Saturday, August 29, 2026

Alan Jacobs on bad arguments for the liberal arts that defend the funding of jobs and departments rather than the liberal arts themselves

https://blog.ayjay.org/bad-humanists/

N. Ángel Pinillos asks, Why Are Humanists So Bad at Defending the Humanities? — and his answer is that humanists’ defenses of the humanities fail when they argue that the humanities have any kind of intrinsic, as opposed to instrumental, value. Now, Pinillos says that he happens to believe in the intrinsic value of the humanities, but people outside the humanistic disciplines don’t, so the intrinsic-value argument, “deployed as a public argument, has lost us the public. …

Pinillos seems to think that this case has “been ignored,” though for half-a-century I have been reading essays about how a humanities education makes you a better citizen. He also says straightforwardly that we professional humanists “teach a set of skills that you cannot get anywhere else,” which seems to me … well, I started to say that it seems to me a debatable proposition but in fact I think it is demonstrably false. I know many people who can do all the things Pinillos lists in the paragraph quoted above who have never taken so much as one course in the humanities. 

He says that his essay is a defense of the humanities, when in fact it is an argument that universities should continue to fund humanities departments — because of their instrumental value. [emphasis added] If you could show that students can learn to read contracts and evaluate communications from doctors without the help of courses in the humanities, then nothing would remain [emphasis original] of his defense of “the humanities.” 

 

I say, in reply, that (a) the humanities are not to be conflated with courses in universities that bear the “humanities” designation, and therefore that (b) Pinillos has not defended the humanities at all, but instead has simply pleaded that university administrators and boards of trustees allow people like us to keep our jobs. [emphasis added]

Maybe Frank Zappa would say it’s like the advertising representatives and talent scouts saying that they are the people who need to keep their jobs in the music industry because if you don’t have them you don’t have the music industry.  The musicians?  Well, uh, anyway, never mind them for the moment. 


I can't help but be reminded of Jacques Ellul riffing on the role art critics came to play in technocratic societies, blogged about here and here.  Ellul observed that the arts critic has only been with us a few centuries, the implication obviously being that the super-majority of the history of human artistic activity has never required arts critics or arts departments for productive activity. At a more rudimentary level Theodor Adorno kicked off Aesthetic Theory with the observation that now that art had been liberated from service to throne and altar it was free, yes, but it has been stuck in an intractable crisis of purpose and legitimacy from which it can't possibly escape. Ellul, for his part, said that Adorno correctly grasped the state of the arts presented the Scylla and Charybdis bind, art either serves a state or is a hermetic technocratic cult that has no appeal to outsiders. 

I previously mused upon the idea that without a gatekeeping element to their role an arts critic is a super-consumer in a world of consumers.  The crises presented by AI-generated arts are crises for educators and gatekeepers before they are crises for consumers. Last summer I wrote "Why the priests of Art Religion can't accept an AI-generated offering on its altar: remainder humanism; AI-generated music; and a figural reading of Levitical rites on the question of whether The Velvet Sundown is even a real band"  An academic can talk to students about whether something is a duck or a rabbit. I have been suspecting in the last year that the crisis of AI-generated art is that it replicates at a massive scale the lies promulgated about the arts from within academic traditions.  To put this another way, if humans can be trained to create duck-rabbit drawings and taught how to interpret the same image as a duck or a rabbit and to toggle back and forth between them, the threat of AI may be that the AI slop people worry about has to be programmed to present just the duck or just the rabbit.  In chains of ones and zeroes there's not room for a 0.005, a 0.2341 or a 0.66666 is a way to put it, but those fuzzy and fudged cases are where art happens, to put it in a purely and slickly bromide way. 

Joseph Horowitz has been mulling over the state of US classical music across 250 years and it's predominantly musings on the state of orchestral repertoire

I am not going to attempt to summarize or describe Joseph Horowitz’ eight takes on the question of whether or not the United States has delivered on its classical music promise.  If you have read them you have read them, too, and if not, here are links.

 

https://www.artsjournal.com/uq/2026/06/at-250-has-america-delivered-on-its-classical-music-promise.html

https://www.artsjournal.com/uq/2026/07/jonas-kaufmann-vs-the-orchestra-of-st-lukes-take-two-mahler-steinbach-festival.html

https://www.artsjournal.com/uq/2026/07/american-classical-music-at-250-take-two-the-bam-experiment.html

https://www.artsjournal.com/uq/2026/07/american-classical-music-at-250-take-three-the-orchestra-gap-europe-vs-the-us.html

https://www.artsjournal.com/uq/2026/07/american-classical-music-at-250-take-four-the-orchestra-gap-contd.html

https://www.artsjournal.com/uq/2026/08/feeling-it-giuini-and-arrau-vs-george-szells-new-world-perfectionism.html

https://www.artsjournal.com/uq/2026/08/american-classical-music-at-250-take-five-the-disconnect-between-scholars-and-orchestras.html

https://www.artsjournal.com/uq/2026/08/american-classical-music-at-250-take-six-the-ford-foundations-misguided-philanthropy.html

https://www.artsjournal.com/uq/2026/08/american-classical-music-at-250-take-seven-another-boston-symphony-perspective-on-the-malaise-afflicting-orchestras.html

 

The thing that jumps out for me is that even the one time Future Symphony Institute is now the Foundation for the Future of Classical Music.  They don’t even call themselves the Future Symphony Institute anymore.  They still want a future for orchestral and symphonic music, of course, because while Roger Scruton has died many of the people at the core of the institution have remained.  I kind of started tuning them out after Scruton died but also after Douglas Murray got added on to the senior fellows roster.  I had my issues with Scruton but I do still own half a dozen of his books.  Writers like the late Roger Scruton and Theodor Adorno can benefit you when you don’t agree with them. 

