Neural Mapping

This Daniel Levitin book review of Connectome by MIT professor of brain science Sebastian Seung is a wonderful overview of where neuroscience has gotten to and where it's going.

. . . Progress has also been made in mapping which brain systems control which kinds of operations (my own field of research): One system is responsible for lifting your foot, another senses the pain when you stub your toe; one system helps you to solve arithmetic problems, another enjoys "La Bohème." A new approach to studying brains and individual differences involves making maps of how neurons connect to one another. Following the term genome, these are called connectomes. . . .

. . .The human brain contains 100 million neurons, and each neuron makes thousands of connections on average. If we assume that each distinct connection pattern gives rise to a distinct brain state—like the effervescent sensation after that first kiss—the number of brain states exceeds the number of known particles in the universe. Your experiences, memories, personality and thoughts are thus encoded in the ways your neurons connect to one another. The next big frontier is mapping those trillions of neural connection patterns to their brain states. By observing a particular network of neurons firing, researchers should know (in theory) whether you are thinking about love or money, beer or burgers. . .

. . .The levels of various chemicals in our brains can clearly be altered pharmaceutically. They are also influenced by diet, exercise, stress and normal biological cycles. Even if we know how the neurons are connected and the strength of their synapses, the amount of dopamine, for example, that is available in the brain at any given moment will influence firing patterns. This could cause the same neural network (a group of connected neurons) to give rise to different thoughts or different networks to give rise to similar thoughts. . . .

Perhaps due to my having been an English major the first time around, I find the neologism "connectome" unfortunate as the suffix makes me of the word "lobotomy" every time I see it and pronounce it in my mind, but as a way of understanding the way the brain works it looks to be a terrific tool.

Sound Awareness of the Ancients

Here are two articles talking about research presented at the annual meeting of the American Association for the Advancement of Science. One by the BBC is mostly about Stonehenge and how the placement of the standing stones closely maps the sound interference pattern of two flutes being played at the center of the site.

Another at InsideScience includes information about other sites such as Chichen Itza, where the echo of a hand clap in front of the stepped monument comes back as a chirp. Having been there and experienced the phenomenon first hand, I can say it's a very striking effect that seems to be more than happenstance.

These articles reminded me of visiting "Agamemnon's tomb" in Greece, and having had some time alone in it between tour groups. The video at the link gives a taste of the reverberation inside it, and I'd find it hard to believe the people that built it didn't notice the acoustics and put them to use somehow.

The InsideScience article also mentions something I'd seen before, that cave paintings are often in the most acoustically interesting parts of the caves.

I always wonder how anyone can say with any certainty what the people of those long ago times were up to, but since all the new neuroscience points to just how important sound and music are to the human brain, that they were aware of that in their own way and somehow put it to use wouldn't surprise me at all.

Horn Diary

The following comment just came in on a Horn Diary post back in 2009:

Before I get too far into anything, I should probably say up front: yes, I realize that this was posted in 2009... I guess I'm posting on hope. I have been having 'meltdowns' with embarrassing frequency the past few months. It is almost entirely my fault. I'm a freshman in highschool, but I have been playing the french horn since fifth grade. Four or five years, overall. The problem is that I practiced very rarely during the last school year, not at all over the summer, and in a very inconsistent fashion during this school year... In short, I had more endurance two years ago on a single F horn than I have now on a double horn. If I practice consistently for a week, I'm fine, but I have no buffer -- three days of not practicing and I'm back at square one. Again, my own laziness -- which no one can correct but myself. So, people have been giving advice -- very good advice which I will keep in mind in the future -- for band rehearsals. Which leads me to this: I have a solo very rapidly approaching. I realize that there's very little I can do in time for this particular performance that's going to save me from my own laxity, and I look forward to the eminent embarrassment... [Okay, not really.] But I'm curious. Does any one have tips for preserving your chops during a solo performance? (People here are also mentioning that they find the mental attitude of people in bands sometimes... disappointing. Thought I'd add my own observations about this high school band which I'm suddenly thrust into. All of a sudden I've gone from being one of two [the second was a late arrival, even] french horn players to the second least experienced one of six. This is also the first time I've experienced chair tests/auditions. Is the level of competition and the slight feeling of animosity [or aloofness] from the higher chairs common?)
By Anonymous 

I'm bringing this comment up to a new post to make a few points and to see if any regular readers have anything to add. 

The commenter realizes that regular practice is the real answer to the problems cited, so as a music therapist I'm very curious as to why the practicing slacked off here lately. I'm so old I can't even remember what it's like to be a freshman in high school, but maybe the lack of practice just has to do with lack of time. The thing is, though, in my experience, the horn, unlike the guitar, demands regular practice or the lips just stop working well. So the question becomes, is playing the horn something you care enough about to make the time commitment?

(In my personal experience, that last question becomes, do I care enough about playing horn that I'm willing to learn all this concert band music that doesn't really appeal to me as much as the small brass ensemble things I'm arranging myself.)

It's my sense that part of what goes on in music educators' classrooms is a winnowing out of people that aren't as committed as others. So at the bottom of all this, you have to decide if playing the horn in this context is something you really want to do and are willing to make the commitment.

As to tips for saving chops during a solo performance, other than full preparation through daily practice, I don't really have any. I will say, though, that how you practice is crucially important and that I found Jeff Smiley's The Balanced Embouchure method a lifesaver. I was on the verge of giving up the horn (and was encouraged to do that by a music educator who thought taking it up in my 50's was somewhere between ill advised and insane), but working with the exercises in that book brought better endurance and range within a few weeks of regular practice.

As to the chair issues - as a music therapist I find the competition based methods of educators not helpful for what I want to do, but understand why it works for them. It's the people they want to winnow out I most want to work with. I will say that the horn players I've had the chance to work with have been wonderfully helpful, but that they've been imbued with that extreme competitiveness from an early age and it's sort of always there. As a therapist I can't help wondering if the new psycho/social situation you've been "thrust into" is the precipitating factor for a lot of this. Playing the horn is unlike any other instrument I've ever worked with, and one's mental state, e.g. confident or unconfident, is a huge factor.

My best wishes to the commenter, and please come back to continue the conversation if you'd like. To close I'd say that all the new research points to making music regularly as being very beneficial, and that for me personally, the horn has taken me to musical places I didn't know existed, so is worth the commitment. But the bottom line is to figure out what it is that's really important to you and spend your time pursuing that. 

