Ovid in the Heartland

There is something affirming about reading great works of literature out loud. Many of us were read to as children, but it is a custom worth preserving and maintaining throughout our lives. I once knew an elderly lady who would read out loud even when she was alone, and over the years she worked her way through many literary pillars of thought. She inspired me to continue the tradition, and it has been a great source of encouragement, self-education and entertainment. Sometimes we would host parties at our house where we would read a play out loud, or share favorite poems. When we read out loud, we are re-establishing a connection with our forebears, our cultural legacies, our ancestors, or, if we read from a contemporary work, we establish a link with those who help shape our present world.

Recently several local organizations here in St. Louis--the Pulitzer Foundation for the Arts, River Styx and the St. Louis Poetry Center-- banded together for an extended reading of passages from the Roman poet Ovid's masterpiece, Metamorphoses, spread across two days of nine hours of reading each. Various local citizens participated in the readings. This was a wonderful means of communicating to all the citizens of our region that we do share a common heritage--that 2,000 years ago a man of letters lived and wrote words that speak to us today. In an era when so many young people have so little knowledge of history, the words read aloud were a little piece of living history handed down across the centuries.

Publius Ovidius Naso, 43 B.C.--17 A.D., led a life as full of changes as the characters in the myths he retold. Sadly, he died in exile far from his beloved Rome, in what is now Romania, but his poetry lives on to tell the world about the glory of ancient Rome. In the opening lines of The Metamorphoses we learn, among other things, that the Romans were fully aware that the world was round, nearly 1,500 years before Columbus. But more importantly, we begin to learn, through his retelling of classic myths, the stories that have helped shape our visual arts, poetry, music and understanding of human emotions. When we deprive our children of a knowledge of history--their own and that of others--we are robbing them of a piece of their very humanity.

Thanks,
Gary

A Day at a Community College

As a blog writer I try to avoid writing about my own family, but in this case I felt it served a larger point. So please bear with me!

Today was the first day of college classes for both my daughters, Marisa and Ariella ("Ellie"). However, both girls were in Oregon for a family get-together, so were unable to attend classes the first day. Since both are dedicated students, they were naturally concerned about missing the opening remarks from their professors. Marisa only had one class scheduled today, but Ellie had three. After consulting with a few professor friends of my own, I decided to attend Ellie's classes for her today--hopefully demonstrating by so doing that we are a family that takes education seriously. I found it a wonderful and encouraging experience.

Ellie was partially home schooled, and graduated early, as did Marisa, so she is spending her first two years of college here in town at Forest Park Community College, an urban campus located within the city of St. Louis. Next year she will have turned eighteen and we hope to send her to a four-year college. In the meantime, she seems to have received an excellent education at the local level. She has always praised her instructors and the quality of in-class discussions and the relationships she has formed. I heartily agree with her after today.

I sat in on three classes: Sociology, American Comedy and Humor, and History of Jazz. I found the instructors to be engaging, open-minded and--thankfully, in this age of grade inflation--tough when they felt it was called for. The student body seemed respectful in class (maybe rowdy outside of class, but that is a different matter) and, as far as I could tell, serious and motivated. Each professor was well-prepared and professional, and seemed well-versed in his field. The English professor who taught the comedy class made no bones about the fact that his class would be demanding and that rules and policies must be obeyed. I have long despaired about the state of education in America, but today encouraged me.

The student body at FPCC is "diverse"--whatever that word is supposed to mean today--and clearly shows that urban education can succeed. This makes the failures of so many public school districts even harder to accept. FPCC shows that we can clean up education--but we must have the resolve to do so.

Increasing attention has been pointed to the fact that the overwhelming majority of college and university professors in the US lean to the left. I have no idea of knowing the leanings of the professors I met today, but I found them affable and, in my best judgment, open and willing to consider diverse opinions.

American education still has a long way to go, but I am better assured now that it still has a soul and a spark of life.

Thanks for reading.
Gary

Anne Frank in the Heartland

This week I attended a performance of The Diary of Anne Frank produced at the Lyceum Theatre in the little village of Arrow Rock, Missouri, located about forty miles northwest of the university town of Columbia. It is hard to imagine a more beautiful spot than Arrow Rock. The town is spacious, hilly and green, filled with fine restaurants and beautifully appointed bed and breakfast establishments. At first it might seem an unlikely locale in which to reflect upon the Holocaust, yet I found it perhaps a perfect place for thought. Far from the distractions of urban life, it was possible to ruminate in silence upon our achievements as human beings, and our tragic failures. We are capable of such good, yet also of such evil. What can be so disarming is when evil arrives cloaked in beauty and deception. The Nazis were capable of living outward lives of great refinement, and often displayed a great intelligence. Today there is so much "spin" in our world that it can be difficult to determine which side to support on many issues.

