical music? Or should we alter our philosophical approach to the arts?
If you the reader are seeking curriculum revolution, then please stop reading. I will not propose a radical revolutionary shift in what we do in academia. But I am proposing a broadening of our content and an acceptance of other means to accomplish the same goals--the education of students for today's eclectic world. We have for too long relied on a tried and true approach to teaching students music. Using a rigorous and prescriptive system of music theory, music history, applied music, ensembles, music classes, and various expansions of the aforementioned, we have molded the future musician. But now suddenly the future musician who looks great by the end, has no place in the world due to his myopic training.
Luckily, entreprenuership and self industry seem to propel students forward, resulting in musical success regardless of the initial personal goals. This means that graduates, recognizing the lack of professional opportunities due to declining audiences, will often furrow new ground, forging new opportunities to make a living in music. Many enter the world of music education where there is no lack of an audience. Parents always support their children! Or they may find themselves in the entertainment world where there is always a need for something new and exciting. Or they may go into music business or utilize music technology or for many who are called, they may be church employed, leading worship in church. Or they may recognize the mass appeal of music theatre and all that goes with that.
I do concede that for some, the professional world is ripe and there are certainly positions available for the finest performers. Opera companies, symphonies, universities, and military ensembles continue to support musicians and for the remarkable few, those opportunities are there. I further concede that we should do all we can to encourage excellence in all things musical. This includes music performance, music knowledge, and music creativitity. To do less is to accept mediocrity--a quality unacceptable at all times.
But a teacher has a tremendous responsibility to the student of the future. While we feel compelled to continue to advance the cause of classical music, at the same we must face reality: the future for classical music is found in old recordings not live performances. Yes, live performances will and should continue, and live performances are always (mostly always!) preferred to recordings. But in general, audiences seem content with recordings and are not supporting the live experience any longer at least not without some kind of special hook. What should that hook be? Orchestras continue to try different things--film music, video game music, media integration, dancing, popular music, rock music, audience participation, and lots of different thematic approaches to generating an audience. Pop artists as well are experimenting with including orchestras and choirs integrated with their popular music, in a kind of broad and eclectic blending of music styles.
Many of these approaches are working and orchestras that try different approaches are thriving. The players within these groups may not always be satisfied with the quality of literature or the depth of the musical experience, but at least they have an audience that appreciates their abilities. Keep an audience, keep your job! Or another way to express this: No audience, no job.
Back to curriculum. What are the essential skills, abilities, and knowledge required to ensure students will have a place in the musical world of the future? Are colleges and universities meeting the needs?
We can no longer pretend that the old world of classical music performances will return and be supported by the masses. That world is gone. But we can find new horizons, new hope, and new ways to bring quality music to the world, and we can as college professors teach our students what they need to know for the future. But we have to be willing to take the risk and take ourselves, at least to an extent, out of the equation.
No revolution is necessary, but change is essential. I am calling for a broad-based curriculum of music study, one that includes all styles and prepares students for the future. It is time to let go of the old and usher in the new. The new will include technology, media, pop music, integrated arts, entrepreneurship, and unbridled creativity. Can it be done? Yes, and it must be done. The time is nigh.
Thursday, April 14, 2011
Supply and Demand--Classical Music almost out of business
Hamburgers. As long as there is a demand for them, there will be supply. It is as simple as that. Economic success occurs when the demand is greater than the supply. Conversely, challenges occur when the supply is greater than the demand. This is true for all commodities, nations, people, industries, and schools. No matter how much manipulation of the situation occurs, over time supply and demand reigns supreme over the success or failure of any given entity. When the demand is there, the supply will respond. Businesses that fail simply do not have enough demand for their product. Walmart and McDonalds succeed due to having greater demand than their supply. They offer products in a price range and of the desired expectation to keep their businesses alive and thriving.
The question on the table is whether classical music has enough demand to generate the supply that is available. There are multitudes of examples of outstanding performing musicians who remain unemployed, performers with advanced degrees who have achieved a level of competence beyond that of most musicians. I recall a friend of mine, masters student, concerned that at a large university where he studied there were 18 graduate students in the field of horn performance. In addition there were 4 doctoral students. He mentioned that not only was the field saturated, the players were absolutely incredible. He then told me that any given year there are only about 2-4 openings for full-time employment in horn playing. He found himself working hard to develop skills that would likely rarely be used and certainly not in full-time employment. He is now in education.
This story is not unusual and there is merit to the argument that the more one develops his discipline, the better will be his teaching. Yet it also points to the truth that the supply of great musicians is greater than the demand. If cars suddenly no longer had to use tires and instead moved forward through light beams rather than rolling rubber tires on the pavement, stores selling tires would go out of business, having stock that is not usable.
Do colleges and universities offer a product that is no longer viable in the world? Are we teaching students to do something that is rapidly disappearing? If so, then we are being vastly irresponsible to our students. Yet we continue to do so with some arguments that at one time were valid. We may argue that students need to know foundations of music, or that we should only teach excellence, or we recognize the need for essential knowledge, or that there is a required canon of literature that educated musicians should know, but in the end those arguments are not strong enough to sustain the growing tide of music curriculum discontent. We cannot and should not continue to teach that which has almost no place in our modern culture. We must find a way to teach a broad range of skills that allows students the choice to find their way in the musical world.
We have to stop teaching one kind of music in one way that only allows students the ability to fit into one genre, one style, and one small culture. It is essential to rethink what we teach and how we teach in music that will enable students to be successful today. College teachers in universities are often guilty of two dramatic mistakes: 1) teaching the way they were taught and 2) teaching what they prefer. There was a time when this was an acceptable practice and for a world that more or less stays stagnate, these behaviors are ideal. A college teacher is (or maybe was) considered the expert in the field and has earned the right to pick the content of the class and teach it in any fashion he chooses. He has arrived at the peak of the discipline and therefore owns the discipline and all that goes with it. His training, his experience, his own remarkable abilities place him in the enviable position to do whatever he decides is the best for others. He is, after all, a college professor and all knowledge must come through him! How nice that would be.
But this idea defies reality, a reality where knowledge is available at the fingertips. The experts suddenly seem antiquated, limited, narrow, anachronisms in an age of omnipresent information. The experts know some things, in fact a lot of things and they are good at what they do, but the novices seem to know more (or think they do!), they at least suspect the experts may not be experts at all. The students may not have the skills of the experts, but they do recognize the world is not as it once was. It is absolutely frightening for us in the academic music field. Almost like the characters in Platos Cave who prefer to live in darkness, not wanting nor needing to know the truth of the world. And the truth may be lurking, or even shining right around the corner. Classical music is practically out of business. The demand is so small and is primarily found in the recording industry not in live concerts.
The supply far exceeds the demand, resulting in unemployed but incredible classical performing musicians. Connected to this reality comes the next realization, colleges and universities are teaching an old model, creating more great musicians for a world that does not demand it. The people, however, are unaware of this truth as long as they remain within the platonic walls of the academy. But a quick glance beyond reveals a world that is eye-opening. Classical music as a genre for live performance is dying a slow painful death. It desperately holds onto the ideal in select doses across the country most of which are in the academy.
In churches we can find live classical performances, in concert halls, in the public arena occasionally. But each year we read about another bankrupt orchestra, we watch our audiences diminishing, and we encounter fewer classical performances. The concept hemorrhages with the wound growing bigger all the time. People have little to no interest in the old ways. We must find something new before our store completely shuts its doors with excessive supply and no demand.
But what is new and how do we design it for the future generations of young musicians? Stay tuned!
The question on the table is whether classical music has enough demand to generate the supply that is available. There are multitudes of examples of outstanding performing musicians who remain unemployed, performers with advanced degrees who have achieved a level of competence beyond that of most musicians. I recall a friend of mine, masters student, concerned that at a large university where he studied there were 18 graduate students in the field of horn performance. In addition there were 4 doctoral students. He mentioned that not only was the field saturated, the players were absolutely incredible. He then told me that any given year there are only about 2-4 openings for full-time employment in horn playing. He found himself working hard to develop skills that would likely rarely be used and certainly not in full-time employment. He is now in education.
This story is not unusual and there is merit to the argument that the more one develops his discipline, the better will be his teaching. Yet it also points to the truth that the supply of great musicians is greater than the demand. If cars suddenly no longer had to use tires and instead moved forward through light beams rather than rolling rubber tires on the pavement, stores selling tires would go out of business, having stock that is not usable.
Do colleges and universities offer a product that is no longer viable in the world? Are we teaching students to do something that is rapidly disappearing? If so, then we are being vastly irresponsible to our students. Yet we continue to do so with some arguments that at one time were valid. We may argue that students need to know foundations of music, or that we should only teach excellence, or we recognize the need for essential knowledge, or that there is a required canon of literature that educated musicians should know, but in the end those arguments are not strong enough to sustain the growing tide of music curriculum discontent. We cannot and should not continue to teach that which has almost no place in our modern culture. We must find a way to teach a broad range of skills that allows students the choice to find their way in the musical world.
We have to stop teaching one kind of music in one way that only allows students the ability to fit into one genre, one style, and one small culture. It is essential to rethink what we teach and how we teach in music that will enable students to be successful today. College teachers in universities are often guilty of two dramatic mistakes: 1) teaching the way they were taught and 2) teaching what they prefer. There was a time when this was an acceptable practice and for a world that more or less stays stagnate, these behaviors are ideal. A college teacher is (or maybe was) considered the expert in the field and has earned the right to pick the content of the class and teach it in any fashion he chooses. He has arrived at the peak of the discipline and therefore owns the discipline and all that goes with it. His training, his experience, his own remarkable abilities place him in the enviable position to do whatever he decides is the best for others. He is, after all, a college professor and all knowledge must come through him! How nice that would be.
But this idea defies reality, a reality where knowledge is available at the fingertips. The experts suddenly seem antiquated, limited, narrow, anachronisms in an age of omnipresent information. The experts know some things, in fact a lot of things and they are good at what they do, but the novices seem to know more (or think they do!), they at least suspect the experts may not be experts at all. The students may not have the skills of the experts, but they do recognize the world is not as it once was. It is absolutely frightening for us in the academic music field. Almost like the characters in Platos Cave who prefer to live in darkness, not wanting nor needing to know the truth of the world. And the truth may be lurking, or even shining right around the corner. Classical music is practically out of business. The demand is so small and is primarily found in the recording industry not in live concerts.