Non-conscious Knowing

This article from Discover Magazine is a great overview of how it is we can know things without being conscious of all the details. Quoting just a few snips from it is hard because it's full of info and ideas that illuminate music making and music therapy. Here's one bit where music making is specifically mentioned:

You are not consciously aware of the vast majority of your brain’s ongoing activities, nor would you want to be—it would interfere with the brain’s well-oiled processes. The best way to mess up your piano piece is to concentrate on your fingers; the best way to get out of breath is to think about your breathing; the best way to miss the golf ball is to analyze your swing.

The article talks about two very arcane skills that could only be taught in a master/apprentice situation that sounds a lot like some aspects of teaching music. One of the taught skills is learning to determine the sex of baby chicks.

The mystery was that no one could explain exactly how it was done. It was somehow based on very subtle visual cues, but the professional sexers could not say what those cues were. They would look at the chick’s rear (where the vent is) and simply seem to know the correct bin to throw it in. And this is how the professionals taught the student sexers. The master would stand over the apprentice and watch. The student would pick up a chick, examine its rear, and toss it into one bin or the other. The master would give feedback: yes or no. After weeks on end of this activity, the student’s brain was trained to a masterful—albeit unconscious—level.

I prefer the word "non-conscious" over both "unconscious" and "subconscious" as they have all sorts of Freudian connotations that might muddy the waters. 

Understanding vs. Feeling

Here's Terry Teachout's Almanac quote for the day:

"The music started off at Bach's typical quick trot, a pace which, being uniform and neither fast nor slow, the pace of the mind rather than of the emotions, left Eustace respectful but unmoved. This was a case for understanding, not feeling, and he did not understand."

L.P. Hartley, Eustace and Hilda

Besides being a very apt description of how a lot of Bach strikes me, it's also a very good way of describing what I've called "theory mind", which if you have it means you experience music in a very different way than those that don't.

The phrase "pace of the mind" is particularly striking to me as I've been mulling a post on how both "pace" and "tone" have etymological roots in the verb "to stretch". The insight that pace (in both speed and flexibility) can apply to how we receive music as well as how we play it is terrific.

Live Music and PTSD

Back in the 70's  when I was getting my B.A. in Music Therapy, the texts talked about how it got it's start in the modern era as something that helped veterans of WW II suffering from what was then called "shell shock". Now there's this article talking about how live music performed in waiting rooms at a VA hospital is making a difference with patients dealing with PTSD and brain injury.

Dr. Hani Khouzam, a psychiatrist who treats both disorders, said patients have been arriving for appointments so notably calmer that it takes him longer to make a diagnosis — something he welcomes.

"You have to understand what it means for a combat veteran to be agitated in the waiting room. Their pupils are dilated. They are angry or waiting for something to happen," he said. "But when we have live music that day, they come to me far more relaxed. It's like an amazing miracle, and I don't say that lightly.". . .

. . . The "amazing surprise," Khouzam said, has been that the random playing of live music in the waiting room — doctors and therapists have not seen the same result with recorded music — helped patients with psychological damage from war.

Down in the comments to the post, there's this:

As the Executive Director of Musicians On Call, a national nonprofit organization that brings live and recorded music directly to the bedsides of patients in healthcare facilities, we recognize the healing power of music. Forty-one times a week in five cities we have local volunteer musicians - and volunteer guides who accompany them – who go room to room, bed to bed to play for patients, their families and caregivers. . . . . For more information on Musicians On call please go to www.musiciansoncall.org. Leslie Morrison Faerstein, Ed.D., LCSW, Executive Director.

Music Listening and Brain Networks

This article on research carried out in Finland talks about how new research methods are giving us more detail on what's going on in the brain when we listen to music.

The researchers found that music listening recruits not only the auditory areas of the brain, but also employs large-scale neural networks. For instance, they discovered that the processing of musical pulse recruits motor areas in the brain, supporting the idea that music and movement are closely intertwined. Limbic areas of the brain, known to be associated with emotions, were found to be involved in rhythm and tonality processing. Processing of timbre was associated with activations in the so-called default mode network, which is assumed to be associated with mind-wandering and creativity.

Music Therapy at MIT

Some time back I did this post on Tod Machover of the Media Lab at MIT. Here's a new article on what he's been up to since then.

In an inspiring feedback loop, Machover and his MIT minions, which include some of the nation's most forward-looking graduate students, are applying their musical gadgets to therapy. The process of making remarkable restorative advances is changing how they think about and make music. And that could affect how the rest of us might think about and make music in the not-so-distant future.

It all began with Hyperscore, a program Machover developed to enable children to compose by drawing and painting on a monitor. A sophisticated computer program translates their artwork into a musical score. . . .

. . . The Media Lab scientists designed a more refined headset for Ellsey that not only inspired him to compose (he turned out to have interesting musical ideas) but even allowed him to perform by controlling tempo, loudness and articulation. He blossomed, and Ellsey, while still a severely affected cerebral palsy patient, has become an active participant in the Hyperscore program, performing, making CDs and teaching other patients. He was a star at the 2008 TED conference.

Music Making Delays Hearing Loss?

This article talks about how music training appears to delay some aspects of hearing and memory loss. My sense of it is that if you train your brain to get more out of it with music, then when there's less there, you can still do well on various tests.

In the study, researchers in the Auditory Neuroscience Laboratory discovered that older musicians had a distinct neural timing advantage. This was determined by measuring the automatic brain responses of younger and older musicians and non-musicians to speech sounds.

“The older musicians not only outperformed their older non-musician counterparts, they encoded the sound stimuli as quickly and accurately as the younger non-musicians,” said Northwestern neuroscientist and co-author Nina Kraus, Ph.D.

“This reinforces the idea that how we actively experience sound over the course of our lives has a profound effect on how our nervous system functions.”

