Science, Clave, and Understanding

When Dr. Eben Alexander defended, in one of the major news magazines, his book (“proof[i]”) [1] about a spiritual non-physical afterlife realm, part of his argument was that he is a surgeon, and therefore a scientist. Surgeons are highly trained, highly specialized people who perform a very difficult and critically important service. It would be absurd not to recognize their value. Their work is without a doubt science-based, but does that make it “science”? (There are, of course, surgeons who publish scholarly work (although, I’ve noticed that in some cases, it’s not about surgery, but on fields as distant as music), and thus function as scholars, and therefore scientists.)

A scientist is not anyone who functions as a professional practitioner of a difficult and science-based field; a scientist is someone who sets up, tests, and evaluates (mostly via statistical data analysis) testable hypotheses (about anything, including the afterlife and spiritual realms, if necessary), and more importantly, does so within the guidelines of rigor, accuracy, objectivity, skepticism, and open-mindedness [2][ii]. It is worrisome to imagine that surgeons are setting up double-blinded clinical trials of surgical practices as part of their work, choosing to apply a known good technique on one patient and an as-yet-unsupported one on another patient. (In other words, I really hope surgeons do not act as scientists.) Maybe they do; I’d like to know, so please give me feedback on this question.

Assuming, though, that they don’t endanger patients’ lives for the sake of science, as we tend not to do anymore, it seems safe to assume that surgeons are highly trained specialists who practice state-of-the-art medicine. In this sense, they are not scientists. They use the findings and results of science in their practical, applied work (medicine). They must, then, fall somewhere between applied scientists and technologists (inclusive).

To say that someone who practices a specialty that is based on scientific findings is therefore a scientist is like saying a sandwich-shop employee is a farmer because they use bacon, lettuce, and tomato in their work. (The fact that surgery is far more specialized does not invalidate the argument.)

The professions that discover, invent, develop, and apply are all different. The roles can overlap—scientists do develop and build new equipment to perform their experiments, but these are not mass-produced. Anything we can purchase repeatedly on amazon or at Best Buy, say, was not made by scientists. It was designed, developed, tested, and manufactured by engineers, technologists, technicians, and other professionals, not by scientists, even if scientists were involved in the early stages. As for applied scientists, including those who work at laboratories, characterizing soil samples, say, or performing tests, they are also highly trained specialists of scientific background who are not doing science at that point. As one XKCD comic suggested [3], you can simply order a lab coat from a catalog; no one will check your publication record. Science is not solely about what you’re wearing or what degrees you have; it’s about what, exactly, you’re doing.

The public’s idea of what science is seems to be “mathy and difficult, preferable done in a lab coat while uttering multisyllabic words you don’t want to see in your cereal’s list of ingredients.” This may be a decent shortcut for pop-culture purposes, but it is not what science really is. I will not go into the inductive-method-vs-hypothetico-deductive-method-vs-what-have-you debate here because there are people who do that professionally, and do it very well. (I have been enjoying Salmon’s The Foundations of Scientific Inference [4] immensely.) What I do want to do is draw two parallels in succession, first from the preceding discussion to explanation and understanding, and from those concepts, to explanations and understanding of clave (in music).

The former has been done quite successfully in Paul Dirac-medal-and-prize-winning physicist Deutsch’s earlier book The Fabric of Reality [5]. I am not concerned here with the bulk and main point of his book, but only with his opening argument about the role of science (explanation) and what it means to understand. Deutsch criticizes instrumentalism because of its emphasis on prediction at the cost of explanation (pp. 3–7). He gives rather good examples of situations in which no scientist (or layperson, for that matter) would be satisfied with good predictions without explanations (p. 6, for example). He does not deny the role and importance of predictions, but argues that “[t]o say that prediction is the purpose of scientific theory is [. . .] like saying that the purpose of a spaceship is to burn fuel” (similar to another author’s argument that the purpose of a car is not to make vrooom–vrooom noises; they just happen to do that as part of their operation[iii]). Deutsch states that just like spaceships have to burn fuel to do what they’re really meant to do, theories have to pass experimental tests in order “to achieve the real purpose of science, which is to explain the world.” (Think about it: Why did we all, as children, get excited about science? To understand the world!)

