I am, like many people I know, a person whose identity has been discovered, determined and formed through the music I listen to. This is more than the cigarette-smoking or various haircuts and wardrobes I adopted to suit my nascent rock-and-roll, metal, or punk phases; it is in fact the way I have learned to view the world and be a part of it. By which I mean that without music, there is little doubt that I would have ceased to exist some time ago. In this way it has been and is useful to me.
My record-buying and listening pattern is a combination of impulse, artwork, artist, review, and genre. I tend to listen exhaustively, by which I mean I latch on to an artist or group and pick up whatever I can from them until their music is either assimilated into my listening-repitoire or the buzz of the new music simply fades. Most music falls into the latter group but it doesn’t matter.
I love clarinet. I think it’s primarily the tone — a bit thin compared to brass, rounder than double-reeds; ecstatic as opposed to joyous; instead of longing, despair and lonesomeness — which strikes me, more than most instruments, as being shaped precisely as it sounds.
Before cable television and VCRs, to say nothing of the internet, music was, at the very least, a primary source of entertainment. In my home, the radio was frequently on, playing NPR or Top 40 AM radio, or else there were records being played.
From my father’s record collection, I heard jazz: Max Roach, Clifford Brown, Charlie Parker, and Miles Davis (especially the latter’s Gil Evans sessions) were handy in our house.
Syncopation refers to the practice of inverting or otherwise shifting accents in an established rhythmic pattern. Polyrhythm, on the other hand, describes more than one rhythmic pattern occurring simultaneously. Though these elements frequently appear in tandem, especially in larger groups, I think their distinction from each other is worth pointing out.