So last Saturday I was doing some shopping at one of the local sheet music outlets (Noteworthy Music) and I came across a piano/vocal score of “Wrath of the Lich King” from World of Warcraft. For those of you who don’t know, World of Warcraft (aka WOW) is an MMORPG (massively multiplayer online role-playing game). I’ve never played it and with only brief stints on Second life and some of the online browser games like Travian, I’ve only seen this played by some friends.
I do admit that I have played the computer game versions of Warcraft, however, so I’m not entirely immune from knowledge of the franchise!
So, as I said, I came across this piano/vocal reduction I just had to buy a copy. I think it will be a perfect tune (or set of tunes) to do with the il Troubadore Klingon Music Project because. Really, who wouldn’t want to see Klingons singing a World of Warcraft tune?
Even better would be Klingons dressed up as the undead–I wanna be Kel’Thuzad, though Arthas (in his Death Knight incarnation) would be a close second choice.
So this past week was the first week of school and I’ve been coaching two periods of cellos since Tuesday. Earlier this week I read a piece in the Chronicle of Higher Education that talks about some research regarding the correlation between teaching and research. Most studies of this type looked at the connection between research activities and teaching, with mostly equivocal results though perhaps leaning in the direction that there may be a positive correlation. Few studies looked at the connection from the opposite end of seeing how teaching experience can enhance research. And fewer still (if this article is correct) have looked at it quantitatively, rather than through qualitative and often subjective surveys.
It was timely that the article was published just as my teaching load has increased (as it always does this time of the year) as I often question the function of teaching and education and how this can be changed and whether or not things like this should be changed. But I’d rarely looked at it from the standpoint of how teaching music could possibly enhance, say, musical ability. In many ways, I can agree–in others I can just as easily disagree. In the end, it really depends on the teacher/musician.
For example, being able to show someone how to do something on a musical instrument would seem to demonstrate that you know the instrument well enough to be able to teach how to do it. On the other hand, if your ability to do it on the instrument isn’t necessarily the most efficient or useful or, just downright idiosyncratic, then what you may be teaching would be how you would do it–not necessarily how it can or should be done. Whether that idiosyncratic way of playing an instrument is the result of previous ‘bad teaching’ or just willful ignore-ance of former instructors (or combination of both) doesn’t necessarily matter. And in some ways, I imagine it can simply be the result of a tradition of performance practice such as the holding-books-under-the-arm technique of bowing that used to be relatively commonplace in cello pedagogy.
The thing is, we can’t necessarily predict what might be a more efficient and useful way of doing things in the future. In hindsight, as the saying goes, we’ll see it as inevitable but that doesn’t help our abilities to know future ‘good performance practice’–much less future enhancement of musical ability due to the ability to teach music. Really, in many ways we’re just walking blindly into a future with only our personal histories or institutional histories (e.g. teaching traditions) as a guide.
I guess one of the questions is, if you can’t teach someone else how to do something, how much does that affect your ability to teach yourself something? Another thorny question. Some folks just have an intuitive sense of how to play a kind of music and can easily learn something within those boundaries. Which says next to nothing about their ability to learn something in a different musical style or genre (or on another instrument, for that matter). It’s an almost autistic way of relating to a broader musical culture or, rather, a broader culture of music.
So, as I mentioned in the previous post, there is an embarrassment of riches as far as performing options are concerned, if you’re willing to think outside the box. The past few years I’ve been playing the Sci-Fi/Fantasy circuit. I hesitate to call it the “Sci-Fi/Fantasy Convention circuit” if only because some of the best paying gigs I’ve gotten recently happen to be at organizations outside of the Convention circuit proper.
And some of that has started to creep into the so-called ‘high arts’ realm with organizations such as Symphony Orchestras playing themed shows dedicated to particular Sci-Fi or Fantasy franchises (e.g. Lord of the Rings, Star Wars) as part of their pops seasons.
On the whole, however, there’s always been music at conventions–even if it only consisted of filk music. Part of the Klingon schtick is as much act as play and the idea came to me as a whim after il Troubadore started playing Sci-Fi conventions at the request of some bellydancers. We decided we needed our own act and schtick, thus was born the il Troubadore Klingon Music Project.
Ok, so I talk about the short series of events from bellydancer request to Sci-Fi convention to developing a full blown Klingon Band personae as if it’s an everyday thing. But seriously, for me, it is.
That’s the specific issue at hand here. Over the years I’ve heard all manner of musicians grouse about the lousy economy and the lack of work. And here, I’m talking primarily about those musicians who do not hold full time or professional positions as musicians–this includes freelancers, but also just your normal everyday band musician. I know I’ve brought up this issue plenty of times in the past, but don’t want to flood this post with a ton of links.