From: mclaren
Subject: Using the harmonic series in music theory courses
--
Neil Haverstick has as usual greatly contributed to the
discouse of this forum with his extremely perceptive
comments. In particular, Neil's suggestion that the harmonic
series be used as the basis of teaching music theory (rather
than the current peculiar combination of Guidonian hand
mnemonics, Naziistic intimidation, and Orwellian
"rewriting" of musical history to eliminate any trace of
evidence for past use of non-12-TET) is an excellent one.
It's obvious, however, why there's MAJOR resistance to
this method of teaching music theory. Once the sacred 12
tones get the heave-ho, the entire edifice of the modern
concert hall & "music appreciation" classical CD
racket starts to crumble & collapse.
In a lecture at UCLA in 1966, Harry Partch said "It has been
stated in public print that if my ideas were to become
dominant in music courses, music as we know it would
cease to exist."
Harry was, as usual, correct. Teaching music on the basis
of the harmonic series would detonate "music as we know it"
like a .357 hollow-point slug blowing apart a rotten
watermelon.
The current generations of music theory "experts" would flail
like insects stuck in yogurt, unequipped for and unable to
deal with ear-training or composition or analysis of non-12
like insects stuck in yogurt, unequipped for and unable to
deal with ear-training or composition or analysis of non-12
music. Almost every Ph.D. in the most prestigious music departments
& the most sainted conservatories throughout the land would
be summarily ejected as grossly incompetent (except in the
tiny subspeciality of 12-TET composition & performance).
Uh...something tells me this ain't gonna happen without a
struggle, Neil.
The outrage that has already resulted from my standard talk
about the facts of music history can scarce be described.
When author after respected author of respected music history
texts is revealed to be ignorant of the actual realities of
intonation in any given period of musical history, many in the
audience lunge to their feet with tears of indignation gleaming
in their eyes.
Not a pretty sight.
Telling the truth in public is one of the hallmarks of a degenerate
mind & a depraved sensibility, and would create untold chaos
throughout the university system were it to become common
practice in teaching music history, music theory, or contemporary
composition.
Indeed, those few students who've already been exposed to some
of the actual scientific research on how the ear non-linearly
warps and distorts perception of melodies, intervals, rhythms,
time and silence in music (students of Warren Burt's psychoacoustics
course at ACAT in Australia) have reportedly staggered away brain-
boggled and bushwacked, mind-blown & aghast.
This is *not* the way to maintain the status quo, Neil.
Such students wind up producing music that's (gasp!)...
imaginative. They end up demonstrating (may the gods save
us)...enthusiasm.
Ever since the trial of Socrates, enthusiasm and imagination
have been well-known as the most heinous crimes
an individual can commit against the state.
Yet now you propose a method of teaching music which would
encourage these qualities...?
This won't do, Neil!
It simply won't do!
--mclaren
