Musical Literacy: The Stuff of Genius
Keith Rulli
COM 156
December 7, 2012
Karen Nowak

Musical Literacy: The Stuff of Genius Literacy is the ability to read and write, which implies knowledgeability and capability of exercising one's ability through comprehension and expression. It is developed through learning and training in the intellectual and formal standards of a language. It is not a natural talent or innate capacity, therefore, it is not to be underestimated in importance. Standard, or formal English, differs from substandard, or informal English, as well as broken English and slang, because it is contrained by formal rules and elements. Language of a higher caliber is of greater worth because of its sophistication which breeds sophistication. People with a feebly sentimental attachment to their own nature and its affections may be complacently stifled from pursuing a sophisticated consciousness. Fluency and literacy are not the same. Fluency only requires a degree of understanding that gives one the ability to easily and readily express oneself. Often, illiterate or borderline illiterate individuals are able to speak and understand the English langauge in a basic way. People who speak the same language often speak different dialects identifiable by characteristic nuances. The concept of musical literacy is one that many people are unfamiliar with. Musical literacy is partially an understanding of the notation system that enables one to read notes on a staff. It is also the acquisition of skills that endow one with a musically sensitive, discerning mind and ear. This involves training to develop comprehension skills and listening skills in a musical context. Musical literacy is the substance of true musicianship. In the United States, a dramatic decrease in musical literacy has occurred over the course of a couple of generations. The currently bottomed-out state of musical literacy is symptomatic of the American lifestyle. The situation is indeed a crisis because public concern for a remedy is not likely to be considered a pressing matter. People no longer appreciating the grandeur of music nor musically achieving feats comparable to those of times past signifies a stagnation of sophistication in music. The major decline of musical literacy in the United States began generally in the nineteen sixties (Vriend, 2009). The major factors that radically changed the cultural scene of American music are the contrast between the new and old eras of music, the increased diversity of public views toward different genres of music and the media, particularly radio braodcasting, and the government budgeting of public school funding. In the fifty years that have followed the time of the commencement of these social changes musical literacy has been largely swept away. The English language literacy rate is currently 95%, however, the musical illiteracy rate is 95% and growing nationally as well as globally (Los Doggies, n.d.). In the 1990s, the government began a literacy reform movement involving the American public school system. Since then two mandates have been enacted, the Reading Framework of the National Assessment of Education Progress in 1992 and the No Child Left Behind Act in 2001. These mandates increased the focus of reading and English language literacy across the curriculum, applying to music classes as well (Neves, 2007). Music education in the classroom is a prime force in the development of musical literacy provided it's content is taught effectively by qualified teachers for the purpose of creating musicians. Music can exist without musical literacy, but without musical literacy true musicianship would be obscurely understood by the common person. Music is one of those things that many people are touched very deeply by, but not necessarily because of a high degree of skill and technique. Not all people would think of making music as a highly complex activity to perform or a complex liking and desire to satisfy. Enjoying music, and in some cases performing music, doesn't require an extensive background of music-related knowledge or experience. Inspired individuals have invented all kinds of uncomplicated ways to express their musicality and rhythmicity. Some of the more basic human musical expressions include singing, humming, whistling, yoddling, beat-boxing (generally a hip-hop term used in relation to the use of the mouth and vocal ability to simulate a drum beat and sounds from a drum machine or "beat box"), clapping, snapping fingers, and playing various kinds of drums or other instruments, particularly percussive, such as the tambourine, maracas, and triangle. The simplicity of some kinds of music can blur the line between earnest musicianship and an individual's musical expression as an outlet for creativity or means for personal gratification. High school students in ensemble bands can make some impressive music, though as nothing more than amateurs and without any real desire to become musicians. In that sense, musicality is trivialized and downplayed. Despite many people's nonchalant attitude toward music, many are nonetheless likely to admit that it is a source of endless enjoyment. Inspiration is the principle of music, and it's principle effect. Each person's emotional or rational response to music is unique because no two people are identical. It is a source of inspiration to both those who have a penchant for the listening experience and those who pursue musicianship as a creative endeavor. Inspiration applies to every mode of human experience. The language of music even has an oneiric and pneumatic aspect in human nature. It is a language that the subconscious mind is familiar with and capable of expressing automatically while in its dream state during sleep. It is likely that the musical content of people's dreams over the millenia had influenced the development of music which lead to the eventual creation of a langauge for musical ideas to be expressed and established in set form. The written and visual form of music is composed of notation symbols on a staff. Prior to modern science which has answered many of mankind's age-old questions, the mysterious inspiration of people who exhibited unusual and exceptional musical ability was plausibly considered a gift of the soul with a near magical ability. In ancient Egypt, on account of its beauty, music was thought to be created by the spirit of divinity. Men possessed of such sublime talent for musical expression were elevated to the status of gods (Internet Sacred Text Archive, n.d.). One notable person in history who delved into the science of music is Pythagoras, a Greek philosopher and mathematician who lived from 580-500 B.C. He discovered pitch differences according to metal weights and measures of length and is credited as the creator of the diatonic scale. He believed that mathematics is the foundation of music and applied it to his study of musical harmony. The interpretation of music involves progression, possibilities, and probabilties. He founded a religious brotherhood and a school in southern Italy whose contributions influenced the development of mathematics. He is thus considered the first true mathematician. The Pythagorean theorem in mathematics is ascribed to him. He also studied astronomy and developed a theory named Music of the Spheres. The theory doesn't pertain to audible music, but rather describes a mystic and perfectly harmonious connection between the geometrical proportions and movement of celestial bodies including the Sun, Moon, and planets. He became known as, "the only one who could hear the Music of the Spheres." Aware of music's profound effect on the human senses and emotions, he performed cures on individuals suffering from infirmities by administering what he conceived of as musical medicine (Internet Sacred Text Archive, n.d.). Within the world of the human brain lies the inherent ability of the human mind to conceive and comprehend musical ideas and to express itself musically. Instrumental music connects with the human consciousness without the use of any symbols or notation and on a subverbal level. The human emotions are used in the comprehension of music and two particular perceptual senses– euphony (sensitiveness of the ear, especially to tonality) and the aesthetic sense (the ability to appreciate beauty and fine art). Harmony within sound results when the elements of sound (musical ingredients and tonality), rhythm (timing, speed, and intensity), melody (convoluted patterning of grooves), and progression are agreeably and aesthetically combined. The human voice is part of the human biological structure. It can be used to produce vocal music rather than instrumental, but also can be harmonized with instrumental music to add vocalized human character, presence, and words to music. People harmonize sounds and ideas to create a musical landscape which becomes a sort of environment. Music harmonizes people through its ability to regulate the internal bodily systems, including the mind, and in the external realm because of its bearing on adaptation to the environment. Some kinds of music are used specifically to serve as the background of an environment. It is impossible to dismiss a part of human nature and a universal faculty of the human mind. In Dr. Howard Garnder's book Frames of Mind, published in 1983, he presented his theory of multiple intelligences, which attributes eight kinds of intelligence to the human mind that relate to individual strengths, weaknesses, and learning styles. All individuals can exercise each of the intelligence types to a greater or lesser degree.