Composing Music

Over in this post, Kyle Gann says the following:

It felt as firm as though I had had a math problem with an incorrect answer, and I recalculated and got the right one. It “clicked.” Every composer knows this click, or should. It doesn’t feel as though I simply “liked it better.” Even though there is no objective criterion against which I can measure a phrase in a piece I’m writing, right and wrong answers come up. Because such judgments are made in the right brain, I suspect, there are no words to justify them. When I’m about done with a piece, I put the MIDI version on a CD and play it over and over in my car as I’m driving and – this is the crucial part – try not to listen to it. What happens, as I have my mind on other things, is that every wrong note in the piece jumps out at me and attracts my attention. This works, I think, because when I’m focusing on the piece (with my left brain), I can justify to myself anything I put in it, but with my peripheral (right-brain) listening, things that are wrong become impossible to ignore. My peripheral listening catches the mistakes. My conscious, analytical brain puts these oh-so-clever ideas in, and my intuitive, unfocused brain tells me the ones that don’t work.

I'd previously come up with the analogy that for me composing is game like and puzzle like, and that when you get something right there's the feeling of winning the game or solving the puzzle, but Kyle's description is much better and goes much deeper, and I agree that listening to a piece in an unfocused way is different, but hadn't realized it until reading this.

note to regular readers - the picture for this series of posts isn't here because I'm migrating from a five or six year old iBook to a brand new MacBook Air - and going from dial-up to wireless that's now available here on the farm due to a new cell tower not to too far away - and getting every thing organized, and trying not to look at music YouTubes all day (!) has slowed blogging.

Epigenetics

I've often thought that where we are in the understanding of neuroscience and genetics will probably turn out to be analogous to where map makers were right after the Americas were discovered. This article linked on Boing Boing reinforces that notion, as it looks like there's more than just nature and nurture affecting who we are.

This post from a year ago talking about talent included this quote from a BBC article:

. . ."Like a jukebox, the individual has the potential to play a number of different developmental tunes. The particular developmental tune it does play is selected by [the environment] in which the individual is growing up.". . .

It turns out things are more complicated than that, and the complication is epigenetics.

. . . epigenetic processes—chemical reactions tied to neither nature nor nurture but representing what researchers have called a "third component." These reactions influence how our genetic code is expressed: how each gene is strengthened or weakened, even turned on or off, to build our bones, brains, and all the other parts of our bodies.

If you think of our DNA as an immense piano keyboard and our genes as keys—each key symbolizing a segment of DNA responsible for a particular note, or trait, and all the keys combining to make us who we are—then epigenetic processes determine when and how each key can be struck, changing the tune being played.

Composing Music

A while ago I blogged about composing a piece of music because a lot of people seem to think it's  a much more mysterious proposition than it really is. The tag for that series of posts is Vermont Song. One of the points made in those posts is that first you set your parameters - things like instruments, pitch set (scale), and meter - and then it's sort of like a game wherein you work to see what you can do musically within those parameters. 

So I was delighted to see Kyle Gann say in a recent post:

“if you get an interesting enough scale, you can just explore all the inherent possibilities of that scale, both the ones you built into it and the ones that appear unexpectedly, and the piece practically writes itself.”

I quoted that in a comment and added: "That’s a wonderful way to think about composing – that you’re simply releasing inherent possibilities of a set of parameters – takes the conscious ego right out of the equation."

Kyle was talking specifically about one of his micro-tonal scales (this one has 36 different pitches per octave), but the concept can work for a bundle of parameters, not just one.

The phrase "conscious ego" might be one I start using regularly because it's a handy way of talking about what the lamas call "the self-cherishing ego", as opposed to the "neutral ego". In the case of composition, once you set the parameters, who you are will determine what you find in that space, there's no need to be constantly wondering what it is you want to say.

As I've mentioned before, the first time I hear a piece performed, or the first time I perform it for someone else, there's this amazing feeling of being in a waking dream state that I think is due to hearing how some part of me I'm not conscious of is being expressed.

Performance Diary

Over the past couple of weeks I've been involved in various performances: horn in concert band; a flute obbligato with the community chorus; flute and alto flute with the Presbyterian Ensemble Christmas morning; guitar, horn and alto flute with the great nieces at the nursing home; and horn with the brass group and a pipe organ at an Episcopal Sunday service yesterday morning.

Something about playing flute or horn with voices really moves me and seems to put me in a much better position to experience flow. I didn't get there this time, but was tantalizingly close. I think it must have to do with my experiencing the intonation and the balance blend with voices as being far more delicate than, say, the concert band. I think that's also why I so enjoy playing alto flute with flute and cello, and playing horn in the brass group - getting that wonderful ensemble feeling seems much more in reach, and that wonderful ensemble feeling is a big (necessary?) part of flow.

Right at the beginning of this series of performances I got the very sad news that someone I've been close to for forty years had passed away. She was a wonderful musician, which always seems to make it worse. So while playing all this wonderful Christmas music, there was this constant undertow of sadness. People didn't seem to really notice a change in my playing, but I sure did. If I were a higher level player, maybe I could have played joyous music more successfully while feeling sad.

The other way not being a high level player came into play was having technique issues to clear away before being able to interpret the music on the various instruments. Were I to give up all instruments but one, I could spend way more time on technique so as to not be caught short when wanting to perform. I really enjoy making music on various instruments, but there's a price to pay in having to drill on the various technique deficiencies that pop up in phrases here and there when prepping for performances.

In several of these performances we used carols I'd transposed down into flat keys some years ago, having added a keyboard book in the new keys for piano/organ, and people really enjoyed our playing and sound, and we really enjoyed playing in the comfort zones of our ranges. It's sort of like the old hymns mentioned in the previous post. Simply putting music in easy to play keys, just like playing music people want to hear, is a very high reward endeavor and I'm sort of baffled more people don't do it.

The Old Hymns

Having never been a church goer, I never sang any hymns until becoming a hospice volunteer six or seven years ago. When I'm asked to sing hymns, it's nearly always the old hymns, many of which have been dropped from the newer hymnals (and never were in the Episcopal hymnal, with which I had a little experience as a young child).

Some of the hymns I'm talking about are "Sweet Hour of Prayer", "The Old Rugged Cross", "In The Garden", "What A Friend We Have In Jesus", "The Church In The Wildwood", "Trust and Obey", and "Pass Me Not, O Gentle Savior".

I've put these and others in flat keys for our group, and usually down a step or three to make them easier for people to sing. Every time we do them, a few people come up afterwards and fervently thank us for performing them and telling us they never hear them any more and that they mean a great deal to them.

As a therapist these hymns strike me somewhat as the service tunes and patriotic songs the community band plays on Memorial and Veterans Day. Through a lifetime of association, hearing them triggers an emotional reaction in some audience members that can never be matched by something they've not heard before. 

