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Chat GPT: It’s all About the Prompts

Written by Dr. Charles R. Ciorba

To get the most out of ChatGPT, it is best to master the use of prompts. Doing so can really can make a difference

Starting a Chat

If you enter a basic prompt that is similar to something you enter using an internet search engine, you will get a simple response.  If you make this mistake, you might become bored and frustrated. As a result, you could very well assume that you can do better using the internet.  Basically, the rules for using key words in internet searches do not necessarily apply to ChatGPT.

According to Baker (2023), it is best if you use this form of AI differently.  For example, you can actually assign ChatGPT an identity.  Perhaps, several identities.  You can also assign yourself an identity.  Tell it to address an audience such as a (a) group of teachers, (b) group of fifth grade students, or (c) an angry parent.  Set the stage correctly by giving it a command, asking a question, or telling it to behave in a specific manner.  Ultimately, you are looking to receive a detailed and well-defined response. 

Here is a direct quote from the Baker text (2023, p. 49).

  • Who do you want ChatGPT to be?
  • Where, when, and what is the situation or circumstance you want ChatGPT’s response framed within?
  • Is the question you’re entering in the prompt the real question you want it to answer, or were you trying to ask something else?
  • Is the command you’re prompting complete enough for ChatGPT to draw sufficient context to give you a fuller, more complete, and richly nuanced response?
  • Is your prompt specific and detailed, or vague and meandering?  Either way, Chat GPT will mirror it in its response.

I mentioned this in the last learning module, but when you are finished with a specific conversation, it is always best to close out the conversation before starting a new one.  If you hold a long conversation that involves several topics, ChatGPT may get confused.  If this happens, it might get offensive or start giving you wrong answers.  I am not sure how this service can get offensive, but it may call you offensive names. I myself am not at a point where I want to intentionally make this happen.

Reviewing Your Chat History

On the left side of the ChatGPT screen, you will find a list of your most recent conversations. You can always return to earlier chats, which can be quite handy, but you only get so much storage. So, you can always delete individual chats and paste them into a word document.  If you hit the “Clear Conversations” tab, you will delete your entire chat history.  By doing so, your screen will be clean, but it does not delete the information from the open AI servers. As I mentioned in the previous learning module, be careful not to enter confidential information (passwords, finance information, etc.)

Understanding Prompt Engineering 

The term prompt engineering refers to formulating all prompts in natural language. I am told there are prompt forums on this internet, so feel free to check them out.  Here is one example: https://github.com/f/awesome-chatgpt-prompts. 

Token Limits and Storage Issues

ChatGPT keeps a record of all of your prompts, yet it can only remember 3,000 words from a conversation (4,000 tokens). This may explain why ChatGPT can get confused if you bring up too many topics in one conversation.  Prompts are broken down into tokens, which are otherwise known as “pieces of words” (p. 55).  Here is another direct quote from the Baker text (2023, p. 56):

  • 1 token equals about 4 characters.
  • 100 tokens translates to about 75 words.
  • Two sentences equal about 30 tokens.
  • A typical paragraph is about 100 tokens.
  • A 1500 word article totals around 2048 tokens

A single chat is limited to 4097 tokens.  In addition, if your prompt is long, it will be cut off at 97 tokens. A Tokenizer Tool can be found at the following link: https://platform.openai.com/tokenizer. Please keep in mind that as ChatGP develops, these limits can change.

Thinking in Threads

All of us probably know that a string of messages is referred to as a thread.  As such, it is best to write prompts as part of a thread as opposed to a single question.  By thinking in threads, you can control the direction of the conversation. Be forewarned: instead of asking for clarification, ChatGP will start guessing. 

Chaining Prompts, and Other Tips and Strategies (pp. 58-59)

Writing good prompts takes time.

This is where the true art lies when communicating with ChatGPT.  It doesn’t get easier, but you will improve with time.

Define your goal.

Determine exactly what you want from your conversation.  Craft your prompt to achieve your goal.

Be a storyteller.

Remember, you can give ChatGPT an identity. You can tell it to provide answers as a school administrator, a parent, or a musician.  If you give it a sample of your own writing, it will do its best to mirror your writing style.

Any undertaking is acceptable.

Ask ChatGPT to check your student’s homework to find errors.  Ask it to finish a thought or an exercise.  This is where ChatGPT can make the life of a teacher easier.

Be specific.

Include as many details as possible when writing your prompts but be aware of your token limits.

Strategize

Tell ChatGPT about the audience you are dealing with.  If you say you will be working with a group of elementary students, ChatGPT should be able to formulate the language to address that population.

Bonus links to improve your prompts.

https://github.com/f/awesome-chat.gpt-prompts

www.skool.com/chatgpt/promptgenerator?p=1e5ede93

https://github.com/yokoffing/ChatGPT-Prompts

Reference

Baker, P. (2023). ChatGPT for dummies. Wiley.

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ChatGPT: Resistance is Futile!