 

Being a guitarist I find that I am more drawn to hearing what is going on now than in revisiting past glories.  Matanya Ophee is no longer with us but he dispelled the idea that the classical guitar ever had an actual golden age.  Do sonatas by Sor or Giuliani compare to the works of Schubert or Mendelssohn?  Most would say not favorably.  On the other hand, when Stephanie Jones gave a recital in Seattle a few seasons ago I enjoyed her program of contemporary Australian and Austrian composers writing for the guitar.  I am looking forward to the second half of Nikita Koshkin’s 24 Preludes and Fugues finally getting recorded.  I just noted recently the death of Frank Campo as reported at Slipped Disc. 

 

Jens Ibsen has floated some ideas that self-policing within genres can stifle innovation.  Ibsen has contended that within the United States classical music is functionally underground music now.

https://sfclassicalvoice.substack.com/p/classical-music-is-underground-let

 

I wonder if that’s a bit of an overstatement but for contemporary composers I think I can take the point as given.  Anyone who is attempting to build bridges between classical and metal is already interested in inter-canonical experimentation that I can be sympathetic to.  The concept of inter-canonical translation and exchange comes up inIbsen’s profile on Jon Batiste. I’m okay with a slow-drag reworking of a Mozart warhorse. Ragging the classics has been a thread of improvisational and compositional activity for centuries.  Batiste is also correct to say that improvisation was previously inextricably bound up in musical life and practice in the days of Mozart and got steadily purged out of classical music theory and practice. 

 

If arts non-profits are having a banner bad year then the future of classical music in the United States probably isn’t “entirely” bound up in the states of institutions.

 

I haven’t been to orchestral concerts in decades and I have nothing against orchestral music.  I went and heard the symphonic suite Mathis der Maler when it was programmed.  Yes, I am a bit of a Hindemith fan.  I went and heard Samuel Jones’ Tuba Concerto twice and even bought the score.  I liked Wynton Marsalis’ Violin Concerto, which I feel is several steps above what he was doing with All Rise (which I really wanted to like but couldn’t get into).  I even recently listened to a violin concerto by Kip Winger.  Don’t know who that is?  Well, I still hate the band Winger but Kip Winger’s violin concerto is solidly made.

 

But to me the present and future of classical music is in small-scale works.  It’s not going to surprise anyone if a guitarist feels the present and future of classical music is more likely to be found in guitar music than in orchestral literature.  I have made this point a few times over the last ten years but I think the symphony has gone the way of the votive mass for the dead; the prestige of the genre and form hasn’t gone away but the niche nature of the musical form means it has lost its place of prestige.  Richard Taruskin pointed out that the social role of opera was displaced by cinema and television and that’s basically not going to come back.

 

I have not written as much about Regaining Classical Music's Relevance: Saving the Muse in a Troubled World as I, at one point, planned to.  I have had concerns about how easily John Borstlap decided to valorize Schleiermacher and scapegoat Herder.  Both philosophers were not “just” philosophers but Christian pastors and theologians both of them advocated aesthetic pluralism as well as encouraged nascent nationalist projects.  It’s possible to admire Schleiermacher’s ardor for aesthetic pluralism and music while agree with Emil Brunner that the trajectory of Schleiermacher’s thought and theology was ultimately a dead end. 

 

It is possible to regard Herder as more complex than Borstlap has allowed for.  American fundamentalist preachers who think Song of Songs is chiefly about the joys of marriage and sex don’t give Herder any credit for having swept allegorical and typological readings of Song of Songs away for a newer interpretive approach.  I can think of Schleiermacher as having positive contributions to make in hermeneutics while also finding him an annoying panentheistic crypto-Marcionite. It has been hard to shake an impression that Borstlap is eager to valorize and scapegoat figures like Herder or Adorno than to wade into the complexities of their respective bodies of work to show how mixed their legacies are.

 

So, obviously, I’ve made it clear I differ with Borstlap on a few things.  But I have realized that right there in the subtitle may be he simplest point of divergence.  Borstlap seemsto think the muse needs to be saved, the muse of classical music.  I think the muse has moved on from orchestral repertoire. She might come back now and then to check in on the state of her previously favored idiom but where ever the muse has headed off to, you will not find her by trying to “save” her so that there can be another Beethoven’s Ninth.  She may have moved on to intercultural exchange projects.

 

What if the failure of the promise of American music has happened because people sought that future in the symphony?  What if by the time Americans were looking for the creator of the great American symphony the muse had already moved on? 

 


Friday, August 28, 2026

Frank Campo 1927-2026 (composer, in case you've never heard of him before)

https://slippedisc.com/2026/08/us-composer-dies-at-99/

The distinguished composer Frnak Campo has died six months short of his century.