He then moves on to explain that theories with greater explanatory power than the ones they’ve replaced are not necessarily more difficult to understand, and certainly do not necessarily add to the list of theories one has to understand the be a scientist (or an enthusiast). Theories with better explanatory power can be simpler. Furthermore, not everything that could be learned and understood needs to be: See his example of multiplication with Roman numerals (pp. 9–10). It might be fun, and occasionally necessary to have some source in which to look it up (for purposes of the history of mathematics, say), but it’s not something anyone today needs a working knowledge of; it has been superseded. His example for this is how the Copernican system superseded the Ptolemaic system, and made astronomy simpler in the process (p. 9). All of this is discussed in order to make the point that there is a distinction between “understanding and ‘mere’ knowing” (p. 10), which is where my interest in clave comes into play.

Several “explanations” of clave (sometimes even with that word in the title) that were published in recent years have been of the “mere knowing” type in which clave patterns are listed, without any explanation as to how and why they indicate what other patterns are allowed or disallowed in the idiom. Telling someone that x..x..x…x.x… is 3-2, and ..x.x…x..x..x. is its opposite, so 2-3, and (essentially) “there you go, you now know clave” does nothing towards explaining why a certain piano pattern played over one is “sick” (good) and over the other, sickening (bad) within the idiom.

Imagine if the natural sciences went about education the way we musicians do with clave. A chapter in a high-school biology book would contain a diagram of the Krebs cycle, with all the inputs, outputs (sorry for the electrical-engineer language), and enzymes given by name and formula, followed by “and now you know biochemical pathways,” without any explanation as to how it has anything to do with an organism being alive. I’m flabbergasted that musicians and music scholars find mere listings of clave son, clave rumba, [and . . . you know, the other one that won’t be named[iv]] sufficient as so-called explanations[v].

All of this reminds me of an argument I once had with a very intelligent person. I had said, in my talk at Tuesday Talks, that science is concerned with ‘why’ and ‘how’, not just ‘how’. He disagreed, which I think is because he thought of a different type of ‘why’: the theological ‘why’. I, instead, had in mind Deutsch’s type of ‘why’: “about what must be so, rather than what merely happens to be so; about laws of nature rather than rules of thumb” (p. 11). I would add, about consistency (even given Goedel, because I’m Bayesian like that, and not so solipsistic), which Deutsch mentions immediately afterwards, calling it ‘coherence’.[vi]

I understand that Hume, Goedel, and others have shown us that our confidence in science, or even math, ought not to be infinite. It isn’t. Even in a book like The God Delusion, even Richard Dawkins makes it clear that he is not absolutely certain. Scientific honesty requires that we not be absolutely certain. But we can examine degrees of (un)certainty, and specifically because of the solipsists, we have to ignore them[vii], and be imperfect pursuers of an imperfect truth, improving our understanding, all the while knowing that it could all be wrong.

To that end, I continue to test my clave hypothesis under different genres. Even if it’s wrong, it definitely is elegant.

[1] Alexander, M.D., E., Proof of Heaven: A Neurosurgeon’s Near-Death Experience and Journey into the Afterlife, Simon & Schuster, 2012.

[2] Baron, R. A., and Kalsher, M. J., Essentials of Psychology, Needham, MA: Allyn & Bacon, A Pearson Education Company, 2002.

[3] (last accessed 12/25/2015).

[4] Salmon, W. C., The Foundations of Scientific Inference, Pittsburgh, Pennsylvania: University of Pittsburgh Press, 1966.

[5] Deutsch, D., The Fabric of Reality: A leading scientist interweaves evolution, theoretical physics, and computer science to offer a new understanding of reality, New York: Penguin Books, 1997.