Written by Dr. Charles R. Ciorba

ChatGPT: What is it?  How does it affect me as an educator?  As of recently, I was unable to answer either question.  I first heard about this new phenomenon last spring when I was driving home from a late-night practice session on campus. When driving at night, I usually listen to WPFW, which is a public radio station in Washington, DC. Their playlists are fantastic. Anyway, the DJ on the air was talking about ChatGPT. He said it was going to be a “real game changer.” So, I was made aware of it, and I held off learning more about it until now.  After all, I’m currently teaching a class that centers on the future of music education.  Can ChatGPT be a useful tool for us?  Let’s find out.

What is ChatGPT?

ChatGPT is referred to as a large language model (LLM). It is a representive generative AI. This means it can actually create new content, as opposed to analyzing data that already exists (e.g., Siri).  You can actually start conversation and ChatGPT will generate a discussion. If this is enough to stimulate your curiosity, simply go to https://chat.openai.com/ and create an account.  It’s a very easy process but be forewarned: the information you input (and the ensuing conversation) is not private, so be careful not to disclose any confidential information.

How it differs from what we’ve used in the past.

Once again, ChatGPT is a generative AI model. This is different from some of the AI tools you may have used in the past.  For example, if you want to know where the good vegetarian restaurants are in Northern VA, Google Maps uses a ranking system based on the information you enter. The information is usually accurate, and you can choose a location easily.

ChatGPT is different. You can actually engage in a dialogue, as it is a system that can generate its own content. This sounds absolutely fascinating, although the accuracy of the generated content is not always consistent. It generates content based on patterns it has learned.  Sometimes it delivers the truth, and sometimes it doesn’t. It can lie, it can hallucinate, and like humans, the responses can sometimes be inappropriate. It is not the fault of the machine, as it does not think like humans. Rather, it responds based on pattern recognition in 95 languages.    

Fears of ChatGPT

What a fascinating technology, but it has generated certain fears among the public.  A number of lawsuits have been created against ChatGPT, mostly surrounding copyright.  Currently in the United States, AI generated content is not protected by copyright law.  In addition, there is a gray area when examining who is liable for incorrect information generated by ChatGPT. I for one would not use it to enquire about stock information or medical diagnoses.

Of course, one needs to be careful of privacy issues, biases, deep fakes, etc. We also need to watch out for reality apathy, which occurs when the public doesn’t know what is true, but we don’t want to engage in the effort to determine the correct answer. 

Is ChatGPT coming after your job?

Now is not the time to panic about machine overlords.  That type of AI is known as artificial general intelligence (AGI).  We may have to deal with it someday, but for now, it’s not something to worry about.  Can ChatGPT replace teachers?  I don’t think so, and I believe it can make education more efficient. It can also help to eliminate some of the frustrations we deal with as teachers.  As for replacing us, humans have an advantage in that we have the ability to use our creativity and intuitive intelligence. In addition, our brains are very efficient, while AI consumes massive amounts of energy. It is important to keep in mind that ChatGPT has a great deal of information, but that is not the same as knowledge. As for now, humans have the upper hand. 

Using ChatGPT

As teachers, we may wonder if students are using ChatGPT to complete their homework.  It seems Chat GPT is not very good at solving riddles or algebraic story problems. It can also give erroneous answers without warning.

I have been told that it can generate papers with perfect English and punctuation, but from my perspective, this would send up a warning flag.  I’ve graded many papers and supervised many dissertations.  If someone turned in a paper written in a perfect manner, I would be suspicious.  Then again, as music teachers, I wonder how we can use this fascinating tool in a useful manner.

As for using ChatGPT, I created an account, and as soon as I logged in for the first time, I created a prompt asking what notes make up a Coltrane pentatonic scale starting on E.  Here is the response:

The Coltrane Pentatonic Scale, also known as the Coltrane Matrix or simply the Coltrane Scale, is a symmetrical pentatonic scale created by the jazz saxophonist John Coltrane. It’s derived from the circle of fifths and consists of major thirds and minor thirds.

Starting on E, the Coltrane Pentatonic Scale would consist of the following notes:

E – G♭ – A♭ – B – D

This scale can be seen as a series of major and minor thirds, giving it a distinct sound that is often used in jazz improvisation.

The correct answer is E-F#-G-B-C# (1-2-b3-5-6).  So, ChatGPT provided the wrong answer, and I found the text description to be quite general.

I then asked ChatGPT to tell me what notes make up a Coltrane pentatonic scale starting on D.  Here is the response:

Starting on D, the Coltrane Pentatonic Scale consists of the following notes:

D – F♭ (E) – G♭ (F) – A♭ (G) – B (C♭)

This scale follows the same pattern of major thirds and minor thirds as the Coltrane Pentatonic Scale starting on E, but shifted to begin on D.

Wow.  This is not a correct example of the Coltrane pentatonic, and the enharmonic spellings for the third and fourth notes of the scale are incorrect. I think we can all agree that Gb and F are two different notes separated by a half step.  Furthermore, the intervals differ when comparing both examples provided by ChatGPT.

