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RE: Polyfía
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estebanana
Posts: 9351
Joined: Oct. 16 2009
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 RE: Polyfía (in reply to mark indigo)
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I had an art history teacher ( I had several, probably 7 or 8 over my art history reading) but this one guy I didn’t like very much, but it was a literature, art history, philosophy class that was mandatory because this fellow was the head of the dept and it made him impassible unless you passed this course. He was a show horse leftist who was self aware of his proclivity for drama and his own leftist agenda.
I dislike him personally or as a teacher, but he got off a good lesson every so often that I absorbed. I have a classmate who went on to study philosophy who is also a ridiculous impulsive impractical leftist who loved this teacher, but when we were traveling together in China on an art history trip he tried to beat me to death with one of those old black Bakelite phones. But that’s another story.
Anyway the teacher, this was 1994, said multiculturalism in academia was forced farce because it’s not real multiculturalism, it’s theoretical multiculturalism. It’s a sanitized curriculum intended to deliver a democratically curated version of multiculturalism, I think Adam Neely was educated after me in a system pushed this kind of academic washing of how we see ourselves fit into world culture as Western European cultural inheritors. I see it as an approach to cultural guidance that has become over burdened and overdetermined with making sure the heathens from San Bernardino, the white dudes like me, receive enough cultural information from outside their home trainin’ to become well rounded citizens of the world.
This is all fine, but it’s artificial, forced and not often helpful. The teacher I’m writing of understood this while at the same time was a provocative teacher in respect to challenging white dudes from white holes in the wall. He said multicultural education is missing one big point, corporatization or globalism has been the problem, not the solution to expanding people’s minds on how cultural diversity can permeate society, particularly US culture. He simply pointed out that in 1992 in San Francisco there fewer independent movie houses than there were in the 1960’s and 70’s. The movie theater industry was being bought up small house by small house by AMC and other corporations that put small cinemas out of business.
Ray, his name, says when he was a radical young leftist in the city during the late 1950’s and 60’s that one could go to several independent cinemas where the films were picked and curated be knowledgeable cinema directors that showed film from all over the world. It was a glorious free market of relatively low cost immersion in cultural diversity. If course I remember this as well because I went to international cinemas from the time I got out of high school in 1981 to the time I had Ray’s Methodologies of Moderism course at SFAI ten years later. I already had a decade of multicultural film education and enjoyment simply by living and going to a diverse range of movies with friends from other countries.
Ray’s point was well taken by me and I’ve applied it to other subjects like music, it usually makes sense as a framing device for analyzing multiculturalism or what ever that means in academia now.
As for rating oneself as an old fart, I think when you achieve a high functioning level of curmudgeonhood that one can say anything about how farty one has become.
I remember in 1984 seeing the film The Color of Pomegranates from one of the two existing prints in the entire world. Nobody was watching this film then and it was banned in the Soviet Union as it was made in Soviet Georgia and was a film that used a medieval martyr to metaphorically criticize communist oppression from Russia.
How times have changed. Now the film is known as ‘Sayat Nova’ and is in the Criterion Collection and also on YouTube. People still don’t understand it, and it’s not really taught in the politically correct academic multicultural classroom today. It’s neither understood by the PC left or the willfully ignorant right.
_____________________________
https://www.stephenfaulkguitars.com
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Date Feb. 7 2023 20:10:07
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Mark2
Posts: 1869
Joined: Jul. 12 2004
From: San Francisco
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RE: Polyfía (in reply to Ricardo)
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I had studied with a jazz player before college so I understand what you mean. The music major thing was impossible for me to manage at that age. I was working, playing in bands, and taking private guitar lessons. And I was 18. I think I'd enjoy the music college thing today. But I enjoy playing/studying flamenco more.
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ORIGINAL: Ricardo
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I like RB and have watched a few dozen of his videos but I was also a music major for a few years and even the first semester was a lot harder and informative than watching Rick's vids :-) The piano class alone......and then Walter Piston's book on harmony, etc. At the time I found it difficult to manage.
I often talk about the mixed discipline terminology leads to confusion, and RB is guilty of this as a guy exposed to classical and jazz. He talks more using jazz terminology than the standard college classical (never say minor 7 flat 5, it is half-diminished, etc.). If you go into your class in college talking like that to a teacher trying to have you do analysis, it is disruptive because either the teacher (depending on THEIR discipline) has to take extra steps to translate what a Beato student asks or puts forward, or (more likely) they are simply confused with that language and just say “no”. There are numbered scale degrees, where you alter steps based on the Ionian (jazz and Beato approach) or you learn Weber style Roman numeration, which is quite different. I am only thankful, at this point, Beato has not gotten into flamenco. His video on Aug6th chords (fourth semester material in college) I think was helpful….but to people that had skipped semester 1-3, maybe not so much? I wouldn’t know except on a case by case basis with each student. I personally believe most of RB subscribers watch and learn tid bits assuming he is some high level master.
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Date Feb. 7 2023 23:15:48
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Ricardo
Posts: 14797
Joined: Dec. 14 2004
From: Washington DC
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RE: Polyfía (in reply to Mark2)
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quote:
I had studied with a jazz player before college so I understand what you mean. The music major thing was impossible for me to manage at that age. I was working, playing in bands, and taking private guitar lessons. And I was 18. I think I'd enjoy the music college thing today. But I enjoy playing/studying flamenco more.
Cool. I had sort of the exact opposite trajectory, or mentality, at that age. I had come up to that same point from the classical theory vantage point, having been introduced very early in high school to a senior level college prep class where they allowed a little freshman to take the course after passing a special preliminary test. Yes I got to sit in there next to some hot senior girls though I was a little freshman geek, so of course I excelled in the class!  . I also met guys in there that invited me to join my first metal band. So later, in college I asked a deep question “why do jazz charts use Minor 7b5 instead of half-diminished?”, and I really never got the deep answer until I got to chapter 8 of Mclaughlin’s DVD course. Because normally there was not a mixing of the disciplines that way.
So he clearly says there, introducing the melodic minor modes, that in the chart he shows, the minor 7 flat-5 CAN BE READ AS THE CLASSICAL HALF-DIMINISHED. And what that meant in context was that the classical mentality of a raised root produces a diminished chordal situation. (In D minor a raised 6th degree changes a Bb major 7 chord to B half diminished). By contrast the Jazz mentality is that a chord ROOT has to be number 1…it can’t be flat or sharp ever. So….mode 6 of a D melodic minor scale (classical) applies to a B minor situation (B minor scale, with a flattened 5th degree), and that is “Jazz”. Previously to that I had only looked at the Bm7b5 as the ii chord of A minor key (or viiø in C major)…and now suddenly my ear had oriented these chords to mode 6 of melodic minor (or Aeolian b5).
So along with the terminology comes baggage of the unique discipline, whatever it is. Soon after this realization, it hit me that Flamenco is using dominant function for Phrygian as a key center (remates or cierres used in Phrygian palos), that translates simply to the Tritone sub of Jazz (super Locrian/Lydian dominant), and the aug6th chords of classical (Tonicization of the V chord in minor keys). Three different mentalities for the same exact functional thing. So ever since, I find it important to stick to ONE mentality at a time, yet acknowledge special crossroad situations like those.
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CD's and transcriptions available here:
www.ricardomarlow.com
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Date Feb. 8 2023 13:33:01
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