I can understand how church musicians and ministers want to always be exploring new material, but as a therapist these old hymns are a wonderful way to create therapeutic moments for people that grew up with them.

Made In Tibet

Thanks to Lama Tashi for linking this on Facebook. For the nearly 20 years I've been knowing Tibetans, the news from Tibet has just gotten more and more grim. This example of how they maintain their sprit in the face of all that reminds me of what an astonishing people they are.

Art. Emotion & Technique

Here's Terry Teachout's almanac entry for today:

"It is a grotesque misapprehension which sees in art no more than a craft comprehensible perfectly only to the craftsman; art is a manifestation of emotion, and emotion speaks a language that all may understand. But I will allow that the critic who has not a practical knowledge of technique is seldom able to say anything on the subject of real value."

W. Somerset Maugham, The Moon and Sixpence

I think that some art can only be fully apprehended and appreciated by the community of craftsmen. Musicians and composers with "theory mind" can delight in harmonic and rhythmic complexities (which may or may not be manifestations of emotions) unintelligible to regular people. I do agree with the overall point of the quote, though, and think it's a good way of thinking about teaching music - that the emotion is the point of it all, and that technique is how you get there.

Performance Diary

Thanksgiving is a great day to post on some recent performances by the Kenwood Players. We had four performances in eleven days, a frequency of public performance I'd never previously experienced. One performance was in yet another local country church with glorious acoustics, Waddell Presbyterian over in Rapidan (for those familiar with the area it's the wooden Gothic church right as you go down to the river from the Orange side). Here's a snapshot of the interior:

During the service we did "Sweet Hour of Prayer", "The Old Rugged Cross", and "In the Garden" as instrumentals three times through, me on guitar, Judy on drum, Steve beginning each on trombone and Dick taking the third time through on trumpet, with Bill B and Crawford switching out on the second iteration on sax or Eb tuba. Each and every solo was terrific. Crawford, a retired preacher who'll be 80 next Aprils Fool's Day did a tuba solo on "In the Garden", that to me at least, spoke of a well and fully lived spiritual life. 

We got a lot of very nice compliments, but my favorite was from the organist who said afterwards in an almost dazed way, "You all are really good!" It's not unusual for us to get nice comments from other musicians, but the music therapist in me who's never done a lot of straight up performing is always delighted to hear them.

We also did three performances with basically the same set list, for an open house at an assisted living facility, for a fund raising gala for the local art center, and for the entertainment following a harvest dinner at the Presbyterian church in town. Maggie and I did less than ten minutes of flute clarinet, then Dick and Steve did trombone trumpet duets, then Crawford and Bill C on tuba and me on horn joined them for some brass, then I switched to banjo and we did some good time Americana, and then some straight up Dixieland.

I am obviously biased, but my sense is that the good feelings we create as a group making music together are getting transmitted to the audience. People are enjoying the music, but they're also enjoying and sharing our having a good time making the music. 

Here's how I put it in a thank you note to the Players: Thanks to each and every one of you for these recent performances and all the past work that laid the groundwork. Both how we make music as a group and how the group makes music in the community is something I've never experienced so fully before. I saw a quote here lately that for a true musician the love of self doesn't get in the way of the love of the music, which is a great way to describe the cooperative spirit needed for our getting the feeling we're expressing in the music.

String Tone

Here is a terrific post by Elaine Fine, with great illustrations, talking about how various harmonics can create different tone qualities. A snip from the first paragraph:

Violinist-composers tend to load up their music with sixths because the sixth is such a harmonically rich interval. It is simply loaded with overtones, some that can be heard, and some that can't really be heard distinctly. They can be felt though, by the person playing and the people who are listening. It is rare that a microphone can pick up the full array of overtones and difference tones. These are the things that give texture to the music and contribute to the personal quality of an individual player's sound.

A Few Words about Jonathan

Regular readers of this blog will be familiar with the name Jonathan West, as I've linked to him from time to time and because he is by far the most frequent commenter. Besides his horn blog, he has another, which began as rationalist and skeptical philosophic musings, but a couple of years back began paying attention to sexual abuse of children in a school in his part of London. 

For the whole story you can go there and scroll through the posts. Basically he turned his wonderfully analytical mind to the problem and did what he could to shed light on a situation that, for whatever reason, society tends to turn a blind eye toward whenever it crops up. 

Equally importantly, he has maintained a civil tone throughout, even though those running the school cast aspersions on his motives.

Here in the past few weeks the story has been covered by the major papers and the BBC and Jonathan's work has been vindicated and praised, but it was lonely going at the start.

Having worked with children who were victims of abuse, sexual and otherwise, I know that the harm can only be ameliorated, not eliminated. The real way to go is to prevent it from happening in the first place, and that's what Jonathan's work on this issue will mean for any number of children in the future.

Bravo! 

Hearing the World Differently?

Here's a long article on how it is so much modern architecture can seem weird to the layman, the people actually using it. For me it seems a perfect analog to a lot of "modern" music. Here are the first two paragraphs:

Have you ever looked at a bizarre building design and wondered, “What were the architects thinking?” Have you looked at a supposedly “ecological” industrial-looking building, and questioned how it could be truly ecological? Or have you simply felt frustrated by a building that made you uncomfortable, or felt anger when a beautiful old building was razed and replaced with a contemporary eyesore? You might be forgiven for thinking “these architects must be blind!” New research shows that in a real sense, you might actually be right.

Environmental psychologists have long known about this widespread and puzzling phenomenon. Laboratory results show conclusively that architects literally see the world differently from non-architects. Not only do architects notice and look for different aspects of the environment than other people; their brains seem to synthesize an understanding of the world that has notable differences from natural reality. Instead of a contextual world of harmonious geometric relationships and connectedness, architects tend to see a world of objects set apart from their contexts, with distinctive, attention-getting qualities.

I've become convinced that most composers of concert band music are really writing for other composers of concert band music more than students and audiences, whether they realize it or not. That also seems true of most of the atonal effusions of academia we got in the 20th century.

From time to time I've used the phrase "theory mind" to describe the type of musician/composer who can tell you instantly that they're hearing an augmented chord with a flat ninth in second inversion. They simply hear and process music differently from regular people. The music they write and play can work for them and others like them, but not for average people.