[i] Scientists do not speak of proof; they deal with evidence. Proofs are limited to the realm of mathematics. There are no scientific proofs; there are just statistically significant results, which are presented to laypersons as ‘proof’ because even scientists have quite a lot of difficulty interpreting measures of statistical significance, and the average person has no patience for or interest in the details of philosophy of science.

[ii] The authors of [2] give the following excellent definitions for these precise terms. Accuracy: “gathering and evaluating information in as careful, precise, and error-free a manner as possible”; objectivity: “obtaining and evaluating such information in a manner as free from bias as possible” [Ibid.]. ‘Bias’ in this case refers to the cognitive biases that are natural to human thinking and judgment, such as confirmation bias, Hawthorne effect[ii], selection bias, etc.; skepticism: the willingness to accept findings “only after they have been verified over and over”; and open-mindedness: not resisting changing one’s own views—even those that are strongly held—in the face of evidence that they are inaccurate [2]. To these we can add principles like transferability and falsifiability, and the key tools of double-blinding, randomization, blocking, and the like. Together, all these techniques and principles constitute science. Simply being trained in science and carrying out science-based work is not sufficient.

[iii] I think it was Philips in The Undercover Philosopher, but I’m not sure.

[iv] If you’ve read my post about running into cool people from SoundCloud at NIPS ’15, you’ll know what pattern I’m talking about: the English-horn-like-named pattern.

[v] Fortunately, we do have work from the likes of Mauleón and Lehmann that show causal relationships between individual notes or phrases in different instrumental lines, but since their work and mine, the trend has reverted to listing three patterns, and calling that an explanation.

[vi] Perhaps this paragraph needs its own blog post. . .

[vii] Because, according to them, they don’t exist.


NIPS 2015: Thoughts about SoundCloud, genres, clave tagging, clave gamification, multi-label classification, and perceptual manifolds

On December 9th, at NIPS 2015, I met two engineers from SoundCloud, which is not only providing unsigned artists a venue to get their music heard (and commented on), and providing recommendation and music-oriented social networking, but also, if I understand correctly, is interested in content analysis for various purposes. Some of those have to do with identifying work that may not be original, which can range from quotation to plagiarism (the latter being an important issue in my line of work: education), but also involve the creation of derivative content, like remixing, to which they seem to have a healthy approach. (At the same event, the IBM Watson program director also suggested that they could conceivably be interested in generative tools based on music analysis.)

I got interested in clave-direction recognition to help musicians, because I was one, and I was struggling—clave didn’t make sense. Why were two completely different patterns in the same clave direction, and two very similar patterns not? To make matters worse, in samba batucada, there was a pattern said to be in 3-2, but with two notes in the first half, followed by three notes in the second half. There had to be a consistent explanation. I set out to find it. (If you’re curious, I explained the solution thoroughly in my Current Musicology paper.)


Top: Surdo de terceira. Bottom: The 3-2 partido-alto for cuíca and agogô. Note that playing the partido-alto omitting the first and third crotchet’s worth of onsets results in the terceira.

However, clave is relevant not just to music-makers, but to informed listeners and dancers as well. A big part of music-in-society is the communities it forms, and that has a lot to do with expertise and identity in listeners. Automated recognition of clave-direction in sections of music (or entire pieces) can lead to automated tagging of these sections or pieces, increasing listener identification (which can be gamified) or helping music-making.

My clave-recognition scheme (which is an information-theoretically aided neural network) recognizes four output classes (outside, inside, neutral, and incoherent). In my musicological research, I also developed three teacher models, but only from a single cultural perspective. Since then, I have recently submitted a work-in-progress and accompanying abstract to AAWM 2016 (Analytical Approaches to World Music) about what would happen if I looked at clave direction from different cultural perspectives (which I have encoded as phase shifts), and graphed the results in the complex plane (just like phase shift in electric circuits).