I then asked ChatGPT, “What are the Detroit Lions chances of winning the 2025 Superbowl?”  ChatGPT refused to provide me with a specific response.

I then asked Chat GPT to provide an explanation of Suzanne Langer’s philosophy of music as metaphor.  I did receive a bland and somewhat general explanation.

My first encounter with Chat GPT was less than successful.  Of course, I was using it much like I would use Google or Siri.  I am told success depends on how well you write your prompt.  As such, I blame myself for the inaccurate results, and I am committed to learning how to use Chat GPT in an effective manner.  With intelligence and creativity, ChatGPT can be a valuable resource.

After all, resistance is futile.  Much like radio, television, computers, the internet, cell phones, and social media, I believe ChatGPT is here to stay. There are many bugs to work out, but the potential for it to be a real game changer is undeniable. I look forward to learning more about this wonderful technology.  More to come!

Reference

Baker, P. (2023). ChatGPT for dummies. Wiley

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School Shootings

Written by Dr. Charles R. Ciorba

School shootings are one of the darker points in our educational history, and as such, it is a very serious topic for music educators.  Discussions in this area can be extremely complex, and I am tired of thoughts and prayers being offered as a means to cope with such needless and senseless tragedies.  Furthermore, I feel proposed solutions from one end of the spectrum (arm all teachers) to the other (eliminate all guns from our society) are extremely impractical.

I have my own history with this terrible phenomenon.  The closest I came to a school shooting was December 10th, 1998 when I was an undergraduate at Wayne State University.  On that day, a doctoral student shot and killed a faculty member.  I do remember that I was not on campus when it transpired.  I wasn’t shocked by the news, but interestingly, I felt anger towards the news media.  Over the next day or two, they came on campus and acted like a group of entitled ghouls with their cameras and microphones.  I will never forget that feeling. 

Jumping forward a few months, I found myself student teaching during Spring/Winter semester of 1999.  On April 20th of that year, the Columbine massacre occurred.  It was a huge national story, and by the time I arrived at the school, the students were already talking about it in the hallways.  One of our senior band students dressed in a similar fashion to the Columbine shooters (black trench coat, black jeans, etc.).  It was obvious he was disturbed by the news of the shooting, and he may have been the target of some ridicule that morning.  In one of his classes, a teacher overheard him say that he would be okay because he had something in his car for protection.  By the time my mentor teacher and I returned to school after lunch, we saw the assistant principal and school security guard searching this student’s car.  They found a piece of metal, which the student used to hold up the malfunctioning hatchback door.  The student was immediately expelled, and their graduation status was in jeopardy.  I realized at that moment we must be careful of what we say under such traumatic circumstances.

By the fall of 2008, I was teaching a freshman seminar class at Millikin University.  The class was titled, Music in Cartoons.  It was a great topic, which allowed us to engage in numerous discussions on racism, sexism, violence, etc.  The students were great, and they had no problem expressing themselves, but the class discussions really took off when we started talking about violence in cartoons.  I asked them about their fascination with violence, and they said they were part of the Columbine generation.  Furthermore, they were afraid of the possibility of becoming a shooting victim.  This really hit me by surprise, as I never really lived with this type of fear.  Because of their honesty, I felt much closer to them as a group.  I remember them fondly to this day.

Okay, enough of my stories.  The history of school shootings dates as far back as 1840, when a law professor from the University of Virginia was shot by a student.  He died three days later.  I’m not a big fan of using Wikipedia for teaching purposes, but the following link offers a history of all the school shootings that have occurred in the United States.

https://en.wikipedia.org/wiki/List_of_school_shootings_in_the_United_States

I cannot vouch for the validity of this data, but they did list the shooting at Wayne State University.  While school shootings have been around for a long time, it is no secret they have increased dramatically over the past 20 years.  Most recently, I was shocked by the school shooting in Uvalde, TX.  According to the local media, the shooter fired at least six times after the police arrived.  Please click on the link below to watch a news story on the incident.

Public reaction towards school shootings is mixed and divided, although some real momentum came out of the shooting in Parkland, FL.  It seemed the public was getting a bit fed up, and the protests in Washington, DC were very large and very organized.  I can only wonder what could have come of it, but things shifted quickly once the pandemic set in. 

Prior to the pandemic, I played this public service announcement to my undergraduate students in the Fall of 2019. 

It offers a chilling narrative, and while this PSA offers no solutions, it certainly prompts further discussion on the topic.  I’ve also considered the mental well-being of school shooters.  After all, who in their right mind would walk into a school with the intent of murder?  People have asked, “Is it a gun issue or a mental health issue?”  While I wrestle with that question, Vernon et al. (2019) revealed school shooters usual share the following traits:

Social Isolation

Discontent

Ostracism

Social Implosion

As the issue of school shootings evolves, it also grows in complexity.  So, where does that leave us?  Do we try to identify and diagnose mental health issues prior to tragedy?  Do we arm the teachers?  Do we bring more police into the schools?  Do we enact gun control regulations?  In a society that is currently divided as ours, moving forward with practical answers to any of these questions will undoubtedly be met with a variety of responses from all sides of the political spectrum.  In the meantime, schools have reopened, and teachers are dealing with a variety of new stresses.  School shootings have also returned, and I see no solution in sight. 

