Sound On

James Morgan Thurmond’s work, subtitled A Method for Achieving Expression and Style in Musical Performance, lends an “inside” look about how musicians make interpretive decisions. By understanding which notes are most and least important, and how to cognitively organize them, we can arrive at a more emotional, moving realization of the musical line.

Arsis-Thesis

Notes can be assigned two labels: arsis and thesis. The notes marked arsis are full of forward motion and emphasis, as when walking, one lifts one’s foot. The thesis notes resound with rest and resolution, as when walking, one brings one’s foot to the ground. When mentally grouping the notes, one should start with an arsis and end with a thesis. The arsis gets the emphasis. Traditional notation can be very misleading. Consider this diagram from page sixty-four, showing how we should mentally group notes together:

Context

Now consider this reasoning in the context of a musical line on page sixty-three:

Conclusion

Though the writing is highly academic in character, this book does contain “the accumulated experience and study of more than half a century of professional playing and teaching.” James Morgan Thurmond thoroughly explains and defends his thought process. This is a valuable read for any mature musician and music educator. Note Grouping is distributed by Hal Leonard.

While I don’t recommend Dr. Edwin Gordon’s tome, compiled through years of innovative research, as an introduction to his theories and results, I do recommend that it be read, eventually, by anyone who is serious about music education. This is a book that covers every essential aspect of music learning. Because of this, it ought to be the seminal text of every student of music education. Dr. Gordon’s book is at every turn insightful, logical, rewarding, inspiring, and most of all, relevant. It explains how people learn music and naturally guides the reader in developing their own methodology of musical instruction.

Music Comprehension

Unfortunately, many current standard practices in music education do not support the most important aspect of music learning: the ability to hear sound while it may or may not be physically present. This subconscious process, called audiation, happens in the brains of all good musicians and audience members. It allows us to compare what we are hearing with what we have heard, and anticipate or predict what we will hear next. This ability is the foundation for all genuine musical meaning and comprehension.

Before You Read

Learning Sequences In Music, being one of the most detailed and in depth explorations into music learning, is best prequeled with some educational resources based on Dr. Gordon’s work. Developing Musicianship Through Improvisation is my strongest recommendation, and it will even improve your musicianship and improvisation skills besides serving as a practical introduction to Dr. Gordon’s theory of music learning. If you have a child in your life, definitely pick up Music Play. Lastly, any of the Jump Right In series of materials can also be very helpful. But once you have a sense of the surface and practical applications of the theory, do read Learning Sequences In Music.

Serious Reading

The writing style is generally serious and academic in nature. Dr. Gordon does have a sense of humor, and anyone who has met him in person knows he loves to tell jokes, but to find the humor in his writing, you have to be sensitive to the way he explains things. If you are used to reading magazines or fictional novels for entertainment, this book will challenge you, but the challenge is worth the results.

A More Musical World

Dr. Gordon’s book will help you develop your own music learning methodology and curriculum that will help your students learn how to audiate and comprehend music. It is available in hardcover, along with a challenging study guide, and most recently, audio lectures introducing each chapter. But best of all, attend one of Dr. Gordon’s lectures in person, and keep up with the Gordon Institute for Music Learning. I truly believe that if more music education professionals were aware of the results of Dr. Gordon’s research, the world would be a much more musical place.

This book was recommended to me by my high school band director, Matthew Cool, when I was a collegiate student in music education. I finally got around to reading it. It’s designed to start the reader on a personal path towards greater achievement in music.

Kenosis

James Jordan makes reference to the Greek theological term kenosis, which literally means emptiness; the reader should empty themselves of love to all the people around them. Most appropriately for music, this should happen by an ensemble conductor to the performers. Like many themes in the book, it’s not only a great approach to musicianship, but to life.

Mimetic Envy

In a musician’s brain there is a “perfect sound.” When a performing ensemble inevitably fails to achieve this, the musician can either turn to anger and envy of the perfect sound, or they can choose to accept and love the reality of the sound the ensemble is creating.

Stillness

The case for spending quiet time alone is made because this peace is a source of joy in music. How can we love others if we do not love ourselves? How can we love ourselves if we do not know ourselves?

Metaphysical

While the book references deity and is generally composed through a lens of Christianity, this element should not detract from the value of the material. I would encourage any musician, and especially directors of performing ensembles to read this. Though the ideas presented here are simple in nature – to know yourself, to love yourself and others, to choose love over idolatry and envy – to practice them is another challenge entirely.

James Jordan

Dr. James Jordan is a writer, conductor, and professor at Westminster Choir College of Rider University in Princeton, New Jersey. The Musician’s Soul and many other works are available through GIA Publications, Inc.