Another motivating idea came from today’s talk Computational Principles for Deep Neuronal Architectures by Haim Sompolinsky: perceptual manifolds. The simplest manifold proposed was line segments. This is poignant to clave recognition because among my initial goals was extending my results to non-idealized onset vectors: [0.83, 0.58, 0.06, 0.78] instead of [1101], for example. The line-segment manifold would encode this as onset strengths (“velocity” in MIDI terminology) ranging from 0 (no onset) to 1 (127 in MIDI). This will let me look inside the onset-vector hypercube.

Another tie-in from NIPS conversations is employing Pareto frontiers with my clave data for a version of multi-label learning. Since I can approach each pattern from two phase perspectives, and up to three teacher models (vigilance levels), a good multi-label classifier would have to provide up to 6 correct outputs, and in the case that a classifier cannot be that good, the Pareto frontier would determine which classifiers are undominated.

Would all this be interesting to musicians? Yes, I think so. Even without going into building a clave-trainer software into various percussion gear or automated-accompaniment keyboards, this could allow clave direction to be gamified. Considering all the clave debates that rage in Latin-music-ian circles (such as the “four great clave debates” and the “clave schism” issues like around Giovanni Hidalgo’s labeling scheme quoted in Modern Drummer*), a multi-perspective clave-identification game could be quite a hit.

So, how does a Turkish math nerd get to be obsessed by this? I learned about clave—the Afro-Latin (or even African-Diasporan) concept of rhythmic harmony that many people mistake for the family of fewer than a dozen patterns, or for a purely Cuban or “Latin” organizational principle—around 1992 from the musicians of Bochinche and Sonando, two Seattle bands. I had also grown up listening to Brazilian (and Indian, Norwegian, US, and German) jazz in Turkey. (My first live concert by a foreign band was Hermeto Pascoal e Grupo, featuring former CBC faculty Jovino Santos Neto.) So, I knew that I wanted to learn about Brazilian music. (At the time, most of what I listened to was Brazilian jazz, like Dom Um Romao and Airto, and I had no idea that they mostly drew from nordestino music, like baião, xote, côco, and frevo**―not samba).

Fortunately, I soon moved to Portland, where Brian Davis and Derek Reith of Pink Martini had respectively founded and sustained a bloco called Lions of Batucada. Soon, Brian introduced us to Jorge Alabê, and then to California Brazil Camp, with its dozens of amazing Brazilian teachers. . . But let’s get back to clave.

I said above that clave is “the Afro-Latin (or even African-Diasporan) concept of rhythmic harmony that many people mistake for the family of fewer than a dozen patterns, or for a purely Cuban or ‘Latin’ organizational principle.” What’s wrong with that?

Well, clave certainly is an organizational principle: It tells the skilled musician, dancer, or listener how the rhythm (the temporal organization, or timing) of notes in all the instruments may and may not go during any stretch of the music (as long as the music is from a tradition that has this property, of course).

And clave certainly is a Spanish-language word that took on its current meaning in Cuba, as explained wonderfully in Ned Sublette’s book.

However, the transatlantic slave trade did not only move people (forcefully) to Cuba. The Yorùbá (of today’s southwest Nigeria and southeast Benin), the Malinka (a misnomer, according to Mamady Keïta for people from Mali, Ivory Coast, Burkina Faso, Gambia, Guinea, and Senegal), and the various Angolan peoples were brought to many of today’s South American, Caribbean, and North American countries, where they culturally and otherwise interacted with Iberians and the natives of the Americas.

Certain musicological interpretations of Rolando Antonio Pérez Fernández’s book La Binarización de los Ritmos Ternarios Africanos en América Latina have argued that the organizational principles of Yoruba 12/8 music, primarily the standard West African timeline (X.X.XX..X.X.X)

Bembé ("Short bell") or the standard West African timeline, along with its major-scale analog

and the Malinka/Manding timelines met the 4/4 time signatures of Angolan and Iberian music, and morphed into the organizational timelines of today’s rumba, salsa, (Uruguayan) candombe, maracatu, samba, and other musics of the Americas.

Some of those timelines we all refer to as clave, but for others, like the partido-alto in Brazil***, it is sometimes culturally better not to refer to them as clave patterns. (This is understandable, in that Brazilians speak Portuguese, and do not always like to be mistaken for Spanish-speakers.)