Countless people ask themselves how the Holocaust could have happened. What brought "ordinary" people to behave with such savagery? My own theory is that the Holocaust simply crept up into the hearts of its perpetrators. We grow accustomed to evil best when it is administered to us in small doses, little by little. When the guillotine first appeared during the French Revolution, its use was limited. But as the revolution progressed, the thirst for the blood of tyrants--real or imagined--grew more and more difficult to quench. By the close of World War II, the Nazis' devotion to the Holocaust was becoming the tail that wagged the dog of their aggression.

Missouri is one of our most beautiful states, and its citizens are blessed in many ways. But the meditative, tranquil hills, forests, valleys and farms were witness across the generations to the horrors of slavery and violence to groups such as Mormons and others. As we enjoy the beauty here and across our entire planet, we need to remember that, as the familiar saying reminds us, the price of freedom truly is eternal vigilance--of others, and of ourselves.

The Lyceum Theatre in Arrow Rock is a wonderful, professional venue that helps make a visit to Arrow Rock so inviting. The staff is warm and welcoming. I would heartily recommend the trip.

Thanks,
Gary

"Fall" Terms Beginning?

It has been almost a shock to many of us to realize how early the school year is beginning in communities across the country. With increasing alacrity, more and more public school districts, and some independent schools as well, are extending the length of both the school year and the school day. Many Americans quickly accept the premise that more time in the classroom equates to increased learning, and many "educationists" are quick to trot out studies to illustrate this, but it is probably best not to make blind assumptions. Other studies can produce differing results.

One of the main arguments in favor of increased classroom time is the notion that disadvantaged students languish intellectually at home because they do not have the enrichment that affluent or concerned families would provide: music and dance lessons, summer camp, tutoring, etc. However, there is also the risk that forcing additional time at school would further alienate unmotivated students and further erode family ties which may already be shaky. On the other hand, a well organized classroom that offers diverse sources of stimulation and skill development, and one that builds bridges to families and encourages their involvement, could indeed help a struggling student. Yet, realistically, how many classrooms can actually provide that? Most teachers sincerely want to provide the best environment possible, but many of them are not given the resources to do so.

One of the most successful independent schools in the United States is the Thomas Jefferson School, located just outside St. Louis, Missouri. Students there follow a strict classical curriculum and generally gain admittance into the finest colleges and universities in the world. In later life, Thomas Jefferson students have demonstrated a high success rate and broad creative instincts. This year, the autumn semester will begin on September 9, more than a full month later than many conventional schools. The school day is over by noon, but students are expected to remain on campus to pursue various projects and activities and confer with faculty. Vacations are lengthy so that students may use the time to broaden their acquaintance with the world we live in. Yes, Thomas Jefferson parents are almost always extremely supportive--but not always as affluent as opponents of independent schools would have us believe--which gives their children a leg up, but we should be encouraging all families to be likewise, rather than simply assuming that some families are simply incapable of providing better nurturing for their children.

There are many angles to this debate, and this brief column only scratches the surface. Believe it or not, I do see both sides and do understand that extended-year proponents have good intentions. My vision is a bit idealistic here, but ultimately I am a realist. But I still feel we should work towards achieving our ideals. More later on this topic.

Enjoy the rest of the summer. Hopefully we all still have some time off, at least here and there!

Thanks,
Gary

Different approaches...

In the last two posts I wrote about the method of music study espoused by Walter Gieseking, which generally could be described as a glorified step-by-step approach to learning. Each individual note in a piece is carefully examined, alone and in relation to every other note, along with every editorial suggestion. It is probably fair to say that in his system every note in a piece must be understood in its context, and thoroughly internalized. Nothing must be ignored or taken for granted.

A friend of mine, who sings in a choir I direct, takes a completely different approach to learning. He works a great deal with computers, and one evening we were discussing how hard it can be to keep up with new advances in computer technology. One of the other singers complained that computer terms were obtuse, and I chimed in by stating that learning to use computers should follow a carefully designed, step-by-step approach in which every term and every action is clearly explained and the student has time to process and practice every necessary skill. Our computer guru strongly disagreed. He claimed that such a careful approach would take far too long and "you would never learn anything about computers that way". He favored more of an immersion method in which you dive into a subject and soak up as much as you can. In this scenario, over time you would learn the basic concepts, perhaps hit and miss at first, but hopefully more securely over time. As you develop a comfort level, you could begin to pick up finer points.

I understand my friend's point of view, but I'm not sure I'm convinced. There are music teachers who recommend learning a piece of music by "diving in", but I think they would all agree that sooner or later you have to develop a more systematic approach, or otherwise your understanding of the piece will be only superficial. Or perhaps it is not a good idea to compare learning music to learning computer skills. And, of course, we are each different, so we learn to learn each in our own way, but how do we best achieve mastery?