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The Blues

Written by Dr. Charles R. Ciorba

Early Blues

The blues originated in America during the late 19thcentury, where its roots were established in the southern United Sates.  Ma Rainey and WC Handy were just a couple of the early pioneers who helped formulate the musical style with which we are now familiar.  Delta blues is one of the earliest representations of this art form.  One of its signature sounds can be identified by the slide guitar technique.  Originating in the Mississippi Delta, this style of blues was popularized by Robert Johnson.  Popular folklore indicates he sold his soul to the devil at a local crossroad for commercial success as a musician.  This is certainly an American myth, but please listen to the musical example below to familiarize yourself with Robert Johnson’s sound.

It is interesting to note the Delta blues inspired many rock musicians such as Eric Clapton (Cream) and Keith Richards (The Rolling Stones).  In terms of copyright and royalties, there has been quite a bit of controversy surrounding their recordings of original blues songs.  For example, the rock group Cream performed and recorded a version of Robert Johnson’s Crossroads, which turned out very popular for the group.   

Electric Blues

During the great depression of the 1930s, many of the blues musicians from the southern United States moved to Chicago.  It was there a new style of blues music was developed.  While remaining closely aligned with the delta blues, the “Chicago blues” was performed by small combos with an electric sound.  The bass and drums provided the steady pulse while the electric guitar became a solo instrument.  The bars in the south side of the city provided the stage, and one of the great musicians from this era was Muddy Waters.  Muddy moved to Chicago in 1943, where he met Big Bill Broonzy.  He formed a band with Jimmy Rogers and made his first recordings with Chess Records.  His music influenced many musicians, and by the 1970s, he was touring the United Sates and Europe.  

John Lee Hooker is another famous blues musician from this era.  He had a long career that spanned half a century.  As the blues hit a mainstream audience in the second half of the twentieth century, he recorded and performed with many famous musicians.  Early in his career he would record with a microphone near his foot.  This created a very unique rhythmic feel.  Give a listen to the recordings below.  Upon first listen, it is very easy to make the connection between his early sound and that of many famous rock guitarists.

Hey, ‘s The House Rent Boogie.m4a

B.B. King’s blues musical style was much smoother than that of John Lee Hooker.  One of his signature trademarks was the manner in which he would bend the notes on his guitar.  He named his guitar “Lucille.”  The origin of this name is unique.  Early in his career, he was playing a gig in Arkansas.  It was winter, and to keep warm, they would take a container that looked like a metal garbage can, filled it with kerosene, placed it in the middle of the dance floor, and lit it.  One night, two men got into a fight, knocked over the can, and a fire broke out.  B. B. King rushed back into the club to get his guitar and was nearly killed.  Once he learned the two men were fighting over a woman named Lucille, he named all his guitars after her as a reminder to never take that kind of chance with his life.  Below is a recording of B.B. King playing at Sing Sing. You will probably remember me posting this video in my Philosophy class, but the recording is so good, I decided to post it again.  It is a wonderful performance and his connection with the audience is heartfelt.

Here is recording with a young Kenny Rogers introducing B. B. King performing one of his biggest hits. 

Women and the Blues

Many women played an important role in the history of the blues.  Bessie Smith was known as the Empress of the Blues.  She began recording in 1923 and was known as someone who could stand up for themself.  Bessie was a hard drinker and would never back down from a fight.  It has been rumored that she once drove off members of the Klan who tried to protest one of her performances.  Her influence in the field of the blues is undeniable, and Janice Joplin helped to finance a gravestone to be placed on her unmarked grave.  Her vocal presence is remarkable.

Koko Taylor had a huge presence in the contemporary blues scene.  In the 1970s, she recorded nine albums for Alligator Records.  Eight of these albums were nominated for Grammy Awards.  She won a Grammy for Best Traditional Blues Album in 1985.  Personally, she is one of my favorite blues artists.  Here is her take on a Muddy Waters tune.

Blues Rock

It can be argued that the blues helped to influence much of what occurred in the world of rock music. The Rolling Stones, Eric Clapton, Jimi Hendrix, Janice Joplin, Johnny Winter, ZZ Top, Stevie Ray Vaughan… the list can go on and on of famous rock musicians who were influenced by the blues.  Here are a couple of my favorite examples.  The Jimi Hendrix cover of Albert King’s Born Under a Bad Sign is taken from my own personal CD collection.  This is what “jamming” is all about.  The second example is Stevie Ray Vaughan performing a cover of Voodoo Chile by Jimi Hendrix.  Listen to the blues influence demonstrated by this gifted guitarist.  Finally, I’ve included a recording of Janice Joplin at Woodstock.  I find it to be a wonderfully haunting performance.