Conceptually, however, partido-alto in samba plays the same organizational role that clave plays in rumba and salsa, or the gongue pattern plays in maracatu: It immediately tells knowledgeable musicians how not to play.

In my research, I found multiple ways to look at the idiomatic appropriateness of arbitrary timing patterns (more than 10,000 of them, only about a hundred of which are “traditional” [accepted, commonly used] patterns). I identified three “teacher” models, which are just levels of strictness. I also identified four clave-direction categories. (Really, these were taught to me by my teacher-informers, whose reactions to certain patterns informed some of the categories.)

Some patterns are in 3-2 (which I call “outside”). While the 3-2 clave son (X..X..X…X.X…):

3-2 (outside) clave son, in northern and TUBS notation

is obvious to anyone who has attempted to play anything remotely Latin, it is not so obvious why the following version of the partido-alto pattern is also in the 3-2 direction****: .X..X.X.X.X..X.X

The plain 3-2 partido-alto pattern. (The pitches are approximate and can vary with cuíca intonation or the agogô maker’s accuracy.) "Bossa clave" in 3-2 and 2-3 are added in TUBS notation to show the degree of match and mismatch with 3-2 and 2-3 patterns, respectively.


Some patterns are in 2-3 (which I call “inside”). Many patterns that are heard throughout all Latin American musics are clave-neutral: They provide the same amount of relative offbeatness no matter which way you slice them. The common Brazilian hand-clapping pattern in pagode, X..X..X.X..X..X. is one such pattern:

The clave-neutral hand-clapping pattern in pagode, AKA, tresillo (a Cuban name for a rhythm found in Haitian konpa, Jamaican dancehall, and Brazilian xaxado)

It is actually found throughout the world, from India and Turkey, to Japan and Finland, and throughout Africa; from Breakbeats to Bollywood to Metal. (It is very common in Metal.) The parts played by the güiro in salsa and by the first and second surdos in samba have the same role: They are steady ostinati of half-cycle length. They are foundational. They set the tempo, provide a reference, and go a long way towards making the music danceable. (Offbeatness without respite, as Merriam said*****, would make music undanceable.)

Here are some neutral patterns: X…X…X…X… (four on the floor, which, with some pitch variation, can be interpreted as the first and second surdos):

Four quarter notes, clave-neutral (from Web, no source available)

….X.X…..X.X. (from ijexá):

surdo part for ijexá (from


and XxxXXxxXXxxXXxxX. (This is a terrible way to represent swung samba 16ths. Below is Jake “Barbudo” Pegg’s diagrams, which work much better.)

Jake "Barbudo" Pegg's samba-sixteenths accent and timing diagrams (along with the same for "Western" music)

The fourth category is incoherent patterns. These are patterns that are not neutral, yet do not conform to either clave direction, either. (One of my informers gave me the idea of a fourth category when he reacted to one such pattern by making a disgusted face and a sound like bleaaahh.)

A pattern that has the clave property immediately tells all who can sense it that only patterns in that clave direction and patterns that are clave-neutral are okay to play while that pattern (that direction) is present. (We can weaken this sentence to apply only to prominent or repeated patterns. Quietly passing licks that cross clave may be acceptable, depending on the vigilance level of the teacher model.)

So, why mention all this right now? (After all, I’ve published these thoughts in peer-reviewed venues like Current Musicology, Bridges, and the Journal of Music, Technology and Education.)

For one thing, those are not the typical resources most musicians turn to. Until I can write up a short, highly graphical version of my clave-direction grammar for PAS, I will need to make some of these ideas available here. Secondly, the connection to gamification and musical-social-networking sites, like SoundCloud, are new ideas I got from talking to people at the NIPS reception, and I wanted to put this out there right away.



* Mattingly, R., Modern Drummer, Modern Drummer Publications, Inc., Cedar Grove, NJ, “Giovanni Hidalgo-Conga Virtuoso,” p. 86, November 1998.