Here's another paragraph further down in the article:

Our colleague Jaap Dawson recently reinforced this idea in telling us of his teaching experience:
“The unconscious rules us, however hard we try to become conscious of a little bit of our lives. What I’ve also discovered in working with students the last 27 years is that they pick up the design rules of Modernism very quickly—without consulting their own experience of buildings or spaces. And if you look at those rules, then you simply have to conclude something else: in order to follow them, you need to know the normal, vernacular, classical, archetypal language of building. If you know that language, then you simply do its opposite in order to get Modernism. My conclusion: awareness of the timeless language is present in people, but they learn to suppress it. But there’s something underneath groupthink, I think; and that’s a fear of trusting your own experience—in body and soul—of buildings and spaces. Any child trusts that experience.”

Memory and Music

Here are two articles talking about memory and music.

The first talks about a particular type of memory function that can vary from person to person. Some people can hold more information in their minds at one time than others.

In a series of studies, Hambrick and colleagues found that people with higher levels of working memory capacity outperformed those with lower levels – and even in individuals with extensive experience and knowledge of the task at hand. The studies analyzed complex tasks such as piano sight reading.

“While the specialized knowledge that accumulates through practice is the most important ingredient to reach a very high level of skill, it’s not always sufficient,” said Hambrick, associate professor of psychology. “Working memory capacity can still predict performance in complex domains such as music, chess, science, and maybe even in sports that have a substantial mental component such as golf.”

I was particularly struck by this as music educators always talk about how if you sight read a lot you'll get better, which is certainly true. But it also seems true that it's harder for some than others due to innate brain function, which I've always intuitively felt, but educators never seem to consider. I never push sight reading on clients for whom it's difficult, preferring to focus on what what comes more easily and then building out from that. 

The second article (thanks Jonathan!) is about a musician who suffers from amnesia, but can remember music. Here's the line that really caught my attention:

"Musical memory seems to be stored independently, at least partially, of other types of memory," Finke said.

Grimaud Interview

Alex Ross gave a link to this interview of Hélène Grimaud. It's a fascinating read. Here are a few snips from the article:

“A wrong note that is played out of élan, you hear it differently than one that is played out of fear,”

Her albums aren’t merely proficient tours through the repertoire; they are highly personal explorations that can stand out among dozens of rival performances. And in the concert hall Grimaud can offer surprises, something rarely provided by players who have been processed by the conservatory machine.

“By nine, I was already obsessed,” she remembers, in love with “the pure pleasure and evasion of being at that instrument.” But, rather than spending all her time at the keyboard, she did much of her “practicing” in her head. “Some wonderful pianists practice eight hours a day,” she says. “I was never really that person.” 

Chopin, a tempestuous pianist himself, was a musician with whom she felt a kinship. Grimaud, who is left-handed, thought that the Classical greats discriminated against players like her. In their music, the left hand was largely devoted to chords, while the right played the melody. “Chopin opened up the piano for the left hand.”

She also exercised her remarkable ability to prepare without actually playing. Mat Hennek, her current partner, remembers that one day, when he and Grimaud were first dating, they went shopping in Philadelphia and then to a Starbucks. At one point, he recalls, “I said to Hélène, ‘Hélène, you have a concert coming. Did you practice?’ And she said, ‘I played the piece two times in my head.’ ”

She presented her program with intense commitment, sustaining a mood from piece to piece, so that the audience felt pulled into a narrative. Levine, at the Gould Foundation, notes that she “seems so absorbed in the music, so attentive. She has that quality—getting back to Gould—of ekstasis.” Grimaud explains, “A concert must be an emotional event, or who needs it? You can just stay home and listen to your favorite recordings.”

Maslow

Just caught this post over on Musical Assumptions and made the following comment:

Very, very helpful post - Thanks. Came across Maslow for the first time since the 60's when reading up on "flow" and saw where he renamed as "peak experience" what had previously been called "transcendence".

Synchronistically, just this morning had a conversation with a musical friend and we agreed that pure "flow" is in part social - you can't get there by yourself - there have to be other players and/or a live audience. But neither of us are pros, so your idea that it can be achieved in solitary practice could well be the case for high level players.

Terry, Gunther and Walt

Just want to bookmark this post by Terry Teachout on Gunther Schuller and Fantasia. Schuller's biography looks to be a fascinating read. Here's one thing Terry says:

Mr. Schuller, who turns 86 next month, is a much-admired classical composer and conductor and a distinguished jazz scholar. Before that, he was the principal horn player of the Metropolitan Opera Orchestra. He is the only musician in the world who can claim to have played with Maria Callas, Miles Davis, Ethel Merman, Frank Sinatra, Igor Stravinsky and Arturo Toscanini. In "Gunther Schuller: A Life in Pursuit of Music and Beauty," just out from the University of Rochester Press, he talks about all this and much, much, much more.

Horn Diary

I've had two very pleasant experiences with the horn within 24 hours of each other earlier this week.

The first was an evening practice session running through all the bits and pieces in my 2nd horn parts for community band. My tuner, which beeps when a correct pitch is played, had been left on and time after time it beeped right after the last note of a phrase was played. After nearly two dozen times I went and turned it off as a distraction, but the feeling of being so well into an intonation groove lasted the whole session.

Then the next afternoon we had a full rehearsal of the brass quintet we've been trying to pull together (two Eb tubas, trombone, horn, trumpet). I've put together an album of Mozart, Corelli, Facoli, Tomkins, Gibbons, Bach and Billings. Over and over again we hit the chords just right and that amazing sound of an in tune brass ensemble filled the room. In my fairly wide experience of music making on various instruments, there's simply nothing like it. The trio of flute, alto flute and cello can be just as good, but in an entirely different way.

The feeling I had was part of what I experienced as a "flow" discussed in this post. I hated it when the pieces came to an end, wanting that feeling and gorgeous sound to go on and on.

Also, I now know I can play the horn in tune with other brass and with voices, and my suspicion is that in band my difficulties are due in part to there not being a clear "slot" for me to fit into. My first band director five or six years ago one time said something like, "You have to be in good tone to be in good tune", and I think that's right. If the tone is not centered in all the instruments playing, the sound mix is contaminated with all sorts of out of tune harmonics. It's also my suspicion that trained educators can hear through that static and divine where the pitch should be, but I really have a difficult time doing so.

