The German thinker Immanuel Kant is regarded by many to be the greatest thinker of modern philosophy. There are numerous introductions to Kant and his thinking available, a few of which I will list at the end of these thoughts. One of Kant’s many areas of thinking was on thinking itself. Kant introduced a concept into philosophy which he called transcendental idealism. This term is often intimidating to newcomers to philosophy, but the basic idea is not complicated. However, the implications of the idea are radical to our common experience of reality. Continue reading
By the time many Americans and other foreigners made the voyage to Switzerland to meet with the world renowned Dr. Carl Gustav Jung, his name had become synonymous with living a creative, artistic life. It is no wonder that many creative individuals flocked to Lake Zürich to ask Dr. Young to be their guide into their individual and collective unconscious.
In his middle years, Jung was often Conducting analysis from his sailboat. Along with using the I Ching, Jung used his sailboat and Lake Zürich as a teaching apparatus. He would direct the patient to the helm and ask them to navigate the course to the opposite shore. Continue reading
“Today humanity, as never before, is split into two apparently irreconcilable halves. The psychological rule says that when an inner situation is not made conscious, it happens outside, as fate. That is to say, when the individual remains undivided and does not become conscious of his inner contradictions, the world must perforce act out the conflict and be torn into opposite halves.” -C.G. Jung, 1959
The sentiment that our lived world is a manifestation of our psychic lives is deeply rooted in our human history. Contemporary interpretations of the idea are very popular and very controversial, and it seems to me that much of the ridicule that the idea receives is more of a statement about the motivation for such ideas, rather than the idea itself. The mind as an active participant in creating our experience of our lived world is not contested by most neuroscientists, philosophers, and psychologists. The active mind is the central point of what we call cognitive psychology. Yet, talk about manifesting what we want in life by focusing on it mentally receives skeptical reactions and even ridicule. It seems to me that the ridicule is mostly aroused by the motivation, not by the concept itself. Continue reading
We can generally observe that we are motivated to seek happiness. The word happiness is a rather slippery term that means different things to different people. Typically, the qualities that we believe will bring us happiness are directly related to what we feel we lack. This sense of lack often originates in beliefs we form in childhood, and reinforce through our adult lives. Although a sense of lack can be a great motivator for change in our lives, the results of achieving or securing the things we lack often fail to bring sustained happiness and a sense of wholeness. Whether our lack of money, education, social-status, or respect be the motivation for our pursuits, the achievement of these things often fails to bring us to a place of completeness. The belief that fulfilling our individual sense of inferiority will make us happy seems like common-sense. However, there are many who achieve intellectual, material, and social success who continue to be extremely unhappy. So what then do we need to do to gain a sense of wholeness and completeness? It has little or nothing to do with wealth, formal education, and social clout. In fact, these three pursuits are often distractions and obstacles to true self-actualization.
Abraham Maslow was an American psychologist who spent his life studying the characteristics of people who achieved contentedness. His term, self-actualization is the Westernized version of the Eastern concept of enlightenment. In fact, much of Maslow’s theory is inspired by ancient insights from Eastern thought. In 1987 Maslow published his findings after a lifetime of examining what self-actualized people believe and how they live. Maslow compiled a list of fifteen qualities that truly content people possess. Continue reading
In this episode, Dr. Giobbi introduces an exercise from Adlerian psychology in the exploration of the experience of performance anxiety for the performing artist.
In this episode of the Muse & Psyche Podcast, I continue my discussion of performance anxiety. We introduce the phenomenological reduction method of introspection.
Performance anxiety is an issue that many performing artists deal with. In this podcast I explore a technique for dealing with performance anxiety through Buddhist psychology of Chögyam Trungpa in his book Meditation in Action.
For the past three years I have been learning improvisational music. Having come from a classical tradition, much of my study has been concerned with how to approach music in a way that is conducive to improvisation, rather than replication of what is written on the page. For example, learning (by learning I largely mean memorizing) left and right hand parts independently allows for later improvisation, rather than left and right hand interdependence in memorization. This is very different than leaning a classical piece, in which the goal is accurate execution of what is written on the sheet music.
Improvisational music comes in many varieties. From free improvisation; which has no pre-written reference, to more traditional jazz; in which the form, harmonic progression, and melody serve as a starting point for spontaneous music making. In this essay I am offering some thoughts on the latter, that of learning a traditional jazz piece for improvisation.
Learning left and right hands independently
I began memorizing my left and right hand parts separately after reading The Primacy of the Ear, by Ran Blake. As Blake describes, learning each hand alone allows for independent playing in either hand, which allows for easier improvisation. Both melodic and harmonic substitution become more fluid when the materials are learned separately. I begin by learning the melody, and then learning the harmonizations as written in the chart.
Singing the melody at the piano
A second habit that has helped me to learn new music for later improvisation is singing the melody while playing the harmonic accompaniment. Not only has this helped me to play the phrase more authentically at the piano, but has also helped me to learn the melody when playing my other instrument, the trombone. I have been told that saxophonist Phil Woods was an advocate of learning one-line playing by playing and singing the melodic with piano accompaniment.
Listening to multiple recordings with the score
The most important lesson that I have learned from my jazz musician friends is the importance of listening to recordings. The idea of manuscripting solos is a little different from the idea of manuscription in classical training. Although some of the jazz musicians I have spoken with literally write-out the solo lines taken by their favorite musicians, many use the term manuscripting as memorizing the solo line on your instrument through repeated listening. This practice has also enhanced my enjoyment of listening to artists whom I have played their solos.
Writing out my own score
This is another practice that I have learned from multiple jazz musicians. There are some variations as to how folks go about this, but all include writing out chord voicings and harmonic substitutions as a part of learning a new piece. Some do this by ear, others use a lead sheet as a reference. The habit that I have developed begins by hand manuscripting the melody and chord symbols as a two-stave piano transcription. I then write out my harmonic voicings in either whole, half, or quarter note movement. Later, after I have learned the harmonic material as written in the score, I add my own harmonic substitutions. I do not use these hand-manuscripted charts when playing with friends, only as a way of learning and recording down my ideas. This has proven to help in memorization and reharmonization of the new music I am learning. Writing out a sparse voicing option is useful for comping.
Playing modes and arpeggios of the piece
Lastly, I have gotten into the habit of playing the modes (chord scales) and arpeggios of a new piece in time. This idea was taken from the Jamie Aerbersold method books. It is another great way to become familiar with the chart and free from what is written. It is also a pleasant way to practice scales and arpeggios, by practicing a different piece in each major or minor key.
Making the music my own has been the primary focus in the process of learning new tunes. Learning left and right hands independently, singing the melody line with harmonic accompaniment, listening to many recordings of the piece I am learning, writing out my own scores, and playing the modes and arpeggios of the piece has enhanced my ability to improvise as well as to accompany others. This process is different from that which I used when learning classical music. The nature of the music is different and this requires its own, unique, approach.