 

Unfortunate spelling mistake but I knew whose name I was looking at.  Decades ago I couldn't resist grabbing a chamber score Campo wrote that included guitar.  Folks who know me in person (or as a blogger) know that I have an interest in chamber music for classical guitar.  I think it was actually the score for this trio I grabbed when Capitol Music had a clearance sale in order to leave their 9th Avenue location decades ago.  I just saw that whoever Frank Campo was he wrote a trio for an instrumental combination I couldn't resist.

 

https://www.youtube.com/watch?v=xfqwgLmtBWE

 

Bruce Duffie did an interview with Frank Campo way back in 1991.

https://www.bruceduffie.com/campo.html


It's a somewhat long interview and Campo has a funny yet sad observation about the problem of writing contemporary music and how that comes across in performances. There are musicians who perfectly execute note-for-note what is on the page and all that does is just get them to the starting point of the notes on the page.  The performer may not resonate with, understand, or even necessarily like the music itself, but they can play it note perfect.  Orchestral performances can be a risky proposition because so often your new work (whoever you are, composer, who wrote something to share with the world) will be programmed alongside some war horse.  As Campo put it, the rehearsals focus on the warhorse because everybody knows that is the music upon which the night's music gets judged and that all too often means that your music gets sloppier and less careful attention; the music can come off badly and the audience feels they got a bad piece even if you know, as the composer, that the music didn't get a fair shake.


Sounds like a reason to stick with composing for the guitar to me, but then I'm a guitarist, as just about anyone who's read this blog in the last twenty years probably already knows.  :)  

 

So, I eventually grabbed another Campo score, which by now might be kind of hard to find.


Two Studies for Trumpet and Guitar


Anthony Plog recorded the two studies a long time ago and I got that CD back when it was still feasible to get. Here's the information in case you want to hunt down the disc, which has a solid interpretation of the Hindemith Trumpet Sonata.


Crystal Records CD663: ANTHONY PLOG, TRUMPET.

 

Because the disc is kind of hard to find these days I'll refer you to a performance filmed in 2023 with Anne McNamara on trumpet


and Angelo L. Favis on guitar.  It's not a commercial recording, by the way.

 

Favis' channel

https://www.youtube.com/watch?v=ZnCamW3Bvvk

McNamara's channel

https://www.youtube.com/watch?v=tRELgryfwpU

 

To go just by the two Campo works I've been able to study his a composer who isn't a guitarist himself but who has given the guitar some rewarding and challenging music.  

Tuesday, August 25, 2026

Dolly Parton, 1946-2026

I have not been a country fan overall but I came to admire and respect a number of songwriters in the country tradition, generally the most obvious candidates.  I abominated new country and back in college I told one of my music professors that about as late as I could go with country songwriter/singers was probably Dolly Parton.  After her I hadn't managed to hear a country singer/songwriter who had "it" when it came to songs.  I could, obviously, be wrong. :)



Even Norman Lebrecht has a few generous words for the recently departed queen of country.

I wasn't a super-fan of Parton so I mention her death briefly, but her death is also a reminder to me that there can seem like a chasm between those who listen to and study music and those who write about music.  Sometimes it just feels like we live in an era in which gatekeepers (or would-be gatekeepers) want to just keep gatekeeping and insist that everybody stay in their lanes.  Parton's life and career may be another of many musical lives showing that cross-over has been more of the musical norm than purist genre policing in the last 80 years. Whitney may have made a song her own but Dolly still had to have written it. 

Sunday, August 23, 2026

Ethan Hein on how AI is harmful to learning (specifically musical learning) and I am reminded that Augustine of Hippo said that our ability to reason and our capacity for memory are essential to musical art

https://www.ethanhein.com/wp/2026/ai-is-harmful-for-learning-which-is-why-im-banning-it-in-my-classes/

Academic integrity is not my main motivation for the AI ban. It’s a factor, but it’s not the main thing. The main thing is that I want to help these students learn, and using AI is directly harmful to learning. Common sense says that prompting ChatGPT doesn’t have the same learning benefits as doing the reading and writing yourself, but if you need something more robust than common sense, here’s a sampling of the research literature.

There are two basic reasons for this and to make these clear I’m going to go way back to Augustine of Hippo’s ancient, uncompleted treatise De Musica.

Saturday, August 15, 2026

Deion Cho plays Sonata Homo Ludens No. 8 (2021) by Leo Brouwer


Per my recent post I don't know if it's realistic to try to do a set of analytical posts on the Brouwer guitar sonatas but I have thought about doing one.  Naturally it's a little tough to do a set of blog posts about Brouwer's sonatas if I didn't even know until recently that Sonatas 7 and 8 happened.  :)  


Sonata Cubana n.7 by Leo Brouwer, performed by João Luiz

So ... I lost track of Brouwer's compositional output for a while but it turns out Guitar Sonatas 7 and 8 have happened.  I have 1 through 6 and have thought off and on over the years about blogging through them.  Now I'm not sure how realistic such a goal is but ... hey ... I can share a performance of Sonata No. 7.

I've stalled in the middle of Matiegka Op. 23 because I can't just write about Matiegka's sonata without doing at least some analytical work on the Haydn he reworked.  Embarrassing but such is life and the limits of mortal flesh.  I am not aware if anyone has done a book-length treatment of the Leo Brouwer guitar sonatas but somebody really should at some point.