Off Topic: Natural Phenomena

There have been several unusual natural phenomena in my neck of the woods here lately. There was the earthquake, with the epicenter just 17 miles away, followed by numerous aftershocks. Then there was a tornado close enough that I could hear it. It sounded like thunder at a distance, but just kept on longer than any thunder I've ever heard, and only when I checked the weather discovered there'd been a tornado right when I heard the sound.

Then last night during my outside farm chore I looked up and saw the most amazing Northern Lights I've ever seen. Sort of stood there mesmerized for five minutes. There have been photos coming out today, and this is the closest to what I saw. My horizon line was about two thirds the way up from the bottom of this photo, and my view of the lights extended upwards and I could see the trailing off into nothingness of those green streaks. Right when the light show was over, the fog came up like some heavy handed Macbeth production.

It all makes the Buddhist teachings on impermanence come to mind.

Music and Reading

This article talks about recent research suggesting regular music making can benefit reading skills.

In a new study, found in the journal Behavioral and Brain Functions, researchers provide a biological basis for how auditory working memory and musical aptitude are intrinsically related to reading ability. . .

 . . . Nina Kraus, Ph.D., and her team found that poor readers had reduced neural responses (auditory brainstem activity) to rhythmic rather than random sounds. Furthermore, researchers discovered the ability to hear acoustic sounds correlated with reading ability as well as musical aptitude.

The musical ability test, specifically the rhythm aspect, was also related to reading ability. Similarly a good score on the auditory working memory related to better reading and to the rhythm aspect of musical ability.

Kraus explained, “Both musical ability and literacy correlated with enhanced electrical signals within the auditory brainstem.

Mitsuko Uchida Quote

I followed this link from Opera Chic tagging Mitsuko Uchida because, for me, she brings life to Mozart like no one else I've ever heard and I was curious to see what she might say. In the interview at the link she says:

“What truly matters,” she says, summing up, “is that your love of music is stronger than your love of yourself."

I've done some posts on how from a Buddhist perspective your motivation for doing something colors and affects the outcome of the activity, particularly something as expressive as making music. "Your love of yourself" is what the lamas call "the self-cherishing ego" and which they teach can lead you astray. If I'm reading this quote right, she seems to be saying something very similar.

Voice Diary

One project I've had on the back burner for a couple of years is making a recording for friends of the the Dylan songs I've been singing for over 30 years. There have been several sessions with Dave the former Army Band drummer and Dr. Andy on bass, separately and together, to get a feel for how to do them with a small ensemble as opposed to just me and the guitar.

Here lately I've been doing some test recordings to figure out how to best use the audio equipment to get the best sound on the voice and guitar. Running the sound through the speakers and/or headphones has been a revelation. It's like holding a magnifying glass to both tone and articulation. In a purely acoustic environment the sound of your voice is a blend of bone conduction and what the room sends back, which has the effect of buffering and delaying it for the tiniest bit of time.

Using a nice condenser mic no more that a foot away from the mouth and having that feeding headphones gives the voice a temporal immediacy and a clinical clarity. Small details I never noticed loom large. (Dr. Andy says it's the same for him using headphones with both the cello and the bass.)

One thing that's become particularly apparent is my not articulating clearly throughout a song. Just because I know the words as well as I do from memory doesn't mean someone listening will.

Something else is that the tone of my voice doesn't always sound like I'd imagined it does on some of the songs, and isn't conveying the sense and mood of the song as I intend.

All of which is to say recording yourself is a wonderful aid to learning to make music, and that using headphones while making the music amps up the experience.

One small audio procedure that seems to work well setting volume levels at that sweet spot that's at a high level comfortably short of feedback shriek is paying attention to the EQ settings. With my Mackie mixer there are knobs for high, mid and low EQ and I've been turning up the volume enough to hear a little room noise through the speakers, then dialing back any EQ that creates any sort of hum or white noise, and then turning up the gain. It's dawned on me that feedback shrieks are as much a creature of poor EQ settings as they are of too much volume.

Audio Note

Our group, the Kenwood Players, had an outdoor performance of Dixieland jazz last weekend at the Gordonsville Street Festival, and I took the full set of audio equipment. Over the past several years, learning how to set it up and get a good sound has been something of a challenge, but I'm making progress.

Last year at this event I pointed to two large keyboard amps (fed by the mixer) straight out from the porch we play on, and there was this weird edge to the sound on the recording, especially the trombone. I decided it was the result of something like an infinite regression like old time barber shop mirrors, with the sound bouncing back and forth across the street. This year I placed the amps so they were at a 45 degree angle to the porch, one pointing up the street and one down, and the sound was much better.

As usual, each tuba had a dynamic mic clipped into its bell, there was a condenser placed near the clarinet and one for me to sing into, a dynamic for Dick to announce songs. A new wrinkle has been clipping a small condenser to the banjo, because its sound is so directional. Having it go through the sound system means I can face any direction I want and everyone can hear it.

The other part of the system was a set of small powered speakers used as monitors, and that worked well. My sense is that besides helping us hear each other better, monitors help round out the sound. I'm used to thinking feedback is always a bad thing because of the howls it can create, but a little feedback, i.e. the sound from the monitors blending into the overall sound, can be a good thing.

But I always forget something. This time I had a knowledgeable music friend there evaluate the balance of the various instruments out front, but I didn't ask the players themselves if they could hear everyone else well, and it turned out the trombone player was too far from the monitors for them to help.

When we first began the wind came up, blowing one music stand over, and creating a low rumble in the mics, even though they all had foam covers. I dialed back the bass EQ on them all and the rumble went away.

The balance on the recording is about as good as we're going to get in a live situation, with the exception of the tenor sax not being strong enough because I forgot to put the vocal mic over next to him when I wasn't singing. I forget that even though the balance of the mix can sound good to me in the middle of everything, the recorder is in a different place in front of us and what it's picking up is a different mix altogether.

One thing I did in preparation for the event was to mark the inputs on the mixer with what was going to go where (there are four inputs with phantom power and trim controls and four 1/4 inch inputs). That meant I could set the EQ for each input ahead of time to best suit each mic, so that at the event only minor fine tuning was needed. All the pans were set right down the middle.

Warming Up

Until I took up the horn I never gave much thought to warming up. On the piano, guitar, flute and cello I just play a few easy things, more to get my mind focused on the task at hand than to limber muscles. With voice there is always doing things in the middle range before trying to hit high notes, but again, just doing a few easy pieces fits the bill. If the goal is to be a high level player, then things get more complicated, but just playing for enjoyment doesn't need to entail extensive warming up, as long as you pay attention during the beginning of each session.