Jimi Hendrix: Born Under A Bad Sign.m4a

Like all other musical art forms, the blues reflects a rich and colorful history.  It offers a wide creative palate for music educators, as the music can be addressed in vocal and instrumental classrooms.  While we are only lightly touching the surface of the blues in this unit, I hope it can provide some inspiration for all of you.  Let’s end with a little blues inspired rock and roll!

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World Beat

Written by Dr. Charles R. Ciorba

World beat involves the fusing of traditional musical styles with contemporary Western musical influences.  Often, the goal is to introduce a particular musical genre to a wider global audience. Normally, it is very well done, but then again, it can sometimes come across as a watered-down attempt to achieve commercial success.  Commercialism was key when world beat was popularized in the 1980s. Popular music artists such as Paul Simon, Peter Gabriel, and David Byrne embraced the style.  International artists such as Ladysmith Black Mambazo and Ali Kahn also helped to popularize world beat.  In addition, you may be familiar with River Dance and The Buena Vista Social Club.  The musical examples below were easily accessible to a mainstream audience.  When combined with the very popular MTV (music television) of the day, these artists (who were already quite popular) achieved huge commercial success with the world beat style. 

The roots of world beat were starting to strengthen as far back as the 1970s. For example, Fela Kuti was a musician and political activist who help to pioneer a style known as Afrobeat. A very charismatic individual, he spoke against the Nigerian military, and his music was often the source of controversy with the Nigerian government. Fortunately, he was quite popular with the people.   Musically speaking, Fela combined funk and jazz with traditional music from Africa.  He recorded with Ginger Baker, who was the drummer for Cream. Sadly, he died of complications related to AIDs in 1997.

While world beat was originally very popular in Africa and Latin America, it has grown into a worldwide phenomenon.  Today, many populations around the world have fused traditional sounds with pop, rock, rap, and hip-hop influences.  One only needs to visit the Radio Garden to get an idea of the popularity created by this music, and it continues to evolve. For example, I believe we have one or two K-pop fans in this class.  I will be the first to admit that my knowledge of K-pop is extremely limited. I have spent some time watching the music videos from South Korea and have come to realize that K-pop has fully adopted Western musical styles.  Their production values are excellent, and their musical abilities rival anything that is currently produced in the United States.  I think I’m becoming a fan!  It reminds me of my time living as a Ph.D. student in Miami.  Latin culture dominated the streets and the media.  It was then I realized the countries south of Miami mirrored the musical styles offered in the United States. There is a great deal of information to consider, and we will delve into a number of topics for the weekly assignment. For now, let’s enjoy the music.

World beat: All it takes is a musician, or group of musicians, to get a bit creative with the music.

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American Roots Music (MUSI 660)

Written by Dr. Charles R. Ciorba

American roots music… What is it?  This musical genre involves the combination of different musical forms created by Americans. The music then goes on to become a musical genre that is listened to throughout the world.  When it comes to American music, I’ve always been a fan of jazz. It is a completely American art form that involves a combination of the sacred (gospel) and the profane (blues).  I have always been, and I always will be a fan of jazz.  But this week, we are going to go in a much different direction.  I would like for all of us to explore the music of (but not limited to) the Appalachian region of the United States.  When it comes to this musical style, I am no expert, although I do enjoy bluegrass music for its technical virtuosity.  Bluegrass musicians can really play!  I’ve also been a fan of Johnny Cash and Willie Nelson for many years.  I enjoy their music, and I’ve always had respect for their individualistic nature.  I am also aware that many of you teach in the state of Virginia.  This music is part of the state’s history, and it can be taught as such, if you choose to do so.  Your milage may vary, but when approached correctly, you may find value when introducing this music to your students.    

Note. According to Anderson and Campbell (1996), the Appalachians belong to the oldest mountain range in North America.

The Beginnings

In the seventeenth century, immigrants from England, Scotland, and Wales settled in the Appalachian region.  Many of them were laborers, farmers, and servants.  Mostly illiterate, they passed down the music of their European roots through the aural tradition.  Consider the following traditional musical examples from Ireland and Scotland. The instrumentation, melody, tonality, and lyrics create distinct musical imagery to the listener.  I believe it is a rich an interesting musical style that is easily attributed to a specific part or the world.

Frog Went a Courtin’

Below is an authentic folk song, which originated in the Appalachian region of the United States. It is performed by Almeda Riddle (1898-1986).  She was a folk singer from Arkansas who collected and sang folk songs for most of her life.  I used to play this song for my elementary students, and I would receive a variety of reactions from them.  One young girl said that she tried to follow the lyrics, but would eventually get lost and would regroup at the chorus.  What a keen way for a young person to follow the music!  And don’t discount the intellectual value of this musical style.  If you search ProQuest Dissertations and Theses Global, you will discover plenty of scholarly work devoted to this folk genre.  Please give it a listen, and determine if you can hear a connection between the European and American folk traditions.