Sunday, August 02, 2026

Friday, July 03, 2026

Ethan Iverson's second half of James P Johnson week, noting how familiarity with what was called "light classical" was normative in the jazz scene

There were more posts from Ethan Iverson on James P Johnson, so I wanted to get to those posts because they intersect with some of my own historic interests in the permeability of stylistic boundaries in practice in contrast to the pronouncements of theorists.

Slipped Disc announces that Alex Ross stepping down from his role at The New Yorker (which is presented as the last classical music critic in America steps down)--but now I'm realizing I kept coming back to Kyle Gann and Ethan Iverson more than Alex Ross' writing in the last 15-20 years


I haven't been reading The New Yorker in a while.  So this is sort of news to me but not exactly news.  I'd read Alex Ross and I enjoyed The Rest is Noise. Recognizing that styles outside the usual canonized placeholders in concert music exist doesn't make Ross a revisionist.  If anything it's a sign of his being a candidate for "the" classical music critic of the current American age that he could write about Sibelius and recognize that Bjork also exists.  And since I like Frank Martin's Mass for double chorus I hardly had a problem with Ross pointing out that the work exists.  There was a stretch in my life where I was soaking up Frank Martin's Mass and reading Emil Brunner, which could be jokingly presented as a dual pinnacle of Swiss Reformed Christian piety in the first half of the 20th century. 

Music critics inevitably soapbox and Ross had his favorites.  I still find Wagner's music annoying at best and the man himself to have been repellant.  But Wagner's influence is also inescapable and the music has stuck around in a way that has allowed for divergent readings and receptions of the work. Philip Ewell somewhat telegraphed this point in his book, but a big difference between a Richard Wagner and a Heinrich Schenker is simply in the fact that Wagner wrote music that can be "read" at a number of levels while Schenker promulgated a theory that dictated the rules of its reception as a matter of principle.  Scott Joplin could draw upon Wagnerian precedent when composing Treemonisha in a way he couldn't have if he were to have attempted to write a piano concerto based on some kind of Schenkerian ur-line. 

So Ross has had his ideas and interests but I don't think that automatically makes or breaks a critic.  Terry Teachout wrote a decade or two ago that a great critic can be more useful in being completely wrong than average or even good critics are in always being right (whatever that may mean).  

But ... most influential classical music critic of the last thirty years?  I mean ... influencing who?  Subscribers to The New Yorker?  No disrespect meant to Alex Ross at all but I realize as I'm typing this post that I read a whole lot more Kyle Gann in the last twenty years than I read Alex Ross.  Maybe for consumers of classical music Alex Ross was the bigger name but among composers (vocational or avocational) I wonder if the more widely-read classical music writer was Gann.  

You know ... Kyle Gann as composer and music critic could be interpreted as a throwback to the 19th century paradigm in which Hector Berlioz wrote music and music criticism.  The demise of the classical music critic as perceived by cultural gatekeepers and metacultural pundits in the late 20th and early 21st centuries might be explicable in light of a separation of tasks--if criticism is professionally separated from the actual production of music we won't get Berlioz or Wagner figures.  I mean I find Wagner repellant at many levels but he wrote music and he wrote about music.  

Which, as I'm idling about in a blog post on the eve of the Fourth of July, it gets me thinking about how I've read Ethan Iverson off and on over the last fifteen years.  I come back to people who write criticism and music side by side more consistently than I come back to critics who are "just" critics.  When Iverson wrote about having issues with Nikolai Kapustin I was able to intuit that the thing about Kapustin's piano sonatas that Iverson seemed to find wanting is the sense that Kapustin's piano sonatas are big on thematic presentation but fall short in the realm of thematic differentiation. I was later able to discuss Iverson's Clarinet Sonata and show that his own themes are clearly presented and clearly differentiated within his forms.  

And, of course, regular readers of Wenatchee The Hatchet know I have had a lot of fun interacting with the blogging of Ethan Hein.  So, I think it's a day to say that I did benefit from reading Alex Ross off and on over the years but that, in a way, maybe in a lot of ways, Ross' position at The New Yorker was symbolic for arbiters of what should or shouldn't count as "culture". That there are great rivers of populist and anti-populist sentiment among composers (Strauss and Mahler) is an interesting grand thesis ... but even in an allegedly post-Lyotardian era skeptical of grand narratives there's this penchant among culture writers for precisely the grand narratives that "we" are supposedly so skeptical about (a point I must credit to Andrew Bowie, who finds the whole Lyotardian claim that grand narratives are "over" to be absurd because Lyotard's own grand narrative is just that).

But if we recalibrate our perspective a bit and look back on the ways that jazz players mastered light classical music or how ragtime players would rag the classics during the early 20th century when composers would make a show of writing rags, it might be useful to consider that reconsidering the intra-critical super-myths established by the gatekeepers and scholars of the 20th century is just where we are at.  It's not just in classical music that the hoary received narratives of yore have come in for scrutiny and grilling, similarly revisionist work has been getting done in jazz and blues (I just finished two pretty good books by Adam Gussow on blues).  To the extent that Ross has played a part in recognizing that classical music in the last century has not only never existed in a vacuum but can be understood as co-existing alongside a panoply of styles then Alex Ross' contribution was to, well, this seems cheeky, the contribution was to simply recontextualize the observations of Leonard Meyer into the 21st century.  Democracy doesn't require that everyone like the same thing but that everyone is free to honestly like whatever they like, to paraphrase Meyer.  