The supply far exceeds the demand, resulting in unemployed but incredible classical performing musicians. Connected to this reality comes the next realization, colleges and universities are teaching an old model, creating more great musicians for a world that does not demand it. The people, however, are unaware of this truth as long as they remain within the platonic walls of the academy. But a quick glance beyond reveals a world that is eye-opening. Classical music as a genre for live performance is dying a slow painful death. It desperately holds onto the ideal in select doses across the country most of which are in the academy.
In churches we can find live classical performances, in concert halls, in the public arena occasionally. But each year we read about another bankrupt orchestra, we watch our audiences diminishing, and we encounter fewer classical performances. The concept hemorrhages with the wound growing bigger all the time. People have little to no interest in the old ways. We must find something new before our store completely shuts its doors with excessive supply and no demand.
But what is new and how do we design it for the future generations of young musicians? Stay tuned!
Wednesday, April 13, 2011
Classical music, dead or just tired?
Is classical music, art music, cultivated music, music for the elite, music for the mature, music for the refined, dead? The answer is complicated and requires a great deal of extrapolation. While much has been written about the death of classical music, I am not ready to accept this position. Rather than gone and buried, classical music may just be tired. It is suffering from exposure, from illness, from exhaustion, and from a lack of progression. Classical music is ancient history, and ancient history is always valued for what it teaches. But classical music is also current and vibrant, permeating our lives in subtle and magical ways. We cannot let it die, but we do need to face the truth. Classical music no longer has the impact on culture that it once did.
A moment for terminology. The term classical actually refers to a time period with reference to a style. In music, time periods more or less determine a style of music. It makes for a clean and decidedly pure approach to music history. To stand up and say, "All the music written between these dates sounds like this..." is just pure joy and teaching bliss. I love the idea and students love having objective truth of time and expectations of the music. We in academia work to codify learning into centralized and yes often generalized statements that define eras, genres, style, attitudes, and production. The study of music history is the study of time and developments. Or is it? But I better rein myself in and focus on the subject of this essay before I find myself questioning the entire system of music history we have devised.
For much of the world, however, the term classical refers to a broad, sweeping style of music that is not usually considered music for the popular masses. This is music by the masters of composition, music that has withstood the test of time, music performed by choirs, orchestras, opera companies, and small ensembles. Music for the formal concert hall and music that is not always instantly accessible. Music we love with beautiful melodies, majestic power, large forces, lengthy performances, and music that requires a great deal of craft, of training, of talent.
But this kind of classical music is not as sought after in our modern world. The musical climate of our culture demands a more popular, entertainment fare than previously demanded. Yes classical music can still be found in concert halls, on recordings, on the radio, and in academia. But the decline in new recordings and in concert attendance is pronounced. Brahms Second Symphony with its stunning fourth movement and gripping opening theme in the first movement is still loved by millions. It is still a great experience to perform and to hear in a concert hall for those who attend concerts.
But they can almost receive a similar experience listening to a recording. A performer may work all his life to be able to play a Brahms symphony, but if there is a limited audience, he may not have the opportunity to use his skill to play something very few go to hear. The work is loved, respected, admired. The musicianship and skill to play it respected and admired, but the market demand is very small. Sadly there are plenty willing and able but the audience is in decline, declining rapidly for live concert experiences.
This means that classical music is not dead but it is tired. It is valued but mainly through recordings and past experiences. Does it have a future? The future may seem bleak in many respects and any kind of progression of the love of classical music appears dismal at least to an extent. Classical music exists because of its greatness, because of its timelessness, because of its complexity, its depth and beauty, its ability to seem new even after years of performances. Yet maybe classical music has too long relied on these qualities of depth to keep it alive. Maybe that sense of timelessness is beginning to disappear. Let's consider for a moment, a great work of art. Can we actually grow weary of the Mona Lisa? In a way yes. We return to it again and again but knowing it will not change. Furthermore, we have little desire to visit the Louvre to gaze upon the magnificent work. A print or copy is fine. While seeing the original hanging on the wall would be ideal, we really do not feel a need to go to too much trouble, and have no desire to spend the money to get us to the locale.
Society still likes classical music but does not want to go to too much trouble to hear it. Turn on a recording, watch a video, sing a melody. These events are substituting for the actual performance. Of course a live performance is preferred but apparently not so much as to create a real audience that supports classical music. Most people enjoy classical music, but when given a choice of what to attend, most choose popular music over classical. Classical music is here to stay and remains an important part of our culture, a culture that values it through recordings.
So if this is true, and the signs are apparent, what does a college or university do about the teaching of classical music? Do we continue to teach it in the old way, knowing that very few of our students will have an opportunity to experience it after graduation? Is the meaning behind the music great enough to sustain a love and appreciation for classical music forever? Is it a myth that knowledge and training in the classics provide foundational support for all music? If we begin moving away from the classics, are we in effect lowering our standards and appealing to a low common denominator of music making? If we in academia embrace an eclectic curriculum that includes popular music, are we teaching a kind of music that is immature and simple?
Would a literature professor, a man with a doctorate who has specialized and published in the field of classic literature decide to start teaching comic books? Would that be an acceptable study for a college student? A literature professor chooses the classics as the basis for literature study with the idea that knowing and understanding the finest in the field allows students to understand all kinds of literature available. Further, a professor hopes that the truths found in the classics--after all, they have stood the test of time--are beneficial for all people in their lives.
Yet somehow these arguments are beginning to be weak. The information age allows knowledge to be at the fingertips. Wisdom may be lacking, discernment may be missing, but knowledge is obvious and easy. Also there is an unusual problem of paradox: do we give them what we think they need or give them what they want? Historically this problem was easy, give them what they need. Yet now the rules have changed. If we give them what we think they need, there is a serious risk of not finding employment. Our responsibility is to provide them with the skills needed for success as musicians but also to help them come to a strong philosophical position as to music's role in the world. But what if our own philosophical position is antiquated? Scary thought. In contrast, to teach them what they want is to abdicate the curriculum to students who are not ready for that degree of responsibility.
One answer is for college teachers to continue to stay current in the field of music by reading, learning, traveling, studying, and yes practicing. All of these and more form the musician.
A moment for terminology. The term classical actually refers to a time period with reference to a style. In music, time periods more or less determine a style of music. It makes for a clean and decidedly pure approach to music history. To stand up and say, "All the music written between these dates sounds like this..." is just pure joy and teaching bliss. I love the idea and students love having objective truth of time and expectations of the music. We in academia work to codify learning into centralized and yes often generalized statements that define eras, genres, style, attitudes, and production. The study of music history is the study of time and developments. Or is it? But I better rein myself in and focus on the subject of this essay before I find myself questioning the entire system of music history we have devised.
For much of the world, however, the term classical refers to a broad, sweeping style of music that is not usually considered music for the popular masses. This is music by the masters of composition, music that has withstood the test of time, music performed by choirs, orchestras, opera companies, and small ensembles. Music for the formal concert hall and music that is not always instantly accessible. Music we love with beautiful melodies, majestic power, large forces, lengthy performances, and music that requires a great deal of craft, of training, of talent.
But this kind of classical music is not as sought after in our modern world. The musical climate of our culture demands a more popular, entertainment fare than previously demanded. Yes classical music can still be found in concert halls, on recordings, on the radio, and in academia. But the decline in new recordings and in concert attendance is pronounced. Brahms Second Symphony with its stunning fourth movement and gripping opening theme in the first movement is still loved by millions. It is still a great experience to perform and to hear in a concert hall for those who attend concerts.
But they can almost receive a similar experience listening to a recording. A performer may work all his life to be able to play a Brahms symphony, but if there is a limited audience, he may not have the opportunity to use his skill to play something very few go to hear. The work is loved, respected, admired. The musicianship and skill to play it respected and admired, but the market demand is very small. Sadly there are plenty willing and able but the audience is in decline, declining rapidly for live concert experiences.
This means that classical music is not dead but it is tired. It is valued but mainly through recordings and past experiences. Does it have a future? The future may seem bleak in many respects and any kind of progression of the love of classical music appears dismal at least to an extent. Classical music exists because of its greatness, because of its timelessness, because of its complexity, its depth and beauty, its ability to seem new even after years of performances. Yet maybe classical music has too long relied on these qualities of depth to keep it alive. Maybe that sense of timelessness is beginning to disappear. Let's consider for a moment, a great work of art. Can we actually grow weary of the Mona Lisa? In a way yes. We return to it again and again but knowing it will not change. Furthermore, we have little desire to visit the Louvre to gaze upon the magnificent work. A print or copy is fine. While seeing the original hanging on the wall would be ideal, we really do not feel a need to go to too much trouble, and have no desire to spend the money to get us to the locale.
Society still likes classical music but does not want to go to too much trouble to hear it. Turn on a recording, watch a video, sing a melody. These events are substituting for the actual performance. Of course a live performance is preferred but apparently not so much as to create a real audience that supports classical music. Most people enjoy classical music, but when given a choice of what to attend, most choose popular music over classical. Classical music is here to stay and remains an important part of our culture, a culture that values it through recordings.
So if this is true, and the signs are apparent, what does a college or university do about the teaching of classical music? Do we continue to teach it in the old way, knowing that very few of our students will have an opportunity to experience it after graduation? Is the meaning behind the music great enough to sustain a love and appreciation for classical music forever? Is it a myth that knowledge and training in the classics provide foundational support for all music? If we begin moving away from the classics, are we in effect lowering our standards and appealing to a low common denominator of music making? If we in academia embrace an eclectic curriculum that includes popular music, are we teaching a kind of music that is immature and simple?
Would a literature professor, a man with a doctorate who has specialized and published in the field of classic literature decide to start teaching comic books? Would that be an acceptable study for a college student? A literature professor chooses the classics as the basis for literature study with the idea that knowing and understanding the finest in the field allows students to understand all kinds of literature available. Further, a professor hopes that the truths found in the classics--after all, they have stood the test of time--are beneficial for all people in their lives.
Yet somehow these arguments are beginning to be weak. The information age allows knowledge to be at the fingertips. Wisdom may be lacking, discernment may be missing, but knowledge is obvious and easy. Also there is an unusual problem of paradox: do we give them what we think they need or give them what they want? Historically this problem was easy, give them what they need. Yet now the rules have changed. If we give them what we think they need, there is a serious risk of not finding employment. Our responsibility is to provide them with the skills needed for success as musicians but also to help them come to a strong philosophical position as to music's role in the world. But what if our own philosophical position is antiquated? Scary thought. In contrast, to teach them what they want is to abdicate the curriculum to students who are not ready for that degree of responsibility.
