Sound On

The past two weeks I have had the pleasure of achieving Level 1 Mastership Certification in Early Childhood Music through the Gordon Institute of Music Learning and the University at Buffalo. The two courses addressed the theory and practice of music learning.

Lectures By Dr. Edwin Gordon

Each morning featured lectures on Music Learning Theory right from the horse’s mouth. It was great to hear Dr. Gordon speak live and in person, and experience the physical manifestation of his voice and sense of humor, which comes through so clearly in his writing.

The most valuable aspect of the experience was Dr. Gordon’s regular demonstrations of the results of his research. It’s easy to read words like “continuous flowing movement,” but to see it demonstrated can be quite striking.

Dr. Gordon’s enthusiasm for research in music education and fervor for the practical applications derived thereof (and likewise, his overt antipathy for traditional beliefs and practice in the music education world) were an especially memorable component of his talks.

Although I approached class as a fan of Dr. Gordon’s work, it is clear that many of my classmates have become “converts,” as they were forced to confront stupidity latent in their thoughts and conventions.

Now I Know How To Flow

Jennifer Bailey and Natasha Sigmund led a class on the practical applications of Music Learning Theory in an early childhood environment. It’s something that cannot be learned from a book, or even a video, because it is such a visceral experience.

Applying Music Learning Theory is very challenging, because there is so much to know and do. You need to know many songs and chants which serve as a vehicle for a variety of meters and tonalities. You need to assess children’s responses, understand what level their brain is functioning at musically, and use that knowledge to respond back appropriately. The entire session must flow. You expect nothing from students, but go to them and bring them along with you musically if they are ready. Taking all this into consideration can be a paralyzing experience!

More Challenges

Having class each day was difficult. Normally, as a student I like to take my time reading, carefully organize my notes and review them before class, and in general, take my time – that is a critical mantra for me in my own experience of learning. Unfortunately, with class going on each day, I found myself struggling to complete assignments, practice, and really comprehend what was going on. But I know that the philosophy of the class was just to feed me enough information to keep me going on my own.

Another challenge was embracing simplicity in the construction of songs and chants. Sophistication is the natural result of a culture that embraces it.

Finally, I have a new appreciation for having gone to college away from home. As I attended my first graduate classes while living at home, I found “everyday life” interfering with class on a regular basis. Going to school out of state and living in dorms fostered an environment where I could really leave everything behind and focus on academics. While of course I made time for friends, they too were immersed in an academic life experience.

People

My classmates came from Frankfurt am Main, Deutschland to Searcy, Arkansas, USA, and everywhere in between. What a turnout! Time with the “dormies” was fun, musical, and overall well spent. Come on back to Buffalo any time! And of course, class would be incomplete without the illustrious Dan Reitz, whose musicianship and depth of thought never fail to incite.

Deception

While the certification and practical applications focus on early childhood with occasional ventures into classroom and even instrumental music education, the class was actually about how people learn music from the beginning. It is not chronological age, but musical age that matters. Thus, the knowledge gained through class is (for better or worse) applicable to even chronologically mature students. This class is appropriate for everyone, even if early childhood isn’t your “thing.”

Conclusion

The certification workshop, with all its ups and downs, was an overall excellent experience that I recommend to anyone. The concepts I learned will be developed into methods and applied to whatever sort of music learning environment I decide to become involved with. Also, class counted as the first six of 33 credits towards a master’s degree, so I am on my way towards a formal application to the program by February, 2008. Lastly, classmates: please keep in touch, and best wishes to you all!

“Since its founding in 1939 by six composers including Aaron Copland, the American Music Center has been building a national community for new American music.” Here’s how they have been accomplishing their goal:

NewMusicbox

At the 2007 June in Buffalo music festival, I had the pleasure of a conversation with Randy Nordschow, associate editor of NewMusicbox, “a Web-based advocacy magazine and portal dedicated to the music of American composers and improvisers and their champions.” NewMusicbox is regularly updated with high quality content and opportunities for discussion.

NewMusicJukebox

NewMusicJukebox is “a vast, searchable online database of more than 40,000 works by American composers; publications and directories compiling opportunities in new music and other information useful to industry professionals; and benefits and services for nearly 2,500 members in all fifty states and around the world.” But following is the most valuable resource to any musician or music fan!

Counterstream Radio

Counterstream Radio is the web radio station of the American Music Center. If you are interested in broadening your musical horizons and hearing substantial, influential works in American repertoire, visit the website and tune in through the web player or through iTunes. Counterstream Radio has been a constant source of inspiration and thoughtful entertainment, and I hope it will continue indefinitely! When confronted with the possibility of reading about music, learning about music, talking with someone about music, or listening to music, listening is always my primary choice. Bravo to a first class musical resource!

