Musical Space

Musical Space is a look at all things music, by KMUW Music Commentator Mark Foley. Mark is Principal Double Bass of the Wichita Symphony Orchestra and Professor of Double Bass and head of Jazz Studies at Wichita State University.

He has been a featured soloist with the Wichita Symphony Orchestra, performs extensively as a jazz artist is also an avid bluegrass player. Passionate about promoting new and diverse music, Mark is the founder and music director of the Knob Festival of New Music, a series of concerts held in Fisch Haus Studios every Fall.

The Musical Space commentary airs on KMUW on alternate Tuesdays. You can subscribe to the Musical Space podcast on iTunes or Google Play

Musical Space: Merch

Feb 5, 2013
Split Lip Rayfield

Now that CDs aren’t making money, more of a musician's income is from selling "merch" - merchandise: T-shirts, stickers, guitar picks, etc.

Merch might not be the main part of a band’s revenue stream, but I think it has become a bigger part of the musical experience since the beginning of the digital age.

Merch is essential for the true fan. An MP3 is a transitory and abstract thing; a concert T-shirt on the other hand is tangible and enduring.

John Cage, one of the most influential and revolutionary composers of the 20th Century, was born almost exactly 100 years ago. He was very well schooled as a composer, but it seems as though his mission was to reject nearly every compositional technique he was taught, and instead push the boundaries, even the very definition of music. His results were, to say the least, interesting.

American musician Raymond Scott was one of the most important composers of the Twentieth Century because had a knack for constant innovation and writing music for emerging media. I can’t think of any other composer who was so ahead of his time while also being so recognizable.

In the 1930s the Raymond Scott Quintette played original novelty pop tunes that combined experimental textures, frenetic tempos and appropriated jazz riffs. He played regularly on radio and film; selling a lot of records in the process.

As jazz continues to evolve, what becomes a standard in the jazz repertoire has also changed.

One of the most remarkable things about jazz in '40s and '50s was how musicians could appropriate a popular song and turn it into a jazz composition. It was a beautiful artistic juxtaposition - someone could hear a song sung in a film or on a Broadway stage, and then the same night hear that song turned into a bebop tour-de-force in an after-hours jazz club.

Musical Space: Amateurs

Nov 27, 2012
Reverend Guitars

I'm told that a century ago the average American could sing 300 folk songs. Not too surprising, since back then, if you wanted music, you probably had to make it yourself.

Marcin Wichary / flickr

For a thousand years, there has been a division between musicians who could read music and those who played by ear. Both skills are essential, and so the music industry has become a strange world in which the literate and illiterate coexist.

Music reading is useful because it is so efficient. When the music is written down, composers don’t have to take the time teach their music to the musicians, and musicians don’t have to rely on memory to play their parts.

Musical Space: Auto-Tune

Oct 30, 2012

Auto-tune first appeared in the late 1990s and quickly took hold of pop music with its use in Cher’s 1998 hit, “Believe.” She, and other artists, such as T-Pain were responsible for its popularity, its synthetic voice effect in electronic dance music and hip-hop.

Scary, though, is the more subtle use of auto-tune to correct the performance of a less-than pitch perfect singer. A great vocal performance can be accurate and expressive; electronics can often get in the way.

One way musicians create tension in a melody or chord progression is through use of a suspension.

Here’s a little music theory for you: the suspension. A suspension is a note that clashes with the harmony and needs to move to another note to resolve the tension. For instance, the fourth note above the root of a chord is dissonant, and likes to move to the third note, which is consonant. Here’s a 4-3 suspension on a piano; the tension in this C chord is resolved when the dissonant F moves to the consonant E:

Example 1: 4 3 suspension.piano

Musical Space: BPM

Oct 2, 2012

Whether Beethoven or beat boxers, musicians have come to rely on one tool to help them keep time.

The metronome was invented by a friend of Beethoven’s, Johann Maelzel, in 1815. It is used in music to set a tempo, measured in Beats Per Minute, and traditionally has a range of 40 - 208 BPM, roughly the extremes of the human heart-rate. BPM correlates to the human body in other ways, too.

Musical Space: Math Rock

Sep 18, 2012

Mark Foley explores the relationship between math, meter, and music.

Music is almost always arranged in a repeating pattern of beats; the pattern, or “meter,” usually corresponds with a rhythm that is easy to dance to, so the meter of a song is usually a simple group of 2, 3, or 4 beats. There is, however, a history of composers making things more complicated. “Money,” from Pink Floyd’s Dark Side of the Moon, has a strange, lop-sided groove because it is in an undanceable seven-beat meter.

Example 1: “Money”