The horn, though, is a different beast altogether, and not warming up properly can have huge downsides in simply not being able to play well or for very long. This post by James Boldin is a good one on some of the issues of horn warm-up. 

Reading and thinking about James's post lead me to remember that the "warm up" for Buddhist spiritual practice, whether attending a dharma talk or a solo meditation, is reviewing and "setting" the motivation. In most of what's been written about musical warm ups, the focus is on the physical aspects. Taking a little time at the beginning of each practice session to think about what you're trying to accomplish, and why you're trying to accomplish it, can be valuable as well.

Physical technique is very important, but there's a lot else involved in making music, and calling some of that to mind at the beginning of each practice session can bring more balance of all the elements to the endeavor.

Composing Music

One of the projects I set for myself this summer was to write a piece for horn and cello. Didn't happen. I came up with what both Dr. Andy and I thought was a great kernel / introduction in one of those odd time signatures I like so much, but nothing doing. Either those dozen or so bars really don't want to go anywhere, or I wasn't able to figure out how it can happen. So I put it aside and spent a lot of time arranging music for the brass group. But there was this feeling of failure, of a journey not completed, not to mention wondering if the muse had fled.

Then one of my students asked for a piece for her and her sister, flute and trumpet, and I came up with a little duet for them. And when arranging things for the weekly meeting of the brass group I've been doing these little harmonic studies to hear how the various instruments blend from various points in their registers. The point being that setting small goals makes coming up with something much easier.

Another thing that's been going on in the composition realm has been going back to pieces written in the 90's for various combinations of flute, alto flute, keyboard and cello - and trying to get the computer to play them again. There have been any number of upgrades to Finale since then, and it's taken a number of tries to get playback to work, but it finally does.

At any rate, I've had a few listens to those old pieces and it's been great fun, certainly in the psychological sense of being reminded of my state of being back then, along with being reminded that whatever it is I want to do as a composer comes out as a kind of style or sound, something first noted by our Vermont readership / flute player for whom the music was written. Kyle Gann revels in every piece being a totally new departure, and they certainly sound that way. For me, that there's a commonality to my sound over the years is sort of reassuring.

Flute Diary

This summer I spent a lot of time on the alto flute after something like seven years of hardly touching it and it was great to play it again. I recruited Hayley from the Orange community band to join me and Dr. Andy to work up music I'd arranged back in the 90's for flute, alto flute, and cello, along with some things I'd written for keyboard with those instruments.

Jumping around from instrument over the years has its drawbacks, but there are wonderful advantages as well. All the work with the horn and the regular flute meant I was able to get much better tone and volume on the alto flute than I did in the past. There's also sometimes a complete absence of the hissing, tire leaking air sound that used to be a regular feature.

I think the work with BE, Jeff Smiley's embouchure method for trumpet and horn, helped me better understand the way all the breathing and muscles work together to produce the embouchure, and that the better you "get" that, the easier it is to have a comfortably open throat and jaw, which in turn allows for creating centered, full tone. 

With both flute and horn my tendency was to obsess over what the lips were doing. I've never particularly liked buzz words, but that 60's hip term gestalt really fits the bill for explaining the true nature of embouchure. Embouchure is how everything else you're doing manifests in the lips. I realize this is one of those commonplaces of teaching wind instruments, but it's also one of those things where you have to experience what the words are talking about. Just because the words make sense to you doesn't mean you have a full understanding of their import. 

The other thing that has struck me (all over again) is what a perfect trio the flute, alto flute and cello make. There's the wonderful balance of treble, midrange and bass sounds, and the flutes have that difference tone ghost of an extra instrument from time to time, and all three are agile instruments.

Horn Diary

This summer has been the best I've ever had on the horn. During the hiatus of the community band I successfully got back the Farkas  Very Deep Cup mouthpiece I started with years ago, but moved away from when I had the embouchure crisis and the callus a while back, when I switched to a Medium Cup and then the Deep Cup for a while. I love the tone of the VDC mouthpiece and that its thin rim allows for so much embouchure movement inside the rim. While it might be marginally better for me to stick with a smaller mouthpiece for band music, and to match the first horn player's tone, I'm going with what I like more in the music I'm doing away from band.

One set of pieces I've been working on are the 12 Duos Mozart wrote for horn. I got the music years ago, but the gauntlet of preparing band music drew me away from it, and it's been wonderful music to come back to. Like some of the Handel pieces, they combine simplicity with musicality, with every note perfectly placed. One thing I've really enjoyed has been the detailed articulation, which seems to be the original intent of Mozart. They're making for great exercises as well as pleasing pieces for both me and the brass group. I'm putting them in keys that allow the trumpet and horn play 1st and 2nd voice up and then horn/trombone and Eb tuba down an octave.

Now that I seem to have some basic horn technique to work with I keep noticing an issue of brain rewiring. Having spent my early years on keyboard, there's the tendency to think of a series of notes as mere switches to be flipped in sequence, but on the horn, more than any other instrument I've ever played, every phrase is more sculptural as it moves from one note to the next, with every note's tone and intensity affecting the next and so on down the line. And I keep being caught off guard by how an interval, of say a fourth, feels different up and down the range of the horn, whereas on the piano it feels the same everywhere.

Something else I've had since I got the horn and got back to this summer are books of the hunting horn calls. I can finally play all the high F's and occasional G's called for. The blend of signaling and music is both fun and interesting. One thing I'm trying to arrange for the brass group is the old hunting song "Do you ken John Peel at the break of day" with some of the hunting calls between the verses.

As for community band, having a 1st horn player has made it a much more pleasant experience in that I'm not in the position of having to play music that's really too hard for me. Not playing the higher note in harmonies is a challenge after years of doing so, as is trying to be in tune with the 1st horn more than the band as a whole. But all of that seems to be coming along, and simply hearing how a good player plays band music is a continuing revelation. It's sort of like a dialect I've never gotten the hang of because I'd never heard it spoken.

Mindfulness and Good Luck

Here's a brief article on a simple study suggesting that people who consider themselves lucky display more mindfulness than those considering themselves unlucky. It gives a wonderful illustration of how mindfulness can ease problem solving.