One answer is for college teachers to continue to stay current in the field of music by reading, learning, traveling, studying, and yes practicing. All of these and more form the musician.
Sunday, April 10, 2011
Music Curriculum
It's been said that classical music is in serious decline and I believe that is true. Not that the "classics" are less revered than in the past or that there are not many who love to hear the great music of the masters, Beethoven, Bach, Mozart, Brahms, Wagner, and the list goes on. Or that classical music does not have meaning to thousands perhaps millions of people, people who love the depth and beauty found in Tschaikovsky or Rachmaninoff, people who are enriched by the majesty and power of Beethoven or the warm sensitivity of Ravel or Debussy, people who are enraptured by the songs of Schubert or the piano music of Chopin. All these and more continue to grace our concert halls and our listening at home.
Yet the entertainment industry has found a wide audience in music. Classically trained musicians living solely in a cultivated, artistic world are finding themselves without much of an audience. Amazingly gifted performers are unemployed or teaching privately in communities. String Quartets, trios, soloists, ensembles are without performing opportunities. A recent professional trio contacted me about performing at my school. A discussion ensued where it was discovered the rates were way beyond our financial scope. Plus the fact of attracting a very limited audience for the performance. It is not a responsible use of funding to bring in a top flight ensemble for the 50 people who would appreciate it.
Orchestras continue to struggle, many of them closing their doors to the future. Regional orchestras hold on desperately, depending on donations and foundations to support them. Rarely if ever does a singer get an opportunity to sing art songs outside of the university. Rarely if ever is an instrumentalist asked to play classical music in a setting apart from the academy. Are there people driving around hoping for an opportunity to hear a great horn recital or a song cycle or a violin sonata or a piano piece? I think not much. What about great choral music or even bands? Perhaps a military group continues to attract audiences or maybe the occasional boys choir or a choir from an exotic land. But in general, most art music happens in the academy and occasionally in our churches.
If this is true, then are universities creating an artificial environment that is primarily self-serving? We teach our students to play a Beethoven piano sonata by practicing several hours a day and studying the intracies of the work, finally delivering a steller performance of the work for other students who have to be present for college credit. Of course, the appreciative family members are excited and even a few supportive community members. But does this only happen in the academic setting?
It seems to me that creating a world, teaching a skill, providing an opportunity for something that is not valued outside of the bubble, is nearly an irresponsible endeavor. But let's look at some sideline benefits before leveling a diatribe against that which is considered tried and true. A college degree is not intended as a piece of paper demonstrating vocational skill. It instead is intended to show critical thinking skills, philosophical application, potential to learn, research capability, social interaction, writing abilities, and refinement. All these and more form the college graduate, a product of the unification of several disciplines.
A chef learns his skill through training and experimenting, ideally hoping to land that great position in New York serving the elite of the country the finest dishes made. Yet truthfully he knows that most of his time as a chef is making those foods people want and have had before including hamburgers, steaks, perhaps chocolate cake. He has the ability to produce at a higher level but spends much of his time creating simpler fare, fare desired by most people. He meets market demand by creating that which people want, perhaps desiring the opportunity to create a more elite dish.
A young journalist studies journalism, learning the trade that he can apply to his own profession. Yet he also studies the masters, great writers from the past. He knows he will not be writing like Shakespeare or Thomas Hardy, but his knowledge of their works improves his own writing. Sadly, until he makes it as a journalist, he may find himself writing promotional ads or brochures. He can do more and he understands great writing but feels relegated to that which pays him a living.
Back to music. Where are we going to land in this exploration of music curricula? Can we in academia go on teaching and preparing students for a world that is limited and nearly does not exist any longer? Is there a way to identify those essential skills necessary for all performing musicians regardless of the genre and offer training that can be a springboard for other types of music making?
We who are asked to help guide the next generation of young musicians must examine our curriculum, our purpose, our level of responsibility, and the market needs of the world. We cannot divorce social demands of music from our own personal preference. We may find greater meaning in Mozart or Stravinsky or Messiaen, but the popular masses have rejected such expressions from their musical world, at least to an extent. It is time to recognize this truth. In many ways, maybe our responsibility is to find people where they live and take them somewhere new. This is actually an essential truth of the educational process--from the known to the unknown, the concrete to the abstract.
But let us despair not for the demise of classical music. Rather let us redesign our curriculum, finding ways to help students discover their pathway be it contemporary popular music, sacred, classical, experimental, media related, theater, or maybe something new. I am posturing an advancement not abolishment of our current music curriculum and a moving away from an entirely classically based music curriculum. It is time to pull in all the styles, genres, developments in music and make them an integral part of the training.
More on this as thoughts get solidified.
Yet the entertainment industry has found a wide audience in music. Classically trained musicians living solely in a cultivated, artistic world are finding themselves without much of an audience. Amazingly gifted performers are unemployed or teaching privately in communities. String Quartets, trios, soloists, ensembles are without performing opportunities. A recent professional trio contacted me about performing at my school. A discussion ensued where it was discovered the rates were way beyond our financial scope. Plus the fact of attracting a very limited audience for the performance. It is not a responsible use of funding to bring in a top flight ensemble for the 50 people who would appreciate it.
Orchestras continue to struggle, many of them closing their doors to the future. Regional orchestras hold on desperately, depending on donations and foundations to support them. Rarely if ever does a singer get an opportunity to sing art songs outside of the university. Rarely if ever is an instrumentalist asked to play classical music in a setting apart from the academy. Are there people driving around hoping for an opportunity to hear a great horn recital or a song cycle or a violin sonata or a piano piece? I think not much. What about great choral music or even bands? Perhaps a military group continues to attract audiences or maybe the occasional boys choir or a choir from an exotic land. But in general, most art music happens in the academy and occasionally in our churches.
If this is true, then are universities creating an artificial environment that is primarily self-serving? We teach our students to play a Beethoven piano sonata by practicing several hours a day and studying the intracies of the work, finally delivering a steller performance of the work for other students who have to be present for college credit. Of course, the appreciative family members are excited and even a few supportive community members. But does this only happen in the academic setting?
It seems to me that creating a world, teaching a skill, providing an opportunity for something that is not valued outside of the bubble, is nearly an irresponsible endeavor. But let's look at some sideline benefits before leveling a diatribe against that which is considered tried and true. A college degree is not intended as a piece of paper demonstrating vocational skill. It instead is intended to show critical thinking skills, philosophical application, potential to learn, research capability, social interaction, writing abilities, and refinement. All these and more form the college graduate, a product of the unification of several disciplines.
A chef learns his skill through training and experimenting, ideally hoping to land that great position in New York serving the elite of the country the finest dishes made. Yet truthfully he knows that most of his time as a chef is making those foods people want and have had before including hamburgers, steaks, perhaps chocolate cake. He has the ability to produce at a higher level but spends much of his time creating simpler fare, fare desired by most people. He meets market demand by creating that which people want, perhaps desiring the opportunity to create a more elite dish.
A young journalist studies journalism, learning the trade that he can apply to his own profession. Yet he also studies the masters, great writers from the past. He knows he will not be writing like Shakespeare or Thomas Hardy, but his knowledge of their works improves his own writing. Sadly, until he makes it as a journalist, he may find himself writing promotional ads or brochures. He can do more and he understands great writing but feels relegated to that which pays him a living.
Back to music. Where are we going to land in this exploration of music curricula? Can we in academia go on teaching and preparing students for a world that is limited and nearly does not exist any longer? Is there a way to identify those essential skills necessary for all performing musicians regardless of the genre and offer training that can be a springboard for other types of music making?
We who are asked to help guide the next generation of young musicians must examine our curriculum, our purpose, our level of responsibility, and the market needs of the world. We cannot divorce social demands of music from our own personal preference. We may find greater meaning in Mozart or Stravinsky or Messiaen, but the popular masses have rejected such expressions from their musical world, at least to an extent. It is time to recognize this truth. In many ways, maybe our responsibility is to find people where they live and take them somewhere new. This is actually an essential truth of the educational process--from the known to the unknown, the concrete to the abstract.
But let us despair not for the demise of classical music. Rather let us redesign our curriculum, finding ways to help students discover their pathway be it contemporary popular music, sacred, classical, experimental, media related, theater, or maybe something new. I am posturing an advancement not abolishment of our current music curriculum and a moving away from an entirely classically based music curriculum. It is time to pull in all the styles, genres, developments in music and make them an integral part of the training.
More on this as thoughts get solidified.
Monday, April 04, 2011
Louisiana and the old days
Drove to Louisiana today as a part of a visiting team to look at another institution. Came through torrential storms but arrived safely and am now at a lovely motel. After a nice dinner of sushi which included raw eel, squid, salmon, mackerel, and tuna, I took a long walk through the piney woods of the area. Enjoyed the plethora of bird sounds--quite rhythmic and musical--the smell of trees, the damp freshness of pine after a rain storm, and the gentle pulsation of water running down the hillside. My brisk 2 1/2 mile walk brought me back to the motel for reading, study, and relaxation in preparation for meetings tomorrow.
It all brings back memories. My first college position was in Lake Charles, Louisiana at McNeese State University where I had students older than I was, a young 24 years of age upon acceptance of the position. What an academic puppy, eager, bouncy, confused, talented but somewhat raw and certainly opinionated. Hard work, constant horn playing, lots of teaching, travel, and dedication to the cause in those days. Truth is I have not changed all that much--just more seasoned I suppose.
We had a nice church family and started our own family with the birth of Jacob in 1986 followed by Joel in 1989. Clairissa got her Masters degree at McNeese State and I played countless performances with orchestras, bands, and a very active brass quintet. Back then I had no interest in broadway musicals or any kind of pop music. I really only cared about symphonic music--Brahms, Strauss, Beethoven, and Mahler. All music for horn players! Maybe I dabbled in jazz every now and then, remembering a horn workshop where I actually improvised with a combo. But I learned how to play Mozart and remain a good Mozart interpreter today.
Mostly I learned how academia works--committee meetings, funding, curriculum, policies, expectations, evaluations, and learning outcomes. I recall my first year when my horn was stolen and I did not perform a recital. The department chair ranked me last among the other music faculty members based on not doing a recital. Tough lesson. Did get the horn back nearly 2 years later! Mainly I learned how to be an educator and how to help others succeed.
