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SCHOLARSHIP
Hip-Hop
Though
I have written on other topics, my main area of scholarly interest is
popular
music. Though wonderful work has been done by scholars from
fields
as diverse as sociology, literary theory, and communication studies, it
has only been over the past two decades that musicologists have begun
to
make significant contributions to our understanding of popular
music.
My humble contribution to these efforts has been the first in-depth
analysis
of the rhythmic structure of rap, which I first presented (in nascent
form)
at the National Conference of The College Music Society in 2004.
"Vocal Rhythm and the Stylistic Development of Rap".
ABSTRACT
In
this paper I seek to describe the stylistic development of American rap
since the late 1970’s by focusing upon vocal rhythm. In order to
do so, I first develop a system of notation and analysis for vocal
rhythm
in rap that condenses multiple understandings of “rhythm” in music and
poetry into a concise and flexible visual form. I then apply this
notation system to several well-known recordings in order to describe,
illustrate, and define some major phases in the stylistic development
of
rap. Finally, I consider how an understanding of the history of
rap
derived from rhythmic analysis can support or undermine understandings
of rap developed by other means.
I am
currently expanding this work in a number of directions, including
pedagogy,
ethnography, and theology. Stay tuned for more details.
Classical
Music Theory
My
unpublished doctoral thesis, Orchestrational Narrative in Jacob
Druckman's
Aureole".
ABSTRACT
After a
first glance at the
score, Jacob Druckman’s Aureole can seem terrifyingly abstract.
On
the page, its pointallistic textures and lack of vivid motives refer to
a world of abstruse of compositions whose relationships can only be
heard,
let alone understood, by a handful of composers and theorists. However,
the piece presents a different world when performed. It has a
clear
dramatic shape, several easily identifiable musical ideas, and holds
the
listener’s interest throughout. This paper explores the ways that
Druckman uses orchestration to construct a successful dramatic
narrative.
The overall narrative is so compelling not only because it is logical
and
interesting as a whole, but also because of the manner in which it is
constructed.
Rather than follow one narrative line from start to finish, the
listener
is confronted with the opportunity to follow several, each occurring on
a different hierarchical level and applying to different parameters of
the piece. After identifying and describing the a number of fundamental
timbral/orchestrational “motives”, this paper then traces how each of
these
is strung together to create the various narrative lines. The
form
and narrative structure of the piece is presented using a number of
color-coded
diagrams that can be used as both and analytical tool for the
professional
and as a listening guide for the non-specialist.
Ethics
and Music Pedagogy
I tend
to value most the type of scholarship that contributes to the process
of
educating students; perhaps that's why I didn't go to graduate school
in
an "academic" discipline. In fact, for years I have questioned
the
values and mores that seem central to higher education in America: the
"ivory tower" mentality that seems to ignore the responsibilities
commensurate
with the luxurious opportunity to study something in great depth.
In 2002 I presented a paper on this topic at the Northeast Chapter
Meeting
of The College Music Society:
ABSTRACT
This
paper attempts to summarize the resources our musical educations have
required,
the goal being to put into perspective all that has been spent –by us
and
by others – for us to reach our career goals. It then discusses
how
much and what type of moral/ethical responsibilities we posses as a
result
of our use of so many different types of resources for our own
purposes.
Proceeding with the assumption that we do posses some sort of
responsibility,
the paper then explores 1.) possible types of responsibilities, and 2.)
to which communities we, as highly trained academic musicians, owe
service.
Each community is described in terms of the types of resources we
academic
musicians make use, and from each description we deduce what we are
responsible
to give back to it. The communities are evaluated using a variety
of criteria, with special consideration of which community could
benefit
the most from the academic’s musical knowledge and skill. After a
thorough discussion, the conclusion is that the communities most in
need
of our particular service are the poor areas proximal to our
universities.
Various types of service to these communities are explored, and the
conclusion
is reached that the type of service most effective on a variety of
levels
is the one-on-one mentoring relationship. A model is then proposed for
this sort of service to students in local schools. The author’s
own
experience with mentoring relationships in West Philadelphia is
presented
as one of many ways to approach this service. Finally, specific
suggestions
about how to engender successful mentoring relationships are presented,
as are helpful resources for music professors and graduate students who
would like to begin mentoring programs at their own schools, or begin
such
service independently.
Popular
Music and Christianity
In
2006 the journal Books and Culture published an essay I
have co-written with the historian Randall Stephens, a specialist in
American
religious culture, on current Indie-rock darling Sufjan Stephens.
Stephens is an artist whose faith permeates his music and lyrics,
providing
a powerful lens through which to interpret his work.
Though
this article will mark my publishing debut on this topic, I have led a
number of workshops exploring the complex relationships between
American
Christianity, theology, and popular music. See my CV
for a listing of these lectures, presentations, and
workshops.
Please also see my Educator and Faith
& Music pages.
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