Humane Definitions For Human Musicians

Authentic expression through sound.

• There are as many potential versions of good music as there are musicians.
• We not only have permission, but an incentive to be ourselves. The magical part of the music comes from YOU!
• We don’t have to play favorites, compare ourselves to each other, or make lists of the “best” recordings.
• Technical ability isn’t about how fast, loud, or high you can play, but how clearly you can express yourself on the instrument.

Accepting a song for what it is, not judging it for what it isn’t.

• Your taste is no longer limited by an association with a particular genre or artist.
• You focus on the best parts of the music instead of the worst parts. This is turn will train you to think more about the parts of your music (and even yourself) that you like instead of the things you don’t like.
• Now you’re celebrating the music, not judging it.
• You’re more inclined to regularly seeking out different music, press play with an open mind, and enjoy the artistic achievements of every generation and culture.
• It’s not fair to judge a pop song for not being complex enough if the intent was to be simple and accessible. Likewise, it’s not fair to judge an art piece for not being danceable if the intent was to be disjunct and unexpected.

Recommended Blog Post: Breaking the NOSTALGIA Cycle

Social Music, Black Creative Music, Black Classical Music, or Black American Music (#BAM).

• Calling this art form Black Music properly credits and acknowledges the culture that created it. After enduring 300 years of chattel slavery and racial segregation, black culture birthed a uniquely American expression of art based in the union of African rhythms and spirit, Western harmony, and a democratization of musical values.
• Having a clearer appreciation for, and connection with, the musical lineage you’re studying. Access to this ancestral pipeline can bring new depth, inspiration, and purpose to your playing.
• No longer fighting to change the general perception of jazz. Most people who “don’t like jazz” have never actually heard it played well in person. Countless listeners actively avoid jazz because of the overwhelmingly negative associations pop culture has bestowed upon it: see Angela The Office: Jazz is Stupid for just one example. Why fight a losing battle when we can simply let go of the term itself?
• The freedom to honor other Black American musics without questioning whether or not you’re a real jazz musician. Country, Rock, Funk, Soul, and Hip-Hop are all creations of black culture, and the roots that connect these styles, including jazz, become clearer once you acknowledge their shared source: Black American rhythm and spirit.

To be clear, you should call your music whatever you want. Personally, using #BAM provides a healthy dose of humility, empowerment, and clarity to my musical journey.

The #BAM sentiment has been voiced by black artists since day one, but the current movement is spearheaded by New Orleans musician Nicholas Payton who shares his thoughts in detail here and here.

Emotional Expression Through Vibration

• The focus is put on the intent behind the art (sharing our existence, feelings, and emotions with others). I think this is better than highlighting the mode of expression (the notes and rhythms).
• It cuts straight to the cosmic depth of music. Everything in the universe, from the skin of a drum to the leaves on a tree, is made up of atoms: tiny units of elements all in a constant state of motion. The matter around us is literally made up of vibrations. As musicians we have the special opportunity to access this energy and share it with the world. We’re like vibration benders!
• You don’t waste energy playing the “is this really music?” game. Instead you can do something more productive: deciding if you like it or not.
• It includes the beautiful music found in nature: from bird calls to the wind in the trees.

A ticket to the dance.

This definition is from episode 018 with Corey Christiansen who shares, “Now you get to show up and be with the other dancers, but it doesn’t necessarily mean you’ve even danced yet. The best way to learn how to dance is to have a great dance partner that knows how to dance“. The problem here arrises from putting value in the diploma rather than the actual skills you developed in the program.

• The value of music school isn’t the piece of graduation paper. It’s entirely about the skills you gain, the relationships you build, and the life experiences you have.
• Your ticket can get you in the door. Alumni status doesn’t prove your musicality, (your playing has to do that) but it might give you more opportunities to prove it.
• This reinforces the understanding we are all lifelong students.
• It encourages you to find mentors and supportive colleagues beyond formal education.

A gross word adults made up because “making friends” didn’t sound businesslike. It’s literally just making friends.

• Networking turns relationships into things for you to manipulate for your own gain. I think that’s perversely dehumanizing. We should love people and use things: because the opposite never works.
• You prioritize finding the circle of musicians you actually want to be friends with. These are the musicians who think about music like you, have lifestyles and energies you relate to, and who model the kind of person you want to be. Those are the artists you’ll enjoy making music with the most anyway.
• This promotes a healthier, more practical order of events. If you’re trying to work with someone first and become friends later it probably won’t lead to much. But if you become friends first there’s a far better chance you’ll naturally start to work together, and it will be a lasting relationship.
• Nearly all of my favorite records come from bands who worked together for a long time and grew to love each other like family. You can feel their deep connections in the music. It’s really hard to find that kind of energy in a one off group.
• Maybe you already have a network of friends you could start a project with who you haven’t considered because you feel pressured to work with more prominent artists?