We left Louisiana in 1990 with lots of tears, leaving behind great friends, and a nice job. But it was time and I made a career adjustment, not knowing whether I would return to higher education. Taught public school for five years and then took a position at Howard Payne University where I am today.
Every now and then though I wonder about it and miss the tall trees, the rain, the bird calls, and the friends back then. But life goes on and I have no regrets. Still, nice to be back for a couple of days.
It all brings back memories. My first college position was in Lake Charles, Louisiana at McNeese State University where I had students older than I was, a young 24 years of age upon acceptance of the position. What an academic puppy, eager, bouncy, confused, talented but somewhat raw and certainly opinionated. Hard work, constant horn playing, lots of teaching, travel, and dedication to the cause in those days. Truth is I have not changed all that much--just more seasoned I suppose.
We had a nice church family and started our own family with the birth of Jacob in 1986 followed by Joel in 1989. Clairissa got her Masters degree at McNeese State and I played countless performances with orchestras, bands, and a very active brass quintet. Back then I had no interest in broadway musicals or any kind of pop music. I really only cared about symphonic music--Brahms, Strauss, Beethoven, and Mahler. All music for horn players! Maybe I dabbled in jazz every now and then, remembering a horn workshop where I actually improvised with a combo. But I learned how to play Mozart and remain a good Mozart interpreter today.
Mostly I learned how academia works--committee meetings, funding, curriculum, policies, expectations, evaluations, and learning outcomes. I recall my first year when my horn was stolen and I did not perform a recital. The department chair ranked me last among the other music faculty members based on not doing a recital. Tough lesson. Did get the horn back nearly 2 years later! Mainly I learned how to be an educator and how to help others succeed.
We left Louisiana in 1990 with lots of tears, leaving behind great friends, and a nice job. But it was time and I made a career adjustment, not knowing whether I would return to higher education. Taught public school for five years and then took a position at Howard Payne University where I am today.
Every now and then though I wonder about it and miss the tall trees, the rain, the bird calls, and the friends back then. But life goes on and I have no regrets. Still, nice to be back for a couple of days.
Sunday, April 03, 2011
Food, Glorious Food
One of my favorite musicals is Oliver. Every scene is special and emotionally gripping in some way. Quite a show and Ron Moody is absolutely amazing. In the opening, the orphans are in tattered work clothes and marching slowly to the meal, a bowl of gruel. Gruel is a soup looking creamy thing that sloshes around the bowl. Nothing substantial and obviously tasteless. As they march downward, they glance in the window at several overweight officials gorging themselves on meat, vegetables, and outrageous desserts. Very funny moment of great irony.
My tastes have changed. No longer does fast food interest me. The bread at various burger places tastes like soft vinyl, the meat like warmed up carpet squares, and the "fun" dessert drinks like cold cotton candy. Or one can try fast food tacos with cheese that tastes like newspaper, and shells like stale fritos. Or maybe some pizza from the massive pizza buffet. But wait? Is this plastic poured on cheap bread? Perhaps little chicken nuggets would suffice? But is it really chicken or little white balls of thread that somehow digest?
I have become a food snob. Some of this is due to having an amazing cook in the family--my wife. But some of it is due to being tired of cheap, processed food poorly flavored and guaranteed to leave a gut hanging over your belt. I find myself filling up on water so as to avoid the hungry feeling of wanting more. Satisfied with a fiber bar or some blueberries, I like to treat myself to an apple or some asparagus sprouts.
No I am not a vegan or whatever they are called. I simply no longer feel very good about running in a little fast food joint and eating the latest great combo deal with overly salted French fries and terrible tasting ketchup in little packages. All of it is just gross. My palate wants something better.
But I do love fish. A big piece of salmon grilled gently with butter, olive oil, and delicately spiced with thyme, garlic, lemon juice, and a splash of vinegar! Great stuff. Off-set with some high quality Gouda cheese and maybe some yogurt. Followed by a good cup of decaffeinated coffee. Now that is a meal.
Steak is good but it must be rare. Chicken is barely tolerable, and hamburgers almost not acceptable any longer. Mainly a nice mix of vegetables, fruit, and fish hits the spot every time.
Of course, not just food tastes have changed the last couple of years for me. I run consistently now. I prefer non-fiction over fiction, thrillers seem dull, television is a real sleeper, conversation should be directed and should avoid small-talk, never talk about the weather, and always seek opportunities to help others.
No more judging people unless they are hurting others in which case justice should be served. Leadership is about a broad, positive vision. Pray consistently and think logically. Don't let the negativity around you pull you down. Instead, exalt each other.
All these and more shape my world-view. What shapes yours?
My tastes have changed. No longer does fast food interest me. The bread at various burger places tastes like soft vinyl, the meat like warmed up carpet squares, and the "fun" dessert drinks like cold cotton candy. Or one can try fast food tacos with cheese that tastes like newspaper, and shells like stale fritos. Or maybe some pizza from the massive pizza buffet. But wait? Is this plastic poured on cheap bread? Perhaps little chicken nuggets would suffice? But is it really chicken or little white balls of thread that somehow digest?
I have become a food snob. Some of this is due to having an amazing cook in the family--my wife. But some of it is due to being tired of cheap, processed food poorly flavored and guaranteed to leave a gut hanging over your belt. I find myself filling up on water so as to avoid the hungry feeling of wanting more. Satisfied with a fiber bar or some blueberries, I like to treat myself to an apple or some asparagus sprouts.
No I am not a vegan or whatever they are called. I simply no longer feel very good about running in a little fast food joint and eating the latest great combo deal with overly salted French fries and terrible tasting ketchup in little packages. All of it is just gross. My palate wants something better.
But I do love fish. A big piece of salmon grilled gently with butter, olive oil, and delicately spiced with thyme, garlic, lemon juice, and a splash of vinegar! Great stuff. Off-set with some high quality Gouda cheese and maybe some yogurt. Followed by a good cup of decaffeinated coffee. Now that is a meal.
Steak is good but it must be rare. Chicken is barely tolerable, and hamburgers almost not acceptable any longer. Mainly a nice mix of vegetables, fruit, and fish hits the spot every time.
Of course, not just food tastes have changed the last couple of years for me. I run consistently now. I prefer non-fiction over fiction, thrillers seem dull, television is a real sleeper, conversation should be directed and should avoid small-talk, never talk about the weather, and always seek opportunities to help others.
No more judging people unless they are hurting others in which case justice should be served. Leadership is about a broad, positive vision. Pray consistently and think logically. Don't let the negativity around you pull you down. Instead, exalt each other.
All these and more shape my world-view. What shapes yours?
Saturday, April 02, 2011
Concerts
I've been a little delinquent in blogging since returning from London. But I hit a pretty stressful week of concerts, reports, and lots of challenges. Next week I go to Louisiana for an evaluation.
Monday night began with a tremendous musical experience--Nielson and Young. This well-known duo has spent years playing concerts in churches and auditoriums all over the world. Often playing piano duets, they have also recorded extensively on the piano and organ. It was one of the finest concerts I have heard. Their sublime artistry and grace were matched with their professional demeanor and extraordinary musical gifts. Hymns, songs arrangements, and art music were delivered with beauty and musicianship the entire evening.
But only 75 people were present.
Tuesday we heard an incredible brass quintet--Synergy Brass. Their variety of genres, their wildly advanced technique, and their engaging personality on stage came together to provide the energized audience with music that seemed to send shimmering waves of joy into the fabric of people present.
About 125 people were present.
Thursday night we heard a bassoon recital. Chelsea Murphree is an impressive talent receiving a minor in music. She did not have to do a recital but wanted to and what a nice performance it was! Music by Villa-Lobos, Weber, and me were played with energy, expressiveness, and accuracy. She is a gifted young lady who keeps a smile on her face, providing model leadership for other students and applying herself completely to excellence in all areas of her life. I enjoyed writing music for her and hearing it performed so well was a treat. My piece was a light-hearted but quite challenging mix of gospel/jazz with a hint of pop style in the middle section. Mainly just fun!
About 85 people were present.
Friday night the music department did a movies concert. We played and sang various selections from famous movies including My Fair Lady, E.T., Chicago, Phantom of the Opera, Pink Panther, Schindler's List, Pinocchio, Shawshank Redemption, The Mission, and Carousel. Rather than just performing movie themes, we also added a commentary to give it an academic purpose. The response was overwhelming as people seemed moved by the music and the information provided. Unlike other performances, we used some visuals, video, narration, and a touch of theatre to enhance the musical offering. This level of arts integration and collaboration is unusual but necessary in today's world.
About 150 were present.
Where are our concert audiences? What can we do to encourage live performance? Should we continue to push for more collaboration, more variety, less classical, more inclusive? It is difficult for trained classical musicians to branch out beyond the scope of their sophisticated training. Yet when we do so, we tend to get greater response from people. Is there a balance? Sure and we don't always find it. But as musicians our goal is not to satisfy ourselves (although to an extent, all of us need that as well) with high academic art, but rather to use our gifts to reach people, to provide others with a musical and emotional experience. Somehow we have forgotten our audience. Time to bring music to the people and for the people.
But every now and then, give me some Mozart please! I need that as well.
Monday night began with a tremendous musical experience--Nielson and Young. This well-known duo has spent years playing concerts in churches and auditoriums all over the world. Often playing piano duets, they have also recorded extensively on the piano and organ. It was one of the finest concerts I have heard. Their sublime artistry and grace were matched with their professional demeanor and extraordinary musical gifts. Hymns, songs arrangements, and art music were delivered with beauty and musicianship the entire evening.
But only 75 people were present.
Tuesday we heard an incredible brass quintet--Synergy Brass. Their variety of genres, their wildly advanced technique, and their engaging personality on stage came together to provide the energized audience with music that seemed to send shimmering waves of joy into the fabric of people present.
About 125 people were present.
Thursday night we heard a bassoon recital. Chelsea Murphree is an impressive talent receiving a minor in music. She did not have to do a recital but wanted to and what a nice performance it was! Music by Villa-Lobos, Weber, and me were played with energy, expressiveness, and accuracy. She is a gifted young lady who keeps a smile on her face, providing model leadership for other students and applying herself completely to excellence in all areas of her life. I enjoyed writing music for her and hearing it performed so well was a treat. My piece was a light-hearted but quite challenging mix of gospel/jazz with a hint of pop style in the middle section. Mainly just fun!
About 85 people were present.