Here's the final paragraph:

People who we often consider lucky are more relaxed and open to what's going on around them. They're not focused on a single task, blocking out everything else so much that they miss something important and unexpected. What this experiment demonstrates is that luck may not so much be luck, but whether or not our mindset leaves us open to opportunities we would otherwise miss because we're so absolutely sure of what we want.

That last sentence also gets at why giving some thought to your motivation can be helpful.

Thoughts from Yo-Yo Ma

This brief article based on an interview with Yo-Yo Ma has some great quotes in it. 

Here he's talking about the Kalahari bushmen:

“They do these trance dances that are for spiritual and religious purposes, it’s for medicine, it’s their art form, it’s everything. That matches all I’ve learnt about what music should be or could do.”

In modern life we tend to think of music as something separate unto itself, as opposed to its being a deep experience of our humanity. I'll never forget going to a performance by various African groups and the program talking about how the performers had a hard time just making music to fit an hour or two time slot - they were used to going on for hours and hours.

The following paragraph from the article starts off talking about the work of Demasio and ends up getting close to the Tibetan Buddhist notion of the importance of motivation in any endeavor.

I mention Damasio’s insistence, in Descartes’ Error (1994), that the self cannot be meaningfully imagined without being embedded in a body. This must be resonant for a musician? He concurs and suggests that the role of tactility in our mental wellbeing is under-appreciated: “That’s our largest organ.” Ma sees this separation of intellect and mechanism, of the self and the body, as pernicious. “We’ve based our educational system on it. At the music conservatory there’s a focus on the plumbing, not [on the] psychology. It’s about the engineering of sound, how to play accurately. But then, going to university, the music professor would say ‘you can play very well, but why do you want to do it?’ Music is powered by ideas. If you don’t have clarity of ideas, you’re just communicating sheer sound.”

Memory, Music & Alzheimer's

Following links in a story about brain research and Alzheimer's, I found this preview of an article behind a pay wall:

Music is known to aid memory, especially recalling autobiographical information. 

For example, people with Alzheimer's disease are better at remembering events from their own past when music is playing in the background. It was less clear whether tunes could also help them learn.

Brandon Ally at Boston University and his team were inspired by the report of a man with Alzheimer's who could recall current events if his daughter sang the news to him to the tune of familiar pop songs. They decided to try it out for themselves.

Since the title of the article is Dementia: Sing me the news, and I'll remember it, the researchers apparently met with some success. This fits with how the neuroscience is telling us music uses various parts of the brain, as opposed to a single one that can get damaged by disease, and that for Alzheimer's patients that can mean using music to enhance memories by pulling together undamaged parts of the brain. I just had never seen anything previous to this about music being used to help lay down new memories for such people, but it makes sense.

Psychoacoustics

Here's an article in the NYT discussing the latest in simulating the acoustics of a great concert hall in your living room, as well as making hearing aids that do more than simply amplify sound. The word "psychoacoustics" is used to cover not just what the ear hears, but also how the brain interprets that information.

Anyone who has ever tried to mix and master audio for a CD will immediately appreciate this quote:

. . . One factor that slows the pace of innovation, Dr. Hartmann suggested, is that the human auditory system is “highly nonlinear.” It is difficult to isolate or change a single variable — like loudness — without affecting several others in unanticipated ways. “Things don’t follow an intuitive pattern,” he said. . . 

. . .“Often our changes were worse than doing nothing at all,” Dr. Kyriakakis recalled. “The mic liked the sound, but the human ear wasn’t liking it at all. We needed to find out what we had to do. We had to learn about psychoacoustics.”

Like music therapy and music pedagogy, this is another field where the new neuroscience looks to bring a much deeper understanding to what works and what doesn't. 

Performance Diary

This past Thursday my great nieces and Crawford and Judy and I played down at the Orange nursing home to a mostly wheel chair bound audience. We did the same program we did at Oak Chapel, adding Joshua Fit the Battle of Jericho, Pass Me Not, O Gentle Savior, Sweet Hour of Prayer and Down By the Riverside.

I have never received more effusive, heartfelt and sincere thanks from an audience after a performance - ever. While I was packing up and schlepping equipment back to the car they kept rolling up to have a private moment to say just how much the performance had meant to them.

A small part of it has to do with my being down there once a week for years, so there's a nodding acquaintance with most of the residents. What just melted me was that two residents who've suffered strokes and have speech problems, and who normally don't really try to say too much because it's so difficult and frustrating, rolled up and really worked to say thank you.

The main reason for this was that the girls totally peg the cuteness meter. Once the audience realized we were really going to pull this off and successfully play the old hymns that mean so much to them, they slipped into a relaxed state of pleasure. The room just got sweeter and sweeter the more the girls played and sang, and when I got the audience to sing along with us (and most of them knew ALL the verses without hymnals).

Having done music in institutions a lot over the years, I couldn't help notice we pulled a lot of staff into the doorway of the room. The staff at places like that have heard it all, and they're very busy people, but when something special is happening, they notice. When I was leaving, several came out from back offices to say just how much they appreciated our playing.

My main contribution to the event was figuring out what the girls are capable of doing at this point and arranging music to suit. Skylar on trumpet is just starting her second year in band, and just got braces, so her range is Bb below middle C to the Bb an octave above, so mostly everything was either in Bb or Eb to accommodate that, and when it wasn't, she played the drum.

We just worked our way through the books I'd done up for them and did as many iterations of the hymns as we could get away with, with me calling out who took the next time through each time. That gives everything an improvisatory feel as opposed to plodding through a preset program, and it keeps the audience on their toes, so to speak.

Towards the end we had Crawford sing "Good Night, Irene", as the hurricane had just recently passed, and that went down very well as well. 

Judy P is the proud owner of a new ukulele with an onboard pickup I can plug straight into an amp. The amplitude of a uke strum is about half that of a guitar, so she can go much faster and throw in delightfully quick syncopations. Makes me realize one reason I so love Judy's drumming is that her background as a strummer so informs it, so it's great to play guitar and banjo with.

Back in this post I talk about what one blogger calls "transmission". And in this post there's talk of transcendence. What keeps coming back to me is that it's the sort of thing that can happen in all sorts of places outside concert halls, but in the era of recorded music and with fewer people playing in small catch as catch can ensembles (which was the norm for human society until the past couple of generations), people seem to have lost touch with that. If I can create some materials that will help facilitate more of this kind of small scale playing, I'll count that as a success.