Performing this Music Today

This musical history of American folk music is very complex, and it has branched off into many different directions over the years.  With that said, it has also maintained a steady tradition.  I am so happy to find recent examples of young people performing these traditional musical styles.  This first video is performed by Daves Highway.  They are a group of young singers from Brandon, Mississippi.  The song is titled How Long and was written by The Eagles.  It’s not a traditional folk song, but the musical connections are undeniable.  These young people are great singers.  Their harmonies are tight, and their presence is completely engaging. I can’t help but smile when I watch this video.  Kids making music!  I believe they will be lifelong music makers.

The next video features a group of young people from Alabama performing a traditional American folk song.  I may be wrong, but I think we have a University of Tennessee alum in this class.  If so, I dedicate this song to you.  All I can say is watch the video.  They are great singers and great musicians.  Lots of fun music making!   

I would like to feature one more video that combines great examples from both musical worlds.  The Chieftans are an Irish folk group that originally formed 60 years ago.  There is no doubt they helped to popularize Irish folk music around the world.  In 1992, they collaborated with a number of top American country artists to record a collection of traditional American folk songs.  These artists included Willie Nelson, Emmy Lou Harris, and Colin James.  The album won a Grammy Award in 1993 for best contemporary folk album.  I believe I saw them perform one of the songs from the album on a late night talk show, and I immediately bought this CD.  I’ve listened to it often, and on occasion, I have shared the music with my young students.  I think it is a great example that highlights the commonalities between American roots music and the traditional music of Ireland.  The album works!  Please enjoy a recording of a famous American folk song performed by The Chieftans and Ricky Skaggs.

I know I’m going out on a bit of a limb with this week’s learning unit, as I am well aware of the negative stereotypes often associated with this type of American folk music.  As an educator, I believe it is important to examine all musical genres. I am also committed to promoting positive dialogue and developing good will through music. Together, we can continue to become better teachers, better thinkers, and better people.

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Teaching Multicultural Music: Thoughts and Experiences (MUSI 660)

Written by Dr. Charles R. Ciorba

This semester, I am teaching an online graduate course on the topic of multicultural perspectives in music education.  Given today’s social and political climate, I’ll start the semester by asking, how should music educators approach the subject of multicultural music in their classroom?  This question involves a complex response, and I thought it best if I opened the course by sharing some of my own thoughts and experiences.

I would like to begin by going back 22 years, when I was attending a state music education conference at the University of Michigan.  At one of the sessions, a music educator from New Mexico presented on the topic of authenticity when teaching multicultural music.  Two points of view were being debated.  On one side, there were those who were committed to true authenticity.  This group advocated for the teaching of music from other cultures in a truly authentic manner.  The other group advocated for the teaching of multicultural music using various approaches.  For example, one teacher discussed combining African folk music with hip hop rhythms.  This group claimed the music they taught was authentic because they were creating it on the spot.  In other words, it was authentic because they were doing it.  It was a lively discussion.  Philosophically, I quickly fell into the second group.  In fact, it was a pivotal moment in my history with multicultural music.  As a music teacher, I would fuse many different types of musical styles in my classroom.  Contemporary rhythms with traditional melodies, rap and poetry with traditional hand drumming; you name it, I did it.  It was all about the music, and I addressed each topic with respect and enthusiasm.  In response, the students (and the rest of the school community) responded positively.  The post-modern mind set of “anything goes” was in full force.  Of course, I was also sensitive to the need for respecting the rules and customs of the Native American community.  With proper awareness, I would teach the music representing this culture in a truly authentic manner.  It was an exciting time to teach music in Ann Arbor, Michigan. 

While living and teaching in Ann Arbor, I would regularly commute to northern Ohio (approximately 70 miles one way) while I earned my Master’s Degree in Music Education at Bowling Green State University (BGSU).  It was during this time I took my first online course, which was taught by Dr. Victor Fung.  The title of the course was Multicultural Music.  This too was a pivotal moment, as I became familiar with the term multicultural music.  Before that, the popular term was world music.  In fact, you could walk into many record/CD stores in the 1980s/1990s and see a section devoted to world music.  Dr. Fung disagreed with this term by stating ALL music is world music, and that term should not be applied to music that represents a culture that is different from our own.  Rather, he believed the term multicultural music should be used.  I also took another class that was taught by one of Bowling Green’s musicology faculty.  I quickly discovered that BGSU was one of the only universities in the United States that owned a full gamelan, which consists of instruments from Bali and Java, Indonesia.  I attended one of the gamelan concerts in the fall of 2002 and was completely impressed with the authenticity of the performance.     

Let’s now jump forward 12 years.  At this point, I’m an Associate Professor at the University of Oklahoma.  I’m no longer teaching multicultural music in the K-12 environment, but I did experience another pivotal moment that further developed my understanding of multicultural music.  The Norman Music festival is an annual event, where many bands from all over the region perform as part of a huge music festival.  During this time, Mary Fallin was the Governor of Oklahoma.  I won’t comment on her administration, but given the part of the country in which the state of Oklahoma is located, your political assumptions would probably be correct.  The governor has a daughter named Christina, who sang with a band called Pink Pony.  One summer, Pink Pony was given a headline spot at the Norman Music Festival.  Please click on the link below to find out what happened.