Friday night the music department did a movies concert. We played and sang various selections from famous movies including My Fair Lady, E.T., Chicago, Phantom of the Opera, Pink Panther, Schindler's List, Pinocchio, Shawshank Redemption, The Mission, and Carousel. Rather than just performing movie themes, we also added a commentary to give it an academic purpose. The response was overwhelming as people seemed moved by the music and the information provided. Unlike other performances, we used some visuals, video, narration, and a touch of theatre to enhance the musical offering. This level of arts integration and collaboration is unusual but necessary in today's world.
About 150 were present.
Where are our concert audiences? What can we do to encourage live performance? Should we continue to push for more collaboration, more variety, less classical, more inclusive? It is difficult for trained classical musicians to branch out beyond the scope of their sophisticated training. Yet when we do so, we tend to get greater response from people. Is there a balance? Sure and we don't always find it. But as musicians our goal is not to satisfy ourselves (although to an extent, all of us need that as well) with high academic art, but rather to use our gifts to reach people, to provide others with a musical and emotional experience. Somehow we have forgotten our audience. Time to bring music to the people and for the people.
But every now and then, give me some Mozart please! I need that as well.
Friday, March 25, 2011
London V
Works means not working. Any sign or announcement that states "...works" is a notification that there is repair taking place. This one took me awhile to understand since I assumed the object must have at one time been broken but now it works. Yet the sign "escalator works" obviously was wrong since the escalator was not working. Confusing, yes. But many things in London were different and adjusting to it was a matter of perception and open-mindedness. In the end, I truly enjoy my trip.
Taking the Piccadilly line to the Victoria Line and then hopping aboard the DLR line, I headed to the O2. http://www.aviewoncities.com/london/millenniumdome.htm. Quite a place, built at a cost of $750 million, it houses a massive arena, shops, restaurants, museums, and a movie house. I only had time to experience a small part of this astounding area, but it was sure a treat. I ran through the British Rock experience and learned much more than I expected. I particularly enjoyed a holographic presentation of how England and America influenced each other in Rock music. The final image showed a "tug-of-war" over who was the most influential or perhaps winner in Rock music. With amusement, I noticed that England won the contest!
After a nice lunch of raw eel and bean sprouts, I headed back. Stopping at Canary Wharf I was treated to yet another underground world of shopping, food, games, and every kind of modern convenience. So different from old London, Canary Wharf and the O2 demonstrate the changing world. It was nice to experience cutting edge technology and contemporary architecture, but I found myself longing to return to old London with its beautiful structures, great art, magnificent theaters and old style shops. Yes I found myself humming the children's song, "Make new friends but keep the old, one is silver and the other gold!"
But while humming, my usual practice by the way, I noticed nobody else would hum. In fact, very few people make noise at all. On the long tube ride, nobody said a word to anyone. Just quiet, self-reflective riding on the tube. Lots of reading, some sleeping, but no talking. Other than the roar of the train and screech of the brakes, silence. I tried to smile at people and make eye contact but there was very little of that.
A brief stop at Covent Garden and I found myself in the market, a multi-level shopping treat. While picking through some gifts for the family, I heard a beautiful sound, the sound of Bach. Migrating that way, I found a quartet performing various Bach works. Gorgeous sounds by the highest of professional players. They were selling CDs as well. What is happening in the world where the finest performers are resorting to playing on street corners to make a living? About 30 minutes later I heard an opera singer. She was incredible and singing Carmen to an accompaniment track. Can she not get work? Are there too many great musicians for the market? Is supply and demand destroying classical music? Maybe.
A group of us attended "Flare Path" on Tuesday night and enjoyed it. Very professional with a nice blend of drama and comedy. Incredible actors, rich story, and a great theatre. Stopping at a bakery while walking back, we picked up some chocolate, some bread, and various pasties. Yes I said pasties not pastries. Same thing though. We returned to the motel, found a nice room, chatted awhile and turned in. London trip over.
The ride back was eventful but also normal travel inconveniences so I'll stop writing about London soon. But I must say that London changed me a little. Opened my eyes to a world of architecture, a world of the ancients, a world of artistic application to the mundane. I feel somehow enriched by my experience. Perhaps in the end, London reminds me to keep the petty problems in a small compartment while remembering the majesty of God's world. It's a grand world out there, no sense allowing the thorns to rule the day.
Taking the Piccadilly line to the Victoria Line and then hopping aboard the DLR line, I headed to the O2. http://www.aviewoncities.com/london/millenniumdome.htm. Quite a place, built at a cost of $750 million, it houses a massive arena, shops, restaurants, museums, and a movie house. I only had time to experience a small part of this astounding area, but it was sure a treat. I ran through the British Rock experience and learned much more than I expected. I particularly enjoyed a holographic presentation of how England and America influenced each other in Rock music. The final image showed a "tug-of-war" over who was the most influential or perhaps winner in Rock music. With amusement, I noticed that England won the contest!
After a nice lunch of raw eel and bean sprouts, I headed back. Stopping at Canary Wharf I was treated to yet another underground world of shopping, food, games, and every kind of modern convenience. So different from old London, Canary Wharf and the O2 demonstrate the changing world. It was nice to experience cutting edge technology and contemporary architecture, but I found myself longing to return to old London with its beautiful structures, great art, magnificent theaters and old style shops. Yes I found myself humming the children's song, "Make new friends but keep the old, one is silver and the other gold!"
But while humming, my usual practice by the way, I noticed nobody else would hum. In fact, very few people make noise at all. On the long tube ride, nobody said a word to anyone. Just quiet, self-reflective riding on the tube. Lots of reading, some sleeping, but no talking. Other than the roar of the train and screech of the brakes, silence. I tried to smile at people and make eye contact but there was very little of that.
A brief stop at Covent Garden and I found myself in the market, a multi-level shopping treat. While picking through some gifts for the family, I heard a beautiful sound, the sound of Bach. Migrating that way, I found a quartet performing various Bach works. Gorgeous sounds by the highest of professional players. They were selling CDs as well. What is happening in the world where the finest performers are resorting to playing on street corners to make a living? About 30 minutes later I heard an opera singer. She was incredible and singing Carmen to an accompaniment track. Can she not get work? Are there too many great musicians for the market? Is supply and demand destroying classical music? Maybe.
A group of us attended "Flare Path" on Tuesday night and enjoyed it. Very professional with a nice blend of drama and comedy. Incredible actors, rich story, and a great theatre. Stopping at a bakery while walking back, we picked up some chocolate, some bread, and various pasties. Yes I said pasties not pastries. Same thing though. We returned to the motel, found a nice room, chatted awhile and turned in. London trip over.
The ride back was eventful but also normal travel inconveniences so I'll stop writing about London soon. But I must say that London changed me a little. Opened my eyes to a world of architecture, a world of the ancients, a world of artistic application to the mundane. I feel somehow enriched by my experience. Perhaps in the end, London reminds me to keep the petty problems in a small compartment while remembering the majesty of God's world. It's a grand world out there, no sense allowing the thorns to rule the day.
Tuesday, March 22, 2011
London IV
Beginning at the end of the day: arrived back to the hotel almost at midnight after navigating the fun complicated world of the tube. Excuse the boring details but after the show I had to board the Victoria Line in order to get to "Green Park." At Green Park I hopped off ("mind the gap") and got on the Piccadilly line and took it straight up to Russell Square and walked here.
Okay, so it was a typical, ho-hum plot--boy without a mother but with a demanding father struggling to make ends meet, wants to be a dancer. Father is dealing with political problems in his job as a miner and forced to strike. Boy eventually gets accepted into dance school and is successful. Dull stuff that is a rehashing of several stories we have heard before.
Yet, what a fantastic show in all respects (okay, most). Billy Elliot is one of my favorite shows I have experienced. An eclectic and expressive musical score accompanies a host of fascinating scenes that alternate well between serious and light. Dance sequences are incredible and the scenery is picturesque without being lavish. Gritty when necessary, warm when appropriate, the music, the acting, and the story pull together to put the audience right in the middle of everything. Rather than becoming an objective disconnected series of songs, Billy Elliot is a whole package of emotional, energetic joy.
On the down side, I grew weary of the swearing (lots of f word usage) and struggle with the heavy English accent. Also the "gay" overtones were a little disturbing at times particularly in a young boy. Cute scenes but maybe a little bit of an agenda made me uncomfortable. Aside from those things, it was a great show made even better by a gifted singer/dancer in the form of a 12 year old boy.
I spent the afternoon at the Victoria and Albert Museum looking at everything imaginable including theatre history, silver, mosaics, paintings, tapestries, jewelry, and the list goes on. What a great place. Almost couldn't leave it but had to go get my tickets to the show.
The morning was spent at the British Museum where I saw Syrian art, Babylonian Art, Egyptian Art, and an amazing display of Afghanistan historical pieces. Learned much about history and mythology in this 2 mile long museum. Certainly one of the finest cultural museums in the world.
And that my friends was my day. Lots of walking, riding, and experiencing the city of London.
Okay, so it was a typical, ho-hum plot--boy without a mother but with a demanding father struggling to make ends meet, wants to be a dancer. Father is dealing with political problems in his job as a miner and forced to strike. Boy eventually gets accepted into dance school and is successful. Dull stuff that is a rehashing of several stories we have heard before.
Yet, what a fantastic show in all respects (okay, most). Billy Elliot is one of my favorite shows I have experienced. An eclectic and expressive musical score accompanies a host of fascinating scenes that alternate well between serious and light. Dance sequences are incredible and the scenery is picturesque without being lavish. Gritty when necessary, warm when appropriate, the music, the acting, and the story pull together to put the audience right in the middle of everything. Rather than becoming an objective disconnected series of songs, Billy Elliot is a whole package of emotional, energetic joy.
On the down side, I grew weary of the swearing (lots of f word usage) and struggle with the heavy English accent. Also the "gay" overtones were a little disturbing at times particularly in a young boy. Cute scenes but maybe a little bit of an agenda made me uncomfortable. Aside from those things, it was a great show made even better by a gifted singer/dancer in the form of a 12 year old boy.
I spent the afternoon at the Victoria and Albert Museum looking at everything imaginable including theatre history, silver, mosaics, paintings, tapestries, jewelry, and the list goes on. What a great place. Almost couldn't leave it but had to go get my tickets to the show.
The morning was spent at the British Museum where I saw Syrian art, Babylonian Art, Egyptian Art, and an amazing display of Afghanistan historical pieces. Learned much about history and mythology in this 2 mile long museum. Certainly one of the finest cultural museums in the world.
And that my friends was my day. Lots of walking, riding, and experiencing the city of London.