Wednesday, July 01, 2026

haiku 6-30-2026

on internet prolegomena, in three movements
       (a parable on 2st century Anglo-American conservative Christian blogging
                  regarding cultural issues)

I.
The church organist 
has been preluding too long.
Let's hear the hymn now.

II.
Of the writing of
prolegomena there is,
verily, no end.

III.
Prelude on prelude, 
always hearing a prelude
but never a fugue. 

Sunday, June 28, 2026

Alan Jacobs on Noah Smith on blogging and influence--choosing between being an influencer or an Influencer?

https://www.noahpinion.blog/p/does-anything-i-write-matter-anymore

Does anything I write matter anymore?

Punditry in the age of populism, AI, and monetization.

Noah Smith

Jun 18, 2026

 

About three years ago, someone asked me why, with my physics undergrad background and a PhD in economics, I had decided to become a professional blogger. I told him that blogging seemed like the highest-leverage thing I could do, in terms of actually having an impact on the world.

...

Providence … providence …

 

Alan Jacbos is a bit stymied by Noah Smith’s belief that blogging is the highest leverage thing a person can do. Injecting ideas into discourse may look like it provides immediate results but Jacobs contends that Noah Smith’s zinger quote from John Keynes gets Keynes’ point precisely wrong. Why?

 

https://blog.ayjay.org/idea-injection/

June 24, 2026

idea injection

...

If Keynes is right, then the ideas that Smith “injects into the discourse” won’t be his, but rather those of thinkers from decades past — the people who weren’t worried about having “something out within hours,” but rather cared about making arguments strong enough to last. Instead of seeking to be quoted by Substackers and podcasters, they rely on “the gradual encroachment of ideas.”

 

It may not be possible to have both immediate currency — quotability — and long-term significance. You might have to choose between Smith’s model and Keynes’s.

 

Or it's not even in your hands.  Providence ... providence.


Still… here’s an observation from John Neville Figgis back in 1900 about the contrast between the influence of the practical and the theoretical bent among writers. Let's call it the distinction between the influencer and the Influencer:

 

https://archive.org/details/studiesofpolitic00figgiala

Studies of Political Thought From Gerson to Grotius 1414-162

John Neville Figgis

The Birkbeck Lectures delivered in Trinity College, Cambridge 1900

Cambridge: at the University Press 1916

 

... The existing arrangement of political forces is dependent at least as much upon ideas, as it is upon men's perception of their interests. If we allow little to the theorist in momentary influence we must admit, that his is the power which shapes the "long result of time." The normal value, in fact, of political theories is a "long period value." The immediate significance of an Algernon Sidney or an Althusius is small and less than nothing as compared with a practical politician, like Maurice or Jeffreys. But his enduring power is vast. Hildebrand, Calvin, Rousseau, were doctrinaires, if ever there were such. Yet neither Bismarck, nor even Napoleon has had a more terrific strength to shape the destinies of men. In literature as in life, the thinker may be dull; but it is with a significant dullness. [emphasis added]

 

Saturday, June 27, 2026

HT Ethan Iverson on a new biography that has been published about James Price Johnson., a few thoughts for a Saturday afternoon

https://www.amazon.com/Speakeasies-Symphonies-Genius-Johnson-American-ebook/dp/B0GCNYWJVS/

 

Of note, Iverson points out that Scott Brown seems to be the first to bring to light that James P Johnson and Thelonious Monk had a piano teacher in common:

 

https://iverson.substack.com/p/james-p-johnson-1

… Alberta Simmons also taught Thelonious Monk. According to Monk’s biographer Robin D.G. Kelley, Simmons frequently played Eubie Blake’s “Memories of You,” and this may be why Monk played “Memories of You” so often in later years. At any rate, the fact that James P. Johnson and Thelonious Monk actually shared a piano teacher is a wonderful detail. I believe Scott E. Brown is the first to bring this detail to light: one of many revelations from Speakeasies to Symphonies.

Parts 2 and 3 of Iverson’s little series of posts are …

https://iverson.substack.com/p/james-p-johnson-2

https://iverson.substack.com/p/james-p-johnson-3

Thursday, June 25, 2026

Ethan Hein on "How to learn to jam", a brief thought as a classical guitarist on how inimical much classical music education has become to the idea of jamming

https://www.ethanhein.com/wp/2026/how-to-learn-to-jam/

The best scaffolding is a participatory music community. For a present-day American, this can be difficult to find. Some subcultures are richly supportive of participatory improvisational music: the Black church, hip-hop cyphers, Latin percussionists, jazz jams, blues jams, bluegrass jams, the old-time music scene, the video game music scene. For other styles of music, though, you are probably on your own …

 

Paul Hindemith would propose, obviously enough, that a family interested in making music together would be a good option … if you have that.