One of my graduate students knew some people who attended this performance.  Of course, protesters clashed with fans of the group, and it was quite a mess.  Christina Fallin’s actions were calculated, deliberate, and political. 

Within this personal story of mine, I presented several examples of people teaching and performing music from a multicultural perspective.  The first, in which I (as a music educator) embraced multicultural music in a variety of  ways.  The last, in which a state governor’s daughter used music to make a controversial political statement.  In both circumstances, cultural appropriation was being practiced, but the contexts and intentions were completely different. 

Given my professional history, I now realize it is more than just teaching the music.  It is also important to be well informed and culturally sensitive when addressing multicultural perspectives.  We should be encouraged to delve into the historical and emotionally sensitive elements behind each culture.  By doing so, we can begin to address the realities of cultural appropriation and social bias in a positive fashion.  I look forward to a fun and rewarding semester.

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Musical Identity (MUSI 660)

The term identity can encapsulate many definitions. It all depends on the context in which it is used.  For the purpose of this discussion, a quick Google search reveals that identity can be defined as, “A set of physical, psychological, and interpersonal characteristics that is not wholly shared with any other person and (b) a range of affiliations (e.g., ethnicity) and social roles.” Identity serves as a reflection of your beliefs, values, and yes, even your musical tastes and preferences.

How do you view yourself through the music you prefer, appreciate, enjoy, and love?  According to Thompson (2014), it is a fluid process: one that can ebb and flow based on your thoughts and experiences.  For example, it is well known that people can often listen to the music of their youth for their entire lives, but as we mature, our musical identities can change.  It all depends on how, or if, we allow it to change.  

From my own perspective, I listened to many different types of music when I was younger, and once I made a conscious decision to return to college in my early 30s, my musical identity continued to change.  While the musical identity I developed in my youth (e.g., The Beatles, The Stones, and The Who) will always ebb and flow for me, I also started to identify with jazz. Miles Davis, Lee Morgan, and Chet Baker became part of my daily listening.  I also drifted towards the musical stylings of John Coltrane and Arnold Schoenberg. I was studying to be a music teacher and playing my trumpet again. I wanted to be challenged, musically. In turn, my musical identity continued to evolve. It was all great fun, and to be fully aware of my own musical identity is a true a gift of knowledge. 

I have always been fascinated with the social aspects of musical identities shared among adolescents. Specifically, how they use music to identify their roles within their own cultures and subcultures. Consider the following picture:

There is no subtly, here.  These gentlemen are fans of heavy metal.  With their favorite bands emblazoned on their black t-shirts. they are proud of their musical identities. I respect their passion for music.  I can also can say the same about the next two pictures.

All three groups express their musical identity by the way they dress, the way they speak, the way they act, and who they choose as friends.  The power music plays in defining who we are is incontrovertible.  Whether it’s the hippies of the sixties, the disco fans of the seventies, the valley girls of the eighties, the grunge and hip-hop cultures of the nineties, and so forth, a good part of their social make up revolves around musical identity.

With today’s technological advances, such as (a) computers, (c) cell phones, (c) apps, (d) software, (e) the internet, and (f) streaming services, new musical subcultures will continue to form (and perhaps fragment) within the sociological framework of our society. Such change is part of our evolution, but our musical identities will continue to help define who we are. How cool is that?  Please feel free to comment, share your thoughts, and be part of the conversation.

References

Thompson, W. F. (Ed.). (2014). Music in the social and behavioral sciences: Anencyclopedia (Vols. 1-2). Thousand Oaks, CA: Sage.

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Music in Advertising (MUSI 660)

Music and advertising can go together like peanut butter and jelly. According to Thompson (2014), advertisers use music in a somewhat subliminal manner to help communicate intricate ideas in a straightforward fashion. As a result, music in marketing can be very powerful. For example, the music used in television advertising can remain in your long term memory for a lifetime.  I am reminded of the humorous line, in which a person in late adulthood can easily remember a television jingle from their youth while simultaneously not being able to remember why they walked into the kitchen.  

I’m sure most people from my generation can remember the following commercial and be able to sing it from memory: 

Or how about this one?

Granted, these examples were taken from a specific time and place in my own childhood, but I’m sure we all have our favorites. Both songs have the following things in common: they (a) create a positive mood, (b) attract and hold your attention, and (c) place focus on a commercial product (Radocy and Boyle, 2003).  It is common to run these types of commercials during positive programming (e.g., happy shows). 

There is no denying that music in advertising is big business, and the intended audience is targeted through music. Research has shown people like to buy products that are associated with music they enjoy. Furthermore, customers react best to the music of their youth (Radocy and Boyle, 2003).  Nike hit the jackpot when they used the song Revolution by The Beatles in one of their ads.  Interestingly, Nike agreed to stop using the ad when the Beatles filed a multi-million dollar lawsuit.  This may have served as a victory for the legendary super group, but it was soon discovered that many pop and rock artists were more than happy to have their music used in commercials.