Sunday, March 20, 2011
London III
A fair nights sleep, a large tasty breakfast, and a small group headed to church. Nearly late due to the crowds at the Underground to get on the tube. But some brisk walking (and I mean brisk) and we arrived. I removed my hat, walked in, and nearly lost my breath.
We were at the Westminster Abby http://www.westminster-abbey.org/ and it was truly a stunning experience. The single most beautiful, ornate, magnificent structure I have ever seen. Almost unable to move and having trouble breathing, we were ushered to seats on the side and prepared our hearts for worship in one of the greatest churches on the planet. Often I have felt the presence of God when hiking or when praying or at particular moments that I treasure. That moment was nigh. If God were to choose one place on earth to reside, it just might be at the Westminster Abbey in London.
The service was an Anglican service (no need to extrapolate on what Anglican means. It would take several paragraphs of church history and would only scratch the surface of knowledge.) replete with call and response, organ music, readings, prayers, communion, confession, a hymn, meditation, and peace. No praise and worship, no guitars, no drums, no microphones, no wires of any kind, no clapping, no swaying, no hugging, no inordinate human activity that would detract from attention to the Lord, no self. Simply a time to worship God in the old liturgical tradition.
Beautiful choral music lightly accompanied by the warmest sounding organ I have ever heard. Each ending of the phrase reverberated gently but completely throughout the cathedral, providing a sense of the infinite glory of God. It was a humbling but inspiring experience and one that I will want to replicate someday in some way. Of course it also causes me pause as I reflect on contemporary worship and how different it is where we live. But I shall not simply give lip service to my belief there are many ways to worship the Lord Our Savior. In spite of my commitment to this ideal, and I do believe it, I can also see where there is great personal joy in a liturgical Anglican service in a glorious structure designed to reflect the majesty of God.
More on this later. After the service and a nice lunch of lamb, squid, and cod, we headed back to the room for a few moments of rest. I then jumped on a bus, landed in Leicester Square, found the theatre, and experienced STOMP! Wow, what a great show. Tremendous athletes with amazing rhythm and timing. Just a super great show and quite captivating to everyone present. Following the show was a taping for a television show the next day, but I would not get to see it and am not sure my Americanisms wouldn't mess it up anyway! So I left and walked around to experience Leicester Square. Pretty crazy stuff at night. Almost like Bourbon Street in some ways.
Headed back and correctly navigated the tube this time. Home for the night but am now tremendously sore in every muscle. Hope it is a good night's rest. Tomorrow is the British Museum and being a part of the college classes. Time to learn how to teach in London!
We were at the Westminster Abby http://www.westminster-abbey.org/ and it was truly a stunning experience. The single most beautiful, ornate, magnificent structure I have ever seen. Almost unable to move and having trouble breathing, we were ushered to seats on the side and prepared our hearts for worship in one of the greatest churches on the planet. Often I have felt the presence of God when hiking or when praying or at particular moments that I treasure. That moment was nigh. If God were to choose one place on earth to reside, it just might be at the Westminster Abbey in London.
The service was an Anglican service (no need to extrapolate on what Anglican means. It would take several paragraphs of church history and would only scratch the surface of knowledge.) replete with call and response, organ music, readings, prayers, communion, confession, a hymn, meditation, and peace. No praise and worship, no guitars, no drums, no microphones, no wires of any kind, no clapping, no swaying, no hugging, no inordinate human activity that would detract from attention to the Lord, no self. Simply a time to worship God in the old liturgical tradition.
Beautiful choral music lightly accompanied by the warmest sounding organ I have ever heard. Each ending of the phrase reverberated gently but completely throughout the cathedral, providing a sense of the infinite glory of God. It was a humbling but inspiring experience and one that I will want to replicate someday in some way. Of course it also causes me pause as I reflect on contemporary worship and how different it is where we live. But I shall not simply give lip service to my belief there are many ways to worship the Lord Our Savior. In spite of my commitment to this ideal, and I do believe it, I can also see where there is great personal joy in a liturgical Anglican service in a glorious structure designed to reflect the majesty of God.
More on this later. After the service and a nice lunch of lamb, squid, and cod, we headed back to the room for a few moments of rest. I then jumped on a bus, landed in Leicester Square, found the theatre, and experienced STOMP! Wow, what a great show. Tremendous athletes with amazing rhythm and timing. Just a super great show and quite captivating to everyone present. Following the show was a taping for a television show the next day, but I would not get to see it and am not sure my Americanisms wouldn't mess it up anyway! So I left and walked around to experience Leicester Square. Pretty crazy stuff at night. Almost like Bourbon Street in some ways.
Headed back and correctly navigated the tube this time. Home for the night but am now tremendously sore in every muscle. Hope it is a good night's rest. Tomorrow is the British Museum and being a part of the college classes. Time to learn how to teach in London!
Saturday, March 19, 2011
London II
Long day of walking and sight-seeing. Lots of people and very large buses--gotta look right not left. Learning the lingo, the system, the city, and mostly the culture of London and there is plenty of it and plenty to learn. Got on the tube several times and realized the polite idea of "ladies first" is not applicable in this world. Whoever gets to the open seat first is the one who sits. So most people are standing and holding onto the steel bar. But yikes, how many years of hands have been in the same spot? Thousands upon thousands have touched the bar. Whew...trying not to think about it. Probably ought to carry some sanitizer or something.
Take away means to go. I ordered some coffee and the lady said, "take away?" I quickly said no that I will pay for it. A quizzical look followed my statement and she said "will you drink it here?" I realized my mistake and said "No, to go, I mean I will take it away." I'm sure she spent the day wondering about the dumb American.
"Way Out" does not mean far-fetched or New Age or anything. It simply means Exit. When you enter a large modern eating establishment, you should get a card. The card is used to figure out what you owe when you leave. However, if you simply walk in and use the restroom (which everyone refers to as a toilet), then you should still have a card. Nearly caused bedlam when I left the restaurant without a card. The cashier who was several feet away raised her voice and said "Stop, please turn in your card and pay." After my loud, nervous, and slightly embarrassing explanation, she smiled and said "Next time, please get a card." I took the "way out" very quickly at that point!
Apparently it is okay to be physically involved with a friend in public, provided you are in a park. This awkward moment change my mind about walking in the park or at least getting off the walking path. Enjoy the world but don't look at anyone. Nobody will say hello anyway and there are many with different lifestyles from myself. Lots of smokers I noticed and lots of "earthy" people not much concerned with appearance.
Stopped in at St. Martin in the Fields cathedral and noticed they were performing Mozart's Requiem today. Wow! I wanted to hear it and see the orchestra, but already made plans to go to Billy Elliot. Which should I do? I am a Mozartian, a Mozart fanatic, an obsessed lover of Mozart's music. But I am also a huge Broadway musical fan. Hmmmm....what a dilemma.
Okay, rather than go and on arguing with myself, I am electing to go see Billy Elliot. I have heard Mozart's Requiem many times plus have several recordings of it on iTunes. Still...a toughie for sure. Thinking more about church music, I am further convinced that architecture is driving church music. Who would want to hear or could even tolerate a minute of a praise band in a cathedral with perfect acoustics?
But my feet are sore, my legs hurt, and I am generally worn out. Is it worth it? You betcha! London, one of the greatest cities in the world.
Take away means to go. I ordered some coffee and the lady said, "take away?" I quickly said no that I will pay for it. A quizzical look followed my statement and she said "will you drink it here?" I realized my mistake and said "No, to go, I mean I will take it away." I'm sure she spent the day wondering about the dumb American.
"Way Out" does not mean far-fetched or New Age or anything. It simply means Exit. When you enter a large modern eating establishment, you should get a card. The card is used to figure out what you owe when you leave. However, if you simply walk in and use the restroom (which everyone refers to as a toilet), then you should still have a card. Nearly caused bedlam when I left the restaurant without a card. The cashier who was several feet away raised her voice and said "Stop, please turn in your card and pay." After my loud, nervous, and slightly embarrassing explanation, she smiled and said "Next time, please get a card." I took the "way out" very quickly at that point!
Apparently it is okay to be physically involved with a friend in public, provided you are in a park. This awkward moment change my mind about walking in the park or at least getting off the walking path. Enjoy the world but don't look at anyone. Nobody will say hello anyway and there are many with different lifestyles from myself. Lots of smokers I noticed and lots of "earthy" people not much concerned with appearance.
Stopped in at St. Martin in the Fields cathedral and noticed they were performing Mozart's Requiem today. Wow! I wanted to hear it and see the orchestra, but already made plans to go to Billy Elliot. Which should I do? I am a Mozartian, a Mozart fanatic, an obsessed lover of Mozart's music. But I am also a huge Broadway musical fan. Hmmmm....what a dilemma.
Okay, rather than go and on arguing with myself, I am electing to go see Billy Elliot. I have heard Mozart's Requiem many times plus have several recordings of it on iTunes. Still...a toughie for sure. Thinking more about church music, I am further convinced that architecture is driving church music. Who would want to hear or could even tolerate a minute of a praise band in a cathedral with perfect acoustics?
But my feet are sore, my legs hurt, and I am generally worn out. Is it worth it? You betcha! London, one of the greatest cities in the world.
London I
Here I am in London staying at a quaint motel on Bedford Place around the corner from the massive British museum. Cold and loud with very little space but I still love it. Of course being a little spoiled with a large home, large vehicle, and unending Texas sky, everything seems close together in London. Narrow streets, halls, lots of people, fast walkers, old close buildings, it is all very different from my spacious Texas world.
Flight was tough though. 10 hours on the plane and ended up with stiffness in every joint. Plus a lack of sleep didn't help. Slept all night though and ready for the London experience. Today is a day of tubing (not innertubing!) where I learn how to navigate the city on the subway called a tube. Some sort of fun adventure of discovery on the tube.
One thing very different is my tendency to talk to strangers. Apparently it is not done in England. I know it is not done in New England so it makes sense not to do so in old England. Still it is my natural curiosity and friendliness that makes me want to talk to people. I may try it anyway and see what happens.
Eating: I stopped at a famous fish and chips place and ordered the premium item--fish and chips. They brought it and I thought there was a mistake. There on my plate sat a nice piece of fish and a bunch of fat french fries. Plus a small bowl of guacamole. That surprised me since in Texas guacamole is reserved for nachos and salads.