 

I am reminded once again of Robert O. Gjerdingen's  Child Composers in the Old Conservatories: How Orphans Became Elite Musicians and Dana Gooley's Fantasies of Improvisation: Free Playing in Nineteenth-Century Music.  One of many reasons I dissent from Ted Gioia’s “we need a new Romanticism” is the history of Romanticism being against improvisation and jamming in “serious music”.  If anything Ted Gioia the jazz historian should be aghast at the prospect of a new Romantic era when Germanophile Art Religion and the cult of Beethoven played such outsized roles in purging classical music concerts of improvisation.

 

But I have often thought over the last ten to twenty years about how if you look at the isolated elements of avant garde movements in classical music it can seem as though each avant garde movement sought to transform one ingredient into a whole loaf of bread.  Let me extend the metaphor a bit. Let’s take microtonality.  Composers like Wyschnegradsky, Haba and others on through Harry Partch, Lou Harrison, Easley Blackwood and Ben Johnston and Kyle Gann have experimented with the microtonal path.  Stochastic processes?  Xenakis.  Free improvisation?  Eh …

 

Anyway, my idea I float for mere consideration is that a European avant garde movement would crop up pinning everything on some one element.  Conversely, in American popular music any and all of those constituent ingredients would already be all over the place in pop music.  You can hear microtonal inflections, flexible approaches to tonality, modal mixture and modal mutation.  I read Herbert Pauls’ Two Centuries in One book that was mentioned by John Borstlap over the years.  Pauls mentioned that the musical language of Romanticism and late Romanticism survived and thrived in popular music and jazz after post World War II avant gardists declared that those antiquated chords and scales were yesterday’s news.

 

So when I  try to sit through some guitar duet by Brian Ferneyhough I can’t help but think that it’s more fun to listen to Robert Johnson, Tampa Red, Charley Patton and Blind Willie Johnson than to listen to some guitar duo use slides to screech all over the strings of classical guitars.

 

A feat worth trying to accomplish, if only a tiny bit, would be to develop ways of writing music that could encourage classical musicians to feel like they actually can jam.

 

In reality classical musicians have been jamming but not necessarily in “classical” settings.  Brass players can switch from Hindemith to Monk and guitarists might switch from Sor and Britten to whatever strikes their fancy.


UPDATE

6-26-2026

I have been thinking over how the score has been so sacralized in classical music that there must be some way to steer between Cagey aleatory or Xenakis stuff and cult of Beethoven specificity.  Suppose a composer wrote a sonata form in which there were, say, two different recapitulations?  Performers with little to no experience jamming could pick one recapitulation or the other and a path toward being able to jam could lay in learning both recapitulations and simply toggling between them, taking some elements from Recap 1 and other elements from Recap 2 but getting to the end and playing what is, technically, fleshed out in the score.  After centuries of Romantic and post-Romantic fealty to notes on the page asking people to just "jam here" is likely a bit much.  Yet throwing a chart of globs of music a la some Stockhausen scores where you pick fragments 4, 5, 2, 7, 8 and 11 of 12, for instance, most certainly won't teach a performer how to jam.


But writing out a score and setting aside 20 to 25 percent of it with instructions to jam if you want?  That might work. 


these look like fun ...

It doesn't get more niche than something like this ... 

Freddie deBoer on how recovered memories aren't real and yet belief in them remains popular

https://freddiedeboer.substack.com/p/recovered-memories-arent-real


Freddie deBoer has published a long-form case against recovered memory therapies and cultivation techniques.  Longtime readers of Wenatchee The Hatchet may not need a reminder that the salience of the decades-long arguments against recovered memories in counseling of any kind, secular or religious, is that it featured prominently if briefly in a 2008 presentation on spiritual warfare given by Mark “I see things” Driscoll back when he was in charge of what used to be called Mars Hill Church.

 

Back in 2014 I transcribed the majority of that 2008 presentation for the record and provided some analysis and discussion.  I asked whether any of the visions of discernment Driscoll claimed to have had ever had any, ahem, forensic outcome.  Of course, I also asked why Mark “I see things” Driscoll didn’t anything amiss about his friend and wise counsel Robert Morris.  For that matter, why would Mark Driscoll have ever felt any need, as was reported about him by Vince Manuele and relatives, to have people tail and surveil a fifteen-year old male if he had those super-powers of spiritual discernment? 

 

Mark Driscoll may have claimed to have witnessed molestations in real time but for practical purposes that was between him and his counselee.  There’s no record any arrests were made, not even in the case where, allegedly, Driscoll claimed he told someone that a  grandparent molested said person at age two and the grandparent, even more incredibly within the account, just admitted to the deed. 

 

deBoer gave a brief tour of cases with actual trials where people were found guilty on the basis of recovered memories that were never able to be forensically backed up.

 

deBoer’s tour is a fairly thorough debunking of the credibility and viability of recovered memory in light of research into the malleable and constructed nature of human memory, on the one hand, and the discovery that for victims of trauma the problem is never that they repress traumatic memories but that they can’t not remember them.


I had to familiarize myself with the whole multi-hour presentation Driscoll gave as a volunteer on the Mars Hill Theology Response Team  After slogging through roughly four hours of that content I discovered another nail in the coffin of my membership.  