Some of the types of intelligence are closely related to others while remaining independent of each other (Andronache, Bocos, Stanciu, & Raluca, 2011). The theory was revolutionary to education, neuropsychology, and human science. It caused controversy because it exposed the flaw of the traditional concepts of I.Q. which failed to acknowledge the existence of intelligences that account for the full range of human functioning and problem-solving (Helding, 2010). Musical intelligence is among the list of eight specific human intelligences. Learning music is not only a specialized field or area of interest, it constitutes a fundamental aspect of human development in which lies the potential for the exhibition of true genius and mastery. A peculiar aspect of music is that it may be implemented in connection with the sense of purpose toward accomplishment in a joint manner through cooperation and united action. It is commonly used as a backdrop for TV and film (it communicates directly to a person's feelings; the appeal of emotional arousal or attachment). Another example, is the close association of music with the human faculty of memory. There are proven benefits to implementing music as a strategy and mnemonic tool to improve cognition and mental tenacity. Music is a powerful stimulus that facillitates learning processes in the brain. However, depending on the individual, the kind of music, and how it is incorporated into the learning process, it may only prove a distraction that impedes the learning process instead. Music thrives commercially due to a massive consumer market. Pop music and culture overshadow the traditional styles of music that aim to deliver serious sound and performance on musically literate, aesthetic grounds. The rampant and formulaic production of pop music is the antithesis of the true art of music. Pop music's quality is based on interest. Images are more important than reality. For many people, the focus of their interest in music is on cultural and emotive aspects, not the musicianship itself or an artist's style, taste, originality, and intentions. Making music and listening to music have a cultural element and that make it parallel to the learning of culture. The learning of culture is selective. The projecting and loving of images is selective. A rarefied, more mature, deeply emotional and introspective experience is more than many people can bear. Music can be used for relaxation. When music is listened to in a way that is unduly repetitive, or restrictive in the sense that it is not consciousness expanding, it can have mind-numbing effects (a tactic to promote the sale of products).
Conclusion
In the film Enter The Dragon (Allin & Clouse, 1973), Bruce Lee, the martial arts legend, spoke some wise words in an interview: "Be like water. Water can either flow or it can crash. If you pour water into a cup, it becomes the cup. If you pour water into a teapot, it becomes the teapot. Be like water my friend." Music mirrors realities. Through music, realities are poured into people's life experience. People are assuming the forms of realities, as though their lives' were water being poured into images via the music that they listen to. Apparently, the realities represented in serious music are not becoming to the younger generations who are content with the minimalist musical content produced nowadays. Some people have the attitude, "I am music," which is a fanciful notion, but also a distortion especially when considering that many of them do not have any concrete education or training in music. At best, they are the raw material for music, a human body and mind with emotions and creative potential. Developing musical literacy is the same as learning a new language. It takes an open mind, time, patience, conscious effort, and especially a desire which translates to a commitment which will sustain one's interest through the learning and conditioning. When considering the magnitude of the influence of music, the totality of how it affects people and the environment, musical illiteracy could be epidemic, a disservice to the potential of mankind for higher achievement.

References
Allin, Michael (Writer), & Clouse, Robert (Director). (1973). Bruce Lee In His Own Words [Documentary]., Enter The Dragon.
Andronache, D., Bocos, M., Stanciu, D. I., & Raluca, B. O. (2011). The Valences of Multiple Intelligences Theory in Optimizing the Training Process. Journal of Educational Sciences, 13(2), 18-26.
Internet Sacred Text Archive. (n.d.). Retrieved from http://www.sacred-texts.com/eso/sta/sta19.htm
Los Doggies. (n.d.). Retrieved from http://www.losdoggies.com/about
Neves, Victor, R.T. (2007). Instrumental Music as Content Literacy Education: An Instructional Framework Based on the Continuous Improvement Process. Online Submission, 1-48. ERIC.
Vriend, J. (2009). Musical Literacy. MCN-Speakers' Corner. Retrieved from http://mcnforum.wordpress.com/2009/03/27/musical-literacy/