** While talking to Mr. Fereira of SoundCloud this evening at NIPS, he naturally mentioned genre recognition, which is the topic of my second-to-last post. (I argued about the need for expert listeners from many cultural backgrounds, which could be augmented with a sufficiently good implementation of crowd-sourcing.) I think he was telling me about embolada, or at least that’s how I interpreted his description of this MC-battle-type of improvised nordeste music. How many genre-recognition researchers even know where to start in telling a street-improvisation embolada from even, say, a pagode-influenced axé song like ‘Entre na Roda’ by Bom Balanço? (Really good swing detection might help, I suppose.)

*** This term has multiple meanings; I’m not referring to the genre partido-alto, but the pattern, which is one of the three primary ingredients of samba, along with the strong surdo beat on 2 (and 4) and the swung samba 16ths.

**** in the sense that, in the idiom, it goes with the so-called 3-2 “bossa clave” (a delightful misnomer): X..X..X…X..X..,

The "bossa clave" is a bit like an English horn; it's well as with the rather confusing (to some) third-surdo pattern ….X.X…..XX.X, Top: Surdo de terceira. Bottom: The 3-2 partido-alto for cuíca and agogô. Note that playing the partido-alto omitting the first and third crotchet’s worth of onsets results in the terceira.

which has two notes in its first half, and three notes in its second half. (Yes, it’s in 3-2. My grammar for clave direction explains this thoroughly. [])

***** See Merriam: “continual use of off-beating without respite would cause a readjustment on the part of the listener, resulting in a loss of the total effect; thus off-beating [with respite] is a device whereby the listeners’ orientation to a basic rhythmic pulse is threatened but never quite destroyed” (Merriam, Alan P. “Characteristics of African Music.” Journal of the International Folk Music Council 11 (1959): 13–19.)

ALSO, I use the term “offbeatness” instead of ‘syncopation’ because the former is not norm-based, whereas the latter turns out to be so:

Coined by Toussaint as a mathematically measurable rhythmic quantity [1], offbeatness has proven invaluable to the preliminary work of understanding Afro-Brazilian (partido-alto) clave direction. It is interpreted here as a more precise term for rhythmic purposes than ‘syncopation’, which has a formal definition that is culturally rooted: Syncopation is the placement of accents on normally  unaccented notes, or the lack of accent on normally accented notes. It may be assumed that the norm in question is that of the genre, style or cultural/national origin of the music under consideration. However, in all usage around the world (except mine), normal accent placement is taken to be normal European accent placement [2, 3, 4].

For example, according to Kauffman [3, p. 394], syncopation “implies a deviation from the norm of regularly spaced accents or beats.” Various definitions by leading sources cited by Novotney also involve the concepts of “normal position” and “normally weak beat” [2, pp. 104, 108). Thus, syncopation is seen to be norm-referenced, whereas offbeatness is less contextual as it depends solely on the tactus.

Kerman, too, posits that syncopation involves “accents in a foreground rhythm away from their normal places in the background meter. This is called syncopation. For example, the accents in duple meter can be displaced so that the accents go on one two, one two, one two instead of the normal one two, one two” [4, p. 20; all emphasis in the original, as written]. Similarly, on p. 18, Kerman reinforces that “[t]he natural way to beat time is to alternate accented (“strong”) and unaccented (“weak”) beats in a simple pattern such as one two, one two, one two or one two three, one two three, one two three.” [4, p. 18]

Hence, placing a greater accent on the second rather than on the first quarter note of a bar may be sufficient to invoke the notion of syncopation. By this definition, the polka is syncopated, and since it is considered the epitome of “straight rhythm” to many performers of Afro-Brazilian music, syncopation clearly is not the correct term for what the concept of clave direction is concerned with. Offbeatness avoids all such cultural referencing because it is defined solely with respect to a pulse, regardless of cultural norms. (Granted, what a pulse is may also be culturally defined, but there is a point at which caveat upon caveat becomes counterproductive.)