The irony with a figure like Driscoll is that if mainstream and pop psychology had not made the concept of the repressed memory so easy to believe the man wouldn't have deployed it in his "pastoral counseling".  That may be a bitter irony indeed, kind of like how Driscoll has been wielding concepts from Murray Bowen's therapeutic work on family systems in newer self-help books.


It might be a sign of how pervasive the idea of the repressed memory is that even someone who could be regarded as a quasi-fundamentalist Christian nationalist like Mark Driscoll touted his capacity to help church members unlock recovered memories in pastoral counseling.  For actual mental health professionals, however, that idea has been set aside. 

 

 


Saturday, June 13, 2026

two links for the weekend: Aaron Renn has the stupid idea that there should be a playbook for marriage, Anthony Bradley says that the era of private Christian colleges is ending soon

So, a short links for the weekend in terms of links.

more riff on AI and the arts from June 2026

 

https://thewalrus.ca/the-real-scandal-isnt-that-ai-wrote-a-prize-winning-story-its-the-response/

Granta, in an even more remarkable response, fed the accused text to Claude, asking if it was AI generated, seemingly unaware or unworried that they were submitting (potentially) literary work to the very kind of system at the heart of the scandal. Claude is a general-purpose chatbot and not an AI detector, but it nonetheless concluded that the text was “almost certainly not produced unaided by a human.” This is not striking, but what is striking is that Granta then included Claude’s cautionary note as if it were an expert opinion, surrendering to an AI its own opportunity to pass a reasoned judgment:

“The strongest evidence against pure AI authorship is the small number of passages that don’t fit the pattern . . . Those passages carry the kind of off-shape specificity that models still struggle to produce unprompted. If the story has a human core, it is concentrated there, and the AI has been used to elaborate around it.”

It would be laughable, if not such a bad omen, that Granta thought it was acceptable to ask a large language model—operated by a company sued for the widespread use of pirated books—to draft its response to allegations of AI-generated text in a literary prize. Is there no “human core” at Granta? Surely there are people there—editors, aspiring writers—who also have some skin in this game? Why has this storied literary organization been unable to answer a literary question in its own voice?

 

https://hedgehogreview.com/issues/humanism-in-a-posthumanist-age/articles/how-antihumanism-turned-on-its-authors

Generative AI, instead of liberating writing from the human, liberates textualist antihumanism from the theoretical edifice of poststructuralism. Derrida’s dictum il n’y a pas d’hors-texte (“there is no outside-text”) takes on an interesting new meaning in a world where all of reality has become so much training data for LLMs. With the launch of ChatGPT, moreover, the “death of the author” goes from scandal to banality; Foucault’s “indifference” to “who is speaking” goes from a liberating escape route from bourgeois individualism to a necessary adaptation to a world in which most text production is automated, bypassing the individual; and engagement in “automatic writing,” once an avant-garde pursuit, is integrated into the daily lives of average people as a form of entertainment, as well as a means of enhancing efficiency and productivity

The doctrine of the “death of the author” was not formulated to serve as a blank check for large language models more than half a century later but the zinger has its place. 

Saturday, June 06, 2026

The Roys Report and Protestia report of an apparent potential split within Mark Driscoll's The Trinity Church

https://x.com/reachjulieroys/status/2062694959627501594

 

https://roysreport.com/threatened-split-at-mark-driscolls-arizona-church-prompts-warning-of-lawsuit-attack-on-former-mens-minister/

Threatened split at Mark Driscoll’s Arizona church prompts warning of lawsuit, attack on former men’s minister

By Daniel Silliman

June 4, 2026 7:02 pm CDT

 

Pastor Mark Driscoll warned his followers Wednesday of “fierce wolves … among you,” following the sudden departure of an associate minister and former security guard known as Driscoll’s chief henchman.

 

A mass email Driscoll sent at 7:44 a.m. accused Caleb Glennie of attempting to split Trinity Church, a Scottsdale, Arizona, congregation with reported weekly average attendance of 5,000 people.

 

“(He) took church members’ private information to solicit, urged staff members to resign and follow him … and announced a Men’s gathering on Tuesdays,” the email said. “Caleb has been lying for months. We rebuke Caleb and urge him to repent of sin patterns that have disqualified him as a pastor.”


The mass email link is at https://roysreport.com/wp-content/uploads/2026/06/Trinity-email-to-members.pdf

 

Of note is that if you donate $50 or more to The Roys Report you can elect to receive Vince Manuele’s memoir … which I have read and do not personally recommend you read for reasons I got into elsewhere.

 

https://roysreport.com/donate/

Donate $50 or more to The Roys Report, and you can elect to receive "Kiss and Tell: The Innocent Moment That Shattered Mark Driscoll's Cult" by Vince Manuele.

 

So there's that coverage. Then there's ... 

Monday, May 25, 2026

Ethan Iverson had some idle Sunday thoughts on tablature: scordatura, reentrant tuning, and pieces in natural harmonics are all arguments in favor of tab over against sight-reading snobs

I guess Ethan Iverson's idle Sunday thoughts as a pianist on guitar tab is a reminder that he's not a guitarist.


https://iverson.substack.com/p/idle-sunday-thoughts

 

As a pianist, I can sight-read almost anything within reason, including orchestral scores and choral music. I can’t get to first base with guitar tablature, which always struck me as the ultimate capitalist feint: “Here, we will give you something easy to start with that will ineluctably cripple your growth after a certain point and keep you walled off with the self-same community (other guitarists). Please don’t learn to read music, that is a distraction from our main interest, which is selling you more and more guitar gear to compensate for the fact that you can’t play in bands that use any conventional notation.”

