The Scotch Snap: everything you needed to know, and a hundred more questions

January 25th, 2012, 08:04 am

This is probably the most interesting video I’ve ever seen on a musical question. If you want to know why, read on below the clip. As it happens, I’ve posted this on Robert Burns Day/Burns Night, so the Scottish theme couldn’t be more appropriate.


Philip Tagg and his articles have kept me sane since the day I discovered him somewhere around 1999.  He gets inside the same questions that perplex me about music, and is one of the few musicologists that make much sense when it comes to understanding dance and music.  One of the things that has intrigued me for years and years is the ‘Scotch snap’.

I’ve probably thought about it daily for about 10 years, mainly because of the Waltz in the ballet Giselle (1841) and that Mozart minuet in E flat, both of which exhibit scotch snaps in 3/4 time, and because my yearly trips to Prague have given me occasion to overhear Scotch snaps in Czech music, or at least folk music that’s played in Prague (which might be Slovakian or Hungarian, or Romanian, depending on who’s playing it, and when your maps were drawn).  One pianist I know deliberately plays the scotch snaps in the Giselle waltz as if they’re before the beat. When I asked him why, he said he’s always thought that bit ‘sounded silly’ if you play it like it’s written. Sometimes I’ve wondered whether some scotch snaps in classical music are  just notational errors:  I seem to remember reading that there are  instances where copyists would write a dotted rhythm using the semiquaver first as a kind of shorthand meaning the opposite. Can’t remember where I read that, unfortunately.

And there’s more: as a student of living in Zagreb, I remember being fascinated by the comment of a Croatian translator who noted that since all stress in Croatian was tonic, there was no iambic poetry in that language. Considering that iambs are so common in English (think of all those children’s skipping songs) the idea that a language could just exist without an iamb to speak of seemed bizarre. But I speak Croatian, so I know that it’s not.  Then there’s the added fact that Croatian/Serbian have accents of length as well as of stress, sometimes it’s really difficult to tell whether someone’s elongating a vowel, or stressing it – so someone could tell you that the accent is on the first syllable of a word, but to me it sounds like it’s on the second, because it’s a long vowel (the same is true of Czech sometimes).

The great thing about this video is that Tagg has done all the work that I knew needed to be done, but I wondered if I’d ever live long enough to start doing it. It’s a wonderful advert for the kind of interdisciplinarity that makes me get up in the morning, and which Tagg himself advocates in his 2011 article Caught on the back foot.  By the end of the video, there are just even more questions to ask, which to me is what good research is all about. And Tagg’s conclusion – that you should be looking for class divisions before ethnic ones if you want to understand issues like this in music – resonates hugely with a great article I read yesterday on the concept of the ‘ballet boy’ (Time to confront Willis’ lads with a ballet class?) – in which the author says that it’s class, not gender that’s the issue in ballet & Billy Elliot, but gender’s an easier issue to tackle if you’re trying to pretend that you live in a classless society.

 

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Give yourself a break from multi-tasking

January 11th, 2012, 09:31 am

Just try it. Give this podcast from Headspace about the healthy use of technology 15 minutes of your time. Pause to reflect on the way you use technology, and the extent to which switching between one window and another, between email and document, text message and Facebook, music and video, might be knocking up toxic cerebral froth.

You’ll know from my anti-multi-tasking rants that I don’t have a lot of time for the idea that ‘multi-tasking’ is a good thing. Although this podcast doesn’t use the term ‘multi-tasking’, it does refer to the documented negative effects of overstimulating your brain by constant task-switching on digital technology. It’s an important message, because it’s not just kids that try to do ten things at once with technology, it’s all of us who have the means. We need, I believe, to stop buying into the idea that we have endless processing power. I might just sign up to Headspace and give myself a break.

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Yet another reason not to multi-task

January 9th, 2012, 16:58 pm

Readers of this blog will know that I have a real thing about mult-tasking, so I’m delighted to read this article on cell-phone accidents in the New Scientist, though not so happy about one of the recommendations. Road signage should be improved so the obstacles to phone users are more obvious ? How about advising phone users to get off their phone if they’re crossing the road?!

The questionnaire was posted to 15,000 Finns, and got just over 6,000 responses.  How effective is a self-reporting questionnaire on a topic like this?  You have to wonder how many people, Finnish or otherwise, are going to admit that they were texting while driving, or that they walked straight into the path of an oncoming cyclist because they forgot to look out for traffice while they were on the phone.

Cyclists have to live with the knowledge that drivers do things as idiotic as coming out of a junction while texting or dialling and looking down at the phone. It’s the fact that they were looking at their phone that means they didn’t realise how close they were to killing someone, so that’s already a whole group of people who the research won’t capture.  Likewise, if pedestrians had any idea what it would feel like if a cyclist + bike crashed into them,   they might consider that they had had a ‘near miss’ in research terms.  Cyclists know that a pedestrian with a phone is only a half functioning humanoid, and therefore has to be treated as if they are an accident already happening.   It would be instructive  to conduct a survey of cyclists on one day in London to ask how many near misses they had with someone lost in telephone-space.

