"The value of learning music is not in the number of pieces one may play, but in the musical thoughts one can think."
| Ages 5+: | The Ear
Training Companion patent pending method for learning perfect pitch and an exciting way to learn relative pitch |
| Ages 3-5: |
We Hear and Play taught for over 30 years in Germany and Japan |
| Ages 5-12: | The Fletcher
Music Method an amazing system, done in by bad business decisions |
stuff about acting |
Edgar Allan Poe audiobooks (read by me!) |
Music and Dyslexia |
Relative Pitch Monstercourse |
Anyone who's been paying attention will notice that the time between articles has expanded drastically since my arrival at McMaster University's PhD program-- although I think quality has benefited from the delay (for sifting out casual thoughts), this is only the fifth time I've attempted to write anything since the academic year began. This isn't merely a consequence of my time being demanded by classwork and other projects, although that commitment has not been insignificant; it's because I've come to discover that, astonishingly, it seems I won't be able to study absolute pitch here, not in the way that I expected.
The basic problem is that the premises I've developed in the last few years are in stark opposition to the Generally Accepted Facts about musical perception. Granted, these "facts" are themselves still theoretical, but there is consensus about various assumptions which I cannot accept if I am to proceed; as just a few examples, off the top of my head, here are a few I kept running up against:- Music is like a language, but is not actually a
language.
- Absolute pitch is the ability to name notes.
- Pitch is the "height" of a tone.
- A musical interval is the "distance" between two notes.
- Absolute pitch is a useless, even harmful, genetic affliction, and is
inherently unmusical.
And, bizarrely, every time-- every time, every single time, without exception-- I mentioned my research interest to anyone who was familiar enough with music that I didn't have to explain what "absolute pitch" meant, I got the same immediate reaction: an astonished, disdainful look coupled with an incredulous "Really? Why?" As you might imagine, then, finding myself blocked or struggling at every turn made it quite difficult to do anything meaningful.
But the problem isn't merely the fact of struggling against the tide. I've never had any problem standing alone to thumb my nose at conventional wisdom (often enough to my own regret). The core issue is that I can't study the theories I've developed and expect to Get Published without first demonstrating, suggestively if not conclusively, the validity of their underlying premises; and just tackling any one of the few I've listed above is the work of years, not something to be casually run through in a few months of graduate study. On the other hand, I could sidestep if I already had some kind of whiz-bang result that would be so potent it would force people to reconsider every one of their prior assumptions-- but even now all I have is anecdotes and possibilities, and the only way to get more will be to proceed as though the premises were solid, which in turn I can't officially do.
Officially, I've changed my course of study to something for which I do have a whiz-bang result-- namely, teaching dialects and accents-- in the hope that it's not too late to have done so. Unofficially, I don't see this as much of a change, because it's still about language production and perception as a function of cognitive and muscular habit, but I don't need to bother them with my understanding of the connections; mainly I need to regain my footing in this musical work and continue forward on my own.
"I purchased your copy of the Fletcher Music Method book when it first became available and have read and re-read it several times. I am a full-time music teacher, teaching grades K4 through 12th grade as well as directing an adult church choir. I have already made several of the Fletcher music teaching aids and have found them to be very useful in the classroom." - Curtis Hollembeak
A brief but potent sampling of her philosophy.
Click the link or the book cover above to download the What Is the Fletcher Music Method e-book (PDF, 78 pages with illustrations). This book explains her philosophy and the principles behind her teaching methods. All proceeds are used for my ongoing work. And if you buy the e-book and don't like it, I'll refund all three of your dollars! There's no risk-- buy it now!
Read an informational publication about the Fletcher Music Method.
Read some sample passages from What is the Fletcher Music Method.
Click the link above, or the book cover below, to download the Fletcher Music Method teacher's handbook (PDF, 124 pages with illustrations). This book details her instructional games and methods; it is intended for the teacher who is handling a class of six or more children, six years of age and older.
Buy the teacher's handbook and receive What Is the Fletcher Music Method? for free!
Read some sample passages from The Fletcher Music Method Teacher's Handbook.
Please note: The teacher's handbook is not refundable.
Thanks for your support!
Click any of these links for additional reading.
| Research | Theory | Software | ETC Help | Library | Debunking | Links | Comments |