Yesterday: guitar tab. Today: A.I.

Counterpoint one: Henry Kaiser on guitar tab.

Counterpoint two: Joni Mitchell’s Blue is the one of the greatest albums of all time, and she wrote a lot of it on guitar.1

 

The real counterpoint can be summed up as "scordatura".  There are several layers to this counterpoint, as would be fit a "counterpoint" rebuttal.

Thursday, May 21, 2026

Ethan Hein's new post on that one weird chord in "Sir Duke" and my response post, on hearing the chorus of "Sir Duke" as a transformation of the opening chords of "Warm Valley"

Since I did recently ask if Ethan could do a post on "Sir Duke" I am very pleased to read his newest post. Maybe he was planning his post anyway, but this year there should be a ton of discussion of Stevie Wonder's music.  


https://www.ethanhein.com/wp/2026/that-one-weird-chord-in-sir-duke/

 

Sir Duke” is one of the greatest songs written in the last fifty years, bar none.  Yeah, I’m just putting my cards on the table about this.  Normally I actually hate music that sings the praises of music but Wonder gets away with it because his song is a tribute to Duke Ellington and to the big band jazz greats of the past who inspired him. To put this in staid Romantic terms, when a genius pays tribute to a genius the genius can get away with stuff that other people shouldn't even seriously consider trying. 

 

The chords in the chorus of “Sir Duke” are amazing in their simplicity and in the magnificent weirdness of that F minor 7th chord. It’s not unheard of to have a tritone pivot in music like this.  I can think of a B minor to F major shift in the first theme of String Quartet No. 7 by Shostakovich, for instance (00:14-00:17).  But B major to F minor 7th is a lot weirder.

 

I think the introduction sets up the chorus chord in a very simple, easily overlooked way.  The introduction moves from B major to G sharp minor to G natural major to F# major.  Right from the start we have a progression that goes from the tonic to the submediant and immediately flattens the submediant and drops to the dominant.  That chromatic modal borrowing plants a seed that Wonder is going to do whatever chromatic alterations will sound fun, and what sounds fun is chromatic mutation of roots and fifths while leaving thirds and (if applicable) sevenths) alone. We should also not forget those chromatic chains of chords in the pre-chorus.  The key has been so thoroughly destabilized by the time the chorus hits F minor 7 really does sound like the most natural chord to hear despite the fact that it could be read as a minor dominant chord built on a flattened fifth as easily as a sharpened fourth. 

 

Ethan Hein links to a video where Adam Neely discusses a couple of theories as to what is going on in the chorus of “Sir Duke” that is well worth checking out. 

 

https://www.youtube.com/watch?v=NckkwiYrjTw


The shadow chord thesis is interesting. The G#7 isn't how I hear it and I think there's a simpler and far more direct way to argue that Wonder was drawing on Ellington's linear/harmonic nexus of chord formation.

 

Stevie Wonder's "Sir Duke" has a chorus with chords that go as follows:

 

B major, F (natural) minor 7th, E major 7th, C# minor 7th, F sharp 7

 

I was looking at those changes and then it hit me, “Hey, wait a minute. I am pretty sure I know which Ellington standard has something like these chord changes in the first three bars.”

 

"Warm Valley" which has

B flat major 7th, E7,      E-flat 7 and so on ...


Now, just do a handful of individually simple things:

1. Kick the key up a half step into B major

2. Remove the major 7th from the first chord

3. Sustain the 7th factor of the E7 but

4. Drop the third into parallel minor (this will yield the F minor 7th chord of "Sir Duke"

5. Retrain the G# and D# and then let the bass and alto of the SATB texture drop by parallel fifths while the S and T factors stay in place. 

 

The oblique motion off-setting parallel motion in interlocked voices is what makes this voice-leading genius on Stevie Wonder's part.  It also manages to evoke a legendary Ellington standard.  Where “Warm Valley” is a famously languid ballad, “Sir Duke” is a buoyant tribute”.  The chordal kernel, if you will, can be heard in common across the two songs. 

 

I think the core of the shadow progression idea makes sense but I think it makes way more sense to just go straight from "Sir Duke" back to Ellington's "Warm Valley".  No "shadow progression" is needed to hear the connection.  We can just make the connection very directly by comparing the two songs. 

 

The “Warm Valley”/”Sir Duke” connection is an intuitive association on my part having listened to Ellington and Wonder for decades.  I didn’t start putting it together, though, until I read Ethan Hein and heard Adam Neely discuss the chord progressions and then it clicked for me that a half-step transposition and a gentle modal mutation showed that imitation is the sincerest form of flattery. 


SECONDARY SECTION
Now ever since I slogged through that CT podcast series I've been loathe to mention podcasts.  What Ethan has done with "Sir Duke" is exceptional enough that I'm breaking my rule of not linking to podcasts because you should give him a listen as he walks through the chords that Stevie Wonder "could" have chosen that make more sense based on prescribed theories and why they don't actually work as well as what Wonder did.