For example:

And while most Chryslers are now manufactured in Mexico, this commercial was very popular when it was premiered during the 2011 Super Bowl.

There is also the role music plays in the marketplace.  Specifically, the background music that is played in a commercial establishment.  This music is designed to be heard, but not experienced in a serious manner.  These songs are normally written in a major key and paired with a medium tempo (sedative music).  If the tempo is too fast (stimulative music), the business owners run the risk of rushing the shoppers out of the store.  The key is to use music that makes the shopping experience as long and as comfortable as possible.  When this is achieved, shoppers will spend more money. Positive Mood = Purchase.  The Muzak corporation, now known as MOOD:MEDIA has long been responsible for much of what you hear while you shop.  Today, it’s all about music streaming in the marketplace. 

Here are a couple earworms I remember from my own shopping experiences:

I heard this song in a Publix supermarket in Palm Beach County, Florida the day after hurricane Wilma devastated the region.  For some reason, I remember this moment like it occurred yesterday.

Advertising with music on the internet remains a territory worthy of further development.  Thompson (2014) indicated that advertising on the internet is more of a visual experience, but if you spend time on YouTube without a subscription, you are going to experience plenty of commercial advertisements. Personally, I associate these advertisements (many which contain music) with a negative experience.  In my humble opinion, advertisers on the internet have a long way to go if they wish to capture the magic of music in television advertising.  It will be interesting to see how it develops.  What are your thoughts?  Please feel free to comment!

References

Radocy, R & Boyle, J. (2003).  Psychological foundations of musical behavior (4th ed). Springfield, IL: Charles Thomas.

Thompson, W. F. (Ed.). (2014). Music in the social and behavioral sciences: An encyclopedia (Vols. 1-2). Thousand Oaks, CA: Sage.

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Nostalgia: Sociology of Music (MUSI 660)

Nostalgia: a sentimental recollection.  It is a feeling that can be subtle, powerful, and certainly enjoyable.  Wisner (2014) identifies two types of nostalgia.  First, there is personal nostalgia, which is a yearning to relive your past emotionally and/or physically.  Second, there is false nostalgia, which involves a desire for a past that you have not lived.  For example, have you ever wanted to experience a particular historical period? In both cases, music is a powerful tool that can be used to help us produce feelings of nostalgia.

In terms of personal nostalgia, have you every been reintroduced to a song that you haven’t heard in years, and it immediately takes you back to a specific moment from your past?  For many of us, this can be a powerful moment that elicits detailed memories.  Music can also trigger feelings of false nostalgia, where you can perceive what you believe to be an ideal place in history.  Such feelings can certainly be drawn from music in film (which was discussed in an earlier blog), and previous research indicates that music incorporated into a film can enhance emotional responses from the viewer (Tannenbaum, 1956). The same soundtrack can evoke feelings of personal nostalgia and false nostalgia.  Which films bring up nostalgic moments for you?

I firmly believe a strong relationship exists between emotion and music.  Especially music that was important to us in our youth.  According to Stern (2014), our brains experience rapid neurological development between the ages of 12 and 22.  I know this fact does not come as a surprise to many of you, but the music we listen to during this time in our lives is strongly embedded into our memory.  It is no surprise that many of us will continue to enjoy the music of our youth well into adulthood.  The music industry is aware of this, and it is no wonder that you can usually find a classic rock radio station in any major metro area of the United States.  Rock ‘n’ roll has been used as a marketing tool towards baby boomers for decades.

While contemplating this topic, I find it interesting how music, nostalgia, consumerism, and neurological development can be combined into one sociological discussion.  For your weekly assignment, please do the following:

This week, your topic choices are:

  • Nostalgia
  • Performance Anxiety
  • Identity

This week, I chose to write about nostalgia, but you can address any of the above topics. The readings are short and interesting. I encourage you to read all three of them.

  1. Choose one of the topics and post a thread (500 words minimum) by 11:59 p.m. on Friday, November 10th. Do not attempt to summarize the entire article.  Instead, try to expand on a particular topic (or topics) within the chapter that is/are of interest to you.
  2. By 11:59 p.m. on Sunday, November 12th, please post a response (200 word minimum) to TWO threads created by your classmates.

References

Stern, M. J. (2014, August 12). Neural nostalgia: Why do we love the music we heard as teenagers? Retrieved from http://www.slate.com/articles/health_and_science/science/2014/08/musical_nostalgia_the_psychology_and_neuroscience_for_song_preference_and.html

Tannenbaum, P. H. (1956). Music background in the judgment of stage and television drama. Audiovisual Communication Review. 4(92). doi:10.1007/BF02717069

Wisner, R. A. (2014). Nostalgia. In Thompson, W. F. (Ed.), Music in the social and behavioral sciences: An encyclopedia (Vols. 1-2) (pp. 816-817). Thousand Oaks, CA: Sage.