So a moment of thinking about it and I dipped the fat french fry into the guacamole. It was very good but very strange and I couldn't quite place it. Then I heard someone say at another table in a strong British accent--"That fellow is dipping his chip in the mushy peas." I looked around and realized the fellow was me! It was smashed peas not guacamole. The fat fries were the chips.
But it was delicious and I enjoyed my experience. So today is my first full day in this amazing town.
Flight was tough though. 10 hours on the plane and ended up with stiffness in every joint. Plus a lack of sleep didn't help. Slept all night though and ready for the London experience. Today is a day of tubing (not innertubing!) where I learn how to navigate the city on the subway called a tube. Some sort of fun adventure of discovery on the tube.
One thing very different is my tendency to talk to strangers. Apparently it is not done in England. I know it is not done in New England so it makes sense not to do so in old England. Still it is my natural curiosity and friendliness that makes me want to talk to people. I may try it anyway and see what happens.
Eating: I stopped at a famous fish and chips place and ordered the premium item--fish and chips. They brought it and I thought there was a mistake. There on my plate sat a nice piece of fish and a bunch of fat french fries. Plus a small bowl of guacamole. That surprised me since in Texas guacamole is reserved for nachos and salads.
So a moment of thinking about it and I dipped the fat french fry into the guacamole. It was very good but very strange and I couldn't quite place it. Then I heard someone say at another table in a strong British accent--"That fellow is dipping his chip in the mushy peas." I looked around and realized the fellow was me! It was smashed peas not guacamole. The fat fries were the chips.
But it was delicious and I enjoyed my experience. So today is my first full day in this amazing town.
Sunday, March 13, 2011
Response to Church Music Comments
I made the comment that our national past was "dark and dramatic." I then related this to church music of the past 40 or 50 years. I was correctly questioned as to my comparison and asked for specific examples. In addition it was mentioned that today's choruses are often filled with "I" "Me" or self. I wish to respond to both of these.
In talking about our national past as being dark and dramatic, I wish to stand by these descriptors. Around the turn of the 20th century, our country was experiencing stark changes in transportation, in industry, in labor, in immigration, and race relations. Looking back we are chagrined at the treatment of people and the violence perpetrated on African-Americans, on children in factories, on the American Indian, and mostly on anyone not born in America. The struggles for a family from another country to buy a home, to make a living, and to receive an education are nearly criminal and a cause for great embarrassment at our past. Forcing children to work, knowing they would not receive an education, for the sake of putting food on the table demonstrates an economic situation caused from cheap labor and desire for increased production. This led of course to labor unions which although well-intentioned created another set of problems, problems we have today. Does the gain outweigh the costs? Maybe.
Not being of liberal mind-set, at the same time my compassion for people cannot condone a situation of pain and suffering that existed for many families in the early part of the 20th century. More could be said about this particularly as related to race relations, but I think I will spend more time on that at a later date. To generalize, over many years our incredible country and her people became more refined and tolerant of outsiders, resulting in our being one of the most powerful and compassionate countries in the world. We worked through the difficulties and in spite of the darkness emerged glowing. Not that all is perfect and we have a long way to go, but I certainly would not want to return to that time period. For more information, I recommend reading "Murdering McKinley" by Eric Rauchway.
How does this relate to church music? I do stand corrected that my comparison of being "dark and dramatic" in U.S. history is related to church music. That does seem a bit overstated. Yet I refer to the gnawing problem of worship wars driving churches apart and sending people out of our walls of the organized church. Who wants to worship in the house of the Lord when people are angry at each other? Who can focus on the Lord when we are focused on what we do not like? Who wants to be amid a body of believers who are intent on their own selfish agenda? Anne Rice, who denounced the church, while retaining her faith, was shocked at the internal hostility within churches today.
So yes, I do believe that our immediate past in churches and in church music is somewhat dark and dramatic in that division and polarization seem to be the norm. We chase people away by our judgments instead of drawing them in by our love. That is dark and it is dramatic.
Onward to lyrics of today. It does seem anecdotally true, albeit without empirical data to support the thesis, that lyrics today often dwell on "I" and "Me" rather than on the sovereignty and majesty of God. And we can certainly find several obvious examples. Think on the words found in Holy, Holy, Holy, or Come Thou Almighty King or A Mighty Fortress Is Our God. Now compare those to Tomlin's I Will Rise or Beautiful One or How Great Is Our God. All of these modern choruses reference I or me. In fact, studying the top 100 Praise choruses of today, many of them do seem rather self-oriented.
Now let us think about the hymns used today. We have established that the more established hymns from traditional hymnody do seem less self oriented than choruses of today. Yet a closer look at the hymnal reveals over 52 Hymns that begin with "I" and another 20 plus that reference "me" with many others talking about "I" somewhere in the hymn (Amazing Grace is an example). Furthermore a precursory look at the current top 100 choruses being sung in churches today, shows that about 40 do not use I or me but take a more collective approach and sovereignty of God idea. Of course this does mean that around 60 have a personal plea or personal look.
My suspicion is that it is true that today's music is more individualistic and less global although the percentage of this type of music is well within the bounds of balance of presentation. Yet maybe there is truth in the statement that older hymns acknowledge the majesty of the Lord over "how I feel" about God.
Perhaps there are two reasons for this trend: 1) Much of the music today was composed by an individual holding a guitar and singing about his relationship with God, and 2) Much of the music today has the same composer as the lyricist. When we look back on the great hymns, we notice a different poet/lyricist from the composer of the music. The melding of the two concepts is inherently collective and less personal than 1 person doing both music and words. So it is no surprise to find this trend today as musicians are creating their own songs in an individual framework.
To summarize: points given for mentioning the extreme of church music being as "dark and dramatic" as American history; and a point or two for the perception of today's music being individualistic and less global than hymns of the past. But here is the question--Is this a problem or simply a difference?
In talking about our national past as being dark and dramatic, I wish to stand by these descriptors. Around the turn of the 20th century, our country was experiencing stark changes in transportation, in industry, in labor, in immigration, and race relations. Looking back we are chagrined at the treatment of people and the violence perpetrated on African-Americans, on children in factories, on the American Indian, and mostly on anyone not born in America. The struggles for a family from another country to buy a home, to make a living, and to receive an education are nearly criminal and a cause for great embarrassment at our past. Forcing children to work, knowing they would not receive an education, for the sake of putting food on the table demonstrates an economic situation caused from cheap labor and desire for increased production. This led of course to labor unions which although well-intentioned created another set of problems, problems we have today. Does the gain outweigh the costs? Maybe.
Not being of liberal mind-set, at the same time my compassion for people cannot condone a situation of pain and suffering that existed for many families in the early part of the 20th century. More could be said about this particularly as related to race relations, but I think I will spend more time on that at a later date. To generalize, over many years our incredible country and her people became more refined and tolerant of outsiders, resulting in our being one of the most powerful and compassionate countries in the world. We worked through the difficulties and in spite of the darkness emerged glowing. Not that all is perfect and we have a long way to go, but I certainly would not want to return to that time period. For more information, I recommend reading "Murdering McKinley" by Eric Rauchway.
How does this relate to church music? I do stand corrected that my comparison of being "dark and dramatic" in U.S. history is related to church music. That does seem a bit overstated. Yet I refer to the gnawing problem of worship wars driving churches apart and sending people out of our walls of the organized church. Who wants to worship in the house of the Lord when people are angry at each other? Who can focus on the Lord when we are focused on what we do not like? Who wants to be amid a body of believers who are intent on their own selfish agenda? Anne Rice, who denounced the church, while retaining her faith, was shocked at the internal hostility within churches today.
So yes, I do believe that our immediate past in churches and in church music is somewhat dark and dramatic in that division and polarization seem to be the norm. We chase people away by our judgments instead of drawing them in by our love. That is dark and it is dramatic.
Onward to lyrics of today. It does seem anecdotally true, albeit without empirical data to support the thesis, that lyrics today often dwell on "I" and "Me" rather than on the sovereignty and majesty of God. And we can certainly find several obvious examples. Think on the words found in Holy, Holy, Holy, or Come Thou Almighty King or A Mighty Fortress Is Our God. Now compare those to Tomlin's I Will Rise or Beautiful One or How Great Is Our God. All of these modern choruses reference I or me. In fact, studying the top 100 Praise choruses of today, many of them do seem rather self-oriented.
Now let us think about the hymns used today. We have established that the more established hymns from traditional hymnody do seem less self oriented than choruses of today. Yet a closer look at the hymnal reveals over 52 Hymns that begin with "I" and another 20 plus that reference "me" with many others talking about "I" somewhere in the hymn (Amazing Grace is an example). Furthermore a precursory look at the current top 100 choruses being sung in churches today, shows that about 40 do not use I or me but take a more collective approach and sovereignty of God idea. Of course this does mean that around 60 have a personal plea or personal look.
My suspicion is that it is true that today's music is more individualistic and less global although the percentage of this type of music is well within the bounds of balance of presentation. Yet maybe there is truth in the statement that older hymns acknowledge the majesty of the Lord over "how I feel" about God.
Perhaps there are two reasons for this trend: 1) Much of the music today was composed by an individual holding a guitar and singing about his relationship with God, and 2) Much of the music today has the same composer as the lyricist. When we look back on the great hymns, we notice a different poet/lyricist from the composer of the music. The melding of the two concepts is inherently collective and less personal than 1 person doing both music and words. So it is no surprise to find this trend today as musicians are creating their own songs in an individual framework.
To summarize: points given for mentioning the extreme of church music being as "dark and dramatic" as American history; and a point or two for the perception of today's music being individualistic and less global than hymns of the past. But here is the question--Is this a problem or simply a difference?
Friday, March 11, 2011
Generosity and Joel
Questioning Joel as to why his money gets depleted so quickly, and assuming it was due to buying cokes and chips from a machine, he casually mentioned that a lady had needed $20 to help her grandson. Red flags went up in my mind and I began asking him more questions. Asking Joel questions is a delicate art and one I have not mastered as of yet. Too many questions often ends up having the reverse effect of no answers, usually resulting in Joel saying "Too many questions." So I have to ask questions slowly and very benignly, almost indirectly with the hope of determining the truth. While Joel cannot tell a lie, he does tend to leave out details and speak as though the event were typical of any other event. To him all situations are normal and do not warrant any kind of emotional reaction different from any other reaction. All things are the same.