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Conference on musical improvisation

January 4th, 2012, 13:52 pm

Interesting conference coming up in September 10th – 13th this year at Oxford University – Perspectives on Musical Improvisation.  I’m half tempted to submit a proposal for a paper, since music improvisation in ballet classes is one of those mysterious and hidden-away things that rarely gets an airing. Just not cool enough, I suppose. Just a shame that this isn’t really my area of interest as a researcher, so I hope someone else will take up the challenge.

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IT tips #25: Use a notebook for the big stuff in life

December 25th, 2011, 15:09 pm

Use  conventional tools if they’re better suited to the job at hand. Notebooks (real notebooks, not the electronic kind) are cheap, robust, durable, don’t need electricity, don’t require any special skills, offer  fast random access, and boot up immediately.  They are less distracting in a hundred ways than a computer, and much quicker to use. They’re light and portable, and can be tilted, folded, bent, torn, listened to, stroked and smelled.

A notebook hides nothing away in files, folders and applications. If it’s in there, you’ll find it. Handwritten notes bear the indelible marks of the day when you made them – the colour, weight and angle of the pen, the speed of your writing, minute irregularities of line and shape. A coffee or red wine stain may remind  you  where you were when you made it. These things are erased or never inscribed by a computer.

Many brilliant people I have met from fields as diverse as management, retail, choreography, design, writing, academia and  computer programming use notebooks for  the big stuff – planning, thinking, sketching, dealing with people. By contrast, I’ve watched hours of working life go by where technology has provided the appearance of serious activity but achieved nothing.

My personal favourites, for design and paper quality, are the B5 notebooks from Muji that come in packs of 5 for £4. What’s yours?

 

 

 

 

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The Steamboat, the Nutcracker and Cher Dumollet: Bon voyage and Happy Christmas

December 25th, 2011, 09:47 am

On Christmas day of all days, I’ve had possibly the most interesting comment ever posted on my blog with regard to the score of the Nutcracker. Jesse Kleinman has pointed out the similarity between what is normally cited as the source for the contredanse in Act 1 of Nutcracker  (Bon Voyage, Cher Dumollet) and the New England song The Steamboat Quickstep. Both songs are nominally about boats, so is the New England song a borrowing from the French song via The Nutcracker? Maybe. But as Jesse points out, “It’s possible that Steamboat originated in Scotland and went to both France and New England”.

 

 

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IT tips #24: How to make time-saving templates in Word

December 24th, 2011, 07:26 am

A real template in Word is a thing of beauty and magic that can be used to save you a lot of time and make your computer do what it does best:  quickly and painlessly automate repetitive tasks.  I say real templates, because a lot of people use the word ‘template’ to mean nothing more than a Word document that just provides an example of what a document should look like. A real template ends in the file extension .dot, and when you click on it, will automatically create a new blank document based on the template.  so if someone says ‘I’m attaching a template’ and the file ends in .doc, it’s not a template. Here’s how to do it properly:

  1. Think of a document type that has that you use a lot, like a letter or invoice
  2. Start a new document in Word.
  3. Spend time creating all the fancy elements that are particular to you such as
    - Your name and address and other contact details
    - An automated field for today’s date (see instructions below)
    - Page numbers, footers, headers
    - A scan of your signature, with your name and title underneath it
    - Bank details (if it’s an invoice)
  4.  Now go to the file menu, and select ‘Save As’
  5. From the dialog box that appears, look down to the ‘Format’ field, and change the Format to one of the Template (.dot) options.  Choose Word 97-2004 Template if you’re sending it to someone else (just to be safe), Word Template (.dotx) if it’s only you that’s going to be using it.
  6. Give the template a memorable and useful name, and press OK to save the document (which is now not strictly a document anymore, but a template)

To use the template (these instructions are for Word for Mac 2008 – in Word for Windows, you go to File>New and then select ‘from template’ ).

1. Go to the File>Project Gallery

2. From the menu that appears, select ‘My Templates’ and the template you created will be there.

3. Click on the template. A new blank document will be created with all the features that you specified. If you inserted an automatic date field, today’s date will be inserted (see instructions below).

4. Save this new document as something meaningful on your computer.

NOTES

How to insert the date automatically every time you create a new document based on a template

1. Go to the Insert menu, and select Insert>Field 

2. Select ‘Date and Time’ and use the ‘Create Date’ option

3. Press’ Options’ and select the format that the date should have, and remember to press ‘Add to field’ and ‘OK’ afterwards

  • Templates can be very complex things: for example, I’ve got one that I use for creating units in module study guides that have to have a cover page with the company logo on, page numbering, particular heading and text styles, and so on. Clicking on ‘Template’ creates a whole new document with a cover page including all the graphics.
  • Used in conjunction with forms (see earlier post on forms), templates can be doubly powerful: you could for example create an invoice template with form  fields for all the variable data like the name of the job and the unit price and so on.
  • Another way to use templates is to drag a shortcut to the template to your desktop. That way, you click on the template shortcut and kerplang! Word starts up automatically with a shiny new document ready for you to type into. To do this, you need to know where the template it stored (see below).
  • If you need to edit the template, you need to know where templates are stored on your computer. Once you know, you then select File>Open and locate the template in question to edit it
  • To find out where your computer stores templates, on a Mac go to Preferences pane in Word and select File locations. (it’s under Tools>Options on a PC) Make a note of where the  ’templates’ are stored. You can press ‘modify’ to put them somewhere else. Frankly, I wouldn’t though. 

 

 

 

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