Annotation

This document is the notes for my presentation in Teaching Compositional Technique on the book “Sonic Design” The task was to present a review of a music text; talking about the content of the book, what it means/appeals to me and how would I use it as a teaching technique. What this document exemplifies is my own attempt to model the critical approach that the authors (both my teachers) codify in this text. One comment that came out in the presentation which I did not put in this document is that the critical mind is something that I have developed as a result of this book and a great deal of work with the authors is something that I am not sure is in the book or in the experience that I had in working with these teachers.

Sonic Design by Robert Cogan and Pozzi Escott

History

• These two guys were brought together among other leading musicians of the era by the US government in order to create a musical training program that would surpass the Russian competition of the Cold War. They ended up not succeeding in that project but rather began the creation of SD.

Task

• “Develop modes of understanding for the entire art of sound, to create a framework within which all music and the concepts that genuinely illuminate it might be brought together” (SD xii)

• “Develop modes of understanding responsive to the worldwide musical imagination” (SD xiii)

• “Intended to initiate fruitful modes of thinking and perception not to present final truths.”

Audience

“This book is written for students.” (SD xii)

Achievement of Task ie. Implementation

• Theory - “Introduce readers and students to discoveries of composers, theorists and performers from all periods and cultures, not to mention scientists of sound and artists outside of music.”

• for me the inclusion of scientific research into acoustics and the comparisons with visual artists in the realm of color and tone color significantly define the comprehensive scope that this book presents.

• Practical Framework – There is an effort made to understand musical works from four main points of view (which admit ably and necessarily always overlap)

• Musical Space

• Language

• Time

• Tone Color

• Use as a Teaching Tool

• Meant for Implementation and engagement on a number of levels (SD xv)

• “To introduce to those who are at the outset of intensive musical study a framework that includes the widest possible range of ways of conceiving and understanding music.”

• “To provide for those who are at the later stages a framework for isolated theoretical ideas that they have already learned.”

• “To bring together, for those versed in other theory, concepts of contemporary theory that may alter their view of music of the past and illuminate their view of music of the present.”

• Ideal use is as the basis for a two year program. Authors recommend

• “Rapid traversal of the entire book followed by a more leisurely and detailed study of its particulars.”

• Each chapter concludes with a list of related readings into each of the topics covered so the student can peruse more as they desire

• “SD Practice and Problems” “...presents the opportunity for a systematic use of concepts and techniques presented in SD. Both analytical and composition problems.” (SD xvi)

Critique

• Successful in....

• Provides an integrated philosophy and methodology of material that helps to foster the growth of educated and thinking musician. (I am unable to ascertain if my critical thinking is derived from the book or from study with the authors, can that really end up in a book?)

• In an ever expanding world of ideas and sounds this methodology reduces music to its four seemingly universal elements (time will tell) Musical Space, Language, Time and Tone Color and helps the student to judge music on these elements. There-by the student must judge the music not only it's own terms, ie. the musical language, but also on principles that allow music to be universal.

• Lacking in.....

• No accompanying recording (I would imagine this is mainly the fault of the recording industry and not the authors)

• No Index of Terminology or Concepts. For my mode of thinking this is invaluable and I am developing one that at least will suit my needs.

• No Glossary of terminology, would be useful for beginning students.

• Section 2 Musical Language, does not look at music beyond 12 tone and this is a wonderful opportunity for an update. To my mind: Spectral Music, Sound Objects of Cage, Microtonal, Indian Ragas Talas etc.

• These are addressed in SD Practice and Problems, but a theoretical distillation of the conceptual framework would be advantageous.

• Tonal section has no compendium (admit ably I have not spent a lot of time in this section) of the rules of tonality.

• This is a reflection of a larger issue, while I appreciate the design of this text, I prefer a more reductive text that I can rapidly get factual information out of when that is appropriate, all though these two are seemingly contradictory, the Offshoots section presents a marvelous place for this sort of reductive fact presentation.

• Practice and Problems states “This is less a book than a kit, a set of materials and suggestions from which you (the student) can create your own book – a journal of compositional and analytical explorations....”

• Assessments is implied and the authors suggest “Criticism should primarily recognize successes and strengths so you can build upon them, while at the same time it makes you aware of what has not yet been adequately solved.” (SD P&P x)

• While a good teacher will instinctively guide the student, the student needs to track their progress or they will be unaware of the larger framework within which they are operating and unable to be self critical, which ultimately is the goal of our training.

• What are the assessment's criteria?

• To Class: We have seen our teachers model assessment of other musicians and of themselves, what are the standards that we as musicians operate within?

Reflection

I did not establish bond with audience, not enough looking at them, my friend Andrew, who attempted to take video made this observation. At the time, having done several presentations in Pozzi's class, I was aware that I would have very limited time and that if I wanted to get through my material I would have to go quickly. The thing I realize looking back is that very few people would get anything from this rapid fire coverage of material and that I was better off reducing the material and creating “icons.” Then if time permits get into the substance behind these “icons.” This is how Cogans presentations are so effective, he presents a very simple idea and then unpacks it. This form of instruction is very similar to double entry note taking only it is in the format of a presentation and conversation that is being led by the questions of the students. I am happy to report that after realizing this I was able to attempt this in a presentation in Cogans class and that I was able to get this level of presenting. Although this presentation was not a success in the way I had hoped, imparting knowledge, it did teach me a great deal about what is effective teaching and what is not. This continually reworking and self assessment illustrates <Principle #9 The teacher is a reflective practitioner who continually evaluates the effects of

his/her choices and actions on others (students, parents, and other professionals in the learning.>