Subscribing to the philosophy of "make all you can, save all you can, give away all you can," my boys have often seen me give money to the homeless, the indigent, and yes to those who ask. Sometimes I witness to them, sometimes remind them to use the money wisely, and sometimes simply say "God Bless You." While it is possible and maybe likely the receiver uses the money for something other than good, I let it go with the idea that I did the right thing and hopefully the person will share the same concept. But for better or worse my children are the same way. They tend to be generous when they can, making a difference in their small corner of the world. I am proud of them for this characteristic and would not want it any other way.
Back to Joel. Unlike my other two boys, he does not have any powers of discernment. I am generous with people but also am aware of the lies that rarely but possibly accompany the requests for money. I recall a dicey situation years ago in San Antonio when a man insisted I give him money to pay for a bus for his wife and child who was sick. He said that his car broke down and he could not get it fixed. I asked him where they were and why he had no grease on his hands. He became angry with me and threatened bodily harm. Luckily a police officer saw us and urged the fellow to leave the area.
Joel does not know the difference. He assumes everyone is telling the truth, all are honest, all are good, nobody would ever do anything wrong. We discussed the lady with the grandson only to discover that the child was not present in the car. The lady requested $20 and Joel gave it to her. I reminded him that while most people are honest it is possible to encounter someone who is lying. He said no. He told me that everyone is good and bad guys disappeared in the 1970s and now can only be found on television.
I do not want to erase Joel's inherent goodness and his positive belief in all people's honesty, but I do wish there were a way to teach him discernment. At this point however, I do not believe it is possible. Joel will always see the world through his own rose tinted glasses. This is a quality that makes Joel the innocent special child he is and the quality that draws people to him. It is also the quality we have to watch and protect him from the possible times that others may intend some kind of harm.
May the road Joel walks throughout his life be filled with people who intend good and may Joel always rise to the goodness he finds in others. Charity, a dangerously wonderful quality, and one that makes the world a better place.
Subscribing to the philosophy of "make all you can, save all you can, give away all you can," my boys have often seen me give money to the homeless, the indigent, and yes to those who ask. Sometimes I witness to them, sometimes remind them to use the money wisely, and sometimes simply say "God Bless You." While it is possible and maybe likely the receiver uses the money for something other than good, I let it go with the idea that I did the right thing and hopefully the person will share the same concept. But for better or worse my children are the same way. They tend to be generous when they can, making a difference in their small corner of the world. I am proud of them for this characteristic and would not want it any other way.
Back to Joel. Unlike my other two boys, he does not have any powers of discernment. I am generous with people but also am aware of the lies that rarely but possibly accompany the requests for money. I recall a dicey situation years ago in San Antonio when a man insisted I give him money to pay for a bus for his wife and child who was sick. He said that his car broke down and he could not get it fixed. I asked him where they were and why he had no grease on his hands. He became angry with me and threatened bodily harm. Luckily a police officer saw us and urged the fellow to leave the area.
Joel does not know the difference. He assumes everyone is telling the truth, all are honest, all are good, nobody would ever do anything wrong. We discussed the lady with the grandson only to discover that the child was not present in the car. The lady requested $20 and Joel gave it to her. I reminded him that while most people are honest it is possible to encounter someone who is lying. He said no. He told me that everyone is good and bad guys disappeared in the 1970s and now can only be found on television.
I do not want to erase Joel's inherent goodness and his positive belief in all people's honesty, but I do wish there were a way to teach him discernment. At this point however, I do not believe it is possible. Joel will always see the world through his own rose tinted glasses. This is a quality that makes Joel the innocent special child he is and the quality that draws people to him. It is also the quality we have to watch and protect him from the possible times that others may intend some kind of harm.
May the road Joel walks throughout his life be filled with people who intend good and may Joel always rise to the goodness he finds in others. Charity, a dangerously wonderful quality, and one that makes the world a better place.
Sunday, March 06, 2011
A few thoughts on Church Music History
Driving to Brady for the service this morning, I began thinking about church music and a little of the changes that have taken place the last few years. As a student of American history, focusing primarily on the late 19th and early 20th centuries, I often contemplate how labor laws, government intervention, race relations, and wars have shaped our country and our culture. We cannot escape, nor should we, our National past, a past that although dark and dramatic replete with pain and suffering, joys and victories, labor and leisure, has made us the nation we are today. Looking a little more microscopically, the same is true in church music.
Superficially knowledgeable in the Reformation and the changes wrought in the Religious world following the escapades of the radical and brilliant monk Martin Luther, I choose to deal with, at least for now, the last 40 years of Protestant church music in America. Forgive me for ignoring other denominations and developments around the world and for imagining such a myopic time period, yet that is what I know. To quote from the intellectually sophisticated show Rugrats, "This is our world, and it is all we know!"
The anger rages forth in church music today as congregations grapple with their own personal preferences of church music, wondering what is right, what is best, and what will accomplish the greater good. That said, it seems to me that aside from the "youth" music that jumped into the mix in the late 60s and early 70s, most of the music of 40 or 50 years ago was designed around the organ, an instrument often considered the King of all instruments or the grandest of instruments. The organ, replete with a multitude of sounds and possibilities reigned supreme in the design of all church music dating back to its inception before the Baroque period. Not to say other instruments were not also used, but the music was typically suited and conceived with the organ as the centrality for the musical experience. The organ is a smooth, rich instrument with a wealth of sounds that allow for complex polyphony and a multitude of musical events at one time. I suppose mention should be made that prior to the use of the organ in churches, the human voice was the preferred medium. The organ came along and enhanced the vocal experience. But let's jump forward again to the 1970s!
As youth music began to move in and pianists found themselves in the forefront of artistry, composers of church music began writing music more for a piano. The piano became the central concept of church music, with the organ taking a back seat and not playing quite the dominant role it did earlier. Some of this is due to the percussive nature of the piano and some due to the sustaining of sounds while other sounds take place. Of course fine pianists do not blur the chords, preferring a cleaner approach to music, but many people almost embrace the idea of a "wash" of sustained sounds at times. Sadly, during this period, the organ began to be considered the instrument of choice for weddings and funerals. While certainly legitimate for this purpose, it did and does relegate the organ to a more functional role, far away from its value as a solo or accompanying instrument.
Time moved forward, as it is wont to do, and the organ and the piano remained true to church music. But soon another instrument jumped into the mix--the guitar and with it the trap set. Since composers do not and likely will not be able to design musical melodies around a trap set, the guitar became the driving central force. And we are in this world today. An added complexity, probably similar to the controversy that existed many years ago in the organ world is whether to use only acoustic guitars without extra amplification or should we allow electric guitars?
And now we live in this strangely wonderfully eclectic world with music designed around the guitar, some music around a piano, and still others emphasizing the organ. And sitting in our congregations are people who have a particular preference for a sound, a type of music, and a genre. While we can formulate a model church around something--organ music of mostly hymns, or piano music of a mix of hymns and older choruses, or guitar music of primarily modern choruses, it seems to me the best approach and likely the inevitable one is to create a gloriously complex church world that includes all three.
Although the risk involved is the possible alienation of those strongly preferring one over another, the gain is unification of the people and the ultimate cultural and spiritual growth. For each instrument, organ, piano, or guitar, has value and regardless of the choice, an expression of musical talent serving Christ's Kingdom in our church is a grand and glorious exercise. So I urge people to consider the role of the diversity in our church music and the inclusion of all kinds of instruments (apologies to my Church of Christ friends) in the worship of our Lord and Savior.
Superficially knowledgeable in the Reformation and the changes wrought in the Religious world following the escapades of the radical and brilliant monk Martin Luther, I choose to deal with, at least for now, the last 40 years of Protestant church music in America. Forgive me for ignoring other denominations and developments around the world and for imagining such a myopic time period, yet that is what I know. To quote from the intellectually sophisticated show Rugrats, "This is our world, and it is all we know!"
The anger rages forth in church music today as congregations grapple with their own personal preferences of church music, wondering what is right, what is best, and what will accomplish the greater good. That said, it seems to me that aside from the "youth" music that jumped into the mix in the late 60s and early 70s, most of the music of 40 or 50 years ago was designed around the organ, an instrument often considered the King of all instruments or the grandest of instruments. The organ, replete with a multitude of sounds and possibilities reigned supreme in the design of all church music dating back to its inception before the Baroque period. Not to say other instruments were not also used, but the music was typically suited and conceived with the organ as the centrality for the musical experience. The organ is a smooth, rich instrument with a wealth of sounds that allow for complex polyphony and a multitude of musical events at one time. I suppose mention should be made that prior to the use of the organ in churches, the human voice was the preferred medium. The organ came along and enhanced the vocal experience. But let's jump forward again to the 1970s!
As youth music began to move in and pianists found themselves in the forefront of artistry, composers of church music began writing music more for a piano. The piano became the central concept of church music, with the organ taking a back seat and not playing quite the dominant role it did earlier. Some of this is due to the percussive nature of the piano and some due to the sustaining of sounds while other sounds take place. Of course fine pianists do not blur the chords, preferring a cleaner approach to music, but many people almost embrace the idea of a "wash" of sustained sounds at times. Sadly, during this period, the organ began to be considered the instrument of choice for weddings and funerals. While certainly legitimate for this purpose, it did and does relegate the organ to a more functional role, far away from its value as a solo or accompanying instrument.
Time moved forward, as it is wont to do, and the organ and the piano remained true to church music. But soon another instrument jumped into the mix--the guitar and with it the trap set. Since composers do not and likely will not be able to design musical melodies around a trap set, the guitar became the driving central force. And we are in this world today. An added complexity, probably similar to the controversy that existed many years ago in the organ world is whether to use only acoustic guitars without extra amplification or should we allow electric guitars?
And now we live in this strangely wonderfully eclectic world with music designed around the guitar, some music around a piano, and still others emphasizing the organ. And sitting in our congregations are people who have a particular preference for a sound, a type of music, and a genre. While we can formulate a model church around something--organ music of mostly hymns, or piano music of a mix of hymns and older choruses, or guitar music of primarily modern choruses, it seems to me the best approach and likely the inevitable one is to create a gloriously complex church world that includes all three.
Although the risk involved is the possible alienation of those strongly preferring one over another, the gain is unification of the people and the ultimate cultural and spiritual growth. For each instrument, organ, piano, or guitar, has value and regardless of the choice, an expression of musical talent serving Christ's Kingdom in our church is a grand and glorious exercise. So I urge people to consider the role of the diversity in our church music and the inclusion of all kinds of instruments (apologies to my Church of Christ friends) in the worship of our Lord and Savior.
Subscribe to:
Posts (Atom)