A dense but revelatory treatise and guide to musical time and rhythm.
It’s time to change the way we teach and talk about musical meter, according to this intricate primer.
Calilhanna, an Australian musicologist and music teacher, argues that conventional time signatures—3/4, 4/4, and so forth—fail to convey important information about the metrical nuances of music. To correct this, she has adapted the theories of Yale musicologist Richard Cohn into a practical handbook for teaching meter to kids. Her system has students listen carefully to pieces of music, clap and tap out all the metrical “pulses” they can hear, and then map them in several graphical formats, including a “ski hill” graph that arranges all the combinations of basic 2:1 and 3:1 meters in a pyramid; a linear graph that layers different pulses on top of each other; and a circular graph inscribed with polygons that represent the pulses. (An analysis of “Twinkle, Twinkle, Little Star” identifies four metrical pulses.) The author illustrates her process with several pieces of music, from simple tunes to more complex hemiola (3:2) meters, African tresillo meters, and syncopated swing meters. Calilhanna backgrounds all of this with an engaging tour of musicology, acoustics, and cognitive science, attributing many benefits to her method of understanding meter—it helps kids understand math, develop critical-thinking skills, and gain confidence in performing, she contends, asserting that it also captures the metrical complexities of world music better than Western time signatures do. Aimed at music teachers, Calilhanna’s prose often has a dry, academic feel, but she sometimes conveys a stirring passion for the subject. (“How can meter theory with inaccurate representation of music, be inclusive or ethical? It cannot.”) Her approach does make explicit a wealth of complex information that can’t be derived from a simplistic time signature, and that will aid learners in comprehending music. Instructors and students will be intrigued by her insights.
A dense but revelatory treatise and guide to musical time and rhythm.Pub Date: Jan. 3, 2024
ISBN: 9798369490082
Page Count: 160
Publisher: XlibrisAU
Review Posted Online: Sept. 18, 2024
Review Program: Kirkus Indie
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
A cheeky, gossipy dual biography.
A study of two writers uncomfortably entwined.
After Eve Babitz (1943-2021) died, her biographer Anolik came upon a letter from Babitz to Joan Didion (1934-2021) that startled her. Filled with “rage, despair, impatience, contempt,” it read like a “lovers’ quarrel.” “Eve was talking to Joan the way you talk to someone who’s burrowed deep under your skin, whose skin you’re trying to burrow deep under.” That surprise discovery suggested a “complicated alliance” between the two. In sometimes breathless prose, with sly asides to the “Reader,” Anolik draws on more than 100 interviews with Babitz and many other sources to follow both women’s lives, tumultuous loves, and aspirations before and after they met in Los Angeles in 1967, sometimes straining to prove their significance to one another. “Joan and Eve weren’t each other’s opposite selves so much as each other’s shadow selves,” she asserts. “Eve was what Joan both feared becoming and longed to become: an inspired amateur.” At the same time, “Joan was what Eve feared becoming and desired to become: a fierce professional.” Didion had just won acclaim for Slouching Towards Bethlehem when Babitz, newly arrived from New York, began socializing with her and her husband, John Gregory Dunne. The reticent Didion and the sensual, energetic Babitz could not have been more different, and Anolik clearly prefers Babitz. “I’m crazy for Eve,” she admits, “love her with a fan’s unreasoning abandon. Besides, Joan is somebody I naturally root against: I respect her work rather than like it; find her persona—part princess, part wet blanket—tough going.” Their relationship—hardly a friendship—fell apart in 1974 when Didion and Dunne were assigned to edit Babitz’s autobiographical novel, Eve’s Hollywood. Babitz, resentful of Didion’s attitude and intrusion, “fired” her, pursuing her writing career on her own. Didion soared to literary fame; not, alas, Babitz.
A cheeky, gossipy dual biography.Pub Date: Nov. 12, 2024
ISBN: 9781668065488
Page Count: 352
Publisher: Scribner
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: Aug. 1, 2024
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