Furthermore, in jazz, samba, and reggae (to name just a few examples) this would not qualify as syncopation (in the sense of accents in abnormal or unusual places) because beats other than “the one” are regularly accented in those genres as a matter of course. In the case of folkloric samba, even the placement of accents on the second eighth note, therefore, is not syncopation because at certain places in the rhythmic cycle, that is the normal—expected—pattern of accents for samba, part of the definition of the style. Hence, it does not constitute syncopation if we are to accept the definition of the term as used and cited by Kauffman, Kerman, and Novotney. In other words, “syncopation” is not necessarily the correct term for the phenomenon of accents off the downbeat when it comes to non-European music.

Moreover, in Meter in Music, Hule observes that “[a]ccent, defined as dynamic stress by seventeenth- and eighteenth-century writers, was one of the means of enhancing the perception of meter, but it became predominant only in the last half of the eighteenth century [emphasis added]. The idea that the measure is a pattern of accents is so widely held today that it is difficult to imagine that notation that looks modern does not have regular accentual patterns. Quite a number of serious scholarly studies of this music [European art music of 1600–1800] make this assumption almost unconsciously by translating the (sometimes difficult) early descriptions of meter into equivalent descriptions of the modern accentual measure” [5, p. viii] Thus, it turns out that the current view of rhythm and meter is not natural, or even traditional, let alone global. In fact, in Essential Dictionary of MUSIC NOTATION: The most practical and concise source for music notation is perfect for all musicians—amateur to professional (the actual book title) states that “the preferred/recommended beaming for the 9/8 compound meter is given as three groups of three eighth notes” [6, p. 73]. This goes against the accent pattern implied by the 9/8 meter in Turkish (and other Balkan) music, which is executed as 4+5, 5+4, 2+2+2+3, etc., but rarely 3+3+3. The 9/8 is one of the most common and typical meters in Turkish music, not an atypical curiosity. This passage is included here to demonstrate the dangers in applying western European norms to other musics (as indicated by the phrase “perfect for all musicians”).

[1]    Toussaint, G., 2005. Mathematical Features for Recognizing Preference in Sub-Saharan African Traditional Rhythm Timelines. Lecture Notes in Computer Science 3686:18-27. Springer Berlin/Heidelberg, 2005.                                                                                                                                [2]    Novotney, E. D. “The 3-2 Relationship as the Foundation of Timelines in West African Musics,” University of Illinois at Urbana-Champaign (Ph.D. dissertation), Urbana-Champaign, Illinois, 1998.
[3]    Kauffman, R. 1980. African Rhythm: A Reassessment. Ethnomusicology 24 (3):393–415.
[4]    Kerman, J., LISTEN: Brief Edition, New York, NY: Worth Publishers, Inc., 1987, p. 20.
[5]    Hule, G., Meter in Music, 1600–1800: Performance, Perception, and Notation, Bloomington, IN: Indiana University Press, 1999.
[6]    Gerou, T., and Lusk, L., Essential Dictionary of MUSIC NOTATION: The most practical and concise source for music notation is perfect for all musicians—amateur to professional, Van Nuys, CA: Alfred Publishing Co., Inc., 1996.

It’s not only the rent: Old, new, and middle Portland

There has been much ferment, uproar, and outcry against the gentrification of “the old Portland” in the weeklies of Portland, Oregon, and in conversations around town lately. The skyrocketing of rent is a well-known and much discussed issue, as is the second big migration of a certain underrepresented minority out of what has become the new standard boundaries of hip Portland. Another, somewhat less publicized reason to be concerned (except for the recent WW article) is the squeezing out of Portland’s artists, the very people who took a grimy drug-troubled city no one outside the Pacific Northwest had heard of, and turned it into the modern designer clean-living mecca of the United States. To understand this process, and what I think is going wrong, I must clarify a point of definition: Most people talking about “the old Portland” are not actually talking about old Portland; they’re referring to what I will call “middle Portland.” “The old Portland” is what you can see in the movie ‘Drugstore Cowboy’: Crime, drugs, rain, empty streets, and little to do.