American Music Center

Support the American Music Center and gain the benefits of membership by joining. If you have any questions, telephone (212) 366-5260 x10 or email center@amc.net.

This year the Toronto Jazz Festival was action packed with an all-star lineup. If it had been practical, I would have loved to stay the week and attend as many concerts as possible. However, I somehow managed to narrow the performance list down to just a pair of concerts: John Scofield with Medeski, Martin, & Wood, and Vijay Iyer with his quartet including saxophonist Rudresh Mahanthappa.

John Scofield with Medeski, Martin, & Wood

In the tent on a warm Wednesday evening at Nathan Philips Square in Toronto, Ontario, Canada, legendary guitarist John Scofield joined forces with keyboardist John Medeski, percussionist Billy Martin, and bassist Chris Wood for some funk-rock fusion. Originally I thought there might be some competition for John Medeski, who it might seem had the spotlight taken off of him by John Scofield as the primary harmony/solo voice of the ensemble, however the two worked very well together. Medeski, relentlessly creating new sounds on keyboards, seemed to especially enjoy comping Scofield, and the two were in constant visual communication. Unlike many modern orchestral performances, there were no egos to be found amongst the members of this ensemble. Having been very much in the mood for the performance, I thoroughly enjoyed it – it satisfied a desire.

Mainstream Crowd

What really amazed me about the show was the more mainstream crowd in attendance. Instead of the normal “jazz club” arrangement of tables and chairs, there was practically a mosh pit going on in front of the stage, with whatever extra chairs spread out around the parameter of the tent. The crowd enjoyed rocking out to the performance by dancing and grooving. But the music emanating from the stage was as far outside the tonality as any the work of any modern jazz ensemble. I’m going to guess that if you played the same thing on a saxophone, people would think, “what is that racket!?” But because it was played on an electric guitar with bass and drums, the crowd is comfortable with the music and accepts it as ok. Also assisting the lay-audience members’ musical thoughts were drummer Billy Martin’s constant steady beats, neatly organized into groups of four. Finally, no matter how far outside the tonality the group would venture, they would always give you tonic at the end, like Bach.

Vijay Iyer Quartet

Once again I was treated to the immense pleasure of a live performance by the Vijay Iyer Quartet, of which I am a huge fan. Pianist and composer Vijay’s modern music, loaded with rhythmic sophistication, improvisation and spiced with South Asian flair, never fails to thrill me. For each tune I hear, I think, “I would not change one thing about that!” Vijay was joined by long time collaborator Rudresh Mahanthappa, an excellent alto saxophonist as well as composer, and interestingly they both met in Toronto. Also playing was bassist Stephan Crump, another longtime collaborator, who reliably finds depth in musical inspiration with every performance, and a brand new percussionist, Justin Brown, who has only been with the quartet for a week – but by the sound of him, you might guess they had been playing together for years. The communication amongst ensemble members was indeed effortless. Justin infused an enormous amount of creative energy into the ensemble, constantly accenting particular microbeats and turning multimetric music into polymetric music. This guy could definitely give Billy Kilson a run for his money!

New Music By Vijay

Though Vijay apologized for opening up the concert with “the same music as last year,” tunes heard on the album Reimagining, he didn’t need to – besides being great tunes, because Vijay’s music so strongly embraces improvisation, every old tune becomes new again each time it is performed. The latter end of the first set and the entire second set consisted of completely brand new tunes by Vijay, which build up layer upon layer of intensity, always changing, never resolving, almost like the music of Steve Reich. Vijay Iyer is constantly evolving as a composer, always embracing new mediums and new techniques, but always true to his voice. I can’t wait to hear the new tunes again – certainly I hope they will be recorded, along with his orchestral piece. The future is flourishing for these exceptional musicians!

Live @ Courthouse

The venue for the Vijay Iyer Quartet performance, Live at the Courthouse, just opened in 2007. At 57 Adelaide Street East, what I’m assuming was a former courthouse has been renovated into a posh jazz club, featuring live music six nights per week, and a décor to suit even the most opulent of tastes. The intimate yet airy space features tables and chairs, a bar towards the back, a balcony, large tapestries, and imposing fireplaces. Even the bathroom will impress, as water flows into the basin through the mouth of a carved beastly countenance. Don’t miss this venue in Toronto, Ontario!

Toronto Jazz Festival

The TD Canada Trust Toronto Jazz Festival, produced by Patrick Taylor and artistically directed by Jim Galloway, is one of the premiere jazz festivals in North America. The performances have been inspiring and entertaining me for years. More information is available on the website or by calling (416) 928-2033. If you are a fan of the arts, enjoy and support this great festival!