So what do you think? I'll weigh in more later.

Thanks,
Gary

More about Walter Gieseking

Walter Gieseking felt that thoroughness and keen observation were the keys to studying everything. He applied the rigor of a scientist to music. In the book he co-authored with Karl Leimer, Piano Technique, he devotes two pages to advising students how to approach the first six bars of Bach's first Two-Part Invention, known to all piano students. He suggests noting such details as the distance between each pair of notes in a given phrase (such as C downward to A being a musical interval of a third, skipping the B), analyzing the touch to be applied and the manner of connecting notes (smoothly or with separation). He also emphasizes that the student should learn to visualize the piece--i.e., be able to see the piece in our heads, be aware of the structure of the piece, and grasp an understanding of what the piece should sound like.

Funny how often the word "visualization" comes up these days, even though Gieseking was writing in the 1930's. It seems that proper visualization is a means of ordering and directing our lives and the events that flow through them. The power of visualization should never be underestimated. Just tonight I attended a wonderful talk on the current health-food trend of eating raw, uncooked fruits and vegetables. The speaker, whose vibrant health was an excellent testimony to the power of the method, indicated in passing that this system of eating worked best if people "saw" themselves benefiting from it. He also noted emphatically that negative thoughts and emotions can, over time, impact the body as much or more than eating toxic foodstuffs. (This guy made me re-commit myself to healthful eating--and thinking! I'm a strict vegetarian, but now want to be even more careful.)

Some readers have commented that Gieseking's method would make them more nervous about performing, not less, which is the total opposite of what he wanted to achieve. They feel being so acutely aware of the music would make them freeze up, perhaps like a diver who freezes in fright at the edge of a diving board if he/she contemplates the movements of a dive too intensely, making them realize the many possibilities for error. I understand such a feeling, and have felt it myself, but I think Gieseking would counter by saying his method asks us to delve so deeply into what we are doing that we become totally at one with it. He advised practicing each phrase very, very slowly in order to develop complete familiarity and ease with it. (This would require singers and wind players to make an adaptation for breathing, but over time they would come to practice with greater speed.)

I don't think Gieseking was trying to discourage spontaneity and freedom in a performance--just the opposite. Rather, he felt that memorization and flawless technical skill are the bedrock upon which freedom and spontaneity are built.

A few more points to make about this method in my next post. Have a great weekend!

Thanks,
Gary

The Gieseking Study Technique

First of all, a big thank-you to everyone who has helped make this young blog a success. No writer or performer can succeed without an audience, and the many visitors to this site have been a source of encouragement and inspiration. Feel free to leave a comment. All will be read!

Now to the subject at hand. The German pianist Walter Gieseking (1895-1956) was very meticulous in his approach to music study--and to the study of just about anything (one example: he was a keen student of lepidopterology, the study of butterflies and moths, having inherited the interest from his father, who was a professional in the field). Gieseking became controversial due to allegations of collaboration with the Nazis during World War II, although he was cleared after investigation by U.S. military authorities. Although his moral compass may or may not have been sterling, he nevertheless developed a remarkably simple, yet highly effective, method of studying music.

Gieseking outlines his system in the book he co-authored with his mentor, Karl Leimer, Piano Technique (first published in 1932, Dover Publications edition first released in 1972). Basically, his approach boils down to this: When you begin studying a new piece of music, you must study EVERYTHING about the piece. On the surface, this sounds like a classic "no-brainer", yet how many of us actually carry out these steps? Gieseking recommends, for instance, perhaps starting out away from the piano. You take note of the tempo of the piece, the dynamic level and ensuing changes. Each and every chord must be analyzed; the fingering of each note must be determined. Each melodic phrase should be analyzed and measured, carefully noting each interval between pitches. At the piano, matters of touch, balance and execution can be worked out. If it is a long piece, it can be broken down into manageable sections and the system applied to each individual section.

Anyone who has ever studied a musical instrument can immediately realize how daunting this system might be. Some pieces have thousands of notes. Yet, on the other hand, applying this method might actually be the shortest road to success in the long run. I can attest from personal experience that it certainly helps dispel nervousness: You know that you know that you know the piece.

Those who might say that Gieseking's method is mechanical and robotic, but I think it is fair to say that he saw his technique as only the first step to a finished interpretation of a piece, believing that all true creativity must rest on a solid foundation of skill and mastery. To apply his system to other subjects might require some adapting of his methods, but his advice overall seems solid and useful, regardless of whatever discipline we are engaged in.

In succeeding posts I would like to comment a bit further on Gieseking's approach, but the above is a quick snapshot. Thanks for reading!

Gary