I moved to Portland between the old and middle periods, in 1995. My first visit, a few years prior, had me entering the city on a Greyhound bus through the NW Industrial Zone (not exactly a pretty sight, but a necessary one), and staying at a hostel on Hawthorne just to see a famous Senegalese band before I headed back to the small town where I was going to college.

Portland was legendary: It had La Luna and Satyricon. Bands like Dead Moon, WIPERS, and Poison Idea were rumoured to play there. I could only imagine what they were like. I later found out I was pretty far off. In any case, I did eventually move to Portland in 1995 to go to grad school, preferring PSU to higher-ranking universities because I wanted to be in a city, no matter how small.

And it was small. Traffic was virtually nonexistent. People wore sweatpants everywhere, unless they cared even less and wore pajama bottoms, or cared more and wore outrageously awesome punk outfits. High-heeled shoes were unknown, unless they were worn by occasional glam holdovers. It was nothing like the Portland of 2005, what I call middle Portland, or the Portland of today, 2015, the new Portland.

In 2005, you could still get from any part of town to any other in 45 minutes by bus (Tri-Met) and 15 minutes if you drove. Downtown to Hillsboro took 20 minutes. A few years prior to that, I lived in the Brooklyn neighborhood, close-in SE, and worked in Hillsboro. My commute took about 25 minutes.

I am not listing these travel times for purposes of complaining, but only for comparison. After all, I grew up in a city of 12 million, and to this day, I’m not especially bothered by even a two-hour commute. My point is that Portland was different in 1995, and different in 2005 from both now and the way it was in 1995.

What I experienced was the development of Portland into an arts mecca, the next Seattle or Austin (from whom we stole our Music Millenium slogan), and the city collectors traveled to from as far as Japan to buy vinyl records. In 2008, when I attended a conference in Philly, a Drexel student asked me how long I lived in Portland. When I told her I’d been there since ’95, she said “Oh, so you’ve been there since before it was cool.”

Yes, I was a small part of making it that way—I’m one of the thousands of musicians and maybe tens of thousands of artists overall, that helped turn Portland into the place to be if you wanted to be cool. . . not one of the significant ones who made it big, but I was there, playing behind a few of the big names whenever I could, all because I happened to talk to everyone I met about being a drummer. There weren’t that many around, and I eventually met some awesome people who taught me, encouraged me, and occasionally called me up for something pretty awesome.

But, this story is not about me; it’s about those who are still trying to make music, make art, make films, and maybe even make it in Portland. (I was going to say “make it big” but these days, people are just trying to get by.)

And here’s the rub. When the people moving into old east-side neighborhoods start lobbying to end late-night live music or pressure their neighbors to stop practicing in their basements, they are trying to turn Portland-proper into a suburb. They moved to Portland because it’s “cool,” part of which is that it has interesting jobs and beautiful houses to live in within walking distance of bars, restaurants, and coffee shops. Many of those establishments are staffed by musicians, painters, graphic designers, theater actors, comedians, and writers. What made Portland cool in the first place was the artists! The musicians and graffiti artists are foremost among the people who made Portland visible to the rest of the world (though I should not forget the graphic artists, some of whose work reached me in my crazy third-world hometown back in the ’80s). And everyone contributed to the liberal, progressive, sometimes-so-woo-as-to-be-regressive, but always artistic culture of Portland. These people are being driven away by the rapidly rising cost of living, and also being told to stop making all that noise and mess.

This post was inspired by the entry ‘Manufactured Spaces’ (specifically pp. 47–49) in the book ‘Portlandness: A Cultural Atlas’. Created by a big team of cartographers, designers, students, and teachers, this is both a beautiful and a substantial book. The discussion of the official interpretation of quality of life drove me to add my voice to the uproar over the new Portland. True, I wasn’t born or raised there, but I spent more of my life there than anywhere else. I don’t exactly miss the old Portland, and I don’t mind many of the improvements of the new Portland. But I do worry about the destruction of middle Portland, which to me is all about the arts.